Last night, as I was driving home with my children asleep in the back of the car and my wife sitting next to me, I had countless, shapeless visions that defied my eyes and imaginations. These images were not the consequence of consuming hallucinatory drugs or chemical substances, but merely the effect of attending ADAD’s first ever Open Stage. Simone Foster’s expressive arms, Lola Adodo’s proud and peaceful dual personalities, Christina Oshunniyi’s piercing cries, Catherine’Wheeler’s experimental approach and Christina Connors and Richard Boon’s humorous routine kept popping up in front of my eyes like a kaleidoscopic apparition; all parts of the same piece, yet shifting shapes constantly.
In vain could one attempt to pigeonhole the pieces on stage last night. And yet they all draw from the rich history and mysticism of African culture. The first piece could have well confounded the spectator. With music by Asian British musician Nitin Sawhney and references to the novel ‘A Thousand Splendid Suns’ by Afghan author Khaled Hosseini, attendees could have been forgiven for asking themselves where the African element was. Yet, Simone’s movements drew from a myriad African dance and African-derived forms, including Afro-Cuban and Soul-Jazz and the result was pure poetry in motion where the plight of the two women from the novel the piece referenced was evident. This was followed by a divertissement by Lola Adodo where her two fictional characters Tatula and Kumala interacted to great effect and gave food for thought to the audience as to the variety of dance styles in existence in the African continent. Christina Oshunniyi closed the first part of the show with a powerful and heart-rending performance that left most of the auditorium reaching for their hankies. I can still her crying out: ‘Mummy, no, Mummy, please’. And if your heart did not stop at that moment and your lachrymal glands remained dry, then your name might as well be R2D2 and you will have to have that loose wire checked. The second segment of the night kicked off with Catherine Wheeler’s experimental piece on the journey of Africans to the Americas, focusing mainly upon two countries that were heavily influenced by their presence: Brazil and Cuba. Christina Connors and Richard Boon brought the night to an end with their bravura performance full of choreographic razzmatazz. The piece was slick and at times cheeky allowing the public to be bowled over by the pair’s ingenious use of space and movement.
My conclusions after watching the five pieces were that:
1) All performers, including choreographers, deserved the applause that was given after each performance for they all showed a great capacity for combining various aspects of dances that sometimes lacked historical links, let alone chronological connection. Nobody danced anyone else off stage last night and to think that way would be unfair to the dancers whose performances demonstrated the validity of African dance in the 21st century.
2) Events like this show the cultural wealth that Africa has to offer and has indeed offered for many centuries. They tear through the rational that all African and African-derived dances are always up-tempo and jumpy-jumpy.
3) Dance as any other art form is nothing but a gigantic jigsaw puzzle whose pieces keep shifting and drifting. The minute we have slotted one into place and slapped ourselves on the back for doing so, we will see the next one along moving away or changing shape, thus confounding us and leaving us to wonder why and how they did that. Unbeknownst to us the one we have just slotted in the correct space will have changed shape, too and will become yet another vagrant piece in the surreal jigsaw puzzle. Unlike exact sciences, art cannot be pre-calculated or pre-determined and if it ever is, the result is usually formulaic and disposable rubbish. Last night, fortunately, that was not the case, all performers and choreographers took risks and we, the audience, were the richer for that.
My thanks to Jeannette Bain, Zela Gayle, Paula Allen and all the others who contributed to what was a marvellous and successful night for Dance of the African Diaspora. And I for one cannot wait until the next session.
Saturday 28 June 2008
Tuesday 17 June 2008
The Afro-Latin Lounge
Another week and another cultural round-up. Plenty to choose from. Enjoy!
EVENTS TO CELEBRATE THE EXHIBITION
THE STORY OF THE SUPREMES FROM THE MARY WILSON COLLECTION
The V&A brings you a dynamic season of mainly free public events and exhibitions that celebrates black history and heritage. Visit the exhibition The Story of the Supremes from the Mary Wilson Collection each day until 19 October and learn and be entertained by an exciting range of related activities in July including My Motown Memories and the Motown Weekender. Don’t miss out on these exciting events; bring your family and friends for this enjoyable intensive weekend.
Friday 4 July
My Motown Memories featuring DJ Norman Jay MBE
A special evening dedicated to the writers, musicians and songs that put Tamla Motown at the cutting edge and heart of a transatlantic soul scene.
V&A Screen: Standing in the Shadows of Motown, Paul Justman, 2002 (PG)
Seminar Room 1
17.45 – 19.45
The story of the Funk Brothers, the Motown musicians who were behind numerous number one hits. They were drawn together in 1959 from Detroit's thriving jazz and blues scene and helped shape the Motown sound from its origins in Detroit to its demise in Los Angeles during the 1970s.
£4.00, no concessions
DJ Norman Jay MBE & Live Band Burning Inferno
The John Madejski Garden (Café if wet)
20.00 – 21.45
Join soul master and DJ Norman Jay MBE, as he lays down your favourite Motown tracks. Why not request a tune for that special someone in your life or reminisce about an iconic period in music history, and for your live musical pleasure sing and dance to Burning Inferno as they take you on a journey of legendary 60s Motown.
Tickets to VIP area £8.00 (including drinks reception). Under 18s £4.00.
Advanced booking is strongly recommended. Call 020 7942 2211 or email bookings.office@vam.ac.uk Supported by the Heritage Lottery Fund
Sat 5 & Sun 6 July
Motown Weekender: Tell Me What’s Going On
12.30 – 17.30
A tribute event to celebrate 50 years of Motown and the V&A’s exhibition The Story of the Supremes from the Mary Wilson Collection. Experience the power of Soul, from Stop in the Name of Love to Inner City Blues and beyond, as the cream of London’s DJs explore the impact, influence and legacy of early Motown (circa 1965-1975) with an eclectic soundtrack embracing Soul, Jazz, Reggae and Afrobeat, alongside classic sounds from Berry Gordy’s Motor City hit factory. Enjoy films, talks, DJs, T-shirt printing, Supremes makeovers, dance routines and gospel and soul chorus workshops.
Free, drop-in.
Supported by the Heritage Lottery Fund
WEEKENDER - DAY ONE
Saturday 5 July
In Celebration of Our Soul Sisters
Girl groups reigned supreme during the 60s and changed the way Britons embraced transatlantic soul. Discover how a very secular approach to style, grooming and conformity within the music industry gave gospel-based music a truly global appeal and, almost by accident, put feminist politics on the agenda and paved the way for the emergence of a new wave of independent female voices.
The London DJs
12.30 – 17.30
Grand Entrance
London’s DJs, The Shrine Synchro System (Rita Ray and Max Reinhardt), Jo Wallace, Gladdy Wax and Mistah Brown pay homage to groundbreaking girl groups and female solo artists of the 60s.
The Supreme Act
13.00 – 13.30
Rooms 103 – 106
Explore the history and development of boy and girl bands from Motown to the present day. Sessions include costume handling, singing and choreography.
Salon Supreme: Retro Makeovers
14.00 – 17.30
Grand Entrance
Come dressed to impress in your 60s or 70s outfits, sequins, satin, floating chiffon to psychedelic sparkle and funky flares and get that iconic look you have always wanted.
Designer Divas: Images of Women in Popular Music
14.00 – 15.00
Lecture Theatre
Using The Supremes as a springboard a panel of writers and music critics explore the aesthetic of women in popular music and considers how the visual identities of female performers continue to be developed for mainstream consumption.
Supremes and Soul Diva T-shirts and Soul Slogan Badges
15.00 – 17.00
Lunchroom
Design a collage featuring images of your favourite 60s and 70s Soul, Jazz and Reggae divas and have these printed on a T-shirt or make a Soul slogan badge. Bring your LP covers, magazines, small posters or photographs.
WEEKENDER - DAY TWO
Sunday 6 July
Say It Loud and Say It Proud
In stark contrast to Motown’s pop and soul cross-over appeal, Berry Gordy had a number of subsidiary labels including Black Forum Records that recorded progressive political and pro-civil rights speeches. DJs will shape the day and take you on a transatlantic musical journey that includes messages of love, peace, hope, freedom, revolution, power, history and legacy.
The London DJs
12.30 – 17.30
Grand Entrance
London’s DJs, The Shrine Synchro System (Rita Ray and Max Reinhardt), Andy Smith, Gladdy Wax and Mistah Brown play an eclectic soundtrack to the Civil Rights Movement encompassing social commentary, cultural politics and spoken word.
Legacy in the Dust (12A), Winstan Whitter, 2008 – film screening, talk & Q&A
13.00 – 14.30
Lecture Theatre
This is the story of ‘The Four Aces Club’, founded in the 60s and which for 33 years was home to the most influential black music and musicians to date. It showcased new musical genres like Reggae and Ska, also a home for Jazz and Soul. Artists like Desmond Decker, Jimmy Cliff, Count Shelly, Ann Peebles, Percy Sledge, Ben E King and Billy Ocean performed here. Includes an introduction by the filmmaker Winstan Whitter, a Q&A session with one of the original ‘Aces’ Newton Dunbar and a display of associated memorabilia.
Rock-A-My-Soul
13.00 – 13.40
Fashion, Room 40
Little Lights Theatre Company presents a highly interactive, entertaining and informative show which explores an important moment in Motown’s history and the influence of Motown on the people who bought the records.
The Politics of Music, Fashion, Hair and Graphic Imagery – talk and Q&A
14.45 – 15.45
Lecture Theatre
Examine some of the links between the politics, music, film, graphics and fashion of the era. The 1960's marked a huge social change across the globe as civil rights legislation and action began making an impact on the world. Discover how Counter Culture movements increasingly became associated with the massive growth in popular culture as music, hair, fashion and graphic imagery took on a leading role in defining a generation of street revolutionaries.
Hair Piece: A Film for Nappy-Headed People (NR) – film screening
15.45 – 16.00
Lecture Theatre
This short but satirical animated film addresses and intertwines “issues of racism and body image facing African-American women. It highlights familiar hair-maintenance rituals for African- Americans while seriously confronting and criticizing the unattainable ideal of female beauty in society” Carrie Downes, All Movie Guide.
The Funk Chorus
15.45 – 17.30
Raphael, Room 48a
Just bring your voices and your glam and funky selves as sequins, flares and 60s and 70s psychedelic patterns are the order of the day – enjoy. The Funk Chorus is a fun and exciting participatory choir, whose choral repertoire is made up of some classic and some obscure funk songs. Join the Funk Chorus as they celebrate all that is Motown.
OTHER RELATED EVENTS
Events for People with Disabilities
The Story of the Supremes from the Mary Wilson Collection
Exhibition Talks
Visually Impaired
Wednesday 16 July
11.00 – 12.30
Hearing Impaired
Friday 18 July
18.30 – 19.15
Interpreted in BSL
World Cities: Detroit – from Motor to Motown
Fri 12 September
18.00-20.00
Detroit is seven countries, 233 communities, nearly 5 million people, and 300 years of history. It is also the birthplace of Motown, a city of skyscrapers and deserted mansions and home to General Motors and the Ford Motor Company. Joe Kerr, author of Autopia: Cars and Culture, explores the history of this inspiring but turbulent city and considers its contradictions. Eric Charge, Motown collector and lender to the Story of the Supremes from the Mary Wilson Collection exhibition looks at its unique and influential musical legacy. This event is part of the V&A’s World Cities series, examining the art, culture and heritage of global cities.
