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Stalwart Originality:New Traditions in Black Performance
Presents
New Meanings:Afro-descendant Percussion Practices
Williams College & Mass MoCA
February 12-14, 2010
This year marks the 10th anniversary of Stalwart Originality: New Tradi-tions in Black Performance. Created by Annemarie Bean and SandraBurton, Stalwart was developed to nurture artistic and academic inter-est in expressions informed by African traditions. Integrating practice
and theory, Stalwart provides a context to explore these traditions, aswell as new forms of music, dance, media, theater, literature and mul-
tidisciplinary art. This year, Arif Smith, Assistant Director of the Multi-cultural Center and Berta Jottar, Assistant Professor of Latina/o Stud-ies, are curating New Meanings: Afro-descendant Percussion Practices,a symposium that will network percussion practices from West Africa,the Caribbean and the U.S.
Interactive workshops, lecture/demonstrations, panel discussions, andmedia practices will serve as a platform to engage with the following
questions: How are these practices interrelated? How do we historicize
the dialogue between these practices? Are the conversations betweenthese traditions recent, continuous or contiguous, and why? How arethese practices impacted by migration and exile? What factors contrib-ute to changes in percussive style? What contexts do the Diaspora andglobalization create for the formation of new, hybrid styles and sound-ings? What are the new cultural meanings of these traditions?
STALWART ORIGINALITY: NEW TRADITIONS IN BLACK PERFORM-ANCE is sponsored by Williams College, the Dance Department, the
Multicultural Center, the Music Department, Africana Studies, CampusLife, the Deans Office, Latino/a Studies, the Gaudino Fund, the BlackStudent Union, Claiming Williams, Latin Percussion (LP), the WilliamsCollege Lecture Committee, and co-presented with MASS MoCA.
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INTERACTIVE WORKSHOPS
Bombaby Ilu Aye
Bomba means in Kikongo language secret. The bomba music and
dance tradition dates back to the Spanish colonial slavery era, and wasbrought to Puerto Rico by the Saint Domingue diaspora. It is the mostAfrican-rooted form of all Puerto Rican folklore, and performed with
barriles (bomba drums) originally built from wooden barrels. Its maincharacteristic is the call-and-response vocal relation between the solovocalist and the chorus, as well as the dialogue between the solo drum-mer (primo) and the solo dancer. The dancer is the leaderhis or hermovements dictate the primos responses. Theres an element of antici-pation as the dancer tries to rhythmically outmaneuver the drummer.
Improvisation is central to bomba performance but rooted in a deep cul-tural knowledge.
Doundounbaby Mbemba Bangoura and Bashir Shakur
Doundounba (the dance of the strong men) is a rhythm and dance fromGuinea. In 1959, after Guinea gained independence, newly electedpresident Ahmed Sekou Toure commissioned musicians to create newDoundounba rhythms for social interaction and engagement throughout
the country. Doundounba has over 40 rhythmic versions; today,Doundounba is equivalent to a party.
Kpanlogoby Jason Lucas & Rob Michelin
Kpanlogo is a popular form of music and dance originating in Accra,Ghana at the end of the 1950s. It is still performed and danced sociallybecause of its ever-evolving repertoire and meaning. The youth culturewithin the Ga community was looking for a new form of expression.Kpanlogo got its sound from some of the instruments that make up the
traditional instrumentation of the Ga people: Kanganu, Axatse,Gankogui(bell that plays a pattern that is considered to be son clavemost recognized in Cuban music), Sogo, Kidiand Kpanlogo drum. Thedances are emblematic of the connections between Ghana and theUnited States at the time because Rock n Roll became popular as itwas introduced through imported American films. Movements like thetwist, and others were incorporated into the Kpanlogo repertoire.
Kpanlogo quickly became a sexy, ruckus inducing, youth movementthat solidified the idea that a glo(c)al community had been developed
and was continuing to grow; carried on the shoulders of afro-urbanyouth around the world.
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