|wanted to share insight into Re-Frame’s creative lineage: The frameworks of this process are drawn from my experiences in Minneapolis, Chicago, NY & Panama. Liz Lerman’s critical response method has been part of my creative ‘upbringing’ since the mid 90’s in MN; experiencing this protocol at Intermedia Arts & Walker Art Center. Open Space Technology is a model i was introduced to through a NY arts organization [Arts Connection] focused on teaching artists & deepening their relationship to each other, the organization staff and teachers, principals of schools we were collaborating with. As an artist inside the process, i had the privilege to return to Minneapolis in 2009 and experience the illuminating convergence of both protocols at Pangea World Theatre; through a challenging and exciting projected entitled “Bridges”, curated by J. Otis Powell in alliance with Pangea’s Dipankar Mukherjee & Meena Natarajan. Bridges brought together artists from various cultural, aesthetic and disciplinary backgrounds to engage in a creative collaborative process. So inspired by this experience, i sought to continue developing processes that brought diverse groups of artists together and in 2010, had the opportunity to go to Panama to work on a landmark project, “Agua/Tierra”, co-facilitated & produced with two other artists Awilda Rodriguez Lora and Tanisha Christie and co-produced by Katie Zien [who initiated the project]. The core of this multidimensional project was a coming together of Panamanian artists from distinct and diversified aesthetic background to cross-pollinate and generate a hybrid performative experience. It was phenomenal! In alignment with the critical response & Open Space, as an artist i have been honored to work inside a form that has come to be known as the ‘Theatrical Jazz Aesthetic‘; fostered by acclaimed theatre artist Sharon Bridgforth, along with Dr. Omi Osun Joni L. Jones and an incredible lineage of artists who initiated this legacy… A deepening of understanding & facilitating what that legacy/aesthetic had to offer, having multiple discussions with Awilda, organizations & artists within the Chicago community leads to this moment of Re-Frame…seeking to craft a space that not only honors the making of art, but delves into the practice of the creative process; moving beyond one’s individual practice into a communal setting.. This is going to be one beautiful challenge & i am excited by the artist participants who have committed to being at the core of this project…by mid-December, all multiple communities will get a chance to witness what it has meant to be part of Re-Frame: A Gathering!|
(the evolving new thought for D UNDERBELLY 2011 – )
the body speaks
the voice moves
rooted in legacies sometimes only the soul knows
signifying where we have come from and who we are
Who are we?
We are architects of history
invoking indelible rites of passages
We are builders of spiritual houses reigned supreme by multiple ancestral energies
We are Love not just its vessel
the calm empty
We are re-imagining life as it is
and as it should be
We are falling and rising
We are deconstructing
the inside pulse of memory
We are possibilities unifying
These are our roots
—Baraka de Soleil
Re-Frame: A Gathering…the communing begins
Across cultures. Across disciplines. Engaging thoughtful discussions within the community of artists, neighbors, anyone witnessing. Inspiring collaborations. Listening. Creating consciousness surrounding the beauty & insights from the creative process…
Artists gathered last nite [Monday, November 14th] for our second session…people shared, communed, perhaps even got frustrated as we sought to define what it means to be in a creative process with others, to be in a thoughtful process, to take ownership, to be present, to be in the unknown & work, discuss & reflect from there…
as an artist facilitator, i discovered that i need to talk less and listen more and let them take hold of this space…shape it as they desire…it’s a challenge and a necessary joy!
Over this next week, you will meet these artist participants and get insight into their ‘creative lineage’…so far 9 artists participants are at the core…with artist witnesses flowing in and out to observe and gain insight into what it takes/means to be part of a gathering…
Now they get to get inside the ‘practice of that process’ and potentially explore other dimensions
Re-Frame: A Gathering is an initiative of D UNDERBELLY, a network of artists of color, seeking to create a communal space for rigorous experimentation and investigation of an expansive performance aesthetic. One that can serve as a model for creative process within community that can adapt and shift to various areas throughout the country & internationally. Through both invitation to select artists within the experimental art community and an open call, we will seek out a diverse group of 7 -10 with wide-range of disciplines who have a creative lineage (how they have been making work), a piece to ‘excavate’ and a desire to be part of a contemporary practice. Re-Frame: A Gathering will start with the artistic community of Chicago.
Our current vision:
Re-Frame: A Gathering’ Key Objectives
– a reduced cost or free opportunity for artist participants.
– a platform for creative process that can be molded to whatever communities it travels to….
– a unique opportunity for experimentation, to ‘dig deep’ & try things out with developing work or already-created work that may need ‘re-framing’.
– artists at whatever stage in their career.
– exchange and community building
– sustainability for the active creative process
– a multidisciplinary network of artists within the Chicago experimental aesthetic community and beyond.
– an expansive & diversified cross-pollination of collaborative possibilities.
– visibility for process-driven models with thoughtful intercultural community engagement.
Funds from this campaign will support the vision in multiple ways beyond the costs associated with creating work. We deeply believe that with your support, Re-Frame: A Gathering will impact not only the artist participants, facilitators and community of witnesses, but the larger discussion on the value of the creative process.
More specifically if we reach:
- $1500, this amount will cover rental & production costs associated with the space; both for workshop process & performance showings
- $2000, in addition to covering rental, will support any materials for the workshop process, ‘bare-bones’ production elements for the showing & travel for one artist facilitator
- $3000, in addition to the above, secures a no cost opportunity for all artist participants and provide honorarium for both artist facilitators &
- $4000, in addition the above funds, will provide honorarium for each of the artist participant
- soliciting in-kind contributions from organizations to reduce the cost for rental of space.
