magazine of the philadelphia folklore project

Volume 18:2/3 summer/fall 2005 ISSN 1075-0029

● I choose to stay here

● We are here to make changes

● Acrobatics and freedom

● The dance is an offering

● We shall not be moved

● Arabic song, flamenco footwork

● Folk arts education Works in progress is the magazine of the Philadelphia Folklore Project,an 18- year-old public interest folklife agency.

We work with people and communities inside in the Philadelphia area to build critical folk cultural knowledge,sustain the complex folk and traditional arts of our region,and challenge practices that diminish these local grassroots arts and humanities. To learn more,please visit 3 From the editor us: www.folkloreproject.org or call 215.726.1106.(Note: we’ve moved to 735 S.50th Street,Phila.,PA 19143) 4 I choose to stay here By members of Community philadelphia folklore Leadership Institute project staff Editor/PFP Director: Debora Kodish Associate Director: Toni Shapiro-Phim 8 Joaquin Rivera: We are Designer: IFE designs + Associates here to make changes Printing: Garrison Printers By Elizabeth Sayre [ Printed on recycled paper] 10 Acrobatics & freedom philadelphia folklore By Bill Westerman project board Germaine Ingram Ife Nii-Owoo 12 The dance is an offering: Ollin Ellen Somekawa Yoliztli Calmecac Deborah Wei By Kay Turner Dorothy Wilkie Mary Yee Juan Xu we gratefully acknowledge support from: ● The National Endowment for the Arts, which believes that a great nation deserves great arts ● Pennsylvania Council on the Arts ● Pennsylvania Historical and Museum Commission ● The Humanities-in-the Arts Inititative, administered by The Pennsylvania Humanities Council, and funded principally by the Pennsylvania Council on the Arts ● The Philadelphia Cultural Fund ● The William Penn Foundation ● Dance Advance, a grant program funded by The Pew Charitable Trusts and administered by the University of the Arts ● The Pew Charitable Trusts 14 We shall not be moved ● The Malka and Jacob Goldfarb Foundation By Thomas B. Morton, ● The Samuel Fels Fund Lois Fernandez & Debora ● Independence Foundation Kodish ● The Connelly Foundation ● The Philadelphia Foundation ● Stockton Rush Bartol Foundation 18 Arabic song, flamenco ● Windcall/Common Counsel Foundation footwork ● The Hilles Fund By Toni Shapiro-Phim ● The Walter J. Miller Foundation ● The Henrietta Tower Wurts Foundation ● The Douty Foundation Front cover: 22 Folk arts education ● Aramark & The Philadelphia Arts & Business Arisa Ingram and By Toni Shapiro-Phim Council a celebrant ● and wonderful individual Philadelphia ovecome with Folklore Project members the spirit, at the Membership form river, at 32 thank you to all ODUNDE. Photo: Thomas B. Morton from the editor

Home, and the hard work of including the lifetimes of care, that feel right, good, beautiful, making and keeping a home, is work, and memories that add and just. much on our minds these days. intangible value to their homes. Trying to reorient peoples’ I write this from the West This is a different kind of math questions, Northwest Native Philadelphia rowhouse that we than that practiced by city poet Elizabeth Woody once told have been rehabbing for the officials deciding whose an audience of folklorists, “You Folklore Project’s new home. homes should be removed all are Native people, too. You The Folk Arts–Cultural and leveled, and which have just forgotten where Treasures Charter School, a families displaced. you come from.” Challenging joint effort with Asian People can build up a kind of how her listeners defined Americans United, was granted freedom and comfort in a themselves, Woody was also a charter this spring and will place, and over the course of 30 talking about our responsibility open this fall—a new home years, the ODUNDE festival has to cultivate a deep sense of for much of our folk arts created that kind of free zone in relationship and belonging to education work. Huge dreams, the blocks around 23rd and place—wherever we are. We both of these major efforts at South on the second Sunday of invite you to read about people home-making happened every June. The space that is who are engaged in just because so many people ODUNDE is built in time, not in such work. invested their time, labor and bricks, but it is as enduring and vision. Collective effort and life-sustaining. On the 30th —Debora Kodish community made both of these anniversary of ODUNDE, we homes possible—and even are proud to offer an exhibition imaginable. of Tom Morton’s powerful These two building projects photographs, on display in our leave no trace in these pages, new home through December. but essays in this issue A handful are shown in these introduce other efforts that pages. (A sampling of his were part of this past year’s images also illustrate the 30th work at the Folklore Project— anniversary ODUNDE our arts education and artist calendar, for sale through residency programs, a our office). documentary video, and an Considering takraw players, exhibition—touching in Bill Westerman writes, “Beauty different ways on the and justice—whether interrelated questions of how comprised of free movement or we make homes, become free ideas—are defined and responsible to place and to one redefined locally.” In a world another, explore where we where folk arts are so often come from, and build (and considered to be exotic, easily hold onto) places where we learned, simple, or something can belong. that can be bought and sold, Length of time or investment put on and put off, the artists of labor in a place is no described in this issue— guarantee of safety, people Joaquin Rivera, the members have learned. Fighting the City of Herencia Arabe, Chamroeun of Philadelphia’s takings of Yin, the Aztec dancers of Ollin private homes, residents from Yoliztli Calmecac, the takraw West Kensington talk about players—are using folk arts to what their homes mean to shape languages, times, and them. They count what is places in which they can name priceless and irreplaceable, themselves and others in ways

2005 Summer/Fall WIP 3 < point of view >

Below: Bodine Street before. Photo: Bahiya Cabral. Above: Bodine Street in the process of demolition. Photo: Debora Kodish

4 WIP Summer/Fall 2005 by Rosemary Cubas & members of the Community Leadership Institute I choose to stay here: perspectives from people fighting the city’s “takings” of homes

The Neighborhood year CLI spearheaded the nic communities. But the Transformation Initiative City-wide Coalition of transformation of place is (NTI) sounded good at Concerned Residents and seldom seen from the view- first—a new commitment began organizing to help point of the poor and work- by the city of Philadelphia to individual families, raise ing people affected. rebuild and revitalize poor questions about what NTI Residents fighting and working-class neighbor- was doing (and how it was today’s takings by the city hoods. But some people in doing it), and get a morato- are articulating both impor- those neighborhoods are ask- rium on the takings. tant theories of value and ing whether the city is remak- At heart were basic ques- different versions of neigh- ing their communities for tions about who benefited borhood past, present, and their benefit or someone and who suffered for the future than those used by else’s profits. sake of“development.” city officials. How can we Under NTI, the city of In 1950, 23% of Center get others to hear displaced Philadelphia used its power City residents were people residents’ sides of the story? of eminent domain and of color. By 1980, only 10% And, even more, how can other means to condemn were, and that number has we make sure that the city’s and acquire more than 5,000 continued to drop even as future hopes will not properties in the year 2003 the diversity of the city as a demand sacrifices—even alone, arguing that these whole rises. Between those thefts—from particular resi- were necessary steps to two dates, a series of urban dents? In order to address “save” the city, bring in new renewal programs had a these questions, PFP residents, and build a bigger massive impact on North worked with CLI to develop tax base. In 2004 the Philadelphia and Center a documentary video, I Community Leadership City. Writing a decade ago, choose to stay here, over Institute (CLI) and others sociologist Nancy the course of 2004. discovered that about 250 of Kleniewski found communi- Describing what is price- the impacted properties ty people’s feelings still sim- less and irreplaceable, resi- were occupied homes mering, condensed in their dents reckon value in con- whose residents were to be description of such pro- nection to a place over gen- relocated. Some residents grams as “urban removal.” erations, in terms of homes had accepted relocation As they saw it, “poor and and legacies that can last deals, but others did not non-white people have had and be passed on to one’s want to move from the to bear the brunt of the children, recognizing built neighborhoods in which demolitions and displace- environments filled with they had lived for decades, ment from redevelopment lifetimes of work and care. or even generations. Adding projects.” There is an Zinka Hoxha says, “It’s not insult to injury, much of this important body of scholarly just losing your house. property was taken without work about the decline of You’re losing your neighbor. any apparent plan in place Philadelphia’s industrial You’re losing all your years for redevelopment. That base and about specific eth- experience in that house. All [Continued on next page ➝]