Tickets: £ 20. Concessions available. Call V&A Bookings on 020 7942 2211.
Janet Browne, AFCB officer (Audiences), May 2008
Tel: 020 7942 2184 Email: j.browne@vam.ac.uk
“Mandingueiros” Meeting London UK
21st & 22nd June 2008
Afro-Brazilian Art Form Capoeira Angola
Special Guest for the first time in London Mandigueiros Meeting.
Master China
From Bahia, he lives and teaches in Barcelona, Spain. He also runs workshops in Europe, Africa, Brazil, USA and Canada. www.angolabcn.com
Master Pacheco, from Olinda-PE, lives and teaches in London.
Master Marcelo Angola, from Bahia, lives and teaches in Exeter, UK.
Teacher Pedro Campolina, from Minas Gerais, lives and teaches in London.
Open Workshops and party to everyone
Saturday 21st June: 12-4pm Classes, 4-6pm Capoeira Films.
Sunday 22nd June: 1-4pm Class and Roda.
Venue: LSE Old Building, Houghton Street, WC2E 2AE - Holborn Station
Admission: £20 for Saturday, £15 for Sunday or £30 for both days.
If you come only for roda or films cost £5.
Sunday free Party 7pm @ Caipirinha Jazz Bar, 177 Archway Road, N6
Live music: Afoxe, Samba de Roda, Capoeira and Dj. (Highgate tube).
Contact: Pacheco@capoeira-angoleiro.com 07967.903.937
pedropaulocapoeira@gmail.com 07780.552.176
www.capoeira-angoleiro.com
If you come from somewhere else please contact us to find a place to stay.
Hi guys, There is a week coming up that I thought you could benefit from. It's a great professional development week for anyone who is teaching or interested in Street Dance or hip hop dance. "Hip Hop Don't Stop!" is a five day intensive course with the finest street and hip hop dance instructors in Europe . Due to two sell out years in the South of England we are taking this course to Liverpool in conjunction with The Liverpool Institute for Performing Arts. The course will be divided into ability groups so whether you are just getting started or have been dancing for 10 yrs we have a group that is perfect for you. If you have a friend or colleague that does not teach that's ok, we cater for everyone from professional performers to total beginners and everyone in between. If you are interested in finding out why this week has sold out two years in a row check out our online video www.urbanstrides. com/hhdsinfo. php
CONGA! processions with Guillermo Davis Carnival de Cuba 28&29JuneHi ¡SÍAA-KARÁAA! Cuban Carnival Comparsa members from last year, and London Students.to reply email Guillermo at http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk or call 07730 679 213 / 07811 320 5761. Carnival de Cuba, London 28&29June , 2. YUMI Multicultural Festival YORK 19&20 July3. Capital Age festival London 11th July (to be confirmed)-----------------------------------------------------1. Carnival de Cuba 28&29June - processions-----------------------------------------------------Guillermo is leading Carnival processions on both days, 28th&29th June in Southwark park with children leading. He invites his students and everyone who was part of ¡SÍAA-KARÁAA! Cuban Conga processions last year to come and join the procession following behind the children. It will be a great chance to get together.The processions leave 4.45pm both days from the festival site (pls ask from where exactly when you arrive).Also on Sunday Guillermo will do a dance class at 2pm on main stage by Guillermo for everyone.Come and meet up about 3pm for get together/picnic before or arrive at 4pm to follow the procession. Wear white or bright colours if poss(no costumes for adults this time sorry!). Just turn up, friends welcome.Charanga Habanera are performing.See www.carnival-de-cuba.com/------------------------------------2. York Conga processions - 19&20 of July-----------------------------------Guillermo is doing Conga processions in YORK at the YUMI festival on 19&20 of July, York's multicultural festival. It would be just great if some of you could come up and show York how to dance Cuban Conga! There will be costumes for those of you who have taken part in ¡SÍAA-KARÁAA! processionsbefore. Omar Puente's Cubania are performing on the Sat 7pm.Please email http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk if you would like to take part in the York Congas and say if you'd like a place to stay over Saturday night, we will ask YUMI members if they can put you up. Trains are cheap if you book early.Details & times to be confirmed. See www.yumiyork.org/------------------------------------------------------3. Capital Age festival 11th July Friday - Conga------------------------------------------------------It's very likely that Guillermo will be leading a Conga procession atCapital Age festival at the Royal Festival Hall, South Bank, Londonon 11th July. Likely to be with live Conga music. It would be just greatif you could come and take part, please email http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.ukand tell us if you are coming or just come. White or bright clothes best.To be confirmed. See www.capitalagefestival.org.uk/Muchos Saludos :O)Guillermo & Lindanow living in Yorkemail Guillermo at http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk or call 07730 679 213 / 07811 320 576www.eliyawo.co.ukif you don't want to receive emails from us anymore, please email http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk with REMOVE in thesubject header.-------------------------------------------------------------Guillermo Davis 'el Iyawo'Cuban dance teacher, choreographerand carnival group leaderwww.eliyawo.co.ukhttp://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk 07730 679 213 / 07811 320 576------------------------------------------------------------- Sent by: Guillermo Davis 'el iyawo'El Iyawo Cuban Dance (Guillermo Davis) LONDON
Bode Lawal's Sakoba Dance TheatreThe UK's Premiere Post Traditional Dance CompanySunday MasterclassWith Artistic Director Bode LawalSakoba's Artistic Director, Bode Lawal, returns with his intensive masterclasson his unique post traditional technique and shares in his recent research forhis current work Okan'Nijo (One).SAKOBA DANCE THEATRE recently celebrated its 20th anniversary. Mr Lawal hasspent his professional life pushing back the creative boundaries; setting newstandards and always seeking perfection.BLDT (Bode Lawal Dance Technique) is meant to emphasise the higher aspect ofAfrican Dance and change the way its practitioners view their profession. Itis a soul-searching experience for an artist to go on a personal "spiritual"journey that unlocks a vault of discovery."Lawal's choreography is habitually frenetic and fiendishly driven..." (DanceEurope, January 2008)£14/£12 students concs
Semekor Performing Arts presents MOVEMENT OF OUR ANCESTORS / CHILD OF MOTHER EARTHDate: Thursday 19th JuneTime: 7.30pmVenue: the hat Factory, 65-67 Bute Street, Luton LU1 2EYTo book, call 01582 878 100Movement of our Ancestors / Child of Mother Earth explores the importance of the earth for survival. Without the food, water, and shelter provided by the earth, living beings cannot function. We walk on the earth whilst we are alive, we use what it generously offers, and we return to the earth when we die. In previous times, our connection to the earth was very powerful and in turn it would respond to us in terms of the structure of the land, growth, and the seasons. Now we have become so disconnected with the rhythm of the earth that we have reached a stage where there is imbalance, both in the earth and within us. Semekor Performing Arts explores this idea through the medium of African dance, using both live and recorded music.Running Time: 1 hourMovement of our Ancestors / Child of Mother Earth is part of:Brakin' Arts Festival 0816 - 28 June 2008 Breaking barriers of performance, price and perception…Brakin Arts is a new festival bringing together an exciting mix of UK and international artists, who are currently breaking on to the UK theatre and music scene. The festival aims to be accessible to all, giving people the opportunity to sample experimental theatre work and view music artists from a variety of backgrounds and genres, with support slots showcasing local emerging artists. Brakin' Arts presents an innovative format, pay as much as you like for any of the events within the festival. Enjoy the performance and pay what you want as you leave whether it is 10p or £10.
For full festival line up, go to http://www.brakinarts.co.uk/festival%20line%20up.html
We would love to see you all there.
Best wishesSemekor Peforming Artshttp://www.semekordance.%20com/
Yashua Arts & Culture presents
The Lea Valley Festival 2008
Health and Wellbeing Awareness
Gallery Fore
105 Fore Street, Edmonton, London, N18 2xf
Thursday 19th June (12pm - 9pm) and Friday 20th June (12pm - 7pm)
Guest Speakers and Presentations on:
Mental
Alcohol Dependency
Diabetes
Drugs and Substance Abuse
Free Admission
For more info, call 07903 993 219
And this is all for this week.
EVENTS TO CELEBRATE THE EXHIBITION
THE STORY OF THE SUPREMES FROM THE MARY WILSON COLLECTION
The V&A brings you a dynamic season of mainly free public events and exhibitions that celebrates black history and heritage. Visit the exhibition The Story of the Supremes from the Mary Wilson Collection each day until 19 October and learn and be entertained by an exciting range of related activities in July including My Motown Memories and the Motown Weekender. Don’t miss out on these exciting events; bring your family and friends for this enjoyable intensive weekend.
Friday 4 July
My Motown Memories featuring DJ Norman Jay MBE
A special evening dedicated to the writers, musicians and songs that put Tamla Motown at the cutting edge and heart of a transatlantic soul scene.
V&A Screen: Standing in the Shadows of Motown, Paul Justman, 2002 (PG)
Seminar Room 1
17.45 – 19.45
The story of the Funk Brothers, the Motown musicians who were behind numerous number one hits. They were drawn together in 1959 from Detroit's thriving jazz and blues scene and helped shape the Motown sound from its origins in Detroit to its demise in Los Angeles during the 1970s.
£4.00, no concessions
DJ Norman Jay MBE & Live Band Burning Inferno
The John Madejski Garden (Café if wet)
20.00 – 21.45
Join soul master and DJ Norman Jay MBE, as he lays down your favourite Motown tracks. Why not request a tune for that special someone in your life or reminisce about an iconic period in music history, and for your live musical pleasure sing and dance to Burning Inferno as they take you on a journey of legendary 60s Motown.
Tickets to VIP area £8.00 (including drinks reception). Under 18s £4.00.
Advanced booking is strongly recommended. Call 020 7942 2211 or email bookings.office@vam.ac.uk Supported by the Heritage Lottery Fund
Sat 5 & Sun 6 July
Motown Weekender: Tell Me What’s Going On
12.30 – 17.30
A tribute event to celebrate 50 years of Motown and the V&A’s exhibition The Story of the Supremes from the Mary Wilson Collection. Experience the power of Soul, from Stop in the Name of Love to Inner City Blues and beyond, as the cream of London’s DJs explore the impact, influence and legacy of early Motown (circa 1965-1975) with an eclectic soundtrack embracing Soul, Jazz, Reggae and Afrobeat, alongside classic sounds from Berry Gordy’s Motor City hit factory. Enjoy films, talks, DJs, T-shirt printing, Supremes makeovers, dance routines and gospel and soul chorus workshops.
Free, drop-in.
Supported by the Heritage Lottery Fund
WEEKENDER - DAY ONE
Saturday 5 July
In Celebration of Our Soul Sisters
Girl groups reigned supreme during the 60s and changed the way Britons embraced transatlantic soul. Discover how a very secular approach to style, grooming and conformity within the music industry gave gospel-based music a truly global appeal and, almost by accident, put feminist politics on the agenda and paved the way for the emergence of a new wave of independent female voices.