- box office contributions from A Gathering‘s three showings.
- barter/trade of services in order to promote/market the event.
- based on amount raised, seek financial investments from artists who wish to participate in the process.
- re-configuring the model so that it will reduce costs but still honor the artists & the process.
- cooking meals that can be purchased at the showings.
Other Ways You Can Help
Spread the word by putting this campaign on your facebook, twitter or other social network site.
Email blast your networks.
i share this as a beginning of distilling the memories i experienced while being in ghana in 2007…this is its first poetic rendering
RETURN: AN EXPERIMENTAL CHORAL RENDERING FOR A VOICE & MANY BODIES
water to replenish
a large body of water
breath to cleanse, fired up dry
wind to move, steady gust of wind
21 days. 37 years 3 years ago, 20 decades
how many centuries since one begets a life that amounts to 2 hours of wondering if 37 – 3 years ago would be the last year of existence…..the moment, prior to being grabbed and taken, strength… still feel weakened by the hours, days, months of years of being held against will…. shackled, imprisoned, tortured across the water…a large body …in a small vessel and taken to unknown land; unknown ways, life…
Cape Coast Ghana – two and 1/2 hours from Accra Cape Coast
a two hour walk TO
immerse TO take in
to Cape Coast TO ancestors…
you come here for redemption’
to El Mina’
can feel ancestral sensations the moment one steps inside the female dungeon…it is a feeling so palpable and strong …it’s like can still see smell the stench shit and blood and piss of those African females held here…on the ground there are markings
dark cavernous area
heaviness in my heart and longing
the long walk of ancestral Africa to who knows where
where brought to rest were the slave remains
from Salaga market up north ‘last bath’…
Tamale, WALKING, chained together feet, hands, neck, fall. rise. knees. thirst.
through trees and forest
to sacred waters flow…sacred
the ancestral bodies last cleansing
texture of the trees, the color of water, sounds of river, the quiet …
lookout upon a hill, past frail mango tree
ascend to a healing
of a healing
the pain anguish of the inflicted souls…bow
21 – 37 – 20, journey, 21 centuries
RETURNING to the sensations
the morning ‘baptism’
awakening a deeper connection
ancestors being here… portrait of what transpired …. standing on hundreds of years old feces, piss, blood, sweat, skin and bones ancestors….thousands of African’s bodies piled ontop of each other as they screamed, sought comfort …fought to survive beyond the holding area –
whole being open and alive now…sensitive to air smells the ocean so close …aware of the opening of the door of no return … fishing kingdom – the Fanti – ocean coast…
guiding seeing walk lifting carrying lift carrying and lifting journey breath lifted onto
the water passage 1 1/2 hours 21 days, journey, 37 years, journey, 20 somethin decades, journey, 21 centuries”
a large body
seized by ancestors coming up from the ocean waves and on board on top cannot open eyes getting heavier and heavier sense more and more ancestral bodies piling on top of bodies tilthe weight is almost unbearable
can barely breathe….
sounds of the waves and the sensation endured journey NOT knowing the end…going on for months in cramped spaces, chained, ensconced in darkness…
a day later, months years ounds voices eyes move….cross water to land….carried
land falls step
land touch water before land, lifted and land on this new site… not able to speak
distance between falling and fallen
a minute an hour a decade a century passes and returns
unfolds /souls moving
walk legacies memories
memory conscious memories of people these memories, the ancestral memories residue, shackles salty ocean water…remember whipping..
“We came from the water and to the water we shall return”
the going in the sacred anointing
water to replenish
a large body of water
breath to cleanse, fired up dry
wind to move, steady gust of wind
earth. make an offering, name it, find it, ask .sense.
earth. find tree. make an offering:
the meditation, reconciliation releasing old tree elder – coarse and mangled, yet majestic….those trees that seem to have captured the many spirits of those people whom have come in contact with it
a tree that, if it could speak, would be able to tell some of the most horrific and spellbinding tales…a tree that, if it could speak, may choose not to reveal the sacred secrets or hidden encounters it has witnessed seen felt heard
speak elder ancestors speak
Freed Slave Gordon of Louisiana (1863)
Martin Luther King
Booker T. Washington
Dr. Kwame Nkrumah
Benjamin Singleton – “walk and never tire”
George Ekem Ferguson
Marcus Garvey —
No one knows when the hour of Africa’s redemption cometh. It is in the wind,
It is in the wind
It is inthe wind, it is coming.
One day like a storm, it will be here. When that day comes, all of Africa will stand together.”
Childr’n of “O” – the workshop process begins March 31st….
This piece is a journey towards discovering the multifaceted dimensions of this iconic black woman. In this regard, she is an allegory – the metaphor of Oprah or “O” as everywoman in our culture; but not only representing women, but men, children of all races. To get at the many layers of this fascinating and beloved figure, I am experimenting with how the hybrid of disciplines I employ dance, theatre, video, conceptual art) can truly embody “O”. I am also seeking to re-establish my cultural relationship with her as a black man, coming from Chicago, ‘trying to make it’. To me “O” is an American dream realized. One that has been objectified and glorified; mammy-tized & ostracized; deemed saint and blasphemously condemned. Inside the waking conscience of cosmic space and temporal distortions exists the humanity and charisma that begat ‘The Childr’n of “O”!