2005 Summer/Fall WIP 5 i choose to stay here/continued from p. 5

that. Good and bad. They want him to move these homes are not pay- Whatever happened to you and take the property and ing enough taxes. through these years—it’s knock it down to make way there. That house—it’s for something else. Tata and Ramon Hernandez: everything to you.” This is On Bodine Street, a different calculus from where we used to live, Tata Hernandez: We lived the bureaucrats’ reckoning on that block, the RDA at 2150 Bodine Street, of monetary profit and (Redevelopment Authority) which was our house, loss. Following are was already sending all which was taken away excerpts from some of the these letters to all the from us. If we had a interviews. neighbors, saying they had choice, we would still be to move out, that they there. I miss it. There were Milagros Velez-Ardón: were going to give them four generations in our $20,000 for their homes, house. One time, an older When we moved to but that they had to move American guy was check- American Street, my dad out almost immediately. ing out the house. He said, bought that house and he And of course, those peo- “Don’t worry, I’m checking fixed it completely. When ple, they were like my par- it out because it was my he got it, it was completely ents. They came from a house 50 years ago.” He destroyed. There were different era. They didn’t said, “I made the house Rosemary Cubas, basically no walls and it know what was going on. new 50 years ago.” He told Victoria Howard, was just trashed. But you They were scared. They me, he was admiring the Elizabeth Segarra and Mildred Rivera in the know, he did buy the had no clue about what to house all over again. His CLI office, 2005. house and he put a lot of do about the situation. So mom used to live there, money into it. He fixed it a lot of them did move. too, and he raised his kids Zinka Hoxha and up himself, him and Don It has changed our there, too. We will never Rosemary Cubas shooting a video at Ramon, his neighbor. So perception of things. Now be able to talk about it like Zinka’s home, 2004. I had heard from one of we know the city can do that. I did not feel good my neighbors down the whatever they like. It’s like about what happened. A block that, “Oh, your dad’s we don’t have any rights, letter came. We knew it house, the city’s planning even though we get to was trouble, but we did to take it. You might get a vote. Because you know, not believe it—because letter.” I told my dad, and they say, “Oh, this is emi- things like that cannot hap- he did not believe what is nent domain.” But eminent pen. It was like a big sur- happening. My dad’s like, domain is supposed to be prise. We were in disbelief. “What are they talking for a public use, like a Ramon: I would never about? No, this can’t hap- highway. The city tries to have left. Everybody said pen because this is not a change things. They try to you can’t fight with the communist place! We’re change the meaning of city. I said, “I’m going to free here. Nobody can eminent domain. Really fight because it’s right.” come and take my home.” what they’re doing is My good memories are But little did we know that just—they do whatever when I started living there, it did happen. The city they want. They want to and of my mother. On the wants to move him out. move people out because other side of the house, I

6 WIP Summer/Fall 2005 had a grove of trees. It on in this area. And she racism. And we had a reminded me of Puerto was like, “You have to police district two doors Rico. I went around the come to this meeting. This down who never did any- neighborhood, and I chose is really happening.” And I thing about it. So it was a particular trees to rescue kind of didn’t believe her. I struggle just to get your from unclaimed said, “Wow, this really can education. You had those dirty lots. Those happen?” So that made me struggles in the schools were not typical more newsy and curious with the racism. And us trees for here—I about it. And then I start growing up at that time, it chose trees that realizing that it was real. was hard. It wasn’t until the were typical of They said they were gonna late 70s when all hell broke Puerto Rico. build a factory to give the loose and there was vio- Tata: And when community work, but we lence in that park 24-7 he went out know that’s not going to because the Latinos were there, it made happen. They bring their going to come and the him happy. And it looked own people. They always Latinos were going to stay. pretty. bring their own people. And now finally— Ramon: I worked more than They do not hire people because I say it from expe- 10 years on the garden. from the community. They rience, I’ve been here for 15 Tata: He always weeded moved this community, years on 2nd Street. And it and tended the grove, to destroyed this community, took me all that time, keep it nice, and to make and for what? And they’re through all these struggles, sure it wasn’t dangerous. taking a lot of our history to finally get that little sub- He planted all the trees on and throwing it away. urb that everybody’s going the street, even the ones Because the structures of so far to get. I got it right not near his house. these old buildings, are there, and I still can’t have Ramon: I carried them in wonderful—they’re brick. it, because the city doesn’t my car and I watered them The new houses they are want to give up the land to by hand, with a bucket. I building now are paper. me now. When they were built a casita and made it giving it away for nothing, look like a little house like Iris Torres: years ago! When they’re in Puerto Rico, an old-fash- giving it away to others ioned casita. I had it for They dealt us a bad hand to right now. And now we’re cute, for beauty. And peo- begin with. The reason why faced with the reality that ple were always over there. I say that is because it’s my home could be— There was grass and a been a struggle throughout tomorrow— gone. After all grove of trees, and flowers history, in the 70s, in the those struggles with the around the trees. The 80s, in the 90s, and now. I city to get that little piece of tourists would come! My grew up here. And so I land, my home could be house I fixed, too. I did it remember going to the taken tomorrow myself. We did it ourselves. schools, and it wasn’t easy. I didn’t use sheetrock, I did it You had to fight gangs so Rosemary Cubas: all the old-fashioned way, that you could cross streets the old way. I cannot forget just to go to school. You And people say, “It’s only my house because my life know, Stetson was one 249 homes.” But it’s 249 was in it. gang. You know—you families who have similar Tata: I still go around there. couldn’t get off the bus on histories to the ones that And I still have the key to 5th Street because that was we’re telling you. There are open the door. But then one territory of one gang. people who have spent you see it, and it is gone. You couldn’t get off on 6th three, four, five generations And when I go to my new Street because that was in their homes and are house, in my mind, I don’t another territory. I come being displaced. That’s see it; I see 2150 Bodine. down here, I go to Penn what we are talking about. Treaty. Penn Treaty—there’s It’s the displacement of his- Elizabeth Segarra: no gang, but all the white tory, and it’s not just a mat- people that surround the ter of memories. People’s Iris Torres was the first per- school hated the blacks and health is being destroyed son to knock on my door the Puerto Ricans who because when you destroy and tell me what was going went there. So there was their history, you destroy

[Continued on p. 30 ➝]

2005 Summer/Fall WIP 7 by Elizabeth Sayre

Joaquin Rivera, 2005. Photo: Elizabeth Sayre profile * artist We areare here to makemake changes:changes: pleñero Joaquin Rivera

Joaquín Rivera is an institution and a familiar face in Philadelphia’s Puerto Rican community, the third largest (after New York City and Chicago) in the mainland United States. Despite his many years of social and cultural activism, largely accomplished through musical performances in all kinds of venues, he humbly maintains that he is not a “real” musician, although clearly he is. His work in fact asks, “What is ‘real music,’ and what is music for?” and proposes answers: music is cultural memory, music is for everyone, and music exists to change people’s lives in a positive way.

8 WIP Summer/Fall 2005 Born in 1946 in Cayey, Puerto principally as an assistant to the Songs consist of a four-line Rico, Joaquín Rivera says he bilingual counselor at Olney chorus alternating with short, learned to play music relatively High School. The number of and sometimes improvised, late. Growing up in his Latino students at Olney has verses. The traditional hometown, which has since increased dramatically since his instrumental accompaniment been engulfed by the San Juan early years there, and Puerto includes the three panderetas— metropolitan area, he did not Ricans are now 35–40% of the the seguidor, segundo, and hear plena, which is native to student body. Rivera notes that requinto (the highest-pitched the coastal, sugar-growing Latino parents and students are drum, which solos over the areas where communities of asking for more and receiving combined texture of the other people descended from less than in the past, and that instruments)—and a gourd enslaved Africans are there is a great need for more scraper called a güícharo. concentrated. Rather, people in bilingual/bicultural staff at People dance to plena, but the Cayey played la música jíbara, a the school. dance steps are not as tightly Spanish-influenced music of the Music, once an activity tied to the drum patterns as Puerto Rican countryside, and constantly shared with friends they are in the other famous listened to tunes on the radio in Puerto Rico, became in Afro Puerto Rican genre, and jukeboxes: Cuban Philadelphia a way to fill his bomba. Says Rivera, “The plena guarachas, Dominican sense of cultural emptiness. rhythm is simple. We don’t keep merengues, pan-Latino boleros, Some Latino students at Olney a distance from the public; we and mariachi music from the were getting together and are the public.” Mexican film industry (“salsa” playing panderetas, the three Los Pleneros del Batey, with music as we know it today had frame drums that are the Rivera shouldering most of the not yet developed). As a principal instruments of plena. responsibility for the group, youngster, he dreamed of being This was Rivera’s introduction have played at innumerable a handsome charro (mariachi) to plena. He subsequently events in the Philadelphia area: with a big singing voice, like learned more about it by talking parrandas at Christmas, Mexican film idols Jorge to players on the mainland and community celebrations of Negrete and Pedro Infante. Too the island. He and the students Three Kings’ Day (January 6), poor to buy an instrument, he maintained a group at school the Feria del Barrio (a would follow musicians around and at Christmas decided to community festival held for 25 and carry their instruments in carol the classrooms, explaining consecutive years in the Fairhill exchange for learning a little to non-Latino students how section), the annual Puerto about how to fret chords on the Christmas is celebrated in Rican Day Parade, and rallies for guitar and the 10-stringed Puerto Rico by singing the local Latino politicians, among cuatro, considered by many the music of parrandas, a traditional others. They have appeared on island’s signature instrument holiday style. During the same WYBE, Channel 35, and on and a powerful symbol of period, he began to rehearse “Puerto Rican Panorama,” Puerto Rican identity. informally with some friends in Diego Castellanos’ cultural In 1965, Joaquín Rivera came a grocery store at Howard and show on Channel 6. They have to Philadelphia, following his Cumberland, adding panderetas played at schools, community mother, who had re-located two to the parrandas music they and senior centers, hospitals, years earlier. He found it hard to were practicing. These and prisons, where, Rivera adjust to the differences in rehearsals were the genesis of reports, their music produces climate, language, and culture, los Pleneros del Batey, who smiles, tears, dancing, singing, particularly the more distant have now been together for and hugs from grateful relationships with friends that almost 20 years. Batey means audiences. They played at were considered normal in this "yard" in Taíno, the language of Harvard University the year large city. For five years he the indigenous people of Puerto Ruben Blades (Panamanian sewed and laminated fabric in a Rico, so the group’s name salsa superstar, lyricist, actor, factory at Kensington and means, roughly, “the musicians and political candidate) received Ontario Streets. Having learned from around here.” his law degree, and in English in night school, he Plena music, originating in Washington, DC, supporting earned his GED at the Berean late 19th-century coastal Puerto Jesse Jackson’s candidacy for Institute and later took classes Rico, is sometimes called a president in 1988 and protesting at Community College and singing newspaper, with lyrics the U.S. navy’s bombing Rutgers University. For the last commenting on events of the practices on Vieques island in 33 years, he has worked for the day, from political corruption the late '90s (subsequently School District of Philadelphia, and scandal to natural disasters. halted). They play anywhere

[Continued on p. 26 ➝]

2005 Summer/Fall WIP 9 < by Bill Westerman

sepak takraw

hen the weather is as it is commonly known States as young adults, warm enough, and played, is basically practicing by kicking a ball one of the most volleyball but without the suspended from a tree graceful sports in use of the arms (with the and learning through point of view Wthe world is sole exception of the toss watching other players.

