magazine of the philadelphia folklore project

● Dance journeys Toni Shapiro-Phim

● Chaos knocking at the door Matthew Hart Volume 15:1/2 summer 2002 ISSN 1075-0029 ● Reconnecting with tradition special issue: dance happens here! Shawn Saunders

● Kormassa Bobo Cory W. Thorne

● Lithuanian folk arts journey Jen Cox

● Procession for the new year Toni Shapiro-Phim

● On flamenco Anna Rubio

● ¡Aquí estoy! Toni Shapiro-Phim To learn more about the Folklore Project,please call 215-468-7871 or visit our website at www.folkloreproject.org inside

Editor: Debora Kodish Guest editor: Toni Shapiro-Phim Designer: IFE designs + Associates Printing: Garrison Printers Printed on recycled paper 3 Dance journeys philadelphia folklore Chaos knocking at the door: project staff 4 spiral q Debora Kodish,Director Shawn P. Saunders, Folklorist Toni Shapiro-Phim, Community Projects 8 Procession for the new year Director James D. Yoo,Program Assistant 12 On flamenco philadelphia folklore project board Terrence Cameron Lois Fernandez Germaine Ingram Thomas Kramer Chiny Ky Nora Lichtash Mogauwane Mahloele Samien Nol Steve Rowland Ellen Somekawa Welcome, reader! Merian Soto Deborah Wei,Co-chair This special issue of Works in Mary Yee,Co-chair Progress, guest edited by Chamroeun Yin Toni Shapiro-Phim, PFP’s Xu Juan Community Projects Director, reflects some of our work on we gratefully acknowledge dance—one of the threads of support from: tradition most valued and ● National Endowment for the Arts vital in local communities. If ● The Rockefeller Foundation ● The Pew Charitable Trusts the issue encourages you to ● The William Penn Foundation learn more about our work ● Pennsylvania Council on the Arts sustaining our region’s other ● The Humanities-in-the Arts Inititative, community-based folk arts, administered by The Pennsylvania ¡Aquí estoy! Humanities Council, and funded principally our advocacy, or technical 14 by the Pennsylvania Council on the Arts assistance efforts, we invite ● Independence Foundation you to visit our website, Kormassa Bobo ● Pennsylvania Historical and Museum 16 Commission www.folkloreproject.org, or to ● give us a call. As always, we Dance Advance, a grant program funded by Reconnecting with tradition The Pew Charitable Trusts and administered invite your feedback and 18 by Drexel University involvement. ● Philadelphia Music Project, a grant program Lithuanian folk arts journey funded by The Pew Charitable Trusts and 20 administered by the University of the Arts Debora Kodish ● Office of Curriculum Support and Office of Director Language Equity Issues, School District of 30 New pfp video! Philadelphia ● Samuel Fels Fund ● Stockton Rush Bartol Foundation Front cover: 32 Membership form ● The Philadelphia Folksong Society South 7th Street ● WYBE Television Cambodian New ● and individual Philadelphia Folklore Project Year Festival. members Trot procession. Photo: Rodney thank you to all Atienza, 2001 from the editor Dance journeys: movement versus silence

here are times when one ries, and contextual and corporeal in West Philadelphia, collaborates may be terrorized from afar distinctions: from the theatrical to with various communities to create into silence. In preparation the ceremonial; from fancy foot- and actualize parades and pageants for this issue of Works in work to intricate finger motions; often with social change as an Progress,a local dancer, from the professed re-creation of explicit goal. Spiral Q’s founder and here because of civil and tradition to the creation of what director, Matthew (Matty) Hart, fea- Tmilitary unrest in his native coun- might become a new tradition. tured in an interview in this issue, try, spoke with us. He ultimately Particular movement vocabular- is attracted to projects that provoke decided not to allow us to publish ies or choreographies may traverse debate and challenge injustices.As any specifics about the political sit- time, from one generation to the participants move together— in cir- uation in his country and its impact next and the next. Some cross terri- cle dances or parade columns on him as an individual and as an torial and ethnic or national bound- manipulating towering puppets— artist, for fear of reprisals against aries; others advance only down they reject that which is unjust, and family and colleagues back home. the block as part of a pageant; still shape a vision for what is possible. “You don’t know what it’s like,”he others grow manifest as a result of Local performer and teacher told us.“Nobody knows what ‘they’ combinations of some or all of the Anna Rubio, who reflects on might do.” above. Meanings arise from the flamenco in this issue, positions There are yet other times when ways in which dance is taught, the dance as a site for personal, one may be terrorized here and learned, presented, and from the social, and political journeys of now. Called by derogatory epithets, ways people respond.And because transformation. For students in told to get out of the neighbor- these are all dynamic, evolving con- dance classes she teaches in North hood, surrounded by oftentimes texts, dance and its meanings are Philadelphia, most of whom live random violence, or marginalized always open to re-interpretation. in distressed inner-city neighbor- from those with resources and The articles that follow introduce hoods, the very act of working political clout and thus vulnerable several dance worlds in the context toward mastery of the rhythmic to unremitting poverty and its of present-day Philadelphia and and movement patterns is a step attendant woes, some among us are trace some of their metamorphoses (or a series of steps) in the direc- “attacked” from all sides.At a meet- along the way. tion of asserting control in an ing of artists and educators at our The dancer mentioned in the untenable situation.Anna paves office earlier this year, participants first paragraph of this essay often the way for young people, most spoke passionately and eloquently chooses, here in Philadelphia, to dramatically girls, to lay claim to about the above concerns and teach and perform dances that may dignity and pride in the face of about the additional need to be have all but disappeared as they are what scholar Alicia Arrizon, in her careful when expressing personal practiced predominantly in regions book, Latina Performance,labels opinions about current political decimated by years of warfare and “the cultural tyranny embedded in realities, whether international, poverty, regions in which most of a history and society which has national or local.They shared the population has been displaced attempted to make [them] submis- stories of the antagonism, indeed and many, many, have died. His sive, obedient, mute, and anger, some of them, as immigrants, dancing speaks against the feared powerless.” have faced from neighbors and col- disintegration of a way of life, and Kormassa Bobo, a former mem- leagues when they have openly preserves the knowledge and mem- ber of Liberia’s National Cultural questioned government tactics and ory both of that dance and of this Troupe, too, aims to inspire positive priorities. Is it prudent to silence history. Dancing, for him, is one growth in a new generation oneself, to try to be invisible, rather means of creating anew in the face through dance. Here in this U.S. than to risk being labeled a traitor? of disorientation and loss.We may city, isolated from those with the They wondered aloud. not tell his story here, but we can- same movement and musical The themes of risk and dignity, not ignore his struggle, or the vio- knowledge, she is limited in her of silencing and invisibility weave lence against which so many artists performance repertoire. Exorbitant through the articles included in and others must work.We have air travel costs and political unrest this issue devoted to dance. included several essays and inter- and extreme poverty in Liberia Philadelphia is endowed with a views in the following pages that restrict exchange possibilities multitude of dance forms and present individual points of view between Kormassa and her former styles, many of which have been on personal, political and artistic colleagues.Yet in part because of explored in the pages of this maga- histories and quests, written (or the on-going conflict in her home- zine over the years. Here, we high- spoken) by people deeply engaged land, Kormassa ascribes enhanced light several that together trace a with performance. meanings to those dances she does range of political and social histo- Spiral Q Puppet Theater, based [Continued on page 26 ➝] 3 as the chaos of the world is knocking on our door an interview with matthew hart of spiral q puppet theater

Spiral Q Puppet Theater aims to illuminate the victories, frustrations, and possibilities of living in the neighbor- hoods of Philadelphia through the construction of giant puppet parades, park pageants, and toy theater. “The Q” works with activists and community groups to create,

artist profile: develop, and realize public events in public spaces (the streets, the parks, the schools) that give voice to imme- diate concerns, to neighborhood narratives. Hand-made giant puppets manipulated by three people at once dance in place and through space as central figures in Spiral Q-facilitated parades. Participants join hands in circle dances and may bring history or even visions for the future to life in short plays by, for, and about the community. Matty Hart, the Puppet Theater’s founder and director, shared some thoughts and experiences with us during a conversation in the group’s puppet-filled 2nd story home on Spring Garden Street. Excerpts from that interview follow. —Toni Shapiro-Phim

Right : Children from West Philadelphia carry a giant puppet during the 2001 Peoplehood parade and pageant. Photo courtesy Spiral Q.