The London DJs
12.30 – 17.30
Grand Entrance
London’s DJs, The Shrine Synchro System (Rita Ray and Max Reinhardt), Jo Wallace, Gladdy Wax and Mistah Brown pay homage to groundbreaking girl groups and female solo artists of the 60s.
The Supreme Act
13.00 – 13.30
Rooms 103 – 106
Explore the history and development of boy and girl bands from Motown to the present day. Sessions include costume handling, singing and choreography.
Salon Supreme: Retro Makeovers
14.00 – 17.30
Grand Entrance
Come dressed to impress in your 60s or 70s outfits, sequins, satin, floating chiffon to psychedelic sparkle and funky flares and get that iconic look you have always wanted.
Designer Divas: Images of Women in Popular Music
14.00 – 15.00
Lecture Theatre
Using The Supremes as a springboard a panel of writers and music critics explore the aesthetic of women in popular music and considers how the visual identities of female performers continue to be developed for mainstream consumption.
Supremes and Soul Diva T-shirts and Soul Slogan Badges
15.00 – 17.00
Lunchroom
Design a collage featuring images of your favourite 60s and 70s Soul, Jazz and Reggae divas and have these printed on a T-shirt or make a Soul slogan badge. Bring your LP covers, magazines, small posters or photographs.
WEEKENDER - DAY TWO
Sunday 6 July
Say It Loud and Say It Proud
In stark contrast to Motown’s pop and soul cross-over appeal, Berry Gordy had a number of subsidiary labels including Black Forum Records that recorded progressive political and pro-civil rights speeches. DJs will shape the day and take you on a transatlantic musical journey that includes messages of love, peace, hope, freedom, revolution, power, history and legacy.
The London DJs
12.30 – 17.30
Grand Entrance
London’s DJs, The Shrine Synchro System (Rita Ray and Max Reinhardt), Andy Smith, Gladdy Wax and Mistah Brown play an eclectic soundtrack to the Civil Rights Movement encompassing social commentary, cultural politics and spoken word.
Legacy in the Dust (12A), Winstan Whitter, 2008 – film screening, talk & Q&A
13.00 – 14.30
Lecture Theatre
This is the story of ‘The Four Aces Club’, founded in the 60s and which for 33 years was home to the most influential black music and musicians to date. It showcased new musical genres like Reggae and Ska, also a home for Jazz and Soul. Artists like Desmond Decker, Jimmy Cliff, Count Shelly, Ann Peebles, Percy Sledge, Ben E King and Billy Ocean performed here. Includes an introduction by the filmmaker Winstan Whitter, a Q&A session with one of the original ‘Aces’ Newton Dunbar and a display of associated memorabilia.
Rock-A-My-Soul
13.00 – 13.40
Fashion, Room 40
Little Lights Theatre Company presents a highly interactive, entertaining and informative show which explores an important moment in Motown’s history and the influence of Motown on the people who bought the records.
The Politics of Music, Fashion, Hair and Graphic Imagery – talk and Q&A
14.45 – 15.45
Lecture Theatre
Examine some of the links between the politics, music, film, graphics and fashion of the era. The 1960's marked a huge social change across the globe as civil rights legislation and action began making an impact on the world. Discover how Counter Culture movements increasingly became associated with the massive growth in popular culture as music, hair, fashion and graphic imagery took on a leading role in defining a generation of street revolutionaries.
Hair Piece: A Film for Nappy-Headed People (NR) – film screening
15.45 – 16.00
Lecture Theatre
This short but satirical animated film addresses and intertwines “issues of racism and body image facing African-American women. It highlights familiar hair-maintenance rituals for African- Americans while seriously confronting and criticizing the unattainable ideal of female beauty in society” Carrie Downes, All Movie Guide.
The Funk Chorus
15.45 – 17.30
Raphael, Room 48a
Just bring your voices and your glam and funky selves as sequins, flares and 60s and 70s psychedelic patterns are the order of the day – enjoy. The Funk Chorus is a fun and exciting participatory choir, whose choral repertoire is made up of some classic and some obscure funk songs. Join the Funk Chorus as they celebrate all that is Motown.
OTHER RELATED EVENTS
Events for People with Disabilities
The Story of the Supremes from the Mary Wilson Collection
Exhibition Talks
Visually Impaired
Wednesday 16 July
11.00 – 12.30
Hearing Impaired
Friday 18 July
18.30 – 19.15
Interpreted in BSL
World Cities: Detroit – from Motor to Motown
Fri 12 September
18.00-20.00
Detroit is seven countries, 233 communities, nearly 5 million people, and 300 years of history. It is also the birthplace of Motown, a city of skyscrapers and deserted mansions and home to General Motors and the Ford Motor Company. Joe Kerr, author of Autopia: Cars and Culture, explores the history of this inspiring but turbulent city and considers its contradictions. Eric Charge, Motown collector and lender to the Story of the Supremes from the Mary Wilson Collection exhibition looks at its unique and influential musical legacy. This event is part of the V&A’s World Cities series, examining the art, culture and heritage of global cities.
Tickets: £ 20. Concessions available. Call V&A Bookings on 020 7942 2211.
Janet Browne, AFCB officer (Audiences), May 2008
Tel: 020 7942 2184 Email: j.browne@vam.ac.uk
“Mandingueiros” Meeting London UK
21st & 22nd June 2008
Afro-Brazilian Art Form Capoeira Angola
Special Guest for the first time in London Mandigueiros Meeting.
Master China
From Bahia, he lives and teaches in Barcelona, Spain. He also runs workshops in Europe, Africa, Brazil, USA and Canada. www.angolabcn.com
Master Pacheco, from Olinda-PE, lives and teaches in London.
Master Marcelo Angola, from Bahia, lives and teaches in Exeter, UK.
Teacher Pedro Campolina, from Minas Gerais, lives and teaches in London.
Open Workshops and party to everyone
Saturday 21st June: 12-4pm Classes, 4-6pm Capoeira Films.
Sunday 22nd June: 1-4pm Class and Roda.
Venue: LSE Old Building, Houghton Street, WC2E 2AE - Holborn Station
Admission: £20 for Saturday, £15 for Sunday or £30 for both days.
If you come only for roda or films cost £5.
Sunday free Party 7pm @ Caipirinha Jazz Bar, 177 Archway Road, N6
Live music: Afoxe, Samba de Roda, Capoeira and Dj. (Highgate tube).
Contact: Pacheco@capoeira-angoleiro.com 07967.903.937
pedropaulocapoeira@gmail.com 07780.552.176
www.capoeira-angoleiro.com
If you come from somewhere else please contact us to find a place to stay.
Hi guys, There is a week coming up that I thought you could benefit from. It's a great professional development week for anyone who is teaching or interested in Street Dance or hip hop dance. "Hip Hop Don't Stop!" is a five day intensive course with the finest street and hip hop dance instructors in Europe . Due to two sell out years in the South of England we are taking this course to Liverpool in conjunction with The Liverpool Institute for Performing Arts. The course will be divided into ability groups so whether you are just getting started or have been dancing for 10 yrs we have a group that is perfect for you. If you have a friend or colleague that does not teach that's ok, we cater for everyone from professional performers to total beginners and everyone in between. If you are interested in finding out why this week has sold out two years in a row check out our online video www.urbanstrides. com/hhdsinfo. php
CONGA! processions with Guillermo Davis Carnival de Cuba 28&29JuneHi ¡SÍAA-KARÁAA! Cuban Carnival Comparsa members from last year, and London Students.to reply email Guillermo at http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk or call 07730 679 213 / 07811 320 5761. Carnival de Cuba, London 28&29June , 2. YUMI Multicultural Festival YORK 19&20 July3. Capital Age festival London 11th July (to be confirmed)-----------------------------------------------------1. Carnival de Cuba 28&29June - processions-----------------------------------------------------Guillermo is leading Carnival processions on both days, 28th&29th June in Southwark park with children leading. He invites his students and everyone who was part of ¡SÍAA-KARÁAA! Cuban Conga processions last year to come and join the procession following behind the children. It will be a great chance to get together.The processions leave 4.45pm both days from the festival site (pls ask from where exactly when you arrive).Also on Sunday Guillermo will do a dance class at 2pm on main stage by Guillermo for everyone.Come and meet up about 3pm for get together/picnic before or arrive at 4pm to follow the procession. Wear white or bright colours if poss(no costumes for adults this time sorry!). Just turn up, friends welcome.Charanga Habanera are performing.See www.carnival-de-cuba.com/------------------------------------2. York Conga processions - 19&20 of July-----------------------------------Guillermo is doing Conga processions in YORK at the YUMI festival on 19&20 of July, York's multicultural festival. It would be just great if some of you could come up and show York how to dance Cuban Conga! There will be costumes for those of you who have taken part in ¡SÍAA-KARÁAA! processionsbefore. Omar Puente's Cubania are performing on the Sat 7pm.Please email http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk if you would like to take part in the York Congas and say if you'd like a place to stay over Saturday night, we will ask YUMI members if they can put you up. Trains are cheap if you book early.Details & times to be confirmed. See www.yumiyork.org/------------------------------------------------------3. Capital Age festival 11th July Friday - Conga------------------------------------------------------It's very likely that Guillermo will be leading a Conga procession atCapital Age festival at the Royal Festival Hall, South Bank, Londonon 11th July. Likely to be with live Conga music. It would be just greatif you could come and take part, please email http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.ukand tell us if you are coming or just come. White or bright clothes best.To be confirmed. See www.capitalagefestival.org.uk/Muchos Saludos :O)Guillermo & Lindanow living in Yorkemail Guillermo at http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk or call 07730 679 213 / 07811 320 576www.eliyawo.co.ukif you don't want to receive emails from us anymore, please email http://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk with REMOVE in thesubject header.-------------------------------------------------------------Guillermo Davis 'el Iyawo'Cuban dance teacher, choreographerand carnival group leaderwww.eliyawo.co.ukhttp://us.mc305.mail.yahoo.com/mc/compose?to=CubanDanceYork@hotmail.co.uk 07730 679 213 / 07811 320 576------------------------------------------------------------- Sent by: Guillermo Davis 'el iyawo'El Iyawo Cuban Dance (Guillermo Davis) LONDON
Bode Lawal's Sakoba Dance TheatreThe UK's Premiere Post Traditional Dance CompanySunday MasterclassWith Artistic Director Bode LawalSakoba's Artistic Director, Bode Lawal, returns with his intensive masterclasson his unique post traditional technique and shares in his recent research forhis current work Okan'Nijo (One).SAKOBA DANCE THEATRE recently celebrated its 20th anniversary. Mr Lawal hasspent his professional life pushing back the creative boundaries; setting newstandards and always seeking perfection.BLDT (Bode Lawal Dance Technique) is meant to emphasise the higher aspect ofAfrican Dance and change the way its practitioners view their profession. Itis a soul-searching experience for an artist to go on a personal "spiritual"journey that unlocks a vault of discovery."Lawal's choreography is habitually frenetic and fiendishly driven..." (DanceEurope, January 2008)£14/£12 students concs
Semekor Performing Arts presents MOVEMENT OF OUR ANCESTORS / CHILD OF MOTHER EARTHDate: Thursday 19th JuneTime: 7.30pmVenue: the hat Factory, 65-67 Bute Street, Luton LU1 2EYTo book, call 01582 878 100Movement of our Ancestors / Child of Mother Earth explores the importance of the earth for survival. Without the food, water, and shelter provided by the earth, living beings cannot function. We walk on the earth whilst we are alive, we use what it generously offers, and we return to the earth when we die. In previous times, our connection to the earth was very powerful and in turn it would respond to us in terms of the structure of the land, growth, and the seasons. Now we have become so disconnected with the rhythm of the earth that we have reached a stage where there is imbalance, both in the earth and within us. Semekor Performing Arts explores this idea through the medium of African dance, using both live and recorded music.Running Time: 1 hourMovement of our Ancestors / Child of Mother Earth is part of:Brakin' Arts Festival 0816 - 28 June 2008 Breaking barriers of performance, price and perception…Brakin Arts is a new festival bringing together an exciting mix of UK and international artists, who are currently breaking on to the UK theatre and music scene. The festival aims to be accessible to all, giving people the opportunity to sample experimental theatre work and view music artists from a variety of backgrounds and genres, with support slots showcasing local emerging artists. Brakin' Arts presents an innovative format, pay as much as you like for any of the events within the festival. Enjoy the performance and pay what you want as you leave whether it is 10p or £10.