> played in the small park at to the server to begin play). Neighborhoods in Reading 6th and Wolf Streets. The The hollow ball, which and Minneapolis have game is barely known in weighs about half a pound, Hmong players as well, America outside the is made of woven rattan. A and you can also find Southeast Asian immigrant team consists of three takraw where there are communities where it is a players on a side: a server, Thai and Burmese passion. Young Lao adults a spiker, and a setter, who communities, but it is the come together in the late feeds the ball to the spiker. Laotians in America who afternoons, when their Either the setter or the have made the sport their factory shifts end, for spiker can toss the ball to own. The South Philly park games of sepak takraw, a the server, who serves an even contains a significant Southeast Asian form of entire game. contingent of Lao Players spiking the volleyball played with the The game is played immigrants who were ball during an East feet and head. They may professionally in Thailand, resettled in Argentina in Coast takraw tournament, 6th play all day on weekends, Singapore, and elsewhere the early '80s and have and Wolf Streets, while local entrepreneurs throughout Southeast Asia, more recently been moving Philadelphia, barbecue meat and sell and a move is afoot to get to this city. They grew up August 2003. papaya salads, and families Photos: Bill it accepted into the playing soccer (even Westerman bring out lawn chairs to Olympics. World though there is an watch the young men fly championships for men Argentine association of through the air. Sometimes and women are held in futvoleibol, as it is known spectators videotape the Thailand every year, and there) and took up takraw matches for future the Asian Games include in Philly. Needless to say, enjoyment. takraw every four years. they play in a style Sepak takraw emerged In Laos, which is too resembling soccer, with in either Thailand or poor to send teams to extensive use of their Malaysia, or perhaps in international competitions, heads both defensively and some form in both. The the game is a popular offensively. Every summer, name is an interesting participatory sport. Laotian tournaments in Minnesota, linguistic hybrid: sepak refugees brought it to Lowell, Mass., and means "kick" in Malay; America in the 1980s Philadelphia draw teams takraw refers to the ball in and 1990s. from all over the Northeast Thai. Written sources differ Most of the players in and Midwest; an indoor on the game's origins but South Philadelphia were wintertime circuit is place the first mention of born in Laos or in Thai emerging as well. the sport between the 11th refugee camps but learned Players speak of the and 16th centuries. Takraw, the game in the United game with an insider's

10 WIP Summer/Fall 2005 Acrobatics & freedom: in a south philadelphia park proud appreciation of its of Pete Sampras. Local might admire a dancer or beauty. At a tournament players in South an improvisational in Philadelphia, I met Tee Philadelphia were quick to musician. Rathida, a 26-year-old point out the athletes If asked, the player or athlete from North Carolina. whom I should look at and viewer will typically say He told me he likes the photograph: "Be sure to takraw is fast, acrobatic, sport's combination take pictures of Number 9," exciting; it relies on an of volleyball, soccer, they told me during one almost inhuman ability to gymnastics, and martial arts. tournament, recognizing a fly upside-down; it requires Seeing takraw played by visiting player from skill, timing, spontaneous young Laotian refugees in Minnesota whose leaps decisions, fast reflexes, and South Philly’s Roosevelt were high and who seemed so on. As in the description Park more than 10 years to float in the air, with well- of any sport, those are ago when working for the extended limbs that aesthetic judgments based Folklore Project, I found it propelled his leg to its full on a comparison with more captivating and acrobatic. kicking force. And yet when quotidian rhythms and The most exciting and I asked who was the best forms of movement; sport effective play of the game is player in South Philly, is removed from the the kill, when the spiker players unanimously movement of everyday life. leaps, usually doing a flip pointed out a young man We are all critics when it backwards in the air, and named Et, adding, “He comes to sports, choosing spikes the ball down with never kills the ball, though.” the games and the athletes the full force of the leg and As I watched him, I started with aesthetic qualities foot, sometimes even to get a sense of the that move us, for whatever landing on one foot as well. complexity of native psychological or It looks like what is known aesthetics. They admired physiological or cultural as the bicycle kick in soccer, him for his speed and his reason. The West Indian although it is done with reflexes, of course, but also cultural critic C. L. R. James, repetitive precision. The for a high degree of in an analysis of the other team tries to block the spontaneity, skill in aim, aesthetics of cricket, wrote spike and send the ball back and creativity in split- that “the sense of form… over the net, usually with a second strategic judgment is not a gift of high leg lifted high in a jump about ball placement and civilization, the last (counting on luck to stop force. It’s not all about achievement of noble the ball) or with the back (a power. The most admired minds. It is exactly the broader target, but with no player is not just fast—he’s opposite…the significance force to return the ball) for a clever. Et also clearly enjoys of the form is a common defensive win. himself when he plays, and possession.…[T]he faculty Native player the vicarious pleasure of or faculties by which we assessments consider the being a spectator depends recognize significant form kill the most important in part on the players' in elemental physical action feature of expert play, enjoyment. Spectators is native to us, a part of the although international-level admire not just acrobatics process by which we have players know that the serve and power, but the become and remain can also be an offensive swiftness of the athlete's human.” Local knowledge asset, akin to the serve intelligence, just as one will tell you that sport is [Continued on p. 28 ➝]

2005 Summer/Fall WIP 11 Those Indians had many ways of dancing and merrymaking to celebrate the religious fiestas of their gods, composing different songs to each idol according to his importance and greatness. And thus many days before the feast days came, there were long rehearsals of songs and dances for that day; and with each profile new song they brought out different * costumes and ornaments, with mantles and feathers and false hair and masks, according to the songs they had composed and what they were about. —Fray Diego de Duran, Historia de las Indias de Nueva Espana, 16th century

artist Already we are playing our flowered drums. This is our duty on the earth. —Aztec poem, c.14th century

Brujo de la Mancha and others prepare the ofrenda. The scene is a parking lot in front of Hollywood Video on Washington Photos: Meredith Avenue in South Philadelphia. Here, on a hot Sunday afternoon in August 2004, Rapkin the flowered drums of the ancient Aztecs were heard again. And the duty to play

them was assumed by a serious and passionate man accompanying a group of

costumed Mexican dancers who moved ceremoniously and elegantly to the

rhythms he beat out on a huge drum made from a tree trunk found in Fairmount

Park. Invoking the old gods of Tenochtítlan (the pre-Spanish Aztec name for

Mexico City), the dance increased markedly in energy and complexity over the

course of the hour-long performance. A predominantly Mexican audience studied

the dancers intently. The same dancers would be seen again a month later on the

big stage at Penn's Landing, part of the Diez y Seis de Septiembre (Independence

Day) celebration. Sponsored by the Mexican Consulate, Diez y Seis draws

thousands from the Greater Philadelphia area. As the flowered drum sounded

once more, a grito, a shout, went up, and hundreds of celebrants exuberantly

rushed the stage to gain a spot closer to the dancers.

