Tag Archives: Futuristically Ancient

M.G. Recap: The Bag Lady Manifesta


Based on Taja Lindley’s solo healing performance ritual that debuted at La Mama’s SQUIRTS in 2015, “This Ain’t A Eulogy” is drawing parallels between discarded materials and the violent treatment of Black people in the United States. People in the African Diaspora have a long history of repurposing, remixing, and transforming oppressive systems into valuable cultural practices. In this post-Ferguson moment, Lindley is calling on this legacy to imagine how we can recycle the energy of protest, rage, and grief into creating a world where, indeed, Black Lives Matter. “This Ain’t A Eulogy” is the origin story of The Bag Lady, and serves as a preamble to Lindley’s one woman show “The Bag Lady Manifesta” which debuted at Dixon Place on September 9th.

Below is my review of The Bag Lady Manifesta:

 

dream where every black person is standing by the ocean

& we say to her

what have you done with our kin you swallowed?

& she says

that was ages ago, you’ve drunk them by now

& we don’t understand

& then one woman, skin dark as all of us

walks to the water’s lip, shouts Emmett, spits

&, surely, a boy begins

crawling his way to the shore

by Danez Smith

from Don’t Call Us Dead: Poems

Last week, I read this poem from Danez Smith and I was reminded of it again when watching Taja Lindley debut her The Bag Lady Manifesta on the night of September 9th at Dixon Place.

One question I left with was: what is our responsibility to remember, especially remembering a past still struggling to speak? Is remembering like being Lot’s wife who had the audacity to look back when the world was ending and in ruins? And like salt can be healing, Lindley’s Bag Lady Manifesta was a ritual performance in search of healing — healing that involved giving reverence to people, pasts and even parts of ourselves that we can so easily throw away. Because as Lindley had put up on one of the walls — “letting go is a lie,” we always carry them with us.

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Moving on the Wires: Lucy’s Bone Scrolls Has Landed!!!!


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Lucy’s Bone Scrolls is officially here!!!

Thank you to everyone came to the reading on the 17th and for those who were unable to make it, below you can watch a video of the reading from the night and view pictures! The book is available here for purchase and please write a review.

View pictures from the night at Our World Media!

 

Astro-Caribbean: Return


The last post for Caribbean Heritage Month is a mix between Space:Queens and Art of This World segments, featuring three visual artists whose work I’ve seen in Queens — Reginald Rosseau and his exhibition, Unmasked — Embodiment of Spirits, at Seed Capital Cafe; Nari Ward and his G.O.A.T., Again exhibition at Socrates Sculpture Park, and Fritz St. Jean who lives in the southeast Queens area and whose daughter I met a few months ago at the Queens Council on the Arts grant awardees ceremony.

Reginald Rosseau

“Reginald “Big Art” Rousseau is a Haitian-born and Harlem-made working artist whose artworks are generating a lot of buzz, in the hood and beyond. In addition, he is the founder of the Reginald “Big Art” Rousseau: Harlem Art Projects, a creative space located in a funky storefront which serves as part working art studio, part art gallery and part retail art store, for him to create, promote, exhibit and sell his artworks. The creative space also serves a physical space to connect with the community, collectors, curators as well as galleries.

His artistic style, which he affectionately, coined “Neo-Haitian Expressionism”, is derives from a radical fusion of Haitian Art, African Art, Street Art, POP-Art, Folk Art, Stained Glass, Pointillism, Art Nouveau and Modern Abstraction. His work, which explores multi-ethnicity and multicultural identity, are based on his own personal experiences as a Haitian, a Blackman and an Immigrant with a Haitian heritage encompassing a unique blend of African traditional customs, mixed with contributions from the French, Caribbean, Latin, American and indigenous Taíno culture. His signature work, encompasses curvilinear black lines, vibrant colors, flatness of forms, jeweled pointillism, multi-layered textures and bold patterns.  On a recent interview, when asked to describes his working process, Reginald responded ‘My working process, is like jazz, with an eight-bar theme, you start it by the “T” and improvise as you go to generates rhythmic accents and beats as well as conveys emotion and power’.”