For full festival line up, go to http://www.brakinarts.co.uk/festival%20line%20up.html
We would love to see you all there.
Best wishesSemekor Peforming Artshttp://www.semekordance.%20com/
Feedback33 is a Professional Dancers' mentoring forum set up by Sheron Wray. An opportunity to take part in various dance techniques with teachers from around the globe.It is a chance to gain insights into the passions, challenges, and experiences of various artists and teachers.
Cynthia Oliver, Caribbean Dance Artist and Professor at the University of Illinois is visiting Feedback33 forum, the professional dancers’ mentoring forum at the London Studio Centre. She will be leading a contemporary dance class infused with Afro-Caribbean and African movement vocabularies and sensibilities. Crucial techniques such as rhythm and breathing will be used in conjunction with dance phrases to culminate in dance embodying the skills brought to the forum.
The workshop costs £5. (£3 for members)This event takes place on 19th June from 7-9pm at:The London Studio Centre42-50 York WayLondonN1 9ABTo book a place, contact Zela: inspiredbyluv@ yahoo.co. uk
We are looking for one female dancer for a project, where they will perform with our dance company YORUCONDUMA on Saturday 12th July at Small Dances event. Small Dances is a showcase evening of professional work inspired by the theme of a ‘small dance’ and is part of Big Dance 2008. I would be grateful if you could forward this to the prospective dancers.
The choreography that we will be presenting is based on the Cuban dance styles, specifically Cha Cha Cha, afro-Cuban Orishas folklore and Cuban contemporary dance technique. The choreography is very fast and energetic. The choreographer is the company’s dance director, Galia Delgado, who carries more than 15 years professional dance experience in Cuba and 4 years in London.
We need a dancer, who has a good knowledge of all Cuban dance styles mentioned above, is agile and can pick up the choreography very quickly. There will be 4 weeks in total of learning the choreography and rehearsing with the company twice a week. The tech for the show will be on Friday evening 11th July, and all day Saturday 12th July as the day of the show. We are only able to pay towards expenses for this event, as we are a newly forming dance company ready to start presenting our work and have a very small budget. Thus, dependant upon successful work with the dancer, they can engage to stay with our company or work with us on a project in the future with paid work.
We will challenge the dancer due to the fact that the dance techniques we require are very specific to Cuba, but also we are fun to work with. In addition, the training provided by Galia Delgado will be highly rewarding with her abundance of professional dance experience and great knowledge of various dance styles ranging from classic ballet and Cuban contemporary dance technique to afro-folklore dance. It is a great opportunity to present yourself with our company amongst other professionals at Small Dances Event.
Please send a CV and letter stating your interest by Wednesday 18th June to Sabina Kamber, e-mail: http://us.mc305.mail.yahoo.com/mc/compose?to=Sabina_Kamber@hotmail.com and Galia Rosmarin, e-mail: http://us.mc305.mail.yahoo.com/mc/compose?to=g.rosmarin@btconnect.com.
Thank you for your interest in our company
Best regards
Sabina Kamber
Yashua Arts & Culture presents
The Lea Valley Festival 2008
Health and Wellbeing Awareness
Gallery Fore
105 Fore Street, Edmonton, London, N18 2xf
Thursday 19th June (12pm - 9pm) and Friday 20th June (12pm - 7pm)
Guest Speakers and Presentations on:
Mental
Alcohol Dependency
Diabetes
Drugs and Substance Abuse
Free Admission
For more info, call 07903 993 219
And this is all for this week.
Friday 13 June 2008
Teaching at Feedback33 (Comment)
The night air hits me on the face as I make my way out of the London Studio Centre. Life teems down here in this corner of King's Cross Station. The city wakes up from its earlier lull to find its revellers piruoetting around each other. It's been only half an hour now since I was getting a whole group of students to pirouett themselves.
I have just taught my first session at Feedback33. And what an experience it has been!
Initiated by Sheron Wray (she of JazzXchange) and Zela Gayle (former ADAD Fellowship awardee), Feedback33 has quickly established itself as the place 'to be seen at' and for us, tutors, the place 'to be seen teaching at'. The atmosphere is fantastic, the students phenomenal, the organisation of the classes very professional and the vision and aims inspiring.
So, what could I bring to this cauldron of creativity?
Although the session was geared to intermediate and advanced levels pupils, I felt as I always do, that we were learning from each other. The end of the warm-up provided me with a magnificent view of twelve bodies moving in unison to the sound of the bata drums (played by extraordinary and very deft musicians), whilst each person kept their own individuality. The effect of this physical and emotional kaleidoscope served as the starting point of what became a highly enjoyable evening.
Shango cannot be taught/learned without being performed. That means that the pupil (and the teacher) will have to divest themselves of whatever shred of PC culture is left in their minds in order to understand the kernel of the dance, which is, the control of the music (provided by the bata drums) and the dance. The body remains supple, yet firm, the arms and legs arch, yet they don't flop.
Critics often dismiss traditional African, Asian and Latin American dances as disciplines without a specific technique. That attitude rather misses the point. As Hilary Carty, former Director of Dance at the Arts Council of England, rightly wrote in the Issue 51 of the Dance UK Magazine in 2003, 'Whilst there is, as yet, little codified technique, there is a clear genre of movements that are common across African dance form and lead us to the basis of the African dance technique: grounded earth-bound movements, a flexed or relaxed foot, bent knees and bent elbows, curved spine, rotating hips and a loose torso ready to flex both sideways and back.'
To understand this is to also understand the narrative that is ever-present in African and African-derived dances. Spirituality is a strong component, as is singing and playing. Religion plays a major role, even if one, like me, approaches dance from a secular perspective. Unfortunately in Cuba we have lost the synergy between the three main components of our African ancestry: drumming, singing and dancing. The onset of theatre-based pieces in the earlier part of the 20th century did away with the marvellous partnership between these three artistic forms. At present I have seen very good examples of projects in the UK that are trying to rescue this tradition like The Lucumí Choir, chaired by Daniela Rosselsson. Another case is Kevin Haynes, one of the drummers at the London Studio Centre tonight who has managed to gather a strong ensemble of musicians, singers and performers to achieve a unique Afro-Cuban sound and image.
My hope is that Feedback33 goes from strength to strength. Already I have seen the guest for next week (Thu 19th June) and the session looks promising. The first ever Open Stage on Thursday 26th June will be a great opportunity for those who want to venture into the unknown waters of dance experimentation. And I, for one, cannot wait to be invited back to Feedback33.
Thanks Sheron, thanks Zela, thanks to all the students who turned up and thanks to the musicians.
I have just taught my first session at Feedback33. And what an experience it has been!
Initiated by Sheron Wray (she of JazzXchange) and Zela Gayle (former ADAD Fellowship awardee), Feedback33 has quickly established itself as the place 'to be seen at' and for us, tutors, the place 'to be seen teaching at'. The atmosphere is fantastic, the students phenomenal, the organisation of the classes very professional and the vision and aims inspiring.
So, what could I bring to this cauldron of creativity?
Although the session was geared to intermediate and advanced levels pupils, I felt as I always do, that we were learning from each other. The end of the warm-up provided me with a magnificent view of twelve bodies moving in unison to the sound of the bata drums (played by extraordinary and very deft musicians), whilst each person kept their own individuality. The effect of this physical and emotional kaleidoscope served as the starting point of what became a highly enjoyable evening.
Shango cannot be taught/learned without being performed. That means that the pupil (and the teacher) will have to divest themselves of whatever shred of PC culture is left in their minds in order to understand the kernel of the dance, which is, the control of the music (provided by the bata drums) and the dance. The body remains supple, yet firm, the arms and legs arch, yet they don't flop.
Critics often dismiss traditional African, Asian and Latin American dances as disciplines without a specific technique. That attitude rather misses the point. As Hilary Carty, former Director of Dance at the Arts Council of England, rightly wrote in the Issue 51 of the Dance UK Magazine in 2003, 'Whilst there is, as yet, little codified technique, there is a clear genre of movements that are common across African dance form and lead us to the basis of the African dance technique: grounded earth-bound movements, a flexed or relaxed foot, bent knees and bent elbows, curved spine, rotating hips and a loose torso ready to flex both sideways and back.'
To understand this is to also understand the narrative that is ever-present in African and African-derived dances. Spirituality is a strong component, as is singing and playing. Religion plays a major role, even if one, like me, approaches dance from a secular perspective. Unfortunately in Cuba we have lost the synergy between the three main components of our African ancestry: drumming, singing and dancing. The onset of theatre-based pieces in the earlier part of the 20th century did away with the marvellous partnership between these three artistic forms. At present I have seen very good examples of projects in the UK that are trying to rescue this tradition like The Lucumí Choir, chaired by Daniela Rosselsson. Another case is Kevin Haynes, one of the drummers at the London Studio Centre tonight who has managed to gather a strong ensemble of musicians, singers and performers to achieve a unique Afro-Cuban sound and image.
My hope is that Feedback33 goes from strength to strength. Already I have seen the guest for next week (Thu 19th June) and the session looks promising. The first ever Open Stage on Thursday 26th June will be a great opportunity for those who want to venture into the unknown waters of dance experimentation. And I, for one, cannot wait to be invited back to Feedback33.
Thanks Sheron, thanks Zela, thanks to all the students who turned up and thanks to the musicians.
Wednesday 11 June 2008
The Afro-Latin Lounge
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Hello, everyone, this is what's happening in the African and Latin quarters of London this week.
Feedback33 is a Professional Dancers' mentoring forum set up by
Sheron Wray. An opportunity to take part in various dance techniques with teachers from around the globe.
It is a chance to gain insights into the passions, challenges, and experiences of various artists and teachers.
