Australian Apologies

African Diaspora

Is it ever too late for an apology? No. An apology, no matter when it comes is an acknowledgement of wrongs, of pain and suffering caused. This is an interesting article on an apology issued to Aboriginal communities in Australia.

http://www.nytimes.com/2008/02/13/world/asia/13aborigine.html

Jerome Bell

Jerome Bell, “Pichet Klunchun and myself”

i really enjoyed this performance. it raised interesting questions about definitions of contemporary performance and jerome bell was brilliant (perhaps exploitive) in using this as a forum for responding publicly to criticisms of his work.

in this conversation/demonstration style event, Bel interviews Pichet with the sort of ethnographic questions about tradition Thai dance that foreign observers, particularly European observers, ask about the work. it is an interesting re-picturing of the issues around eurocentrism, inter-culturalism, cultural globalization and contemporary performance.

can curators working from a eurocentric perspective see Pichet as a contemporary choreographer? he defines himself as such, describing and beautifully demonstrating how he takes the traditional dance he’s mastered to create a new form of dance; yet he’s promoted here as the traditional Thai dancer. Would the Eurocentric world of current contemporary performance presenting allow us to see this work as contemporary or does it always position Pichet as “the Other”?

I’m interested in learning more about Pichet’s work. in this context Jerome’s work ot me feels a bit empty and indulgent, but i enjoyed watching him and hearing him speak about his work and would definitely love to experience more of it.

Kara Walker @ Whitney

On “Kara Walker: My Complement, My Enemy, My Oppressor, My Love”

i’m still trying to understand the title. hours after i visited the Whitney Museum, i realized that i was the only black woman on the third floor gallery viewing this show. perhaps that explains why the comments i overheard seemed strange and made me slightly uncomfortable. i couldn’t really enjoy the show; but then i’m not sure the material is enjoyable in a typical sense. the work enters my emotions in ways i never completely expect. i love kara walker’s work. i love the subtlties, humor, satire, just the sheer complexity of it.

this show, her first major museum survey, organized at the Walker Art Center in Minneapolis (how is it that such a place exists in Minneapolis and not Pittsburgh), includes a range of silhouette works, journal notes and “moving pictures” (which i didn’t know or remember she made). i love the challenge of it.

but this show is difficult to observe and take in the truth of it. that is the truth of the stereotypes (not that the stereotypes are true but of their existence in real life) and of the historical record of blacks and race in world. to acknowledge these stereotypes as true in this context of the Whitney Museum, the only brown skin (other than that of the security guards) in a sea of white faces (that of mostly older ladies who didn’t understand) was slightly, only slightly uncomfortable.

i wondered...what does kara hope to invoke in the hearts and minds of these white ladies? does she care? i’m sure she does, most artists care and have an agenda even if they don’t admit it. but i wondered what do these ladies feel? Does this work conjure the wave of emotions i feel -- anger, disgust, frustration, sadness, pride? is this a critique or simply a reflection? i wondered how familiar does one need to be with the history of plantation slavery in america to read these images (many of the ladies in the show claimed to not understand, “what is this?” i heard over and over again…“its disgusting” i heard many, times as i walked through the gallery. why do we need to see “[this] over and over again,” i overheard many times.

it’s worth seeing. this work needs to be discussed again and again. the fact that this show is in a major museum in NYC seems testament to the fact that we’ve made progress, right? we’re one step closer to eradicating racism in america, right? not sure.

Issac Julien and Russell Maliphant

Isaac Julien and Russell Maliphant, “Cast No Shadow”
i was not familiar with russell malipant’s work enough to understand why a collaboration between him and julien would make sense. but im familiar with julien’s work, so the idea of a performance work with his films, was intriguing.

i remember the first time i saw a julien film, it was part of a collection of films from the New Museum of Contemporary Art. i don’t remember the title but the work immediately struck a chord.

“Cast No Shadow” a commissioned work of Performa 07, Dance Umbrella and Sadler’s Wells, festured three Julien films: True North (2004) - a story of Matthew Henson, the African American explorer, now considered the first man to set foot on the North Pole; Fantome Afrique (2005) filmed in the capital city of Burkina Faso, Ouagadougo, the heart of the african film scene; and Small Boats (2007) a new film, about the crossing of African immigrants across the Mediterranean to Europe. i was absorbed by the films i can’t say the same for the dance work.

honestly, it was hard to stay with the movement; the dance felt more like a distraction. i just didn't understand what was happening and why. fortunately though the dancers were beautiful movers, just enough to keep my attention. 

but i kept thinking, "what's wrong here?" "what should a live performance of/with julien films look and feel like?" i’m not sure, but there was something fundamentally wrong and the live performance just did not match the vibrancy of the films. 

yet, i’m glad i saw it… to see this kind of work broadens my sense of what’s possible to see and experience...it is inspiring to see. 

Philly Woman of the Week

my week ended but it was nice to be Philly Woman of the week. 

http://www.philly.com/philly/phillywomen/Janera_Solomon.html?referrer=google

rise

Tonight i had the pleasure of attending a rehearsal of Vanessa German's piece, "rise" premiering this week for the August Wilson Center's "First Voice" Festival. its an incredible privilege to be part of the creation of  a new piece of art and Vanessa is that type of artist who is so generous and open in her process. in this piece she's working with newcomer, Kellee Maize, spoken word performers, Rebecca Cooper and Laverne Hotep and a film artist. the piece has an incredible collage of poetry, music and images. 

the challenge of making art that is meaningful for artists and audiences must be met with more support in our community if we are going to have a thriving scene. artists here are paying for the creation and presentation of their work most of the time. i want to see us do better. 

Review of "Drawn In" in Pittsburgh City Paper

The "Drawn In" exhibition is a beautiful architectural exhibit currently on view at the August Wilson Center in Pittsburgh.

Here is my review:
http://www.pittsburghcitypaper.ws/gyrobase/Content?oid=oid%3A25144