Giant “Justice of the Peace” puppet (who married “Big Busi- ness” to “Govern- ment”) at the 2002 Mummers Parade. Photo” Toni-Shapiro- Phim

4 Puppets from the Spiral Q Puppet Museum: Banners painted by Jeffrey Stovall for 1998 Gay Pride Parade with SafeGuards, on display at the Q.

Marionettes made by mem- bers of the American Street Youth Opportunities Center. Photos: Toni Shapiro-Phim, 2002

Building the “Q” volunteers and their organiza- two busses of participants and “We’ve learned a lot in terms of tions to be involved.And they last year we had nine really our mission. One thing is that know how to politically and rocks.And this year for th parades and pageants actually financially exploit it for its great- Peoplehood, on October 26 do work.Years into it we have a est value for their neighbor- our goal is twenty busses.This lot of repeat partners.We work hood.And I think that’s really year we’re able to hire a part- consistently with a whole vari- smart and good.We know all of time coordinator for the sum- ety of neighborhoods year after this because they keep asking mer whose exclusive job is fill- year after year.Where never us to come back.We have this ing busses. before was there a parade or detailed evaluation process. As an organizing model pageant, now it’s this critical Then also you see it in the kids. what we do is really working piece of what they do in the You see it working.You under- and as a community arts project neighborhood.And that is really stand that this is a really power- it seems really effective. People exciting. ful moment for these young know we are here; we’re a built- It’s amazing to know that people.Also, these groups are in resource. People just know people really want it and they becoming consistent key parts how to plug into us; they know know why it works for them of Peoplehood, our year-end where we are.They know what and they know why it’s pur- project.The fact that for our we have and what they can bor- poseful for their kids and their first year of Peoplehood we had row. They know how to return

[Continued on following page ➝] 5 spiral q /continued from p. 11

it.They know how to ask for help. When we started Spiral Q it was people, 30 people, from different I’m really proud of that. me who liked making these giant parts of the park into this bowl, sud- It’s not without chaos and crisis. puppets.“We’re going to have giant denly this park, this landscape But it really is very beautiful to see it puppets in Philly!” [said in a squeaky becomes a performance arena. In that work so consistently and so across voice] And now we’re going to have moment it changes. People pay atten- the board and across so many issues six full-time staff people.And there’s tion to the landscape in a way that and generations and different types of this thing called the Puppet Uprising they hadn’t before.The sunset now communities and groups. that happens bi-monthly. Hundreds of has a different level of importance We are beginning to have the abil- people come to it. It’s this big radical because it may mean something really ity to really invest in our programs in puppet thing and people come from all important where the sun hits at a cer- specific ways, like with people power over the country to perform at it. tain time when the pageant is going and physical resources and financial Puppets have a real location in this city. on. It’s like a call to attention. resources and a building. And that There’s a whole community So it’s suddenly all these people who are old and young and there are little kids dragging their flags still try- ing to get into the circle, very cute. It’s messy and it should be.And I think that those are the critical moments in how we’re trying to re- we’re trying to redefine define the use of public space that the use of public allows us to understand that it is ours.That we can dance with big space in a way that allows us to crazy flags in our city and our parks. understand that it is ours… A lot of pageantry is asking people, asking strangers, to sit together, to not understand what they’re watching, but to believe it.And so, that’s anoth- er part of the magic. No-one really comes with age because you keep around this kind of theater.And that needs to understand how everyone doing it and keep committing and re- rocks. I know that a lot of my work is got into that big circle there today, committing and then things come up. embedded in that. It’s super exciting but to believe:“Gosh, they are all As the chaos of the world is knocking to see it.The fact that there are even there and it’s really beautiful.” on our door, there’s someone here four people who work full time doing That defining, re-defining of the who says,“Oh, the door’s been anything let alone doing giant pup- performance arena is critical for the knocked on today. Let’s talk about it.” pets in neighborhoods that are build- rest of the stuff that’s going to come And we have really simple ways of ing pageants and parades…. that’s next. It’s linear at that point. It getting started.We have a really fat awesome.” becomes a linear pageant. It tells a database that holds all of our contacts story.There’s a narrative.There’s and in a whole variety of ways we Conjuring magic… conflict.There’s some resolution. can glean information from it.We’re And that’s like a magic that can super super conscious that whatever “Magic can be talked about in a be conjured. goes on internally has to be super couple of different ways I guess. Part Still to this day I believe magic tight and really well communicated of it is how this public theater, how can conquer authority. Like even at and we have to have very decent sys- this pageantry can be a type of secu- the Queer Youth Take Back the Night tems that everyone understands how lar ritual and how there are these parade.We had about 50 kids from a to plug into. Because then it just pulls really simple things that people can couple of different centers down- the chaos out of the chaotic world. participate in that are actually really town and we did this huge crazy loud I think one of the reasons the kind of sacred and really really old. parade. Sori-Mori, the Korean tradi- right has won and the left has lost in Things that tap into something that tional p’ungmul drum troupe, was our country is that the right knows people have to just surrender to. drumming; it was fabulous—and we how to build institutions.They know In the moment when we’re transi- didn’t have any permits. It was a total- how to fund them; they know how to tioning between the parade and the ly self-marshaled event.We had employ them.They know how to pageant there needs to be this ritual. trained some of the kids to be mar- build coalitions amongst them and We do this flag dance and that’s shals.We had some other people from the left just doesn’t. So we are defi- where everybody who’s in the ACT UP helping us and the cops nitely a group of people who believes pageant dances.We all have flags and came.And we just talked to them and that building radical institutions is they’re different sizes and different there was that moment when even right and that being organized is colors and different patterns. Some the cops yield.You tell them all these good and that having systems is just years we’ve organized it really well so kids have spent a month preparing. and that these things will actually that all the patterned flags come in They’ve built all this stuff.And here empower our mission and the people one section. Sometimes it’s by color. are our marshals.When people within the organization to do the Sometimes it’s all super random and organize themselves and maintain work right. So I think we’re less afraid it’s all supposed to be chaotic but their own authority as a group and of that stuff than maybe we were what happens is that when all these are committed to the safety of their 6 even a couple of years ago. people are running in lines of 40 event and do all the work that needs to happen to make that happen, place these kids in Germantown hold Even for this project we did about the authority has to yield.And it’s hap- in this company.They made that Harlem Renaissance and the Black pened other times in demonstrations pageant.They built it all themselves. Arts Movement, we brought in all where they didn’t want to yield but They wrote it all themselves. It’s these prominent African American people’s commitment to each other theirs. It was amazing and sort of artists from around the city.They transpires in such a beautiful way that terrifying how beautiful it was. But were interviewed by these high it overrides.Yeah, I still totally believe that’s not the place they occupy in schoolers about their lives as artists. in magic.” the rest of Philadelphia.That’s not And it was the most amazing conver- how they’re seen. sation. Because we were nervous with The ephemerality of At University City High these kids the teenagers because they can be a theater and its lasting did this whole pageant about the little disrespectful. But they were so Black Arts Movement.They traced it great.They had the best questions. impact… from very early abolitionists to the And in Germantown we worked with “Ultimately everyone involved in Harlem Renaissance and all the way a seniors group and with this middle these projects wants people to have a through the 50s, 60s, 70s, and then school so they were able to work voice and to create forums where peo- today and hip-hop and what their role together to build a story that looked ple can participate together, be peace- is.They performed it at University like both of their experiences. ful, and celebrate their neighborhoods City High and then at Morton There’s incredible information and themselves. Lots of different types McMichael Middle School. It was that is passed on and experience and of organizations are trying to do that in incredible.These kids are sixteen bonding that goes on when you’re a whole variety of ways. years old and they built these huge over a big messy puppet and you The “Spiral” is an old symbol of puppets and were performing these have to figure out how to make it magic, of energy.The “Q”is the queer, incredible moments of oration and work.And that is awesome and very the other.The Q is a place for all then rap.They designed this beautiful beautiful and very ephemeral, but it these people who aren’t invited into dance that they did together. It was builds really solid relationships.” traditional theater at all.And they totally totally incredible.And for us at don’t have a place in it; they don’t Spiral Q that’s who theater should be. Being honored with an have a role in it.And can’t employ it. After the event is over, there’s basic stuff they carry with them—like award from the Women’s Here we’re hoping to design a public International League for Peace and Freedom