The dance class will be "Shango" with live drumming. The session will be conducted on bare feet and the class will be open to intermediate and advanced levels only. The class will be divided into three sections: Warm-up where we will work closely with rhythm, focus on stretching, toning and strengthening of muscles, this will be followed by a routine where isolated steps will be taught in the first hour, followed by a short sequence in the second hour. And lastly, we will have a warm-down where we'll focus on stretching, relaxation and breathing. Some of these exercises have some yogic influences. The class will be taught in a fun, relaxed and friendly environment and structured to give a good understanding of the technique. All this will allow students to appreciate and experience the pure joy of Afro-Cuban dance within a traditional framework.
Contact Zela Gayle (Co-ordinator) to book a place on this workshop.
inspiredbyluv@ yahoo.co. uk
(07946 551 537)
Venue:
The London Studio Centre
42-50 York Way
London N1 9AB
Date: 12th June 7-9pm £5
About Shango:
Shango or Chango (also Xango in Brazil), is the orisha who "owns" fire, thunder and lightning. He also controls war and the bata drums. Chango is the patron of masculine beauty, music and dance. In his dance he will butt with his head and do three forward rolls towards the drums no worries, I won't ask the students to demonstrate this. I don't think I can do it myself anymore!). He opens his eyes extremelly wide and sticks out his tongue. Characteristic movements are waving his hatchet and grabbing his testicles. No other Orisha jumps higher, dances more violently or makes stranger gestures. He commonly eats fire. Chango's dances are either warlike or erotic. As a warrior, he waves his hatchet and makes threatening gestures. As a lover, he tries to demonstrate the size of his penis, bumps and grinds and acts very lasciviously with the women in the audience. The circle of dancers imitate his movements and join in his sexual exhibitionism.
Mario López-Goicoechea
Joined University of Havana Folkloric Ensemble in 1994. Performed with them for three years until 1997 when came over to the UK. Acted as PR and Dance Officer for the group in addition to his role as dancer. Developed strong links with neighbouring schools and made the first forays into combining dance with traditional Afro-Cuban tales to form a prolific and rich story-telling project. Same project has been replicated in the UK on various occasions with the library services of Haringay, Barnet and Newham councils.
- Since 1997 he has taught Afro-Cuban dance at all levels and at various venues in London, amongst which are: the South Bank, the Waterloo Action Centre, the Jackson's Lane Community Centre and the Marcus Garvey Library.
- As a performer has danced at various festivals, community events both local and nationwide and social functions amongst which are: the South Bank Cuban Fest, the V&A Cuban Weekend and the Walthamstow Community Festival.
- Has written about dance and Afro-Cuban culture. In Cuba contributed to several theses and papers on Afro-Cuban culture by foreign students, dealing mainly with English-, French- and German-speaking pupils. In the UK has been published by the national newspaper The Guardian twice (Lázaro Ros, Obituary, March 2005 and 'Ballet is elitist and won't enthuse children to take part', June 2007) and by the monthly Latin American newspaper Noticias where he penned a column. Has also been profiled in Hotfoot magazine (2002), ADAD's main publication (now online).
Mario specialises in dance forms derived from the Yoruba, Arará, Bantú and Efí/Efó cultures which make up the bulk of his classes. He has also taught Rumba, Haitian dance and Cuban popular dances, including salsa.
Kizomba UK is back by popular demand
@ Pagliacci Bar Cocktail, 77 Kingsway, Holborn, WC2B 6SR
KizombAfrik Lounge
9pm to 10pm
DJ Pat will play chill out African style with slower, new and old
grooves from the Motherland and the diaspora to ease you into our
unique party atmosphere.
Enjoy a cocktail or 2 on the sofas of our stylish new venue, mingle
and take advantage of the spacious wooden dance floor. Kizombeiros
will be in for a treat!
Party time Kizomba UK style
10pm till 3 am
Kizomba, Zouk, Cabo Love, Kizomba, Kuduro, Funana, Soukous,
N'donbolo,Coupe Decale, more kizomba and all the beatz from the
diaspora that will
keep you on the dance floor wanting for more!!!
Dress Code: none! but dance shoes that will last all night are highly
reccommended! !!
Guestlist
£8 before 11 pm / £10 after 11 pm
£12 on the door all night
Give full names to
Marie 07967204891
md@mdents.com
Iris de Brito 07956345120
info@irisdebrito. com
Danilo 07816532021
danilogoncalves@ afrolatinopromot ions.co.uk
We are very excited to be back and hope you will like our new
stylish venue.
Any queries, just get in touch
Marie, Iris and Danilo.
Sheron Wray. An opportunity to take part in various dance techniques with teachers from around the globe.
It is a chance to gain insights into the passions, challenges, and experiences of various artists and teachers.
The dance class will be "Shango" with live drumming. The session will be conducted on bare feet and the class will be open to intermediate and advanced levels only. The class will be divided into three sections: Warm-up where we will work closely with rhythm, focus on stretching, toning and strengthening of muscles, this will be followed by a routine where isolated steps will be taught in the first hour, followed by a short sequence in the second hour. And lastly, we will have a warm-down where we'll focus on stretching, relaxation and breathing. Some of these exercises have some yogic influences. The class will be taught in a fun, relaxed and friendly environment and structured to give a good understanding of the technique. All this will allow students to appreciate and experience the pure joy of Afro-Cuban dance within a traditional framework.
Contact Zela Gayle (Co-ordinator) to book a place on this workshop.
inspiredbyluv@ yahoo.co. uk
(07946 551 537)
Venue:
The London Studio Centre
42-50 York Way
London N1 9AB
Date: 12th June 7-9pm £5
About Shango:
Shango or Chango (also Xango in Brazil), is the orisha who "owns" fire, thunder and lightning. He also controls war and the bata drums. Chango is the patron of masculine beauty, music and dance. In his dance he will butt with his head and do three forward rolls towards the drums no worries, I won't ask the students to demonstrate this. I don't think I can do it myself anymore!). He opens his eyes extremelly wide and sticks out his tongue. Characteristic movements are waving his hatchet and grabbing his testicles. No other Orisha jumps higher, dances more violently or makes stranger gestures. He commonly eats fire. Chango's dances are either warlike or erotic. As a warrior, he waves his hatchet and makes threatening gestures. As a lover, he tries to demonstrate the size of his penis, bumps and grinds and acts very lasciviously with the women in the audience. The circle of dancers imitate his movements and join in his sexual exhibitionism.
Mario López-Goicoechea
Joined University of Havana Folkloric Ensemble in 1994. Performed with them for three years until 1997 when came over to the UK. Acted as PR and Dance Officer for the group in addition to his role as dancer. Developed strong links with neighbouring schools and made the first forays into combining dance with traditional Afro-Cuban tales to form a prolific and rich story-telling project. Same project has been replicated in the UK on various occasions with the library services of Haringay, Barnet and Newham councils.
- Since 1997 he has taught Afro-Cuban dance at all levels and at various venues in London, amongst which are: the South Bank, the Waterloo Action Centre, the Jackson's Lane Community Centre and the Marcus Garvey Library.
- As a performer has danced at various festivals, community events both local and nationwide and social functions amongst which are: the South Bank Cuban Fest, the V&A Cuban Weekend and the Walthamstow Community Festival.
- Has written about dance and Afro-Cuban culture. In Cuba contributed to several theses and papers on Afro-Cuban culture by foreign students, dealing mainly with English-, French- and German-speaking pupils. In the UK has been published by the national newspaper The Guardian twice (Lázaro Ros, Obituary, March 2005 and 'Ballet is elitist and won't enthuse children to take part', June 2007) and by the monthly Latin American newspaper Noticias where he penned a column. Has also been profiled in Hotfoot magazine (2002), ADAD's main publication (now online).
Mario specialises in dance forms derived from the Yoruba, Arará, Bantú and Efí/Efó cultures which make up the bulk of his classes. He has also taught Rumba, Haitian dance and Cuban popular dances, including salsa.
Kizomba UK is back by popular demand
@ Pagliacci Bar Cocktail, 77 Kingsway, Holborn, WC2B 6SR
KizombAfrik Lounge
9pm to 10pm
DJ Pat will play chill out African style with slower, new and old
grooves from the Motherland and the diaspora to ease you into our
unique party atmosphere.
Enjoy a cocktail or 2 on the sofas of our stylish new venue, mingle
and take advantage of the spacious wooden dance floor. Kizombeiros
will be in for a treat!
Party time Kizomba UK style
10pm till 3 am
Kizomba, Zouk, Cabo Love, Kizomba, Kuduro, Funana, Soukous,
N'donbolo,Coupe Decale, more kizomba and all the beatz from the
diaspora that will
keep you on the dance floor wanting for more!!!
Dress Code: none! but dance shoes that will last all night are highly
reccommended! !!
Guestlist
£8 before 11 pm / £10 after 11 pm
£12 on the door all night
Give full names to
Marie 07967204891
md@mdents.com
Iris de Brito 07956345120
info@irisdebrito. com
Danilo 07816532021
danilogoncalves@ afrolatinopromot ions.co.uk
We are very excited to be back and hope you will like our new
stylish venue.
Any queries, just get in touch
Marie, Iris and Danilo.
BBM Newsletter June 6 2008
It has been crazy preparing for June is British Black Music Month, and making sure that our new website’s working well and has most of the content from the old one. Hence we just have not been able to get any press releases or newsletters sorted out – so everyone is getting this alerts mail out – please check the website for the newsletter, press releases, and full informationfrom links below.
Also, now that the website’s working properly, we are going to focus on newsletters with BritishBlackMusic.com/Black Music Congress and BTWSC related activities, and a few alerts from the website – so please post your stuff on the website and we’ll circulate what we can, when we can!
www.britishblackmusic.com - use it!
For background to British Black Music Month, which started in 2006
http://www.bbm-on.net/bobbbmm.htm
http://www.britishblackmusic.com/old/index.php?module=pagesetter&func=viewpub&tid=6&pid=107
It has been crazy preparing for June is British Black Music Month, and making sure that our new website’s working well and has most of the content from the old one. Hence we just have not been able to get any press releases or newsletters sorted out – so everyone is getting this alerts mail out – please check the website for the newsletter, press releases, and full informationfrom links below.
Also, now that the website’s working properly, we are going to focus on newsletters with BritishBlackMusic.com/Black Music Congress and BTWSC related activities, and a few alerts from the website – so please post your stuff on the website and we’ll circulate what we can, when we can!
www.britishblackmusic.com - use it!
