Performing Diaspora Archives

16 May, 2009

The Myalist – Opal Palmer Adisa

2009-05-16T19:00:54-07:00By Opal|Categories: CounterPULSE, Performing Diaspora|Tags: Add new tag, Opal Palmer Adisa, Performing Diaspora|

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 Prumsodun|Categories: CounterPULSE, Performing Diaspora, Prumsodun Ok|Tags: Cambodian Classical Dance, Performing Diaspora, Prumsodun Ok|

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 Sheena|Categories: CounterPULSE, Performing Diaspora|Tags: CounterPULSE, Performing Diaspora, san francisco, Sheena Johnson|

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 Charlotte|Categories: Charlotte Moraga, CounterPULSE, Performing Diaspora|Tags: charlotte moraga, choreography, classical indian dance and music, contemporary kathak, ethnic dance, improvisation, Indian diaspora, kathak dance, Mumbai, pandit chitresh das, percussive dance, Performing Diaspora, taal, traditional dance, upaj|

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 Fei|Categories: CounterPULSE, Performing Diaspora, Wang Fei|Tags: Performing Diaspora|

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 Dulce Capadocia|Categories: CounterPULSE, Dulce Capadocia, Images, Performing Diaspora|Tags: Performing Diaspora|

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

The Revolutionary Roots of Mexican Folk Dance

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

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 Colette|Categories: Colette Eloi, CounterPULSE, Performing Diaspora|Tags: Colette Eloi, Performing Diaspora|

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

24 Jun, 2009

“Ampey!”, line, circle, he(r)art

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

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

29 Jun, 2009

The Myal Healer

2009-06-29T16:24:58-07:00By Opal|Categories: CounterPULSE, Images, Opal Palmer Adisa, Performing Diaspora|Tags: Maroon Herbalist, Opal Palmer Adisa, Opal Palmer Adisa/Performing Diaspora, Performing Diaspora, Tony|

I was in Jamaica a few weeks ago interviewing both academics and healers who are in some way affiliated with Myal or the practice of healing. I also spent time at the African -Caribbean library there pouring over and through literature on Myal and its evolution. I made several discoveries, and was able to photograph some of the basic herbs used in the practice. Tony, a RASTA Brethren, connection to the land and ancestry is undeniable. Tony is a

4 Aug, 2009

Freedom

2009-08-04T20:21:52-07:00By Adia|Categories: Adia Tamar Whitaker, CounterPULSE, Performing Diaspora|Tags: adia tamar whitaker, adia whitaker, Performing Diaspora|

middle (line) Look fast. Move slow. The ground is on fire, but I don't worry myself with that anymore. If I was at home I would ask if the fumes were toxic. Now, toxic is relative and intersections are the eye of the storm. In Ghana, 'Nature' is the holy book that tells people what to do and how to do it. The land is Jesus. The people his disciples. Judas is the juju that prevents progress, but holds the

19 Aug, 2009

The Memo

2009-08-19T10:19:12-07:00By Adia|Categories: Adia Tamar Whitaker, CounterPULSE, Performing Diaspora|Tags: activism, african american women, Afro-Haitian, ampey, art, arts, avant-garde, children's games, community, counter pulse, CounterPULSE, Dance, diaspora, education, emerging artists, emerging arts, folkloric, gender issues, ghana, grassroots, mission, non profit, Performance, performing arts, Performing Diaspora, san francisco, sf, soma, theater|

I didn't get the memo. You know the one that breaks down the ways in which descendants of enslaved Africans have a different (but just as post traumatic stress disordered psychosis) than the descendants of colonized Africans. To be fair, I looked completely different when I've traveled abroad before (I had long hair), AND there is no pronoun for "he"or "she" in Ghanaian language. Word. My bad. Yet and still, I was expecting some kind of Haiti-ish/Southern American Negro/Caribbean stratification

The Myalist – Opal Palmer Adisa

Neang Sovann Atmani – Prumsodun Ok for Performing Diaspora

dance as sacred

Charlotte Moraga for Performing Diaspora: Contemporary Traditional Kathak Dance

Guqin and me

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

The Revolutionary Roots of Mexican Folk Dance

Colette Eloi, Performing Diaspora Artist-Defining my Art

“Ampey!”, line, circle, he(r)art

The Myal Healer

Freedom

The Memo

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