“It’s very humbling.They are old school radicals who have played a big We are definitely part in ending the nuclear [arms] race.They’ve played a big part in a group of people who believes some major global issues and are also connected to people in so many other Philadelphia organizations that make that building radical really radical change happen all the time.They are also really invested in institutions is right… their neighborhoods. It’s so interest- ing, because as a person who just turned 30, a lot of the movements that I came out of were about health care—AIDS and HIV and the ACT UP theater in which there’s room for all they know how to make things.They world, and about welfare and welfare of the problems, all of the discussion, have really basic performance experi- reform.A lot of the way that I’ve been and all of the dysfunction of the reali- ence.They know when to go on stage schooled and brought up in under- ty of being Philadelphians.We’re enti- and when to leave.They know when standing the world is about globaliza- tled to a theater that looks like us and to do their thing and when not to. tion and the privatization of these that sounds like us and that tells our They know how to participate on a public services.The peace movement stories in a whole variety of different stage, you know, in a park, with a was a different generation. It was real- ways. Spiral Q takes this idea that if group of people, as a chorus, and by ly amazing to be recognized by that together all of these different types of themselves.They know the basics of movement of people. As if elders people and theater projects can come conflict and resolution within theater. were saying,“You’re doing okay.”And together then it actually will be a big- Then, at a bigger level, they know the it felt really nice and, as I said, really ger force to be reckoned with than all process.That the loudest voice doesn’t humbling.” of these gigantic messages being always win (at least not in our process) shoved down at us as neighbors. and that sometimes working in a big —Matthew Hart So whether you’re thirteen and group can be difficult but the product black and you’re a pretty amazing is very beautiful and rewarding. Recorded, transcribed and edited by sculptor, or you wrote this pretty rad Depending on which type of pro- Toni Shapiro-Phim pageant about domestic violence to ject we’re working on, there’s this be performed in Vernon Park, that is a intergenerational thing that happens. 7 a procession for th

n Cambodia,April marks the Lao, who recognize the same New Cambodian and Lao dancers, and Iheight of the hot season, just before Year—communities of South a series of traditional games, the monsoon rains clear away some of Philadelphia to hold a street festival concluded in the early the dust and bring relief in the festival in honor of the New Year. evening with hundreds dancing form of a slight drop in tempera- (Fortunately for those in atten- in the street to traditional and ture.April, thick with pre-storm dance, the heat wave had broken a pop tunes provided by Monorom humidity, is also the time when bit by April 20th, the day of the and Khmer Surin, Philadelphia- Cambodians celebrate their New event!) Organized by the United based Cambodian bands, and PLD, Year. Many of the rites associated Cambodian American Network, a Lao band. with commemoration of the New the Lao Family Community In Cambodia, New Year celebra- Year involve requests or prayers for Organization of Greater tions might include several or all of rain, as the rains accompany the Philadelphia, Asian Americans these components, spread over the start of the main rice planting sea- United, and the Philadelphia course of three days.The Buddhist son, rice being the staple of the Folklore Project, the South Seventh temple compound is the center of Cambodian diet. Street Cambodian and Lao New most activity, though depending This past April in Philadelphia Year Festival began with morning upon whether one is in a village, a was the hottest on record.A fitting religious rites led by Buddhist town, or the capital city, games may 8 time, then, for the Cambodian—and monks.After performances by local be played in a park or schoolyard he new year

or in front of someone’s home as the other to about eye level, lower- in which a story of a deer hunt is Large photo: South well.The content and place of ing the first as they lift the second, enacted.Through Trot, 7th Street Cambodian dance and other theatrical perfor- keeping elbows slightly bent.The Cambodians traditionally, playful- New Year Festival, mances will vary by location, too. fingers are flexed backward as the ly, and symbolically address the Trot procession. But, all over the country there is wrists twist in toward the body annual seasonal change and the Photo: Rodney Atienza, 2001 dancing in the street to popular and out again. danger of a delay in the onset of music. Musicians play drums, fid- Only in certain areas of the rains.The defeat of the deer is Details: Middle photo: dles, and perhaps xylophones, or Cambodia do people commemorate associated with the end of a Rodney Atienza, 2001 recorded tunes blare from boom- the New Year with an elaborate pro- drought. Other photos: Toni Shapiro-Phim, boxes, with passers-by encouraged cessional known as Trot. Here in As it turned out, Philadelphians 2002. to join in the revelry. Along many Philadelphia, the Cambodian commu- were hoping for some drought roads, one can see women and nity re-created Trot for the second relief in April of this year as well. men, girls and boys, moving time at this South Seventh Street And Trot, performed by a cast of counter-clockwise in a large circu- Festival. Following the rituals with 25, including elementary, middle, lar pattern to a three- or four-beat the monks and preceding the stage and high school students, was the rhythm in Cambodia’s most popu- performances of dance, onlookers local Cambodian community’s lar social dance, the roam vong. were asked to move to either side of Dancers raise one hand and then the street in preparation for a parade [Continued on page 10 ➝] 9 a procession for the new year/continued from p. 9