For background to British Black Music Month, which started in 2006
http://www.bbm-on.net/bobbbmm.htm
http://www.britishblackmusic.com/old/index.php?module=pagesetter&func=viewpub&tid=6&pid=107
It started with Lambada, then zouk,zouklove, soulzouk, zoukrevolution, now London has it's own variation of this wonderfuldance;Lyrical Zouk. Lambada zouk danced with sensuality, poise,connectionwith your partner, allowing combinations to emerge organicallythroughout the dance; Experience this new wonderful style every weekat The Inn On The Green.Inn on the Green a unique experienceInn On The Green is the only Lambada Zouk Class of it's kind inLondon. This is not aclass where one learns a move a week, it's a class where we look atelements that make up the dance and try to work on them in order tobe a stronger dancer. A well structured warm up, using elements ofcontempory, Jazz and ballet, footwork drills, partner work,musicality exercises, choreography work, the toughest and ultimatelythe most rewarding class around.Take Your Dance to the Next levelClass starts 7:30of class only Three pounds ( for beginners and improvers)Inn On The Green3_5 Thorpe CloseLadbroke GroveW10 5XL...Lyrical Zouk Every Monday
MACULELE Laboratory with Mestre Joaozinho Marazul GroupDear Capoeiristas and friends,Mestre Joaozinho from the Marazul capoeira Group will be giving a amazing class of Maculele in Kabula next Wednesday.His idea is to create a laboratory of Maculele in which he will be exploring many possibilities of movement using the inherent creative potential of each participant.In the end we will have a choreography that will be developed and directed by M. Joaozinho and co-directed by all of us.Please wear comfortable clothes for the class.Where? YMCA in Stockwel Rd.When? Wednesday the 11thWhat time? 7pm to 9pmInvestment: £8 / £7 (concessionary rate for students and unemployed)Please, for more details about this Class go at www.kabula.org or at www.marazul.co.ukThe Kabula TeamKabula Arts and CultureCapoeira and Community Projects
We are gonna have our traditional Brazilian FESTA JUNINA (June party) this Thursday at Pe-de-Serra ForAll, hope to see you there!live ZEU AZEVEDO AND TRIO DO MANGUEcapoeira performanceforro dance classdjstraditional Brazilian drinks£3 b4 8pm / £5 afterVenue: Kiss Club, 4, Wild Court, WC2B 4AU - Holborn StationValeu.Pedro Campolina07780552176
This month's issue of RICENPEAS.COM is now online.www.riceNpeas.comTHIS IS YOUR LAST CHANCE TO PICK UP TICKETS FOR THE PREMIERE OF THE LATEST RICE N PEAS FILM..."THIS IS OUR COUNTRY TOO." 19TH JUNE, 7.00PM @ THE TRICYCLE CINEMA, LONDON, NW6...TICKETS £5.00 A documentary that looks at the recent political changes in Australia and the Aboriginal peoples' demands for sovereignty, human rights and equality. Beyond the facade of Australia's beaches, barbecues and tourism lies a nation divided. "The documentary that shames Australia... This film should not be missed." Rice N Peas events are always over subscribed, so please book early to avoid disappointment. TRICYCLE BOX OFFICE: 020 7328 1000
... as the mother of a brown boy... (Lamento Fortissimo)
We are telling a story. All stories are preciou. All stories are unique and there are universal truths to be shared in her story and the story of her brown boy (...) Above all we are telling the simple story of a mother's loss. The pain of a mother's loss is not affected by the circumstances. Loss is loss.
David Carey and Christine Niering
If you are still talking about a play a couple of hours after you have left the theatre then you know that the mise en scène was good. If you wake up the next morning and the first comment you make to your partner whilst having breakfast is related to the stage production you both saw the evening before, then you know that the piece was excellent. If you are still talking, let alone thinking about the play almost a week after, then the only words that come to mind are: sublime, exquisite, thought-provoking, mature and many others.
... as the mother of a brown boy... is one of those plays.
On 6 October 2005, Mischa Niering took part in a failed raid of Tiffany in Sloane Square in west London. Driving away from the scene on a scooter, he got caught up in a high-speed police chase and was killed. The police were later found guilty of taking insufficient safety measures during the pursuit. Niering was 19 years old.
As a consequence, Mischa's friends at the Chickenshed company (where he was once a member) developed an hour-long play that tackled some of the issues surrounding his death. The title of the play came from conversations with his mother. The heading to most of her answers was: ... as the mother of a brown boy...
The production is an ambitious project. Using white, big boxes as the only props the thirteen actors and actresses on stage use their own bodies as devices with which to propel the audience into the vortex of the conflict. Spoken words are rare, other than voice-overs. A staff member from Chicken Shed provides assistance to deaf people or people hard of hearing using sign language. A screen up above at the back of the stage, where the words from the text roll up continuously, does a similar service This frees the performers to tell the story with what I usually call an actor's raw material: their faces, their limbs, their eyes. Their eyes. Their Eyes. THEIR EYES. One of the elements that most caught my attention was the sudden changes the performers underwent from elation to despair, from defiance to meekness and how their eyes responded to that challenge so well.
The tale is a familiar one these days. Mischa, a mixed-race boy comes from a broken home; his black teenage father leaves him when he is very little, but his mother does her utmost to provide him with a modest but respectable upbringing. He does become a high achiever in school, only to go off the rails later on when he mixes with the wrong crowd. From then onwards, Mischa finds himself more and more isolated until his untimely demise. His life becomes intertwined with the white boxes that surround him and the cast, sometimes supporting him and pulling him through the most adverse situations, sometimes choking him. These white, lifeless props symbolise what Mischa's world has come to signify, a young man boxed in by race, deprivation, deficient education, housing and felony.
... as the mother of a brown boy... poses more questions than it answers. Correction. It does not answer any questions. And I liked that. Currently there are so many issues stemming from young people stabbing other young people in the streets of London that I would not have welcomed a play seeking to give a definite answer to a dilemma that has blighted so many communities, mainly the black community. What atmoabb does do is present issues in nuanced tones. Mischa is no angel and neither is he portrayed like that. But to the statement: 'The risk assessment was not conducted properly', voiced by the coroner in charge of the case, Mischa's mother can't help but ask aloud: 'And who conducted a risk assessment on my son's life when he was failing?' Tough question. No easy answers.
Unlike many of the other cases that have come to the public attention in recent weeks this play does not deal with young person on young person crime. It tackles a different issue, which, not for being dissimilar, has an easier solution. That of authority and the use of it. Are the police immune? And who are they accountable to? Jean Charles de Menezes' murder in 2005 in broad daylight in a botched terrorist raid, revealed the Metropolitan Police for what it is, a body that will stop to nothing to enforce the law. But what if the enforcement is wrongly handled? Who will pay for the error?
The play does not seek to expiate Mischa's faults. But questioning the procedures that led to Mischa's death is not, in my view, 'political correctness gone mad' but an attempt to 1) acknowledge that mistakes were made in the pursuit of the scooter Mischa was riding, 2) make the police understand this and make them pledge that they will take steps to amend this and similar problems, 3) raise awareness of human rights as per the European Convention on Human Rights and 4) address the issue as to why so many young people, mainly black boys, are falling prey to a life of crime.
Last Sunday, 8th June, the black actor Lennie James penned an open letter to the knife-carriers in the newspaper The Observer. My first thought on reading the document was whether this man I have so long admired for his thespian professionalism was not preaching to the converted. My second thought on reflecting on the readership of this particular newspaper was whether he was not, inadvertently, mind, pandering to the fears of the chattering classes who see these issues as 'the other side's problems'. Don't get me wrong. I know many a middle-class, middle-aged, white folk who go to the inner cities to share the workload and do so sincerely. But the feeling I get more often than not is that many of these people actually enjoy this moral tourism, partly because it assuages their post-colonial guilt and partly because they commute to these places, which means that they don't have to endure the living conditions most of the local residents have to put up with. Am I right or wrong in feeling like this?
Moreover, could something have been done to prevent Mischa from losing his life? The play points in different directions, the absent father, the wrong crowd, the young mother with a second child, the lack of support from the school, the racism Mischa encounters. Are these influential or determining factors? And which one(s), if any, is(are) the one(s) we need to focus on the most?
97 hours after I watched atmoabb I am still touched by the professionalism of the cast (amateurs? no way!), the light effects, the stunning music and the multimedia stagecraft. A panel discussion after the play brought a much needed lively debate on some of the issues I've highlighted above. And it was the last speaker of the night, a man who advises the police and the mayor of London on racial issues, whose words still reverberate in my mind after four days. He talked about the community's role in safeguarding our achievements and in keeping the police and other government bodies in check (he was referring to the new 'stop and search' laws in particular). Furthermore, he said very clearly that we all had responsibility for what happened in our doorsteps, because it takes a village to raise a child. To that gentleman, I say that with this review I am already contributing to that child's upbringing and I am proud of that.
... as the mother of a brown boy... is on tour now, for more information, please click here
Copyright 2008
David Carey and Christine Niering
If you are still talking about a play a couple of hours after you have left the theatre then you know that the mise en scène was good. If you wake up the next morning and the first comment you make to your partner whilst having breakfast is related to the stage production you both saw the evening before, then you know that the piece was excellent. If you are still talking, let alone thinking about the play almost a week after, then the only words that come to mind are: sublime, exquisite, thought-provoking, mature and many others.
... as the mother of a brown boy... is one of those plays.
On 6 October 2005, Mischa Niering took part in a failed raid of Tiffany in Sloane Square in west London. Driving away from the scene on a scooter, he got caught up in a high-speed police chase and was killed. The police were later found guilty of taking insufficient safety measures during the pursuit. Niering was 19 years old.
As a consequence, Mischa's friends at the Chickenshed company (where he was once a member) developed an hour-long play that tackled some of the issues surrounding his death. The title of the play came from conversations with his mother. The heading to most of her answers was: ... as the mother of a brown boy...
The production is an ambitious project. Using white, big boxes as the only props the thirteen actors and actresses on stage use their own bodies as devices with which to propel the audience into the vortex of the conflict. Spoken words are rare, other than voice-overs. A staff member from Chicken Shed provides assistance to deaf people or people hard of hearing using sign language. A screen up above at the back of the stage, where the words from the text roll up continuously, does a similar service This frees the performers to tell the story with what I usually call an actor's raw material: their faces, their limbs, their eyes. Their eyes. Their Eyes. THEIR EYES. One of the elements that most caught my attention was the sudden changes the performers underwent from elation to despair, from defiance to meekness and how their eyes responded to that challenge so well.
The tale is a familiar one these days. Mischa, a mixed-race boy comes from a broken home; his black teenage father leaves him when he is very little, but his mother does her utmost to provide him with a modest but respectable upbringing. He does become a high achiever in school, only to go off the rails later on when he mixes with the wrong crowd. From then onwards, Mischa finds himself more and more isolated until his untimely demise. His life becomes intertwined with the white boxes that surround him and the cast, sometimes supporting him and pulling him through the most adverse situations, sometimes choking him. These white, lifeless props symbolise what Mischa's world has come to signify, a young man boxed in by race, deprivation, deficient education, housing and felony.
... as the mother of a brown boy... poses more questions than it answers. Correction. It does not answer any questions. And I liked that. Currently there are so many issues stemming from young people stabbing other young people in the streets of London that I would not have welcomed a play seeking to give a definite answer to a dilemma that has blighted so many communities, mainly the black community. What atmoabb does do is present issues in nuanced tones. Mischa is no angel and neither is he portrayed like that. But to the statement: 'The risk assessment was not conducted properly', voiced by the coroner in charge of the case, Mischa's mother can't help but ask aloud: 'And who conducted a risk assessment on my son's life when he was failing?' Tough question. No easy answers.
Unlike many of the other cases that have come to the public attention in recent weeks this play does not deal with young person on young person crime. It tackles a different issue, which, not for being dissimilar, has an easier solution. That of authority and the use of it. Are the police immune? And who are they accountable to? Jean Charles de Menezes' murder in 2005 in broad daylight in a botched terrorist raid, revealed the Metropolitan Police for what it is, a body that will stop to nothing to enforce the law. But what if the enforcement is wrongly handled? Who will pay for the error?