12 WIP Summer/Fall 2005 by Kay Turner The dance is an offering: Ollin Yoliztli Calmecac

These dancers are part of a and celebrations take their folk Catholic saints as its source rapidly growing Mexican place in a system of folkways of symbolism and belief. The presence along the Eastern that transfers old meanings to a widespread cultural revolution seaboard, in large cities like new place. of the 1960s led some Philadelphia and New York, and Many of the Mexicans in concheros to abandon their in smaller places in western South Philadelphia hail from Catholic affiliation and New York State, New Jersey, San Mateo Ozolco, a town performatively reclaim the pre- Pennsylvania, and elsewhere. outside the city of Puebla, Spanish past. (An older and more established where Nahuatl, the pre- Danza azteca is relatively rare migrant community lives and Hispanic Aztec language of in the Northeastern United works, primarily in agriculture, Central Mexico, is still the first States. It can be seen in in Kennett Square, near language spoken. The retention Philadelphia thanks to a Philadelphia). Much of the new of Nahuatl signals a kind of remarkable group called Ollin migration comes from the State cultural resilience. Centuries Yoliztli Calmecac (OYC), formed of Puebla in Central Mexico. after Cortez and his coterie of here in Philadelphia in 2003 and Where the Kennett Square conquistadores claimed what is led by its founder, Daniel Mexican community is the now Mexico City and "Chico" Lorenzo and artist Brujo backbone for state mushroom decimated all that preceded de La Mancha. The lead and agricultural industries, the them, the legacy of the Aztec drummer for OYC, Daniel is newer migrants, based in the nation has never been eloquent and knowledgeable city, work primarily in the forgotten. The historical and concerning Aztec history and construction and service archaeological records are rich culture. After moving from industries. Many are men in artifacts, codices (books), and Puebla to Mexico City in 1985, between the ages of 18 and 30 arts that tell the story of life he studied pre-Hispanic culture who have come to earn before the Spanish and both at the Simón Bolívar Institute American dollars for their popular and folk traditions have and at Casa Tlaxcala. He also families back in Mexico. U.S. preserved and perpetuated had the instruction of Tía immigration policy limits the knowledge of the Aztec era, Candelária, his father's sister, a amount of time Mexican creating a usable past that charcoal seller in the Mercado, migrant workers can legally fuses history with identity. who taught him about Nahuatl stay here and makes it harder One manifestation of this is customs and instilled in him a for them than for other danza azteca, a stylized form of profound sense of the transnational populations to ritual dance appropriated from importance of respeto (respect). achieve legal status. the past to serve the present. Born in Mexico City, Brujo Consequently, this young Practiced primarily in Mexico has lived in Philadelphia since community is both transient City and seen most frequently 1998 doing construction work and in transition. Displacement at the great zocalo in front of and teaching art classes. His and deportation are abiding the cathedral there, groups of father was from the State of issues. As a relatively new, dancers costumed in dramatic Veracruz; his grandmother, a expanding, and unassimilated Aztec regalia simultaneously deeply traditional woman who population facing social and perform rigorous dances that spoke Nahuatl, Tojolobal and economic instability, the city’s re-imagine and reclaim the Spanish, brought him to the Mexican community, now more majesty and spirituality of the country for holidays like than 15,000 strong, relies on classic Aztec period (13th-15th Semana Santa (Holy Week) and forms of expressive traditional c.) and of the Aztec forbearers, Día de Los Muertos (Day of the knowledge—folklore—to create Chichímeca and Olmeca Dead). Brujo's time in Xico, a solidarity and to signal the cultures of the North. Today small pueblo, was formative. proud claim of mexicanismo: danza azteca is recognized as He loved the drama of Catholic the sense of being Mexican. an offshoot of conchero dance, feast days. His grandfather, Mariachi music, piñatas, also based in ritual and who farmed in Veracruz, often tamales, posadas, and other ceremony reflecting indigenous dug up and brought home little crafts, foodways, processions, history and values, but using statues and bits of pottery from

[Continued on p. 29 ➝]

2005 Summer/Fall WIP 13 We shall not be moved: exhibition * Thomas Morton’s

pfp photographs of 30 years of ODUNDE

Founder’s statement by Lois Fernandez

I want this exhibit to show what ODUNDE has done for our people in the city. Folks in ‘75 after the Black Power movement were saying “We’re Black.” And we were saying, “No, we’re African people. Black is a color not a people.” So we had to come up under that. To be able to tell people that you are African people, as my father told me as a child. And I hope we can move for our people to be able to claim, Above: Kulu Mele drummers, “I am of Yoruba stock, or from Omomola Iyabunmi. Nana Korantemaa Ayeboafo, Ghana, or Cape Verde.” ODUNDE and others lead the has contributed to that learning procession to the river. process of our people, to know what Right: Women of Kulu Mele in a moment before it is to be of African descent, that we performing. are Africans here in America.

[Continued on p.17 ➝]

14 WIP Summer/Fall 2005 2005 Summer/Fall WIP 15 16 WIP Summer/Fall 2005 odunde/continued from p. 15

This is the peoples’ festival. dedicate this show to his memory. same time all day! But this is The people made it. We could not what I try to do. Get into the have done it without the people. Photographer’s statement action and look for the light. Make no mistake about it. It has by Thomas B. Morton Taking and sharing my images is certainly not been easy. It was my own participation and my always for the culture. It was As the 30th anniversary of the own personal celebration of the always for the people. So when ODUNDE festival arrives, I look at public celebration of our deep people wanted to kick us off the 35 images in this exhibition unity that transcends both “race” South Street, we had to use and I am reminded why I am at and place. ODUNDE in the first place. It is survival skills. This is our These are reflections, images the people, the purpose, and the neighborhood. This is our of my experience. I am only unbridled pride and beauty. community. The souls of our one of many, many ODUNDE Broadly speaking, the purpose, as ancestors are on South Street. photographers and fortunate I see it, is to remember, celebrate, And that’s why we took our to be in the mix. stand—that we would not be and recommit us to ourselves as moved from where ODUNDE ourselves. Also: to recommit to Curator’s statement started, in an historic African everyone and everything that has by Debora Kodish American neighborhood. and will ever have a heartbeat. Looking through 3,000 The procession is what sets us I find strength and renewal photographs made by apart from other festivals. The each year in recognizing our Tom Morton at ODUNDE over procession attracts folks from all unbroken family ties across time three decades, I am pouring walks of life. Everybody goes to and space—whether we know through a remarkable family the river and they make their the latitude and longitude of our album. Photos trace peoples’ offerings and we have a African home village or not. I am lives over time and mark passing commonality there. Thirty years always struck by the leaps at will generations of participants. These ago, people thought we were across time and space. Afro- are precious photos, preserving pagans, heathens. People said, Philadelphia seems an images of an event that has “Going to the river? To do what?” incongruous but fitting locale for become a central annual We always said, “The river is an such an event: Philadelphia, observance for many, fixing in element. It is Oshun that U.S.A., “The Philly Dog,” and our minds’ eyes people who symbolizes that power.” “The Philadelphia Negro.” But the homeland is where we are were important in crafting rituals Oshun has sustained us for 30 and we are all over. Home is with meaning, keeping memories years and that is why we are where the beat is. vivid. I hope that this exhibition, here. And the spirit of Oshun is The eternal present of the in pulling together even a small what is felt there—you see it in sampling of photographs of such the peoples’ faces. You go up on universal symbols of life and spirit—including color, water, feeling, significance, and beauty, Opposite page: the bridge, you come down on Lois Fernandez fruit, touch, percussion—and our helps to convey something of the bridge and all of these what ODUNDE means to on the South greetings—you get all this collective ori and ase at our Street bridge, so many. during feedback. I can’t do anything but crossroads together help Tom Morton has always ODUNDE. feel it. It is the power of Oshun ODUNDE transcend, enhance and spoken of how he “is given” that comes down. elevate its context. The ODUNDE experience for me is a spiritual photos, rather than “taking” I can only say it was the spirit homecoming, but I am still alive pictures. This is modesty on his that moved in me that moved me to enjoy it with others. part. His appreciation and to do it. As I look back, when I knowledge of African Diasporan met the Yoruba in New York— The unencumbered deep pride of self, purpose and the experience and his long-time when I first saw them, I was connection to the people and moved. I felt it in my guts. And I overwhelming beauty I feel—I just can’t help but try event allow him to see, talked to them. And I watched the recognize, and understand the women with all those bracelets to communicate it. These photographs were not actually “gifts” around him in complex on their arms. I changed my and stunning ways. His whole dressing style, then finally I meant to clinically “document.” They were just supposed to be photographs are loved and changed my whole wardrobe to valued within the community African. That was one of the ways true and representative of the moment. I find that the hardest partly because he helps people that this started. Nana Oserjeman see who they know themselves was one of those who first opened thing is to focus on one moment when there are literally to be. He gives people my eyes, there, with the first unparalleled images of their most Yoruba temple in New York City. I thousands of “moments” at the [Continued on p. 27 ➝]

2005 Summer/Fall WIP 17 < arabicsong, flamencofootwork: art happens here >

MIchele Tayoun, Maria he eighth-century instruments, and dance. The can discern decisively Arabic del Chico and Anna Moorish invasion of richness of the Andalusian traits or themes that mixed, Rubio in rehearsal. Photos by James Spain from North arts left an indelible mark along the way, with Gypsy, Wasserman, 2005 Africa resulted in the on Spanish culture, one Berber, sub-Saharan African, T rise of the Arab reflected in, among other Jewish, Christian and other kingdom of Al-Andalus things, the art form known influences in that uniquely (Andalusia) on the Iberian as flamenco. Cante, Andalusian combination of Peninsula. The kingdom’s flamenco song, is the races, faiths, social classes, rule of more than 700 years life-blood of the art, and cultures. gave rise to a distinct accompanied originally only For the past couple civilization, noted by poets by claps (palmas) or other of years, members of and scholars as one of great percussion. Later, guitar was Philadelphia-based splendor and brilliant artistic added. In the 19th century, Flamenco del Encuentro, development. People in a dance became an important under the artistic direction of range of social strata part of the flamenco sphere Anna and Tito Rubio, have were expected to be as well. In flamenco immersed themselves in accomplished in song, the rhythms, and in the songs explorations of flamenco’s playing of musical and vocalization styles, one Arabic lineage, playing with