offering in that regard.Two groups pole out in front of him, with a bag new year. It is the breach itself that of young people, taught during the attached to it, leads the way up the creates conditions for a re-establish- year by Leendavy Koung (a dance street.The audience crowds in from ment of order. In Trot, the slaying of teacher at Kirkbride School through the sides of the street to place offer- the deer symbolically brings about the Philadelphia Folklore Project’s ings in the bag, and to get a better renewed order. Folk Arts and Multicultural look at the performers: peacocks Cambodia has officially been a Education Program) and Sopheap represented by girls in green, red, or Theravada Buddhist country since Ou, joined forces for the presenta- blue skirts or brocade pantaloons, about the 14th century. But the syn- tion. It was Leendavy (an Asian embroidered velvet sashes draping cretic nature of Khmer spirituality Americans United staff member) their left shoulders;“spirits” or and religious practice, combining, as who, last year, came up with the “phantoms” in long brocade skirts they do, layers of animist, Brahmanic idea to include Trot in South with white diaphanous scarves, all and Mahayana Buddhist elements, Philadelphia’s Cambodian New Year with hair flowing as they step in along with the Theravada Buddhist festivities. “Trot is an exciting and time with the kancha bells and ones, allows for re-combinations of participatory part of the New Year move their hands in roam vong-like stories and traditions. Some of the celebration. It is a way to both give patterns; masked ogres; a deer, incar- legends related to Trot’s creation and receive blessings,”she explains. nated by a dancer wearing a head- mention the Buddha. (And, most Performers offer blessings through piece that resembles a deer head; a Trot troupes in Cambodia begin and sung lyrics while bystanders make hunter with his bow and arrows; end their journeys at their village merit by placing money in the bag and the kancha players.At several temple.) But the Buddhist reso- carried by the person at the head of points, the processional stands in nances remain a coating atop what the parade. In Cambodia, upon their place and the story unfolds. Singers many scholars believe to be an return from performing in front of (in this instance, on tape) chronicle ancient ritual. numerous people’s houses in vari- what is enacted. Ossa Sun, 17, who was born in The deer, right wrist crossed the southern Cambodian town of over the left with hands —formed Kompong Som, and who immigrat- into fists — held at waist level, pro- ed to the U.S. in 1996, played the gresses to the center of the ensem- hunter on April 20th.“My parents ble while the others form a semi-cir- had told me a bit of the story.And cle. Glancing left and right, he dash- before I left Cambodia I had seen es to avoid the two high-stepping, Trot in Phnom Penh. So I was excit- heavy-footed ogres who have come ed to have a chance to actually be to catch him. Having seen the in a performance at New Year time. ous villages, the troupe most often hunter miss on his first attempt at The hunter is a good character who presents the collected funds to their capturing the animal, they step in. helps bring good luck.” temple. At the South Seventh Street But after a tussle, they retreat with- Some in the audience lament the Festival, the money was divided out their anticipated prey.Then the fact that they can’t celebrate the among the performers as a way of hunter approaches anew. Both the New Year here as they had in proffering thanks. deer and the hunter dart in and out Cambodia. Puch Veng, from Participants at this year’s festival of the Trot formation, one in pur- Battambang Province in northwest- had their attention drawn to a suit, the other trying to escape. ern Cambodia, grew up watching group of performers amassed at the Ultimately, the hunter prevails, itinerant Trot troupes perform at south end of the street when those shooting an arrow into the fright- New Year time.A resident of the at the back of the parade formation ened animal, who falls to the U.S. for close to twenty years, she began pounding their kancha, tall ground.The peacocks and phan- points out that in Cambodia festivi- bamboo poles topped with bells, to toms circle round. ties last for days, and take place in a set the rhythm for the procession. There are various explanations number of locations. Everyone is in Recorded music of drums, fiddles, for the origin or meaning of Trot. holiday mode. But here,“we are lim- and a bamboo flute with attached Some anthropologists, for example, ited in what we can do where and reed, broadcast over loudspeakers, have suggested that in the legends for how long.And regular schedules overlay the ringing of the kancha, associated with its inception, the don’t change. People still have to go and the processional was set in deer signifies danger.With the intru- to school and to work.”In motion. (In Cambodia, all aspects of sion of this animal into the village, Cambodia, schools are closed for a the music, including the singing, the traditional order is jeopardized long vacation and most offices don’t would be live. Leendavy Koung says as the separation of the “civilized” open for at least several days.And this is something to work toward village and the “wild”forest, a funda- Trot ensembles may be on the road here in Philadelphia.) Lyrics mental opposition in the Khmer for weeks.“But, even a chance to do announce the arrival of the troupe world view, is eliminated. In many a little bit of what we feel we need and invite all present to join in. cultures, a brief fracture of the to is important,”adds her friend, Pok They also ask permission from the social order — here, enacted Chan Srey. crowd to perform. through a traveling drama —marks For most of the performers, 10 A young boy balancing a long the transition between an old and a Philadelphia is the first place they’ve seen Trot. Born in the U.S., a transgressive act, one that, of nostalgia and pride.As they fol- or in refugee camps in Southeast through ritual, momentarily sub- lowed the Trot up Seventh Street, Asia, they have grown up at a dis- verted the enduring chaos and some adults reminisced aloud tance from their ancestral home- ever-present threat of violence with about Cambodia “before the war” land, and from many of its tradi- this dramatization of a re-establish- (now thirty years ago). Some asked tions. Some of the students’ par- ment of order, of making the world each other questions (or offered ents, and presumably many others right once again.There was also a aesthetic judgments) about the in attendance (including Leendavy very real need for rain in the camps characters and the play unfolding Koung), first experienced Trot in in Thailand,and this, too, is attend- before them. (“When will the those very camps where they ed to in the rite. (With almost no hunter get him?”“That ogre should sought shelter in the 1980s and natural source, water was trucked act meaner.”) Parents strained to get early 1990s after leaving in daily, except when the roads good photographs or video footage Cambodia.1 It is a testament to the were closed because of fighting.) of their children in the parade.“We value placed on Trot and the desire The deer and hunter and their want our children to appreciate to address one’s most basic spiritu- entourage would criss-cross the what it means to be Khmer,”says al needs that Cambodians, stateless camps with song and stylized Leendavy Koung. “Trot can teach

Trot is a way to both give and receive blessings. Buddhist resonances remain a coating atop what many scholars believe to be an ancient ritual. . . and ultimately unprotected from movement, re-creating aspects of and entertain. It is always so nice to artillery shells, grenades, rape, and home for some, and introducing hear them ask,‘Can we do this robbery in the no-man’s-land and others to an archaic ritual whose again next year?’” war zone of the camps, nonetheless relevance journeys with those chose to re-enact a ritual parade at carrying its memory inside them. —Toni Shapiro-Phim their New Year time.And, as music Here in Philadelphia, the Trot 1 and dance (as Cambodians had processional and the festival of Cambodia suffered war and revolution through known them), and religious prac- which it is a part are good fun. the 1970s, and continued military unrest, pover- ty, and international isolation through the tices, had been banned by the revo- Shops along the street close so that 1980s and early 1990s. In the late 1970s, during lutionary leaders of the late 1970s, proprietors and workers can join in the rule of the infamous Khmer Rouge, even those familiar with Trot may the celebration. Sidewalk vendors between one and a half and two million people (out of a pre-war population of approximately not have had a chance to see or sell curries, sticky rice, fruit, and eight million) lost their lives to starvation, participate in it for years before balloons. Children race back and forced labor, illness, malnutrition, and execu- tion.The Khmer Rouge revolution destroyed they were in the refugee camps. forth dousing each other with Cambodia’s infrastructure, its school system, its Using whatever materials and water and powder as kids do at temples and markets, and attempted to destroy instruments they could gather or New Year time in parts of social relations and even the population’s cul- tural memory. Even with such loss and devasta- make, the somewhat rag-tag groups Cambodia and Laos.These are also tion, and with on-going political instability, of masked and unmasked charac- opportunities to “take back the poverty and war involving Cambodian political ters would parade through the street” in a sense. Surrounded by a factions as well as the Vietnamese, most people stayed, and attempted to rebuild their shattered rows of huts lining dirt roads and majority culture that may not lives.Yet thousands of Cambodians chose to paths, stopping here and there to understand and may not always flee to Thailand where camps, some initially ask the camp’s residents for permis- welcome them, participants mark under the control of different warlords, were then established.Agencies of the United sion to perform.Whereas in the neighborhood as one in which Nations, the Thai government, and a host of Cambodia villagers would set out they belong, while opening it up to international non-governmental organizations whatever they had in the way of all with customary rites and enter- developed camp infrastructures and programs. Eventually, many refugees were accepted for offerings for the troupe: lustral tainment. resettlement in countries such as the U.S., water, candles, incense, and so on, The skies did open and rain Canada, France,Australia, Japan, and so on. Many others, still in camps when a peace this was possible in the camps only began soaking the region a day or accord was signed in 1991, were repatriated to for the few with access to two after the festival.The Trot on Cambodia. resources. Dusty and hot—most South Seventh Street may or may camps had almost no trees—these not have had something to do with For further reading: Dance in artificial cities were places of con- that. It did, however, have some- Cambodia by Toni Samantha Phim stant discomfort and danger. One thing to do with fostering a sense and Ashley Thompson. NY: Oxford University Press, 1999 may interpret Trot in the camps as of community and an atmosphere 11 point of view:

On flamenco by anna rubio

Anna Rubio dancing at People much smarter than I have said that inside ourselves which we have no other request a certain letra (lyric) from the singer, the Rittenhouse Square ballet is defined by the positions and that way to express. but the letra sung or falsetta played does festival. Photo: Toni Shapiro-Phim, 2002 modern dance is defined by the movement Flamenco music is not written down not change the essential character of the between the positions. I would say that fla- and in fact cannot be recorded correctly choreography, unless by inspiring the menco is defined by the relationship of the using standard Western notation without dancer. movement to the compas (rhythm). employing specially created symbols. To try to understand the different cultur- What we know today as flamenco Flamenco guitarists in general do not read al influences which together have created music, dance, and song is a family of rhyth- music and see no need to learn. The dancer flamenco, one must look to the history of its mic structures, known as “palos,” each with places great importance on the guitarist’s birthplace. Throughout the centuries, the an associated name, history, mood, and pur- ability to follow the rhythmic lead he or she south of Spain, Andalucia, has been a much pose. As flamenco artists, we decide in sets in executing his or her baile (dance). coveted and fought over piece of land. Its which palo we will work, and following the The guitarist is free, though, to create unique position connecting the lead of the dancer, we create a piece falsettas (themes or melodies) in rhythmical- Mediterranean to the Atlantic and Europe to together. Our purpose is not aesthetic nor to ly appropriate places in the piece. A dancer Africa, plus its climate, mineral and agricul- entertain others (although this is how we may be particularly drawn to or inspired by tural resources, have made it the desired are employed), but to come together as one, a falsetta the guitarist plays and request home to many different peoples: Iberians, 12 using the chosen palo to express something that it be played in a certain place, and may Celts, Phoenicians, Greeks, and Romans who conquered and ruled there for six cen- Moorish influence in the region and conclud- “soledad,” meaning aloneness—not loneli- turies. The people of Southern Roman Spain ed that the word flamenco is derived from ness but solitariness. To dance soleá is the were reputed to be very musical, and the two Arabic words: “felag” or peasant, and ultimate accomplishment, the true expres- dancing girls of Cadiz are mentioned in sev- “mengu” or fugitive. This suggests that the sion of oneself. The siguiriya, another 12- eral ancient texts. A description of an instru- word flamenco describes more than just a count rhythm with beats placed differently ment resembling castanets suggests they musical form, but a people, an attitude, or a than rhythms of the soleá, is one of the most originated in Spain during Roman times. way of life. Other writers have said that the serious and emotionally deep of the palos When the Roman Empire fell, many peoples word flamenco can not come from the Arabic we call cante jondo (deep song). It is in tried to invade Spain. The Moors eventually because flamenco music and dance as we these palos where the letras, music and took and maintained control for almost 800 know it today did not exist during the reign dance express the most serious of human years. This is where the roots of much of the Moors in Spain, but was only heard emotion, where as writer Manuel Machado Spanish folk music are found, and some of after 1783, when King Carlos III created a said, “If the singer does not leave a piece of the roots of flamenco. law protecting the Gypsy people from perse- his soul in each verse, he is cheating the By 755 AD, Cordoba was one of the cution. This mandate did not mark the date public,” most populated urban areas of all of Europe. of flamenco’s creation, merely the time when The tangos are a 4-count palo with roots The arts and sciences flourished and while flamenco music was brought out of private in the rhythms of North Africa, but definitely the rest of Europe lived in the dark ages, ritual and made into entertainment for non- a palo belonging to the Gypsies. The tangos Cordoba contained a library of hundreds of flamencos, allowing the artists to actually are festive and sensuous, and are to this day thousands of volumes. Many works of Sufi- earn money singing, dancing and playing. a part of Gypsy wedding festivities. Muslim poetry composed during this time You might say that the Gypsy way, which is In these basic flamenco palos the rhyth- are being employed as flamenco letras by to adopt and adapt without ever assimilat- mic structures suggest South Asia and North today’s Flamencos. Many classics of both ing, is the way that what we now call fla- Africa, but which elements were introduced Muslim and Jewish thought were written menco music was developed. by the Gypsies and which were already a during this time in Spain. Cordoba and part of Andalucian folklore will never be ❃❃❃❃ Toledo were also the center of Talmudic Law known. The dance, which evolved much later for centuries. It is estimated that by the end The flamenco palos are divided into than the music, has a relationship to Kathak of the 10th century the majority of the three basic groups, reflecting this history. dance of India in the posture, use of the world’s Jewish population lived in Spain. Only one of these groups is derived purely arms and hands, and percussive footwork. In the mid 1400s, the first Gypsy people (as much as we can tell) from the private rit- There are also elements of Middle Eastern began arriving in Spain. (Many flamenco ual and complaint of the flamenco people. dance in flamenco, but, again, which come people have claimed that the Gypsies trav- The other two groups are derived from either from Andalucian folk dance and which from eled across North Africa and entered Spain the fandango (a specific type of regional folk the Gypsies is unclear. from the South, but there is no record of this, song, of uncertain but probably Moorish The mystery surrounding the history and and in fact all the official Gypsy organiza- descent) or are aflamencado (flamenco-ized) development of flamenco has more than one tions dispute this.) The melting pot of folk songs of Andalucia. This group also cause. Spanish history has been continually Muslim, Jewish and Christian peoples that includes later additions of aflamencado Latin rewritten to satisfy the needs of the current was Moorish Spain was a safe haven for the American rhythms. These we call canciones political leaders. Flamencos have also often Gypsies for only a short time. The Inquisition de ida y vuelta, literally “songs of going and managed to survive by remaining outside of was in full swing and the persecution of all coming back” (round trip). the mainstream. non-Catholics began. By the end of the 15th The earliest predecessors of today’s fla- But the most important and emblematic century, Spain’s Jews were forced to convert menco palos were sung without accompani- reason flamenco history is so mysterious or expelled, Moors were massacred or ment or only with percussion. The cante comes also from the very element that expelled, and Gypsies were driven into the (singing) is the soul of flamenco, the base defines flamenco. Gypsy people have always hills. Persecution brought these landless and the beginning. In the flamenco voice you defied the best intentions of historians to people together running for their lives or liv- hear the call to prayer from the minarets of clarify their origins. The Gypsy way of life is ing clandestinely in the countryside. These the Moors, and the Sephardic chants and an existential culture; where you come from people became “felag mengu,” peasant fugi- songs of the 9th century. You hear the is not as important as where you are right tives: flamencos. human experience laid bare. now. Flamenco is an existentialist art form. ❃❃❃❃ Some of the most basic and original fla- When we dance, sing and play, we are stat- menco palos are the toná, martinete (which ing exactly where we are right now. We are This word “flamenco” has been a point refers to the martillo, hammer of the black- exclaiming our survival. This is the only fixed of controversy over time. The word has had smith, one of the traditional jobs of the and non-evolving element in flamenco art: in many uses. In Andalucia, Gypsies (artists or Gypsies), debla, and carcelera, which refers all other ways, flamenco remains ever- not) are called flamencos, and you can use to prison life. All of these rhythms are sung changing. Flamenco artists will always be “flamenco” to describe someone with a bold without accompaniment or in the case of compelled to add to their current techniques attitude or posture. In the 18th century, martinete, with only the sound of the ham- whatever satisfies their need for language to according to García Matos, the word mer. The martinete is the only one of these express themselves. We will reveal our souls described a bold, audacious cad or braggart. rhythms still in common use. To hear a mar- and state “¡Aquí estoy!” Here I stand. Eighteenth and 19th century sources use the tinete sung by a Gypsy cantaor (singer) is to word for a kind of knife or dagger. The truly witness flamenco. These palos are not — Anna Rubio “father of Andalucia”, Blas Infante, born in meant to be danced. Anna Rubio teaches dance at Asociación de Malaga in 1885, and executed by Franco’s Also in this group are the soleá, sigu- Músicos Latino Americanos and elsewhere, falangists in 1936, was a lawyer, writer, iriya and tangos. The soleá (or soleares) we and performs widely. She and her husband, politician, notary and founder of the Centro call the mother of all 12-count flamenco flamenco guitarist Tito Rubio can be reached Andaluz. He did extensive research on the rhythms. The name derives from the word at annatito1.cs.com. 13 artist profile:

n a Wednesday afternoon in March, dents settled into place. But once they are, American, European, and African ones they twenty students from Martha Ortiz’s sixth- Anna, in black pants and a black shirt with a had been exposed to in this, their dance grade class at Julia de Burgos Bilingual striking red rose print, her hair falling in a class. The fluidity of the plena portion is Middle Magnet School are standing outside thick black braid down her back, commands marked by a soft movement of the hips and the Asociación de Músicos Latino attention with a quick combination of steps an opening and closing of the arms as the Americanos (AMLA) building in North on the stage’s wooden floor. Flamenco has girls practice for when they will be wearing Philadelphia. Once they are lined up nicely, spoken. Class begins. (and, at this point in the dance, swinging) their dance teacher, Anna Rubio, opens the Wearing their school uniforms of royal long full skirts in performance. For the tan- Odoor for them. And in they walk. Actually, blue tops and khaki bottoms, the students, gos gitanos portion, a festive and edgy fla- it’s more like a tempered run. They appear with Ms. Ortiz on stage practicing among menco rhythm traced to gypsy family cele- excited to get started, talking among them- them, launch into a review of the musical brations, backs are upright, indeed slightly selves about who remembers what parts section called plena, whose origins lie in arched, as the students demonstrate more and who wants to try drumming today. melodious Puerto Rican folk songs. Unlike percussive footwork and a play of arms and Percussionist Tino Serrano is waiting in their teacher, they are in tennis shoes so the hands, at one point reaching forward with the studio, a spacious room with a slightly patterns they tap on the floor resonate fingers fanning out as the wrist rotates. raised stage at one end. The eleven boys much less. These eleven- and twelve-year- Amanda, twelve years old, says her experi- and nine girls divide up—dancers on stage, olds are rehearsing a piece they choreo- ence with salsa and reggae help her imitate drummers by the congas on the floor. It graphed themselves after selecting the the steps. “I love learning this kind of takes a while for all three adults present— rhythmic sequences they liked best (plena, dance, too.” And Kadeem, a drummer here 14 Anna, Tino, and Martha—to get the stu- tangos gitanos) out of the range of Latin, at age eleven, insists his love of hip-hop by toni shapiro-phim ¡Aquí estoy!

translates into a quick understanding of the their constant reality. I want to offer them Systemic poverty, sub-standard housing and flamenco and other percussion patterns Mr. what flamenco gave me: dignity and inner health care, schools in a state of chaos Serrano introduces to them. “The drums, strength in the face of poverty, violence, (Julia de Burgos is set to be officially “re- while not generally included in flamenco, and prejudice.” constituted” next year with up to 75% of its complement its percussive nature,” insists Part of what makes the flamenco class- staff and administration replaced) and per- Anna, “and help the kids concentrate.” The es relevant to the kids’ lives is Anna’s incor- vasive violence and prejudice plague their flamenco guitarist, Tito Rubio (Anna’s hus- poration of what is familiar to them. The immediate world. “If I could pour all my band), who usually accompanies them, is students listen to hip-hop, rap, salsa, and troubles/Into the rushing river,” go the lyrics out sick this particular day. The students, merengue, among other music, at home. In to one flamenco song, “The waters of the both those playing the congas and those class they work with these and other dance oceans/Would rise to the heavens.” moving their bodies on stage, glisten with forms and rhythms, and incorporate them But whereas the words may speak of confidence, and delight. “Temporada,” they into the very adaptable Spanish flamenco suffering, the fact that one confronts and sing—loudly—“Temporada!” Though the form. They learn to differentiate between asserts the truth of one’s existence and word literally means “season,” as used here the rhythms and movement characteristics emotions through performance, augments it implies the impending approach of the as they work toward mastery of dance and the empowering nature of flamenco. It is a monsoon season in Puerto Rico. And they percussion. They also learn about the histo- strike against the cruelty and chaos, a are declaring their readiness to face it. ry of flamenco, and how they, according to statement of the will to triumph. The move- “It is the visceral experience of flamen- Anna, “can come to own it.” ment, the music, and the words together co that is empowering,” explains Anna. The popular image of flamenco, espe- can thus become a voice for those who “When one dances flamenco, one elimi- cially far from Spain, is often of a polished have been silenced. nates one’s vulnerability: the neck is club or theatrical dance form. But, indeed, “Before meeting me, many of the stu- dents I work with had never seen a person straight, eyes look directly ahead. Self- flamenco is more complex than that. One Facing page, top and who grew up not far from them standing on expression through flamenco counters the theory about the origin of the word ‘flamen- bottom left: Anna a stage performing. They were also fasci- Rubio with her cruelty and indignity experienced by many co,’ Anna explains, is that “it comes from nated and encouraged to see videotapes of students at AMLA. inner-city youth,” she says. Most of her stu- the Arabic for peasant (felag) and fugitive brown-skinned, Spanish-speaking children Photos: David Cruz, dents at Julia de Burgos School (she has six (mengu).” With its Indian, African, Middle 2002 like themselves, singing and dancing with classes from there) are of Puerto Rican Eastern, and European elements, flamenco’s such power and dignity, with their heads descent.1 They are citizens of the United roots cover a lot of ground. For her stu- Facing page, bottom held high,” notes Anna about the Julia de right: Julia de Burgos States, yet feel marginalized. Inhabiting dents, Anna emphasizes the Burgos students. “We begin each class by School recital. Photo: Moorish/African influences, and the multiple “worlds”—including, perhaps, spe- standing with our hands on our hips, our Toni Shapiro-Phim, 2002 cific cultural expectations of parents and Caribbean connection. One example of the chins up and shouting, ‘¡Aquí estoy!’ (Here I grandparents in a Spanish-speaking home, latter, she says, is that many of the great- stand!) At first this was difficult, even pressures imposed by popular media, and grandmothers of her students recall flamen- painful, for most of them, especially the stigmatization by the (majority English- co being popular on radio and television in girls, but by the end of the school year they speaking) surrounding society—they may Puerto Rico in the 1950s. are saying this with gusto,” thus making form a kind of fragmented identity. “They That the essence of flamenco is an explicit something that is implied or under- tell me they have felt they are often consid- anguished lament, a chronicle of oppressive stood in flamenco classes in general. An ered foreigners here,” Anna explains. “In conditions as populations migrated (often accomplished flamenco artist is expected to addition, they live in neighborhoods in out of force) and found themselves in hos- communicate from the depths of her (or his) which drugs and violence are the biggest tile territory, positions it to be relevant to soul; she must, therefore, know and honor influences. Drug addiction, AIDS, shootings, the lived experience of young people in and absences due to prison sentences are Philadelphia’s inner-city neighborhoods. [Continued on page 25 ➝] 15 artist profile:

by cory w. thorne

16 kormassa bobo

ormassa Bobo was born and raised in Malamai, a father fasted for seven days, there would be a great deal Above: Kormassa Bobo k performing dance of small town in Lofa county, in northern Liberia. She of music and dancing to thank God for his renewed the Kru people. Left: belongs to the Loma ethnic group, a group that resides healing powers. Kormassa’s current students, born and Dance of the Vai both in northern Liberia and across the border in Guinea. raised here in Philadelphia, or born in Liberia and raised people. Photos: Toni Kormassa’s father was a respected dancer, and he began here, know little about how dance has meaning in such Shapiro-Phim, 2002 teaching dance to his daughters when they were quite settings. Few know very much about the history of her young. Mr. Bobo ran the dance troupe in Lofa county that country. would perform for important events such as when About a decade before the civil war, in 1977, president Tolbert would visit the region.1 Mr. Bobo was Kormassa left her town to join Liberia’s National Cultural also a well-known healer and leader of the Monigei Troupe. Her family was noticed by president Tolbert healing society. Kormassa remembers how, when she during one of his visits to Lofa county. He saw her and was young, their house would often be filled with people her sister dance, with their brother (who was only about waiting to be cured of various ailments. Once a year, they ten years old) drumming for them, and was impressed would have a huge festival in their town where, after her [Continued on page 22➝] 17 Reconnecting with Tradition art happens here:

by Shawn P. Saunders

grew up watching my mother and her Hucklebuck to Hip Hop,” features a partici- instructors (former winners of bop compe- I friends dancing the bop at any house patory demonstration of vernacular dances titions hosted by ODUNDE) greeted them. party, pinochle match, or celebration that popular among African Americans in Despite the presence of chairs, most par- had music playing in the background. The Philadelphia from the 1940s through the ticipants went straight to the dance floor. bop fascinated me because it required 1990s. The workshops developed from an Teenagers and children danced alongside two people to dance together. The dances oral history project implemented by instructors and other adults. Those who of my generation—from break-dancing ODUNDE with the help of the Philadelphia already knew the bop quickly found dance and the running man to the butterfly and Folklore Project from 1993 to 1994. partners and “hit the floor.” Others worked the Harlem shake—seldom require a Drawing on many interviews recorded up a sweat by following the lead of dance dance partner. But my mother lived in with local dancers as part of this project, teachers such as Janet Starling and South Philadelphia during the 1950s and folklorist John Roberts wrote ODUNDE’s Corbitt Banks. As the crowd grew larger, she, like many African Americans living in first major publication, From Hucklebuck the instructors mingled among the Philadelphia at that time, dances the bop. to Hip Hop, in 1995. dancers, giving individual instruction to Lois Fernandez, founder and president That the program continues reflects its those who needed more assistance. of ODUNDE, Inc., has lived in South significance to people. I attended Between songs, the deejay provided Philadelphia since she was born. Because ODUNDE’s Bop Workshop at the African descriptions about songs of the bop gener- of this, she is passionate about developing American Museum in Philadelphia in ation such as “Tune Up” by Junior Walker. community programs that preserve African February, 2002. Although the workshop During a break, Lois Fernandez took the American vernacular dances of took place in the auditorium, chairs were microphone and discussed how dances Philadelphia such as the bop. Although pushed to the side, allowing the center of like the bop and the strand could bridge most Philadelphians are familiar with the the room to become a dance floor. The generation gaps and (re) connect ODUNDE festival held annually on the sec- disc jockey/music historian, Sam “the Philadelphia communities. By the conclu- ond Sunday in June, few are aware of the Golden Oldies Man”, began playing sion of the workshop, members of the ongoing programs that her organization records before the audience arrived. As audience were asking when the next pro- produces. One program in particular, “From participants wandered into the room, gram would be held.

18 The “Hucklebuck to Hip Hop” workshops illustrate African American traditions in a communal context. Three traditions—improvi- sation, participation, and signifyin’—were evident at the workshop I attended. First, there was an absence of a defined (written) program. The roles of the people present, from instructors to deejay to audience—were inferred; people relied on cultural familiarity to define their parts in the workshop. Participation while learning or observing the dances was voluntary. At the same time, almost every person who entered the audito- rium elected to learn the various dances pre- sented. Finally, the tradition of signifyin’— common in African American communities and illustrated by “playing the dozens” or other examples of playful mockery and humor—continues as an African American Participants at this communal tradition. So, while Ms. Fernandez year’s “Hucklebuck to HipHop” Philly vs. DC described the history of dances like the bop, Bop dance contest at instructors and members of the audience who ODUNDE. Photos: Toni grew up doing these dances began a light- Shapiro-Phim, 2002 hearted exchange about which area of Philadelphia (South Philly, North Philly, the Bottom, etc.) did the best variation of the bop. After the workshop, I asked Ms. Fernandez about the goals of these dance programs. It was more than simply an oppor- tunity to gather and reminisce, she explained, “ODUNDE seeks to continue the legacy of African American vernacular dance in the community. Our greatest hope is that the dances of our community live on.” Pointing to the absence of African American communities in discourse addressing the renaissance of Philadelphia neighborhoods, Ms. Fernandez states, “I think it is like Ralph Ellison’s description of the ‘Invisible Man’: We are the invisible people, the invisible culture. These workshops put our history and our presence out there.”

—Shawn P. Saunders

For more information about “Hucklebuck to Hip-Hop” programs, contact ODUNDE: 215.732.8508

19 point of view:

Lithuanian folk arts journey by jen cox My great-grandparents came over in the pelled to migrate to Philadelphia. Many of took control of Lithuania in 1940, it began a Above: Ausrinele first wave of Lithuanian immigration to the these second and third generation series of occupations lasting until 1991, and Lithuanian folk dance group at the opening United States, around the turn of the 20th Lithuanians lost their ties to ethnic and cul- resulting in massive expropriation of land, ceremonies, 11th century when Lithuania was occupied by tural activities and identity. However, many deportations of hundreds of thousands of Diaspora Lithuanian czarist Russia. Coming here to escape others joined and helped to strengthen peasants, forced collectivization and urban- folk dance festival, forced recruitment into the czar’s army, and already existing Lithuanian parishes and ization, and a campaign of terror, massacres 2000, with author’s in search of jobs and better economic and organizations in Philadelphia, as well as and torture aimed at breaking the popula- brother, Daniel Cox, in front. political conditions, they ironically ended up forming their own. tion. The Nazi occupation, begun in 1941, deeply embroiled in the politics back home, Pennsylvania’s Lithuanian communities interrupted that of the Soviets, but contin- Next page: Author and in intense labor struggles here. Like played important roles in cultural conserva- ued a campaign of terror. Virtually all of Jen Cox and sister most first wave immigrants, they settled in tion. The Lithuanian language, endangered Lithuania’s 200,000 Jews, as well as the Alexa in Lithuanian Pennsylvania, a state that has played a key as a result of Russian repression in country’s Roma (Gypsies) were annihilated folk costume at St. Andrews Lithuanian role in the sustenance of Lithuanian culture Lithuania itself, was spared extinction by a by the Nazis and local collaborators, despite Roman Catholic and language both in the U.S. and in combination of factors: its preservation the existence of one of the fiercest Jewish Church, early 1990s. Lithuania. Until World War II, Pennsylvania’s among Lithuanian rural peoples. scholars’ partisan movements in occupied Europe. Photos : Lynne Cox was the second largest Lithuanian popula- interest in Lithuanian as the most conserva- Along with concentration camp sur- tion in the world, after Lithuania, and one of tive of the living Indo-European languages, vivors and refugees from throughout Eastern the world centers of Lithuanian culture, and the clandestine revival—by way of Europe, many Lithuanians traumatized by nationalism and politics. At this time, secret language schools and newspapers— war and fleeing the advancing Soviet army Pennsylvania’s coal regions were home to of the culture and language within both spent up to five years in Allied Displaced both the heaviest concentration and some of Lithuania and the diaspora, particularly in Persons camps after the war. Lithuanian the most significant activity of Lithuanians Pennsylvania. refugees to the U.S. often settled in already in the U.S. The second major wave of Lithuanian existing Lithuanian communities. The culture A strong community also developed in immigration was inspired by the events sur- and community which had built up around Philadelphia. Social, cultural and political rounding World War II. Hundreds of thou- the coal fields began to die out with the networks, and family ties linked many sands of Lithuanians were displaced as their closing of the mines, and Philadelphia Lithuanians in Philadelphia and the coal country, located between Germany and the became the center of Pennsylvania regions. As the mines began to close, signif- Soviet Union, became a battleground and Lithuanian life. It was in Philadelphia that icant numbers of young people were com- site of genocide. When the Soviet Union most of the “second wave” immigrants to 20 Pennsylvania settled. organizations, networks and events to sus- religious and cultural events involving the My sister’s parents-in-law were among tain community members economically; to community as a whole are carried out in these refugees; children when their families provide education for their children; to per- these spaces or in peoples’ homes, where left Lithuania, they grew up in the refugee petuate and teach the culture and language; folk artists struggle to keep their arts alive camps, landing here in the late 1940s. With to allow for worship in the native language; in the midst of the demands of family and many other Lithuanian displaced persons, to advocate around political issues back jobs and the pressures of Americanization. they settled in South Philadelphia, and home; and to present and celebrate In all of these places, traditional Lithuanian joined the exile community that grew up Lithuanian culture and traditional arts. language, food, games, lullabies, songs, around St. Casimir’s Parish. In 1991, as the Philadelphia became home to Saturday lan- images, art and literature form the fabric of Soviet Union fell apart, Lithuania regained guage schools, dance festivals, folk music daily life, mixing and competing with other her independence for the first time in more and song groups, dance ensembles, Lithuanian surrounding cultural influences. than fifty years. Ties between the diaspora parishes, and organizations such as the My great grandfather helped to found and those in the “old country” began to re- Lithuanian Music Hall and Cultural Center, the the Lithuanian Music Hall in Port Richmond form. It wasn’t until the late 1980s that Lithuanian Folk Art Institute, the Lithuanian- in 1907. Born in 1908 in Nicetown in North Lithuanians in the diaspora could travel American Community (Philadelphia Chapter), Philadelphia, my grandmother spoke freely to and from Lithuania, visit throughout Amber Roots, and the Knights of Lithuania Lithuanian as her first language, and she the country (including family homesteads (Philadelphia Chapter). and her sister were responsible for helping left in the wake of the war) and meet family The conservation of Lithuanian their parents navigate life in English, and for members without being under surveillance. language, culture and traditions in the interacting with English-speaking customers At the same time, greater numbers of peo- ple were finally allowed to leave the coun- try to study, live, travel and work, as emigra- For those forced into exile, there is often tion is now freely permitted. And so a “third wave” of immigration has started. When the first and second waves of a tremendous sense of urgency and Lithuanian immigrants arrived in the United States, they came with memories of responsibility involved in the transmission scorched countryside, bombed-out cities, confiscated farms, famine and impoverish- of culture to the next generation. ment, and lost or deported family members.