The play does not seek to expiate Mischa's faults. But questioning the procedures that led to Mischa's death is not, in my view, 'political correctness gone mad' but an attempt to 1) acknowledge that mistakes were made in the pursuit of the scooter Mischa was riding, 2) make the police understand this and make them pledge that they will take steps to amend this and similar problems, 3) raise awareness of human rights as per the European Convention on Human Rights and 4) address the issue as to why so many young people, mainly black boys, are falling prey to a life of crime.
Last Sunday, 8th June, the black actor Lennie James penned an open letter to the knife-carriers in the newspaper The Observer. My first thought on reading the document was whether this man I have so long admired for his thespian professionalism was not preaching to the converted. My second thought on reflecting on the readership of this particular newspaper was whether he was not, inadvertently, mind, pandering to the fears of the chattering classes who see these issues as 'the other side's problems'. Don't get me wrong. I know many a middle-class, middle-aged, white folk who go to the inner cities to share the workload and do so sincerely. But the feeling I get more often than not is that many of these people actually enjoy this moral tourism, partly because it assuages their post-colonial guilt and partly because they commute to these places, which means that they don't have to endure the living conditions most of the local residents have to put up with. Am I right or wrong in feeling like this?
Moreover, could something have been done to prevent Mischa from losing his life? The play points in different directions, the absent father, the wrong crowd, the young mother with a second child, the lack of support from the school, the racism Mischa encounters. Are these influential or determining factors? And which one(s), if any, is(are) the one(s) we need to focus on the most?
97 hours after I watched atmoabb I am still touched by the professionalism of the cast (amateurs? no way!), the light effects, the stunning music and the multimedia stagecraft. A panel discussion after the play brought a much needed lively debate on some of the issues I've highlighted above. And it was the last speaker of the night, a man who advises the police and the mayor of London on racial issues, whose words still reverberate in my mind after four days. He talked about the community's role in safeguarding our achievements and in keeping the police and other government bodies in check (he was referring to the new 'stop and search' laws in particular). Furthermore, he said very clearly that we all had responsibility for what happened in our doorsteps, because it takes a village to raise a child. To that gentleman, I say that with this review I am already contributing to that child's upbringing and I am proud of that.
... as the mother of a brown boy... is on tour now, for more information, please click here
Copyright 2008
Tuesday 10 June 2008
Their Eyes Were Watching God and Mine Were Reading Perfection (Negro Spiritual)
Aged five and bedridden I was given my favourite present ever.
No, it was not a new fabulous train set for Christmas. I am Cuban, we did not celebate Christmas in those days (1976). It was not a bicycle either. That came afterwards. It was definitely not a 'King Arthur and the Knights of the Round Table' set with plastic figures; a toy I so much coveted after seeing one in my mate's house.
No, the best gift anyone has ever bequeathed me was to teach me how to read and write, especially the former. True, it was in a hospital, I had just fallen ill with the condition that was to accompany me for most of my childhood and part of my teenage years, chronic gastritis, but the seriousness of the disease was offset by the enjoyment of learning how to read my first words. And it was my mother whom I owe this pleasure.
So, when now at the ripe age of thirty-six I read a book like 'Their Eyes Were Watching God', I say to myself: Thanks, Mum, thank you very much indeed.
Because Zola Neale Hurston's famous novel is a joy to read. Please, reader, understand that this pleasure does not derive from any literary sadism or voyeurism exercised by yours truly. Other people's suffering is as much a pain for me to behold as my own one. It is Zola's writing style that brings these people's calvary so close to home and it is her mix of the literate narrator's voice with the highly idomatic black one that captivates me. You, reader, could be forgiven for thinking that I was under a spell whilst reading 'Their Eyes Were Watching God'. And you would be right.
The book centres on four characters, although, it is only two who take up more than two thirds of the story. Janie Mae Crawford, a black woman with straight, Caucasian-like hair who defies gender stereotypes by insisting on her own independence and wearing men's dungarees. Tea Cake, Janie's third husband and real love, who is twelve years her junior and who, from the first moment they meet, impresses her with his wit and energy. A third character, Jody Starks, forays into the novel early on and takes up about fifty pages of the book, during which time he marries Janie, takes over nearby town Eatonville, thus, becoming its mayor and satisfies his political ambition. Crawford's first husband, Logan Killicks, is the fourth character. He offers her the financial security Janie's Nanny seeks to secure for her granddaughter. Other characters pop in and out of the narrative throughout the 193-page literary journey, enriching the story as they interact with the four personages or with each other.
To me the main strength 'Their Eyes Were Watching God' (TEWWG) has is the use of an autonomous imagination, where the narrative of the novel shifts from third to a blend of first and third person. This points at a total identification with the main character, Janie Mae Crawford, on the author's part. And it is in the voicing of this woman's innermost feelings and emotions where Hurston is more successful. Whereas usually African-American fiction arrives shrouded in a large political discourse, TEWWG comes with no baggage other than the tale of a woman fighting for her own independence but without naming the process she's involved in. It could be said and it has already been mentioned, not least by academic and scholar Henry Louis Gates, Jr, that TEWWG is a feminist novel and Janie an 'accidental feminist'. In her understanding of the reasons why black folks gossip about her when she returns to the town she left a few years before with Tea Cake, Janie shows a maturity that belies her second-class citizen status. It's the same status, her second husband, Jody Starks, exploits to the maximum in his treatement of Janie as an object rather than as a person. And lest we forget, let us just recall that Janie is not just up against her husbands (especially the first two), but also against her own ethnic group's mentality, against white people and against society as a whole. In his thought-provoking book 'Sex and Racism', Calvin C. Hernton comes up with a hierarchy in US society where white men occupy the top position, whilst the lower echelons are taken up by white women, black men and black women in that order. TEWWG is a good example of this.
The other strength of the novel lies in the use of language. As I attested at the beginning of this review, reading is a pleasure to me. More so when I come across books that make feel as if I have discovered language for the first time. TEWWG is one of those books. Hurston's poetic prose is unbridled and unadulturated. Throughout the novel I felt that here was an author who was not afraid to write because she was not afraid to live and it was that zest for life that most endeared to me. Sentences like 'Every morning the world flung itself over and exposed the town to the sun' are written with such literary bravado that one can't help but consume them slowly, letting each word slide down one's throat.
The issues of race and racism have a more natural and fluid feel in this novel than in many others by African-American authors where the approach is more black and white (no pun intended, although on second thoughts...). Through the interaction of the numerous characters in the book (both leading and supporting), we become acquainted with the lives of these folks, their dreams, their shortcomings (Tea Cake, Janie's true love, beats her once, thus showing his own weakness and fallibility), their disappointments and their achievements (Jody Starks, Janie's second husband, rallies the residents of Eatonville to improve the town's conditions, with excellent results). Above all, black people are presented as human beings and not as socio-political victims. The few times when politics rears its ugly head (for instance, the discussion between Janie and Mrs Turner about Booker T Washington does not amount to more than a few lines), Hurston keeps it in check and the issue is an addendum rather than the kernel of the chapter.
Despite the success of 'Their Eyes Were Watching God' when it first came out, its author was largely ignored in the 50s, 60s and early 70s until the African-American writer Alice Walker published her ground-breaking essay 'In Search of Zola Neale Hurston' in 1975. This could explain as to why more people have read Zola's works since that year onwards than in the period between 1934 (when she was first published) and 1975 and could go some way to illustrate Hurston's influence on other African-American writers, mainly female, such as Toni Morrison, Gloria Naylor and Alice Walker.
TEWWG was harshly criticised when it first saw the light in 1937 by none other than Richard Wright (read my review of 'Native Son' here and here). Yet, Zola's mythic realism, dense with lyrical black idiom has endured the battering of the years and found a much welcoming home in the eyes of new readers. And I am lucky to be one of those. Once again, thanks, Mum.
Copyright 2008
No, it was not a new fabulous train set for Christmas. I am Cuban, we did not celebate Christmas in those days (1976). It was not a bicycle either. That came afterwards. It was definitely not a 'King Arthur and the Knights of the Round Table' set with plastic figures; a toy I so much coveted after seeing one in my mate's house.
No, the best gift anyone has ever bequeathed me was to teach me how to read and write, especially the former. True, it was in a hospital, I had just fallen ill with the condition that was to accompany me for most of my childhood and part of my teenage years, chronic gastritis, but the seriousness of the disease was offset by the enjoyment of learning how to read my first words. And it was my mother whom I owe this pleasure.
So, when now at the ripe age of thirty-six I read a book like 'Their Eyes Were Watching God', I say to myself: Thanks, Mum, thank you very much indeed.
Because Zola Neale Hurston's famous novel is a joy to read. Please, reader, understand that this pleasure does not derive from any literary sadism or voyeurism exercised by yours truly. Other people's suffering is as much a pain for me to behold as my own one. It is Zola's writing style that brings these people's calvary so close to home and it is her mix of the literate narrator's voice with the highly idomatic black one that captivates me. You, reader, could be forgiven for thinking that I was under a spell whilst reading 'Their Eyes Were Watching God'. And you would be right.
The book centres on four characters, although, it is only two who take up more than two thirds of the story. Janie Mae Crawford, a black woman with straight, Caucasian-like hair who defies gender stereotypes by insisting on her own independence and wearing men's dungarees. Tea Cake, Janie's third husband and real love, who is twelve years her junior and who, from the first moment they meet, impresses her with his wit and energy. A third character, Jody Starks, forays into the novel early on and takes up about fifty pages of the book, during which time he marries Janie, takes over nearby town Eatonville, thus, becoming its mayor and satisfies his political ambition. Crawford's first husband, Logan Killicks, is the fourth character. He offers her the financial security Janie's Nanny seeks to secure for her granddaughter. Other characters pop in and out of the narrative throughout the 193-page literary journey, enriching the story as they interact with the four personages or with each other.
To me the main strength 'Their Eyes Were Watching God' (TEWWG) has is the use of an autonomous imagination, where the narrative of the novel shifts from third to a blend of first and third person. This points at a total identification with the main character, Janie Mae Crawford, on the author's part. And it is in the voicing of this woman's innermost feelings and emotions where Hurston is more successful. Whereas usually African-American fiction arrives shrouded in a large political discourse, TEWWG comes with no baggage other than the tale of a woman fighting for her own independence but without naming the process she's involved in. It could be said and it has already been mentioned, not least by academic and scholar Henry Louis Gates, Jr, that TEWWG is a feminist novel and Janie an 'accidental feminist'. In her understanding of the reasons why black folks gossip about her when she returns to the town she left a few years before with Tea Cake, Janie shows a maturity that belies her second-class citizen status. It's the same status, her second husband, Jody Starks, exploits to the maximum in his treatement of Janie as an object rather than as a person. And lest we forget, let us just recall that Janie is not just up against her husbands (especially the first two), but also against her own ethnic group's mentality, against white people and against society as a whole. In his thought-provoking book 'Sex and Racism', Calvin C. Hernton comes up with a hierarchy in US society where white men occupy the top position, whilst the lower echelons are taken up by white women, black men and black women in that order. TEWWG is a good example of this.