18 WIP Summer/Fall 2005 by toni shapiro-phim herencia arabe

overlapping and alternating traditions and practices. East. Michele is best known flamenco and Middle Flamenco dancers Anna in her Lebanese (and the Eastern rhythmic, melodic, Rubio and Maria del Chico broader Philadelphia Middle and movement patterns, have been working in Eastern) community as an and with interpretive fusion partnership with Michele accomplished performer of as well. To this end, they Tayoun, a dancer of raqs sharqi, Arabic for formed the Herencia Arabe Lebanese heritage steeped “Oriental Dance” or, what is Project, in which musicians since early childhood in the often called “Belly Dance.” and dancers collaborate to dances and music of North Some of the musicians in uncover resonances Africa, the Arabian [Continued on next page ➝] between these artistic Peninsula, and the Near

2005 Summer/Fall WIP 19 Anna Rubio, Maria del the project (Spanish-born and intrigued by the artistic alegrias flamenco rhythm. Back Chico, Michele Tayoun, flamenco guitarist Tito Rubio, possibilities he intuited simply and forth, he (of Andalusia, Roger Mgridichian (on oud), Antonia Arias, Lebanese-American percussionist from hearing her melodies. having been born and raised in and Tito Rubio (guitar), Joseph Tayoun, and Armenian- During one rehearsal of the Cordoba) and Michele clapped, in rehearsal. Photo: American oud player Roger Herencia Arabe Project, in sang, clapped some more. James Wasserman. Mgrdichian) got a jump-start on preparation for a show at the Antonio stood up and everyone’s their collaboration last year Annenberg Center, Antonio called gaze followed. He set up a with support from the PFP’s Michele over to the chairs pattern in which the rhythm Musicians-In-Residence program. arranged in a semi-circle in the would switch back and forth The group’s singer, Antonia Arias, rehearsal studio. “Would you between seven beats, and 12, who studied flamenco song in sing for me?” he asked her. with Michele singing during the Seville last year, is the daughter “Anything in particular?” she 7-beat section. Michele stood of Anna Rubio. Michele Tayoun asked in return. He wanted facing him, and continued with has been contributing her vocal something in the Andalusian her song. Antonio danced, his skills in Arabic song to the Arabic style he had heard lightening-fast steps pounding in ensemble’s work as well. Michele rehearse earlier. She absolute precision. Indeed, it was Michele’s singing obliged, and began a song. As When twenty minutes of this that inspired the development of Antonio listened, trying to tease kind of experimentation—with a new dance sequence when out the rhythm by clapping his input from everyone else in the visiting flamenco dancer hands together and on his chest, room—had passed, a new extraordinaire Antonio Hidalgo of the others at the rehearsal started performance sequence had been Spain was in Philadelphia this gathering around. They could born. Tito turned to me and said, past May. He had come to work sense that a special process was “This is what it is all about. with Flamenco del Encuentro unfolding. Antonio had Moments like this, when it all in master classes and recognized that this style of makes sense. When it is, performances, and became Arabic song meshed nicely with a beautiful.” enamored with Michele’s voice, solo he was preparing to the Contexts for belly dance and

20 WIP Summer/Fall 2005 Arabic music, in the Middle East the reverse of that (arms moving and here, include weddings, in a backward circular motion) for community festivals and Michele. In the closing passage of nightclubs, as well as theaters their performance, they chose to and concert halls. Flamenco, too, include a chorus, a jaleo (literally, is in clubs and restaurants, on “scream”) in which all the The Philadelphia Folklore small and large stages, and in dancers, and singer Antonia, are people’s homes. Both belly dance on stage, singing and clapping. Project has been support- and flamenco involve a softness This is a traditional way of and flow of arms and fingers. Yet finishing the Jerez style of ing the Herencia Arabe articulated movements of the bulerias por fiesta, the final pelvis distinguish belly dance, flamenco rhythm of the show. Project’s rehearsals this while percussive footwork is a In reflecting on this year as part of our Dance core characteristic of flamenco. collaborative experience, Michele Posture is different, too. A told me, “I think it’s unique. And Happens Here initiative. flamenco dancer holds her we can’t, shouldn’t, let it go. I love shoulders down and back, chest working with this group of With funding from Dance lifted. A belly dancer tends to people. Everyone has strengths Advance, a program of keep her shoulders more relaxed. they bring to it. I enjoy the Some styles of belly dance creative and artistic aspects so The Pew Charitable performance can include much. I keep thinking about how movements executed while on to change things. I see a lot more Trusts, administered by one’s knees, or on the floor. With that could come out of it, in terms flamenco, it is the relationship of the dance and the vocals, and the University of the Arts, between the feet and the floor even the costuming.” Tito chimed and from the that is a constant. Improvisation in: “ This piece [for Herencia is a hallmark of both belly dance Arabe] is in its infancy. It’s green. Pennsylvania Council on and flamenco. However, whereas We have to keep asking the belly dancer performs a kind questions and challenging the Arts, the National of conversation with the ourselves.” “Everyone in this percussionist, with the dancer, at ensemble respects each other, as Endowment for the Arts, times, providing the melody, the artists and as people,” said Anna. and PFP members, Dance flamenco dancer responds to the “There’s incredible support.” singer, and the song. In the Happens Here aims to tangos section of the Herencia —Toni Shapiro-Phim Arabe performance (tangos is offer opportunities for one flamenco rhythmic pattern), Michele had to learn to dance to accomplished artists to the song, as opposed to the engage in meaningful and drum, as part of their collaborative process. constructive artistic Within Herencia Arabe, the dancers develop and present development. discreet flamenco and Middle Eastern dance sections, along with parts in which they incorporate both types of movement. In choreographing the opening part of their May performance, dancers emphasized aspects of each other’s dance traditions that are complementary. For example: alternating left and right arm movements that trace an almost circular pattern in the air from just behind the ear, over the head and out in front, and up along the chest for Anna and Mariah, and

2005 Summer/Fall WIP 21 program * pfp

by Toni Shapiro-Phim Chamroeun Yin Folk arts & and his students. Above is dance student Monique Van. Right: Chamroeun and multicultural Anna Koy. Photos: Toni Shapiro-Phim education: notes on a folklore project program Over the course of a year, Miriam helped connect what the at Southwark, Chamroeun arrives roughly a dozen traditional artists students learned in their two and a half hours before his enter classrooms and community residency sessions with after-school dance class is set to sites to work intensively with Chamroeun to broader learnings begin. Stationing himself in the young students as part of the throughout the school day. auditorium (where he will teach), Folklore Project’s 10-year-old Folk The collaboration between he pulls yards of velvet and silk Arts and Multicultural Education Miriam Hershberger, Chamroeun and bags of gold and silver (FAME) program. In addition to Yin, and the Folklore Project is as sequins and colored beads from teaching technique, respect for a model of what we strive for in his backpack. He spreads the culture and tradition, discipline, our FAME programs: a collective cloth across a table so as to catch and persistence, the FAME valuing of traditional art as an the afternoon light from the huge program builds community in the important way of knowing and of windows lining the wall. He puts form of connections between and constructing knowledge, and as a on his black-rimmed glasses and among students, teachers, joyful activity; a dedication to begins the painstaking task of parents, community members, consistency and mentoring that embroidering pieces that will go and the many people at different helps students build meaningful together to make up Cambodian sites who have helped to support relationships with accomplished dance costumes. Miriam would the program. teachers; and a commitment to stop in to share news about the dance students and discuss In the fall of 2001, Miriam the importance of technique as performances or demonstrations, Hershberger, an English as a well as respect for and if any were in the works. Or she Second Language teacher, understanding of the art and would inform Chamroeun about became our partner in the FAME artist. In March of this year, the school testing or conference plans program at Southwark Philadelphia Folklore Project lost that necessitated rescheduling of Elementary School in South a valued colleague when Miriam his classes. Or she would assist Philadelphia. There she set the Hershberger was killed in a tragic him with paperwork and English- stage so that Chamroeun Yin, an accident. It is impossible to begin language or cultural issues. accomplished Cambodian this description of our FAME classical dancer and costume- program without remembering As he sews hems or stitches layers of sequins and beads into maker, could immerse his young her and lamenting her passing. specific designs, Chamroeun charges in the intricacy, grace, She made a great difference to makes himself available to and history of Cambodian dance us, to the children, and to this students who pass by the free from worries about program, and she will be classroom management or the greatly missed. [Continued on next page ➝] logistics of scheduling and space. On a typical arts residency day