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Nari Ward

Via Socrates Scuplture Park: Jamaica-American mixed-media artist Nari Ward “recasts tropes of outdoor structures – the monument, the playground, lawn ornaments, architectural barriers, and the advertising sign – into surreal and playful creations. Nari Ward: G.O.A.T., again examines how hubris creates misplaced expectations in American cultural politics. This exhibition also brings new insight into the artist’s exploration of identity, social progress, the urban environment, and group belonging.

G.O.A.T. is an acronym for Greatest of All Time, a phrase commonly used in American sports, made famous by Muhammad Ali, and in hip-hop, most notably, as the title of Queens native LL Cool J’s best-selling album. The title alludes to the African-American experience and political theater – common themes in Ward’s work.

The figure of the goat features prominently in Nari Ward: G.O.A.T., again as the artist’s articulation of social dynamics, conjuring the animal’s attributes and symbolic connotations, from an ambitious climber of great heights to an outcast. A flock of goats cast from lawn ornaments traverse the landscape, both in groups and as solitary individuals, manifesting the show’s title. The appropriation of the word goat, turning an insult into a moniker for excellence, demonstrates the power of wordplay, while the modifier again implies historical repetition. Scapegoat, a forty-foot long hobby toy further develops the goat metaphor and highlights another strand of the show: the satirization of virility, masculinity, and monument…”

Nari Ward’s exhibition is the first single presentation of an artist in the park’s 30-year history. Read the New Yorker feature about the exhibition.

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Fritz St. Jean

“Born in Port Au Prince, Fritz St. Jean emerged as one of Haiti’s most illustrious self-taught artists. Initially, his style consisted of painting animal and jungle scenes on canvas. However, in 1980, St. Jean broke away from the staid pastoral themes to memorialize his hopes and dreams for Haiti through his paintings. Being widely viewed as socio-political commentaries on the dichotomous realities of Haitian life, St. Jean’s paintings transport the viewer to scenes of mysticism, idealism, and humanity all in one. He is noted as a master in color and detail as his works are continuously punctuated by the use of bold colors and fine lines. Often, his paintings celebrate Haiti’s religious culture in Voodoo and encapsulate its rich history. Paying tribute to a country that was once called La Perle des Antilles (The Pearl of Antilles due to its natural beauty and countenance), St. Jean’s paintings are artistic love notes to his homeland.  Suffice it to say, Haiti continues to be the source of St. Jean’s inspiration.”

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Astro-Caribbean: CaribLit


For the second to last Astro-Caribbean post for this month, I am featuring Caribbean authors and their books!

I was unfortunately unable to attend Word!: A Caribbean Lit Fest on June 11th, but I did read through the authors and panels and saw that a few of them who have recently released works of fantasy, magic realism or other related kinds of imaginative/visionary themes. Adding to my list of books to read!

Mother of the Sea by Zetta Elliott

Summary: When her village is raided, a teenage girl finds herself on a brutal journey to the coast of Africa and across the Atlantic. Her only comfort is a small child who clings to her for protection. But once they board the slave ship, the child reveals her rebellious nature and warns that her mother—a fierce warrior—is coming to claim them all.

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Astro-Caribbean: Riddims and Revolutions (Music!)


Currently I am in the revision process of my poetry collection, and I was looking for a few inspirations for one of the poems in it. British-Jamaica dub poet Linton Kwesi Johnson came to mind and it lead me to one of his poetry recordings, “Reality.”

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Astro-Caribbean: Caribbean Folklore


Last weekend, I attended the Bankra Caribbean Festival produced by Braata Productions and Andrew Clarke. One of the draws of the festival was looking at the cultural exhibit of puppets made in the image of popular Caribbean folklore characters, including the Soucouyant. Mama D’Leau, the Douens (Dwens), the Moko Jumbie, Papa Bois, and Anancy (Anansi). The slideshow is below with the artwork and the descriptions are after:

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Astro-Caribbean Series: Art of This World!


Happy Caribbean Heritage Month!

Also, welcome back to the return of Astro-Caribbean!

All this month, I will present visionary work from the Afro-Caribbean diaspora. Today’s post is a presentation of visual artists — Sheena Rose, Carlo Theartus, Dirk Joseph, and Alicia Brown.

Continue reading Astro-Caribbean Series: Art of This World!