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Vietnamese Đàn Tranh Kurt Jung's magazine of the philadelphia folklore project VolumeVolume 23:1-223:1-2 springspring 2010 ISSN 1075-0029 ● Vietnamese đàn tranh ● Kurt Jung’s musical worlds ● Wu Peter Tang’s music ● Under Autumn Moon ● Parallel destinies Works in progress is the magazine of the Philadelphia Folklore Project, a 23-year-old public interest folklife agency. We work with people and communities in the Philadelphia area to build critical inside 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 us: www.folkloreproject.org or call 215.726.1106. 3 From the editor philadelphia folklore project staff Editor/PFP Director: Debora Kodish 4 Parallel Destinies:notes Program Associates: Abimbola Cole from acollaboration Program Assistant: Thomas Owens Designer: IFE designs + Associates Printing: Garrison Printers 6 Ng ô Thanh Nhàn: scholar, musician, [Printed on recycled paper] activist by Elizabeth Sayre philadelphia folklore project board Why wouldn’t you be learning Leslie Esdaille Banks Linda Goss 0 1 Rechelle McJett Beatty Ife Nii-Owoo this?" Kurt Jung by Elizabeth Sayre Mawusi Simmons Yvette Smalls Ellen Somekawa Dorothy Wilkie 12 “This is such a beautiful thing to do:” Wu Peter Tang’s music by Elizabeth Sayre we gratefully acknowledge support from: ● The National Endowment for the Arts, 14 Under Autumn Moon which believes that a great nation by Joan May Cordova and Kathy Shimizu deserves great arts ● The National Endowment for the Arts - Front cover: Recovery Act At the 2008 Mid-Autumn Festival, Dun Mark, an 86-year-old resident of ● Pennsylvania Council on the Arts 31 PFP doings Chinatown, community Tai Chi teacher, ● Pennsylvania Historical and Museum Commission and long-time member of the Mid- ● The Pennsylvania Humanities Council Autumn Festival Committee, points to ● The Pennsylvania Department of Community and the "No Casino in Chinatown" poster. Economic Development Over 25,000 people signed petitions ● The Philadelphia Cultural Fund oposing the proposed casino. ● The William Penn Foundation ● The Philadelphia Center for Arts and Heritage, through the Heritage Philadelphia Program ● Artography: Arts in a Changing America, a grant and documentation program of Leveraging Investments in Creativity, funded by the Ford Foundation ● The Philadelphia Center for Arts and Heritage, through Dance Advance ● The Pew Charitable Trusts ● The Philadelphia Center for Arts and Heritage, through the Philadelphia Music Project ● The Malka and Jacob Goldfarb Foundation ● The Samuel Fels Fund ● The Douty Foundation ● The Hilles Foundation ● The Henrietta Tower Wurts Foundation ● Stockton Rush Bartol Foundation ● PNC Arts Alive ● and wonderful individual Philadelphia Folklore Project members ● We invite your support: thank you to all 2 WIP 2010 Spring from the editor What obligations do we carry—to neighbors, what happens when it beauty, and justice look, feel, and one another, to elders and ancestors, comes time to stand up for those who sound like. In this issue of Works in to young people? The question are defined as ‘other’?” What Mid- Progress, people share the model of threads through our work in many Autumn Festival has come to mean to their own lives: examples of active ways. people is described in the exhibition art-making that values the hopes and Kurt Jung grew up listening to now in PFP’s galleries, Under Autumn the collective imagination of ancestors laundrymen who gathered every Moon: Reclaiming Time and Space in (known and unknown), elders, Sunday on the second floor of his Chinatown. immigrants, and youth. In creating grandfather’s Chinatown store to In Parallel Destinies, an artist movement and music and gatherings play the music they loved. Ngô Than residency project supported by PFP grounded in particular folk arts, artists Nhàn was captivated by the music this year, Germaine Ingram, Bobby and activists cultivate our best hopes of itinerant troupes who visited Zankel, and John Dowell created for the world in which we want to live. Vietnamese villages and towns to choreography, music, and images These glimpses of PFP’s folk arts perform for local people. Wu Peter to address the experiences of nine education efforts, our artist residency Tang’s first lessons in erhu came enslaved Africans who labored in programs, and our community folklife from his father and included the George Washington’s President’s documentation projects hint at the “modernized” folk music taught in House in Philadelphia in the 1790s. alternatives offered up by courage, state-directed music conservatories. Using new research (some literally compassion, and persistence. Against considerable odds and in unearthed during recent excavations Introducing just a sampling of