2005 Summer/Fall WIP 23 folk arts education/continued from p. 23

auditorium. His dance students the dancers and dance teachers teenagers and adults. and others come in to observe who came before. In this way The study of an art form is a and ask questions about the they recognize their place in a serious and demanding materials, process, and end long cultural and artistic lineage. undertaking. Cambodian classical results. He is inevitably still Though Chamroeun doesn’t dance, like other arts, involves working with the cloth when his instruct his students to make the use of multifaceted symbols 10 students arrive at 3:10. He elaborate banana trunk and leaf (nonverbal and verbal) to explains to them the variety of offerings to him or present him communicate meaning. Like costumes in Cambodian classical with incense and candles—as mathematics and language, art dance and the symbolism of the students do on Thursdays, requires fluency in specific designs that adorn the garment “teachers’ day” in Cambodia—he symbol systems in order to gain he is working on. nonetheless expects them to mastery. Moreover, dance, These young students—from maintain a certain decorum in poetry, storytelling, painting, grades one through five—got to class. Miriam, who spent years in quilt-making, music, and so on the auditorium on time because Southeast Asia and had visited represent ways of constructing Miriam Hershberger would go to Cambodia, was attentive to this knowledge based in imagination their classrooms to make sure aspect of Cambodian dance. She, and creativity. In addition to that they were on the right track Chamroeun, and PFP staff imparting specific technical and for the day. (Most were not in her developed a set of behavioral expressive skills, the study of an classes.) When they arrived, they expectations for the students, art form (in our case, a traditional would find a snack set out for emphasizing respect for the art, art form) can connect people to them. Chamroeun, Miriam, and the artist/teacher, their history and a range of meanings PFP staff felt that it was crucial to surroundings (i.e., the school), about the art and its cultural offer the children some food and their fellow students, and context. a drink before starting the 90- themselves. Thus they would Chamroeun, PFP staff, and minute class at the end of a long prepare for Chamroeun’s first Miriam have provided Southwark school day. Miriam arranged to instructions of the day by sitting students over the years with have snacks supplied by the attentively on the floor of the opportunities to engage with school, and she would often stage, two rows of children Cambodian folktales and bring treats she had baked facing front, legs bent and folded traditional paintings, history, and herself, sending bags of extras to the side. mythology while learning about home with each student. Even the culture of dance training and Chamroeun begins with a snack time was learning time, as performance in Cambodia. FAME series of exercises to prepare the designed and carried out by has always focused on teaching students for the rigors of Miriam. The children were and learning, but it also includes Cambodian classical dance. They expected to sit politely, clean up support for public performances flex and stretch arms, fingers, after themselves, and be fully and exhibits. Miriam was and hip joints. They must keep ready to focus on Cambodian steadfast in her dedication to dance when the class began. So their backs arched, their helping the students share their she would usher them to the shoulders down and open, and achievements with their other bathroom and make sure that, their toes flexed throughout. The teachers and peers at Southwark, once back in the auditorium, they aim is to build up both strength and with their families and the had their shoes off and were and suppleness. Because they broader community. Most (not seated appropriately on the meet just once a week to study— all) of Southwark's Cambodian wooden stage at the start of it used to be twice a week, but dance students have been either the lesson. school district requirements for immigrants from Cambodia or The teacher-student certain after-school programming the U.S.-born children of recent relationship in Cambodian dance now preclude an extra day—the immigrants. Parents of is complex, highly formalized, students are encouraged to participating students come to and a central part of the practice practice this routine at home as observe classes and have of this art. The Cambodian word well. The next exercise covers the expressed appreciation at this for teacher, kru, is the same as basic movement "vocabulary" of acknowledgment of their the word for spirit. In Cambodia, Cambodian dance. Chamroeun personal history and culture. even the youngest dance has been working this year on Miriam made a point of involving students (about the same age as moving his students, some of the parents in decisions those in Chamroeun’s Southwark whom have studied with him for regarding open recitals or other class) perform ceremonies that four years, from basic children’s performances and eliciting their honor not only their present dances to the more demanding feedback and input regarding the teachers but also the spirits of all classical pieces performed by program in general. This is

24 WIP Summer/Fall 2005 African ones in class. The group work and attention to detail, and the relationship between construction of and performance on an instrument, point to still more ways in which an arts residency can challenge students to synthesize and evaluate what they are learning and doing. FAME programs are designed with the artist’s development in mind as well. It is important that the artists articulate their own goals—for the students as well as for themselves—and that these classes be a part of the holistic picture of their creative lives. For that reason, PFP works with these artist/teachers outside the FAME another of PFP’s priorities in enrolled there as well.) program: offering technical Monique Van, Christina Koy, and Elizabeth Dy, establishing and running FAME Mogauwane and Wilda, along assistance in maneuvering Chamroeun Yin’s programs: when we work in a with PFP staff, developed a through the grant-writing and students at Southwark school setting, we try to involve program in which the students project development spheres; performing “The Bird Dance” in their April the students' families as much as constructed their own supporting some with non- New Year recital. Photo: possible in the project. We value instruments and learned to play teaching residencies that allow Toni Shapiro-Phim the community engagement, them. In groups of three and four, time and space to build on their from which we, too, benefit they made sekeres, beaded gourd work, alone or in collaboration and learn. instruments that add a percussive with others; and helping to Another of our school-based beat to many of the musics of arrange or produce community arts residencies this year took Africa. Required to measure and concerts or exhibits featuring place at the Newcomer Center at knot colored nylon string in these artists and their arts. Over South Philadelphia High School, exacting patterns, the students the past couple of years, both just as winter was slowly pulling chose the color design but had to Chamroeun and Mogauwane to a close. In February and March follow their teacher’s instructions applied for and were awarded Mogauwane Mahloele, musician, precisely in order to achieve the fellowships by the Pennsylvania singer, songwriter, and right sound. More than one Council on the Arts, and instrument-maker from South student had to undo 15 or 20 Mogauwane was one of our Africa, taught an intensive 10-day minutes worth of painstaking featured Musicians-in-Residence residency to students gaining work when they (or Mogauwane) in 2003-2004. proficiency in English before realized that they had missed a Kim Houn, an aide at moving on to regular high school knot, or tied one too loosely, or Southwark, has taken over programs. Mogauwane has had put on one too many beads. Miriam’s role for the rest of this worked with students at the Once they finished the sekeres, school year. Chamroeun and his Newcomer Center before, and the the students learned a rhythmic students, along with Kim and the teachers there kept asking for him pattern and song. When parents, prepared for a to return. Wilda Hayward plays Mogauwane teaches a song in Cambodian New Year assembly the same role at the Newcomer SePedi, the language of his in mid-April. The entire student Center that Miriam did at BaPedi people, he asks the body experiences not only Southwark—that of “site students to share a song of the Cambodian classical dances coordinator” for our FAME same genre (a lullaby, for performed by their classmates (in program. She is tireless in her example) from their own costumes made by Chamroeun), pursuit of meaningful and background. Sometimes an but also stories of the New Year constructive experiences and intensive exposure to the arts of and its place in the annual cycle projects for her students, most of another culture inspires us to look of nature and Cambodian spiritual whom are recent immigrants at our own cultural heritage and beliefs and practices. In the past, from war-torn countries of West practices in a new light. Students Miriam coordinated these events, Africa, such as Liberia and the at the Newcomer Center brought always including the parents of Ivory Coast. (Southeast Asian and in stories and songs from home Latin American students are after being introduced to South [Continued on p. 30 ➝]

2005 Summer/Fall WIP 25 joaquin rivera/continued from p. 9

they are invited and needed; says year. “We needed to do what is not right. We are Rivera, “If it’s for the people, I’ll something,” he says, “to create a here to make changes.” do it.” Just this spring, he played day of percussion.” Discussions at the funeral of Richie Pérez, a began in 2002 at the Church of —Elizabeth Sayre renowned New York labor activist Christ and St. Ambrosio at 6th and one of those who draped the and Venango, where Rivera leads Elizabeth Sayre has Statue of Liberty with the Puerto music for services and holiday performed, written about, and Rican flag during a protest action celebrations. He and other organized events around in the 1970s. In fall 2005, he will collaborators created the Afro-Latin and African music for play at Taller Puertorriqueño Coalición Pro-Folklore fifteen years. She has been a when Lolita Lebrón comes to Puertorriqueño and sought the lecturer in Music History at speak. Now 85 years old, she was sponsorship of community Temple University, director of one of four Puerto Rican activists organizations la Asociación de AMLA’s community music jailed for 25 years for firing shots Músicos Latinos Americanos school, and staff in the U.S. House of (AMLA) and Taller Puertorriqueño ethnomusicologist for the Representatives in 1954. in order to get the festival off the Philadelphia Folklore Project. One community leader ground. This year, the festival commented to Rivera, “Joaquín, included performances by groups you are the only one who has the from New York and Chicago, as guts to sing those songs”—lyrics well as appearances by local NOW AVAILABLE! that express Puerto Rican groups Philareyto and Raíces FOR SALE: $10 nationalism or comment on social Borinqueñas, children’s group and political problems. The Grupo Tambueno, José Cátala Pleneros sing both well-known from Camden, and los Pleneros traditional plenas, such as “Que del Batey, not to mention many ODUNDE bonita bandera,” and their own opportunities for audiences compositions. Rivera has written to sing, dance, and play. tunes about cultural icons and This year, Raíces Culturales 30TH ANNIVERSARY figures such as Yuki-Yu, the Latinoamericanas, a community Taínos’ God and protector of organization located at 5th and CALENDAR Puerto Rico, and the Piragüero, Somerset, co-sponsored the the strolling street vendor of festival and combined it with a 18 months of photographs shaved ice flavored with sweet celebration of Santiago de by Thomas B. Morton syrups (one can find piraguas in Apostol, a traditional folk festival [JUNE 2005 - DECEMBER 2006] North Philadelphia in the from Loíza, Puerto Rico. The Festival de Bomba y Plena began summertime). Other songs To order: at noon on June 25 with a address political and social issues $10 + $1 postage/handling procession from the Church of like AIDS, the bombings on ------Christ and St. Ambrosio to Fairhill Vieques island, poverty, police Yes! I want an ODUNDE calendar! brutality, or, most recently, the Park (at 4th and Lehigh, across unjust seizing and destruction the street from Julia De Burgos Number ordered___ @ $10=____ of Philadelphia homes as Bilingual School), in the part of the city’s “Neighborhood heart of Philadelphia’s Latino Transformation Initiative.” cultural district. Name:______Rivera’s composition Recently honored by los “Philadelphia, Philadelphia, I Pleneros de la 21 of New York Address:______choose to stay in my home” is for his community work, featured in a new documentary “I Joaquín Rivera still dreams of City:______choose to stay here” co-produced creating a place in Philadelphia by the Community Leadership where artists could go any time State:______Zip:______Institute, the Philadelphia of the day or night to share work Folklore Project, and filmmaker and ideas or play music. Phone:______Email:______Barry Dornfeld. Whatever the future holds, Rivera continues at the forefront Philadelphians can rest assured Mail checks to “Philadelphia Folklore of Puerto Rican cultural activism that he will continue to play and Project”, 735 S. 50th St., Philadelphia, in Philadelphia as one of the write songs. Rivera says, “That’s 19143. Also available through our web- organizers of the Festival de normal for me, telling people site: www.folkloreproject.org Bomba y Plena, now in its third the way I see it, singing about