The other strength of the novel lies in the use of language. As I attested at the beginning of this review, reading is a pleasure to me. More so when I come across books that make feel as if I have discovered language for the first time. TEWWG is one of those books. Hurston's poetic prose is unbridled and unadulturated. Throughout the novel I felt that here was an author who was not afraid to write because she was not afraid to live and it was that zest for life that most endeared to me. Sentences like 'Every morning the world flung itself over and exposed the town to the sun' are written with such literary bravado that one can't help but consume them slowly, letting each word slide down one's throat.
The issues of race and racism have a more natural and fluid feel in this novel than in many others by African-American authors where the approach is more black and white (no pun intended, although on second thoughts...). Through the interaction of the numerous characters in the book (both leading and supporting), we become acquainted with the lives of these folks, their dreams, their shortcomings (Tea Cake, Janie's true love, beats her once, thus showing his own weakness and fallibility), their disappointments and their achievements (Jody Starks, Janie's second husband, rallies the residents of Eatonville to improve the town's conditions, with excellent results). Above all, black people are presented as human beings and not as socio-political victims. The few times when politics rears its ugly head (for instance, the discussion between Janie and Mrs Turner about Booker T Washington does not amount to more than a few lines), Hurston keeps it in check and the issue is an addendum rather than the kernel of the chapter.
Despite the success of 'Their Eyes Were Watching God' when it first came out, its author was largely ignored in the 50s, 60s and early 70s until the African-American writer Alice Walker published her ground-breaking essay 'In Search of Zola Neale Hurston' in 1975. This could explain as to why more people have read Zola's works since that year onwards than in the period between 1934 (when she was first published) and 1975 and could go some way to illustrate Hurston's influence on other African-American writers, mainly female, such as Toni Morrison, Gloria Naylor and Alice Walker.
TEWWG was harshly criticised when it first saw the light in 1937 by none other than Richard Wright (read my review of 'Native Son' here and here). Yet, Zola's mythic realism, dense with lyrical black idiom has endured the battering of the years and found a much welcoming home in the eyes of new readers. And I am lucky to be one of those. Once again, thanks, Mum.
Copyright 2008
Friday 6 June 2008
The Afro-Latin Lounge
Welcome, mi gente. This is the first post of this new era. So far, I have been editing the Afro-Latin Lounge on the A Cuban in London blog. But not anymore. From today onwards, this will be the new house for all events happening in the African and Latin Diasporas in the UK, mainly London and chiefly dance-orientated, although not exclusively so. You will also have the opportunity to read reviews of plays, movies and books by me and other contributors. Above all, this is yet another interactive tool (like Feedback33 and ADAD ) to raise awareness of the rich African and Latin cultures in which you are as much a participant and contributor as you are the recipient.So, raise the curtains and let the show start!
RUMBA BRIGHTON SEAFRONT WITH LIMON&FRIENDS
BRIGHTON SEAFRONT COMMUNITY RUMBA #1Summer is here and it's time for another Seafront Rumba with LimonSo come and enjoy the sun and sea in lively Brighton with dynamicCuban Rumba rhythms.When: Sunday June 8th. 2pm.Where: Brighton Seafront, in the circle next to the basketball area.Free all welcome.
Posted by inez&alberto
Feedback33 is a Professional Dancers' mentoring forum set up bySheron Wray. An opportunity to take part in various dance techniques with teachers from around the globe.It is a chance to gain insights into the passions, challenges, and experiences of various artists and teachers.
The dance class will be "Shango" with live drumming. The session will be conducted on bare feet and the class will be open to intermediate and advanced levels only. The class will be divided into three sections: Warm-up where we will work closely with rhythm, focus on stretching, toning and strengthening of muscles, this will be followed by a routine where isolated steps will be taught in the first hour, followed by a short sequence in the second hour. And lastly, we will have a warm-down where we'll focus on stretching, relaxation and breathing. Some of these exercises have some yogic influences. The class will be taught in a fun, relaxed and friendly environment and structured to give a good understanding of the technique. All this will allow students to appreciate and experience the pure joy of Afro-Cuban dance within a traditional framework.
Contact Zela Gayle (Co-ordinator) to book a place on this workshop.http://us.f305.mail.yahoo.com/ym/Compose?To=inspiredbyluv@yahoo.co.uk(07946 551 537)Venue:
The London Studio Centre42-50 York WayLondon N1 9AB
Date: 12th June 7-9pm £5
About Shango:
Shango or Chango (also Xango in Brazil), is the orisha who "owns" fire, thunder and lightning. He also controls war and the bata drums. Chango is the patron of masculine beauty, music and dance. In his dance he will butt with his head and do three forward rolls towards the drums no worries, I won't ask the students to demonstrate this. I don't think I can do it myself anymore!). He opens his eyes extremelly wide and sticks out his tongue. Characteristic movements are waving his hatchet and grabbing his testicles. No other Orisha jumps higher, dances more violently or makes stranger gestures. He commonly eats fire. Chango's dances are either warlike or erotic. As a warrior, he waves his hatchet and makes threatening gestures. As a lover, he tries to demonstrate the size of his penis, bumps and grinds and acts very lasciviously with the women in the audience. The circle of dancers imitate his movements and join in his sexual exhibitionism.
Mario López-Goicoechea
Joined University of Havana Folkloric Ensemble in 1994. Performed with them for three years until 1997 when came over to the UK. Acted as PR and Dance Officer for the group in addition to his role as dancer. Developed strong links with neighbouring schools and made the first forays into combining dance with traditional Afro-Cuban tales to form a prolific and rich story-telling project. Same project has been replicated in the UK on various occasions with the library services of Haringay, Barnet and Newham councils.
- Since 1997 he has taught Afro-Cuban dance at all levels and at various venues in London, amongst which are: the South Bank, the Waterloo Action Centre, the Jackson's Lane Community Centre and the Marcus Garvey Library.
- As a performer has danced at various festivals, community events both local and nationwide and social functions amongst which are: the South Bank Cuban Fest, the V&A Cuban Weekend and the Walthamstow Community Festival.
- Has written about dance and Afro-Cuban culture. In Cuba contributed to several theses and papers on Afro-Cuban culture by foreign students, dealing mainly with English-, French- and German-speaking pupils. In the UK has been published by the national newspaper The Guardian twice (Lázaro Ros, Obituary, March 2005 and 'Ballet is elitist and won't enthuse children to take part', June 2007) and by the monthly Latin American newspaper Noticias where he penned a column. Has also been profiled in Hotfoot magazine (2002), ADAD's main publication (now online).
Mario specialises in dance forms derived from the Yoruba, Arará, Bantú and Efí/Efó cultures which make up the bulk of his classes. He has also taught Rumba, Haitian dance and Cuban popular dances, including salsa.
Hi galera,Thera are so many nice things happening this weekend so do not be lazy and come out to have fun!!! Here are a few tips:Thursday, 05/06: Pe-de-Serra ForAllGreat weekly Brazilian night with forro dance class + live Trio do Mangue + capoeira performance + djs7pm-1am @ Kiss Club, 4, Wild Court, WC2B 4AU - Holborn stn.£3 b4 8pm / £5 afterSaturday, 07/06: Pandeiro and Capoeira Angola WorkshopPedro Campolina and Mestre Carlao will teach a pandeiro and capoeira class together and everyone is welcome to join us, no previous experience required.1pm-4pm @ LSE, Houghton Street, WC2E 2AE - Holborn stn.£7Sunday, 08/06: Live forro at Stoke Newington FestivalLive Trio do Mangue from 1.30pm-2.15pm at DJ Russ Jones' stage: Hackney Globetrotting Stage., there will also be DJ Russ Jones plus many other atractions.1pm-7pm, Clissold Park, Green lanes, Church St, Stoke Newington N16Free entrySunday, 08/06: DJ Pedro CampolinaI'll play Brazilian music (mainly samba and forro) at Stread Eagle again this Sunday due the success of last Sunday! Check it out!6pm-11.30pm. 3, Kingsland Road, E2 8AA - Old Street stn.Free entryHope to see you soon!!!Pedro Campolinapercussion / capoeira07780552176
Hola mis solesA quick email to let you know that we still have a couple of spaces left for our SOY CUBANA SOY POPULAR - SON WORKSHOP- the father/mother of SALSA! at Bar Andalucia. *Please look at the programme and SUMMER OFFER! for this and/or our last workshop on the 5th JulyProgrammeTeachers: Rafael del Busto & Damarys Farres. - Posture- Holding- Timing- TORNILLO- Speciality of the House- Styling- Isolation Moves, - Footwork- Leading technique- Girls- learn how to use the fans (you can buy some from us if you don't have your own)- Lots of fun movements to learn And if, this wasn't enough we have a SURPRISE WORKSHOP in the last hour!!! * 4 hrs Workshop * 1hr free practice * Music * Top dance Cuban Teachers * Buffet * Fiesta till late!!!Workshops: 2pm-6pmPrice per workshop - £35* in advance - £40* on the door. SUMMER OFFER!!! £60* per couple (advance booking)£60* if booking together SON (7th June) & Afro-Cuban Day (5th July)Venue: Bar Andalucia, 139-143 Whitfield Street, London W1T 5ENLevels: All levels welcome! *classes will be taught at separate levels if neededFor further info, please contact me by email:cubanschool_arts@yahoo.comor call me: 07788110421BESOS!... LOVE! and keep DANCING! D!Our next and last workshop of this series will be : - Soy Cubana Soy Popular, - AFRO-CUBAN DAY!!! 5th of July - plenty of Rumba Hope to see you then.------------------------------------------------------------------------------------------------------------------Last update about the 110% CUBAN LADIES STYLING dance course - Time: 3.30 pm - 5pmTHIS SUNDAY- REGAETTON a la Carte with DamarysSummer offer- Drop in normally £25 ( *£20 if booked in advance) if you are interested in coming this Sunday, please call me to benefit from this offerDid you know that our £85 offer x 5 weeks in our 10 weeks Ladies Styling dance course do not need to be consecutive? You can come any time during the 10 weeks. You only need to inform me of the days in advance!Venue: The Basement, (400 York Way, York House, Basement Units, London N7 9LR. Tubes: Caledonian Rd, Camden Town, Kentish Town. Buses: 253, 29, 10) 10 WEEK LADIES STYLING COURSE
BY Damarys Farres & Guest teachers
Weekly plan
* Thank you very much to the students who participated in the Rumba -Demo on Saturday 17th of May. The performance was great-Week 5/ 8 June
Torso/Chest isolations
How to apply to Cuban- Salsa and AFRO
Break
REGAETTONWarm down
Venue: The Basement
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INTENSE Warm up (Guest Teacher)Salsa Steps and introduction to Latin-Regeatton!!!
Break
SALSATON (mixture of Salsa and Regeatton) 2 of the most popular style at the moment
Warm down
Venue: The Basement
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For more information, prices and the rest of the PROGRAMME please email me or call me.Looking forward to seeing you soon.Besotes y...keep smiling* Remember this June we are having a couple of great birthday celebrations Damarys Farres & Leonie just to mention some- keep saving.....Happy birthday to Andrea too.....Damarys Farres (The Cuban School of Arts & UK's Cuban Salsa Champion)
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