what different ways, all three men pursued of the “slave quarters”), they are we’ve been up to at PFP this year, this folk arts. They now teach in free developing a multimedia performance issue of our magazine reminds us again programs at public schools, including piece imagining the lives of Oney what we can learn from folk arts and the Folk Arts-Cultural Treasures Judge, Hercules, and others. They are from one another. Charter School founded by Asian aided by what scholars have to say In a year of massive assaults on our Americans United (AAU) and PFP in about the persistence of ring shouts, communities and dwindling resources, 2005. And every year these artists and African traditions of movement, and we are privileged to join in imagining their students perform at the beloved self-fashioning: folk arts that sustained and cultivating such alternatives— Mid-Autumn Festival in Chinatown, people and that endure in ever-new what critical race scholar Mari created more than 15 years ago by the forms. Their work, too, pushes us Matsuda calls “radical pluralism and inspired and fearless organizers to move past obstacles of injustice, radical anti-subordination” and of AAU. obscured histories, fragmented Robin D. G. Kelley describes as Recognizing the loneliness and evidence. It pushes us to ask: How “freedom dreams.” In small ways, sacrifices of generations who came do we enact our responsibilities in these are efforts to live out our before and who made our way relation to painful pasts? How do we obligations to one another. possible, young people (led by AAU remember and imagine those who We invite your participation as staff) imagined an alternative. They came before us? well. For more news about these reclaimed a significant cultural Read between the lines: the efforts, samples of what these tradition and began Mid-Autumn conversations with artists and artists and cultural workers are Festival as a small gathering. Now activists excerpted in these pages accomplishing, and information about more than 5,000 people come hint at some of the enormous becoming a PFP member, check out together to enjoy the celebration forces that people have witnessed our website: www.folkloreproject.org every year. Ellen Somekawa, AAU and endured. It is a hard list: the or join us on Facebook. Director, writes: “When we create insidious evils of enslavement and a street festival, we strengthen entrenched racism, war and violence —Debora Kodish connections among people, honor destroying homelands, anti-immigrant the knowledge of the elders in our policies separating families, state- communities, activate people, and based erasures marginalizing people, value our own cultures. This is draconian development policies fundamental to social justice work crushing communities. In the face because if people don’t care deeply of any of these forces, forgetting about their neighbors, their fellow and compliance would seem to be workers, or themselves, what will tempting alternatives. Yet the folk motivate them to stand up for each arts work described here reminds us other? And if people are not up for (again and again) how critical change caring about themselves or their can begin by imagining what freedom, 2010 Spring WIP 3 < Parallel destinies: notes from a collaboration between artist*residency > John Dowell, Germaine Ingram, and Bobby Zankel year, PFP’s long-running “Art at rehearsals and public discussions sharing Happens Here’ artist residency preliminary work at the Community Education program is supporting a multi- Center (on November 13, 2009) and at the disciplinary collaboration among African American Museum of Philadelphia tap dancer/choreographer (on December 11, 2009). In addition to the Germaine Ingram, jazz composer/saxophonist principal artists, dance ensemble members Bobby Zankel, and photographer/print-maker include Alexandria Bradley. Maurice Chestnut John Dowell. The three artists are creating and Karen Callaway Williams. Musicians include choreography, music, and visual environments Daniel Blacksburg (trombone), Ruth Naomi commemorating nine Africans enslaved in the Floyd (voice), Tom Lawton (piano), Mogauwane President’s House, Philadelphia's White House Mahoele (percussion) Craig McIver (drums), during George Washington’s presidency. Their Bryan Rogers (tenor sax), and Anthony Tidd collaboration occurs shortly after an excavation (bass). This phase of the project has been of that site occurred, stimulated by prolonged supported by the Philadelphia Center for public discussion about how this national and Arts and Heritage, through Dance Advance, local history should be commemorated. In this the National Endowment for the Arts and the very live context, the three
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