26 WIP Summer/Fall 2005 odunde/continued from p. 17 free, engaged, and deepest selves, images rarely captured elsewhere. It is a privilege to offer this first photo exhibition in our new home as a token of our thanks for ODUNDE, for Lois Fernandez, for Nia Bel Al-Rasul, of Tom Morton, for the people Nanikha, with the pictured on these walls. We are next generation, at inspired by their long-haul cultural ODUNDE. work and dedication. In this time and place, it can be an overwhelming task to sustain culture and traditional arts, to keep alive real alternatives that are life- giving for people. Thirteen years ago now, the wonderful folklorist Gerald Davis wrote of the “special truths of the ODUNDE festival—and kindred events which fill public spaces in vital demonstrations of power and We shall not be moved kinds of Blackness. ODUNDE includes 35 photographs by doesn’t enforce a single version of Thomas B. Morton, a selection Blackness; its…years of endurance from more than 3,000 negatives, are powerful antidotes to the taken over 30 years. The verdicts of institutions, theories, exhibition was curated by Debora models and definitions which try to Kodish. Selenium-toned gelatin render single and over-simple silver photographs were printed truths. [Zora Neale] Hurston [once] by Robert Asman and installed by recognized that ‘something deep’ Kim Tieger. We are grateful for was going on in peoples’ various support from the National ‘readings’ of identity. With Endowment for the Arts, the thousands of others, we can Philadelphia Exhibitions Initiative, recognize that something deep is the Pennsylvania Council on the going on in ODUNDE.” Arts, the Philadelphia Cultural Fund and Philadelphia Folklore Project members.

danza azteca/continued from p. 29 on the faculty of New York project, with the support of University. She consulted on Dance Advance, a grant the Folklore Project’s Local program funded by The Pew Knowledge project with the Charitable Trusts and support of The Philadelphia administered by University Exhibitions Initiative. Ollin of the Arts. Yoliztli Calmecac have been participants in PFP’s Dance Happens Here residency

2005 Summer/Fall WIP 27 acrobatics & freedom/continued from p. 11

akin to dance, with different rules corporations, and the wealthier meaning or even freedom from and without music, but with an cultural institutions often tell us the constraints of the physical often well-defined sense of what is beautiful these days, world. We don’t yet know beauty that encompasses fun, rendering both local culture and scientifically why food, caprice, and a certain seriousness local taste peripheral, at best movement, and nonverbal arts of play. The form of a body quaint. Folklorists, in contrast, resonate so profoundly in our whirling in the air, especially often look to the local to find bodies, though we can speculate around an imaginary horizontal what is most meaningful to about how narratives of axis, is pure and elemental, a people in their communities, resistance or stories and songs high art whether in a park whether intellectually, that speak to deeply held beliefs or on a stage. aesthetically, or spiritually move us to critical thinking and I don’t think it is a stretch to expressive in a way that cannot social action. Beauty and justice characterize the sepak takraw be articulated in any language. —whether comprised of free "movement”—and that is how The takraw players will affirm movement or free ideas—are the sport’s most devoted that the sport is uniquely defined and redefined locally. We participants characterize beautiful. In South Philadelphia, always call on some level of the spread of the sport on they will come home from the thought (conscious or not) to their English-language factory each day, go to the park, decide what is worth keeping, international website and play in the evening hours of teaching, and practicing in our (www.takrawworld.com)— the summer heat. They feel it is lives. For the partisans of takraw, as a badge of identity, perhaps worth the expense to travel from the ability to fly once in a while, even an act of resistance to Philadelphia to Minneapolis or to extend one’s reach beyond the professional sports, such as Lowell a couple of times a year to what seems humanly possible, soccer and basketball, promoted meet with other players and and to act and react with so heavily by the international watch and share techniques in quickness and creativity is media. Certainly those growing up tournaments. They don’t need something to aspire to, because and playing takraw in America are expensive marketing campaigns in those moments we are free ultimately choosing this sport over to promote the sport’s appeal. from the gravity of the the ones that dominate school life, They communicate how much everyday world. or those with corporate backing they love it through their play even at urban playground levels. and through an explicit —Bill Westerman Unlike, say, cricket in India or commitment to keeping it alive— and, increasingly, they do this baseball in Nicaragua, where the Bill Westerman is a through the internet. Takraw is sport accompanied the colonizing folklorist with a long-term enjoyed on a purely local and power, sepak takraw emerged in interest in immigrant personal level, beneath the radar colonized countries, resisted being communities. He worked at the of the media (it is televised only taken over by colonizers (English, Philadelphia Folklore Project in Thailand). Yet players see it as French, or Chinese), and remained from 1990–1994. in the hands and feet of the locals. a Southeast Asian contribution to For takraw players and fans, the world culture. While international sport's humble origins add to its corporations like McDonald’s and functional beauty; there is no judge Coke are viewed as trying to after all, except the scorekeeper establish a globally uniform who decides whether the point is taste, takraw players here and made, and yet we are all judges, internationally envision their too, critiquing more than merely game as a bulwark of local the score— but instead, the flips culture and, as its popularity and twists of the players—in our spreads beyond Southeast Asia, minds. For Laotians in America, a challenge to a homogeneous like the professionals in Thailand global marketplace of a few blazing their own path in the world universal, big-money (and sport, takraw is an alternative way generally Western) sports. of conceiving human leisure, its We seldom think of recreation most exciting features—defying as an essential part of our gravity and making the most survival, as a balance to the effective plays while flying upside- demands of working for cash and down—a metaphor for inversion working for others. Rarely do we and freedom. think of athletic recreation as a Television, the entertainment way to practice beauty, to find

28 WIP Summer/Fall 2005 danza azteca/continued from p. 13

pre-Hispanic times, relics that followed an elaborate representing the elements. The fascinated the child. Brujo ceremonial calendar that dance is similar to the one maintains "it doesn’t matter divided the year into 18 months performed in Mexico City, he which way you follow—the of 20 days each. Each month says: "Same drum rhythm, Aztec warrior or the Catholic was dedicated to a particular same steps. The movements way. There is only one root, the deity traveling the cosmic imitate animals: aguila, lobo, root that connects us to circuit, and most days of each conejo, paloma, caballo, Mexico." month were celebratory; ritual venado. The basic dance step is Daniel, Brujo, and several of and pageantry paid homage to a cross—the four quarters—foot the other dancers in the deities such as Quetzalcoatl, the forward then cross left, or cross Philadelphia group recall seeing Plumed Serpent, and Coatlicue, right. The pace and intensity of danzantes aztecas when they the earth mother. OYC the dance may increase, were young. Brujo says, "I saw symbolically adheres to this becoming more athletic with it every day. The two big calendar in its performances. leaps and turns as dancers markets are near the zocalo, Because, as Daniel explains, imitate an eagle, wolf, rabbit and anyone passing by on the "The dance is an offering," ritual and so forth, but the cross-step way to market would see the activity precedes the dance always returns. The dance dancers." Daniel actually itself. The large tree-trunk drum raises energy; Brujo calls it danced in the zocalo in Mexico serves as a focal point. An "energia cultural—"cultural City. For eight years he was ofrenda (offering altar) with energy." For him, danza azteca with Los Conejos (The Rabbits), fruits and flowers is prepared in is a dance of remembrance, "to a family-based grupo who have front of the drum and then remember the ancestors— been dancing azteca for at least "gifted" at completion to those huehuetle, the grandfather." To 15 years. Another OYC member, who attend. Incense is liberally remember what was before: Roberto Guzman, who grew up used to purify the dance arena. "[Now] we are mixed, but you in Mexico City, recalls that boys Then Daniel begins to drum and should know where you in his neighborhood played at the dancers process toward came from." dancing azteca. Thus, this new him, entering from the east, the As performed by OYC, danza Philadelphia dance tradition is place of the rising sun. They azteca is a sharp, muscular rooted in the memories and form a circle. Each of the four insertion of Mexican identity experiences of its practitioners. quarters is represented, invoked and integrity into the urban OYC organizes its own events by the name of the Aztec deity American landscape of and also participates in city- who resides there: Quetzalcoatl Philadelphia. This reclaimed wide Mexican celebrations such (east), the serpent deity of the tradition appropriates historical as Día de Los Muertos and Diez wind; Tezcatlipoca (west), the knowledge and reframes it as y Seis de Septiembre. In the smoking mirror; Huitzilopochtli local knowledge that dissents short period since their first (south), deity of war and music; from, and resists colonization performance on December 12, Mictlan (north), the deity and and cultural homogenization. 2003, for a ceremony dedicated realm of the dead. The circle On a daily basis, Mexicans may to Coatlicue earth mother of the represents the cosmos, with the experience prejudice, or be Aztecs, the group has become four quarters standing for the treated as interlopers, necessary an important cultural resource north-south, east-west axes and for labor but culturally invisible. for many of the Mexicans in the the drum in the center But on holidays and special Greater Philadelphia area. stretching upward through nine occasions, danza azteca speaks Like their counterparts in dimensions (nine heavens) to to a past glory and a still-vital Mexico City, OYC performs ilhuicac (heaven) and down spiritual value system that elaborate, muscular dances. through 13 layers to Coatlicue, refuses conquest. Costumes feature tall plumed the earth deity. According to headdresses and warlike gold Daniel and Brujo, the circle —Kay Turner breastplates. Dances are often recreates the calendar and the associated with procession, drum is the center, el alma Thanks to Meredith Rapkin incense, altars, invocations, and (the soul). for help with translation. For prayers, reminding participants La energia (the energy) of the information about OYC, and audience alike of the power circle is important, according to contact Brujo de la Mancha at of tradition represented in the Daniel. Energy is directed [email protected]. Kay public evocation of ancestral toward the center and toward Turner is a folklorist at the themes and ideals. the ofrenda, which always Brooklyn Arts Council and is Before the fall of Tenochtitlan contains maize, a seashell, in 1521, the Aztec nation incense, fire, water, and salt, [Continued on p. 27 ➝]

