Performing Diaspora

16 May, 2009

The Myalist – Opal Palmer Adisa

2009-05-16T19:00:54-07:00By |Categories: CounterPULSE, Performing Diaspora|Tags: , , |

While most know of Obeah in Jamaica, few know its counterpoint, Myal. An Entry in Jamaica Talk: Three Hundred years of the English Language in Jamaica by Frederic G. Cassidy ( MacMillian Caribbean, 1961), we get one notation: "Obeah, the Jamaican form of sorcery or `black magic', [sic] was once counterbalanced by myal, or `white magic' a healing cult.  Obeah employed its power against people; myal claimed to counter those powers."  P. 241 Another entry in the same above text,

20 May, 2009

Neang Sovann Atmani – Prumsodun Ok for Performing Diaspora

2009-05-20T14:53:07-07:00By |Categories: CounterPULSE, Performing Diaspora, Prumsodun Ok|Tags: , , |

A Cambodian classical dancer, when practicing her moving meditation developed over a thousand years ago as a ritual prayer, displays a serpentine grace that is hypnotic and sublime. Her form is supple, her gestures fluid, and she floats in curvilinear paths across the stage. This is no coincidence as the serpent – moving like the waters that bring fertility and sustenance to the land, bridge between heaven and earth, the being in which the first “Cambodian” sovereign took form (in one creation story anyways) – was worshiped prevalently throughout what is now Cambodia before the introduction of major religions. And today, after many generations of refinement, the serpent can still be seen in this highly stylized art form: its scales transformed into a costume’s detail and its function assumed by a human dancer.

28 May, 2009

dance as sacred

2009-05-28T13:03:15-07:00By |Categories: CounterPULSE, Performing Diaspora|Tags: , , , |

For me, dancing is both a sacred and spiritual act. I was reminded of that as I sat and listened to the recently selected Performing Diaspora (PD) artists discuss there work during their orientation meeting here at CounterPULSE (CP) a few weeks ago (I am intern at CP for the summer).  As I sat there I was overcome with an immense feeling of transcendence. As each person passionately described the motivations behind and the visions for their new

29 May, 2009

Charlotte Moraga for Performing Diaspora: Contemporary Traditional Kathak Dance

2009-05-29T00:06:02-07:00By |Categories: Charlotte Moraga, CounterPULSE, Performing Diaspora|Tags: , , , , , , , , , , , , , , |

What is kathak? Kathak is a unique dance form which incorporates rhythmic virtuosity, compelling storytelling, poetry, recitation, song, swift and subtle movement, and a rich philosophy whose roots extend thousands of years. In 1992, I enrolled in a Kathak class at SFSU with world-renowned master, Pandit Chitresh Das. Little did I know the vast ocean that lay before me. Enthralled by the immense depth and potential for self-expression, I continued to study in the traditional manner (guru shisya parampara), one

30 May, 2009

Guqin and me

2009-05-30T03:44:28-07:00By |Categories: CounterPULSE, Performing Diaspora, Wang Fei|Tags: |

 What is guqin? The guqin, a seven-stringed zither, is China’s oldest stringed instrument with a documented history of about 3,000 years. It became part of a tradition cultivated by Chinese scholars and literati and has been associated with philosophers, sages, and emperors since the time of Confucius. Perhaps because of this illustrious history, following the rise to power of the Chinese Communist Party in 1949, the guqin came to be viewed as one of the “Four Evils” and was the

1 Jun, 2009

“Bihag”, my choreographic take on the Hip hop Tinikling

2009-06-01T22:15:34-07:00By |Categories: CounterPULSE, Dulce Capadocia, Images, Performing Diaspora|Tags: |

This week, I frantically drove to a graffiti exhibit and documentary screening in Downtown Los Angeles of the movie "GraffLife" directed by Randy DeVol. It follows the secret night missions and on the run daytime activities of urban taggers living in my home and city. I thought I was late; this was one of the first events that was going to serve as important sensory information. I rushed to get to the venue to find a noisy bar where everyone

2 Jun, 2009

Devendra Sharma for Performing Diaspora: Let us reclaim the respect for the indigenous folk artist

2009-06-02T05:23:01-07:00By |Categories: CounterPULSE, Devendra Sharma, Performing Diaspora|Tags: , , , , , , , , , |

Colonialism does strange things to a culture. Ignoring one’s own indigenous “ordinary” culture, and blindly imitating others’ “legitimate” culture is one of them. It takes years and a lot of efforts before a culture realizes its self-worth during the post-colonial journey. At present, urban culture in India and Indian diaspora around the world is undergoing this journey. Let me share some of my life and thoughts with you as a rural folk artist from India who, first, migrated to a

2 Jun, 2009

The Revolutionary Roots of Mexican Folk Dance

2009-06-02T13:03:31-07:00By |Categories: CounterPULSE, Gema Sandoval, Performing Diaspora|Tags: |

Mexican folk dance has been a part of California since the the late 18th century. In those days the itinerant dance "maestro" went from Rancho to Rancho teaching the latest European dance fads to a multigeneretional clientele. When the Californios held their "meriendas" and "bailes", this was the perfect opportunity for every elegible bachelor and young señorita to display their skills in dancing the cuadrilla, polka, waltz, and schotis. In those days it was fashionable, even necessary, for the "gentlemen

2 Jun, 2009

Colette Eloi, Performing Diaspora Artist-Defining my Art

2009-06-02T13:57:16-07:00By |Categories: Colette Eloi, CounterPULSE, Performing Diaspora|Tags: , |

If I were being safe I would say my art form is Haitian Folkloric Dance, then I would expound on it. However this would not be absolutely accurate. I am Haitian blooded African American raised in the United States by Haitian immigrants...."black". The two cultures are quite distinct yet share a "way","taste", "movement". This gives me a type of "dual consciousness".  Haitian Dance has deep roots in Africa.  They are planted in African traditions . The art I create expands

2 Jun, 2009

Traditional dance does not put the “no” into innovation (with apologies to the shredded wheat commercial)

2009-06-02T17:32:54-07:00By |Categories: CounterPULSE, Performing Diaspora, Sri Susilowati|Tags: , |

The essence of the esthetics of Indonesian dance, and that particularly from the islands of Java and Bali, can be explained through three words: wirama, and wirasa. Wirama means the harmony and internal rhythm of the movement. Wiraga is the intensity and fullness of the movement not in term of its external power, but more along the lines of being filled with chi (in Chinese) or prana (Sanskrit). Soft and delicate movement can be wiraga while movement that is seemingly strong and powerful can lack it altogether. Wirasa is the feeling of the movement. The word “feeling” here is used not in sense of emotion or passion, but in term of the sensation when emotion and mental construct are set aside.

18 Jun, 2009

Sorry to have been out of the loop! Ana Maria and CONTRA-TIEMPO are back!

2009-06-18T01:35:32-07:00By |Categories: Ana Maria Alvarez, CounterPULSE, Performing Diaspora|Tags: , , , |

We have been in 'production mode' - and I apologize to my fellow Performing Diaspora Familia - our production went up - it was a success - and I am now ready to be on board!! We are gearing up for a tour to Cuba in July - there we will be training with two phenomenal Cuban companies - Narcisco Medina Danza Contemporania in La Habana and Cutumba Baile Foklorico in Santiago de Cuba. We will be presenting work (from

24 Jun, 2009

“Ampey!”, line, circle, he(r)art

2009-06-24T03:46:36-07:00By |Categories: Adia Tamar Whitaker, CounterPULSE, Performing Diaspora|Tags: , , , |

line "the concepts that shape ..." are where I'd have to begin ... better yet, "SHAPE!" is where I'd have to begin if you REALLY want to talk about what we do as folklorists, performers, teachers, students etc. This residency is an opportunity for us to build new models of discussion, exploration, and experimentation around folkloric based performance art forms. It's an opportunity for us to examine the methods of assessment that already exist inside of tradition as opposed to

Go to Top