2005 Summer/Fall WIP 29 folk arts education/continued from p. 25

the young dancers. She her respect for individuals and Philadelphia’s Lebanese researched Cambodian arts and cultures, and her dedication to community center, Liberian culture on her own, checking education in and through dance at Calvary United with Chamroeun and other traditional arts. Methodist Church, heritage experts about the content and gardening in West Philadelphia, presentation before opening up — Toni Shapiro-Phim and lion dance in Chinatown. this window to her Southwark These residencies are funded by community. the National Endowment for the In addition to FAME Arts, the Pennsylvania Council At the first dance class residencies mentioned here, a on the Arts, Independence following Miriam’s untimely residency in West African and Foundation, Stockton Rush passing, some of the parents and Afro-Cuban dance took place at Bartol Foundation, Dance younger siblings stayed to watch, the High School for Creative and Advance, a program of The Pew a show of support for Performing Arts. Four other Charitable Trusts, administered Chamroeun, his art, and this residencies occured outside by the University of the Arts, and program, and an invaluable school environments: Middle PFP members. comfort to the students. They are Eastern dance and music at St. honoring her—her generosity of Maron’s Hall, South spirit and deed, her intelligence,

i choose to stay here/continued from p. 7

their health—mental and physi- good for the whole population. the social health of communi- cal health. And that’s what’s It’s not good for society. ties—none of this is being happening. It is not only their And literally down the street weighed. What about the value homes—it is their lives that are in Northern Liberties, we see the that we have created? What being stolen. People are afraid march of gentrification upward. about the stable, quaint, tourist- of what is happening, and they What we are experiencing worthy neighborhoods we have are afraid that something will is a different kind of blight. created? These are missing happen to them. They feel at Speculators are sending post- links. These social costs need to risk. This is destroying the well- cards asking people if they want be weighed. being of entire communities. to sell their homes. The city is People live in fear that every- doing this—creating and In 2003-2004, the Folklore Project thing they have built, worked so spurring blight in our communi- collaborated with CLI members and hard for, and struggled for at ty with little or no regard for the filmmaker Barry Dornfeld to make such cost, is being destroyed. impact on long-time residents. the documentary video I choose to Never forget who made it Nowhere, during many years stay here, available through CLI beautiful here when no one else of planning processes, was (267.968.4518 or 267.968.4514), or the wanted it. there any mention of taking peo- PFP office or website (www.folklore- We stayed when others left. ple’s homes for the progress project.org). The city of Philadelphia Including the City. The City left that was purported to come. It describes NTI on its website: us to our own devices. We used was progress that was supposed http://www.phila.gov/nti/reports.htm. our own devices to lift ourselves to benefit the residents. It was a For a recent critique, see Mark Alan up, to lift our neighborhoods up. dreamscape. And what it has Hughes, “The Recent Truth About And now that we’ve done it, turned out to be is a nightmare. NTI” (June 7, 2005) they come in, and they call it Developers make promises http://www.mahughes.org/showarti- “fixing the neighborhoods”? of money to the city. But the cles.cfm?artid=182. We thank WYBE Fixing it for whom? And for reality is that all we are seeing is and the Pennsylvania Historical and what? When you speak like this, the destruction of some stable Museum Commission for their sup- they diminish it by calling it communities. As for the creation port of this project. emotional. These are not emo- of housing—the majority of it tional but very practical matters. will be out of reach for the Human beings depend on the majority of people being dis- welfare of the mind and the placed. So the promises of this spirit, and this kind of develop- money coming—I think it is a ment is destroying the fiber of lie. And the destruction of the the human being. We have wit- social fiber of neighborhoods, nessed it, and it is wrong. It’s the destruction of people’s not good for the city. It’s not health, and the destruction of

30 WIP Summer/Fall 2005 2005pfp•calendar

>grand opening (of our new home) Sept. 24: OPENING CELEBRATION 2-5 PM IFE designs >grants workshops + ASSOCIATES vision+creativity+service Oct. 16: FOLK ARTS GRANTWRITING 101 Nov. 12: ARTS ED ROSTER G RAPHIC D ESIGN/ADVERTISING Dec. 10: FOLK ARTS GRANTWRITING 102 M ULTIM EDIA/PUBLICATIONS/WEB D ESIGN Jan 14: NARRATIVES & BUDGETS Call 215.848.4499 or email us at [email protected]/www.ifedesigns.com Help for folk arts projects. 10-Noon. Call to register.

>programs Oct. 15: I CHOOSE TO STAY HERE Oct. 27: HOFFMAN WOMEN KLEZMER Nov. 13: MOGAUWANE MAHLOELE CD RELEASE PARTY Dec 4: ZAYE TÉTÉ: LIBERIAN SONG Call for details.

>workdays Call for details: HELP US GET THE NEW PFP BUILDING IN SHAPE! Paint, clean, & make our garden grow with master heritage gardener Blanche Epps.

>exhibitions Oct. 1, Nov. 5, Dec. 3 & by appointment IF THESE WALLS COULD TALK: THE BILL & MIRIAM CRAWFORD DINING ROOM. Four walls collaged with decades of social change memorabilia: an instal- lation of folk art and social history.

“WE SHALL NOT BE MOVED:” THOMAS B. MORTON: 30 YEARS OF ODUNDE. Photo exhibi- tion tracing a celebration that has insisted on the right for self- definition., reclaimed culture, and created community.

>save the date May 26-27, 2006 DANCE HAPPENS HERE: a weekend of performance and master classes with stellar artists Germaine Ingram, Kulu Mele, Thavro Phim and friends

WANT TO LEARN MORE? For details, visit www.folkloreproject.org, or call us at 215.726.1106 and we’ll send you a full calendar, with times and more information.

2005 Summer/Fall WIP 31 about the join now! philadelphia folklore membership form project Folklore means something different to everyone—as it should,since it is one of the chief means we have to represent our own realities in the face of powerful institutions. Here at the PFP, we’re committed to paying attention to the Name experiences & traditions of “ordinary” people. We’re an 18-year-old public interest folklife agency that documents, supports & presents local folk arts and culture.We offer exhibitions, concerts, workshops & assistance to artists and Address communities.We conduct ongoing field research, organize around issues of concern,maintain an archive,& issue publications and media. Our work comes out of our mission: we affirm the human right to meaningful cultural & artistic City State Zip expression,& work to protect the rights of people to know & practice traditional community-based arts. We work to build critical folk cultural knowledge, respect the complex folk & traditional arts of our region, & Phone challenge processes & practices that diminish these local grassroots arts & humanities.We urge you to join—or to call to learn more (215-726-1106). E-mail ____$25 Basic. Magazines like this 1-2x/yr, special mailings and 25% discount on publications. Please make checks payable to: ____$35 Family.(2 or more at the same address).As above. Philadelphia Folklore Project ____$60 Contributing.As above.($35 tax-deductible) ____$150 Supporting. As above. ($125 tax deductible) Mail to: PFP, 735 S. 50th St., Philadelphia, PA 19143 ____$10 No frills. No discounts. Magazine & mailings. ____Sweat equity.I want to join (and get mailings). Instead of $$, I can give time or in-kind services. thanks to new and renewing members! Please join us today! ____$ Other Visit our website: www.folkloreproject.org

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