For these refugees, the preservation and diaspora gets more difficult with each gener- at the family’s butcher shop. In 1923, my Author’s mother perpetuation of traditional culture and arts ation. In recent years a growing number have grandmother’s family was joined by my Lynne Cox, accor- took on a significance extending beyond become active in local Lithuanian activities, grandmother’s cousin, Salomeja “Sally” dionist, and guitarist/drummer individual cultural choices. Massacres, but in general, each generation has less flu- Gedvilas, who came from Lithuania to live Ed Kamarauskas, deportations, expropriation, forced migration, ency in the Lithuanian language, less knowl- with them. Sally was born in the United of the “Kaimo cultural oppression, incarceration in labor edge and preservation of traditions, and less States to a Lithuanian father and a Polish- Kapela” (Country camps, impoverishment, and exile take a participation in the community. German mother, but after her father hurt his Band) play for heavy toll on communities and on peoples’ Today, Philadelphia’s Lithuanian back in the coal mines in upstate Kucios traditional Christmas Eve din- language, arts, customs, relationships and American community is physically centered Pennsylvania, the family went back to his ner, c. 1998. Photo: social structures. For those forced into exile, in the Lithuanian Music Hall and Cultural farm in Lithuania. Sally was sent to the Rimas Gedeika there is often a tremendous sense of urgency Center in Port Richmond, and three United States shortly before her 21st birth- and responsibility involved in the transmis- Lithuanian Roman Catholic Parishes: St. day, so that she could claim U.S. citizenship sion of culture to the next generation. Casimir’s in South Philadelphia, St. George’s and work in the United States. When With this mission in mind, each wave in Port Richmond and St. Andrew’s in [Continued on page 24➝] of immigration has developed institutions, Fairmount. Most formal social, political, 21 kormassa bobo /continued from p. 17

by their level of skill at such a young age. feeding their families. There were reports of percussionist Nana. “And it’s also special to The Minister of Information and Cultural killings in nearby villages, but no one knew work with young people who already Affairs then invited her, her father, brother, exactly why or who was involved. So, at the consider themselves ‘dancers’ like those at and sister, to come to Keneja, home of the suggestion of friends and family, she CAPA,” adds Kormassa. She has identified National Cultural Troupe. Keneja was a extended her stay in the U.S. Her two-month talented students in both classes she will small town near the capital Monrovia. In visit has now lasted over sixteen years. invite to join her as she begins developing a 1964, it had been established as a center for Kormassa Bobo has made a new life Liberian dance troupe. the preservation and display of traditional here through performance and teaching. She Kormassa’s focus on enriching arts in Liberia.2 has performed at festivals (such as movement classes with contextual “Living in that community involved ODUNDE, Philly Dance Africa, and so on), discussions stems from her own youth, when more than practicing dance. When I look weddings, fund-raisers, and various she studied at the Sande Society school, a back on my time there,” reflects Kormassa, celebrations and teaches Liberian dance to “young women’s organization” in Western “I appreciate the strict discipline we lived local children. She began working and Northern Liberia, and in Sierra Leone.3 under, even when we weren’t practicing or intensively with Liberian children because As a school for young women, it functions as performing. We weren’t allowed to give she felt that she needed to help those who a rite of passage—instilling the proper up. That prepared me for difficulties in had come here as refugees from the civil norms of female behavior. Members of the life. After living there, no matter how hard war. Dance would help them replace the organization operate a grade school where your life is, you will always want to work negative images of war in Liberia with more many families send their daughters for two hard to overcome the difficulties, instead productive images of Liberian traditional to three years (Kormassa attended for two of feeling hopeless.” culture, she hoped. years). Dancing is part of their training at the The dance troupe toured nationally and “It is very important to me to pass on my school and is used to demonstrate the internationally, performing dances of talents to young people. I talked to many responsibilities of women. For example, Liberia’s many ethnic groups. Before this refugee adults who told me about the during the school’s graduation ceremonies, time, however, they did not have any Loma problems their children were having, large events attended by people from all dances. The Bobo family is thus responsible especially with discipline. I thought dance over, the young women perform a dance for presenting these dances to the rest of might be one way of helping them, of containing steps symbolizing various aspects Liberia and the world for the first time. The educating them through culture. I have seen of cooking, child rearing, and etiquette. Bobos taught everyone else in the troupe the positive changes in the kids once they’ve By teaching dance, Kormassa teaches Loma dance, music and costuming, and in been participating in the dance for a while. not only about heritage and how to be a turn learned from them the dances of other And their parents tell me the same thing.” proper humble adult, but also about the Liberian ethnic groups. Loma dances became She also teaches in local schools where she diversity that exists within Liberia. “Many of some of the troupe’s trademarks, always shows students of many different our dances tell similar stories—of how to included on domestic and international backgrounds aspects of Liberian culture. As farm or take care of a child, for example— performance tours. “In Liberia,” explains part of the Philadelphia Folklore Project’s but each ethnic group expresses the stories Kormassa, “people believe that good Folk Arts and Multicultural Education using unique dance steps, rhythms, dancers have special gifts passed on to program, accompanied by drummer Nana costumes, and sometimes different drums. them, in many cases from their parents and Korantemaa Ayeboafo, she has worked with Some, such as the Vai, emphasize fast ancestors. Others have their calling dance majors at CAPA (Philadelphia’s High footwork, while others, such as the Kru, revealed to them in dreams and so on. I School for the Creative and Performing Arts), emphasize body undulations. Even within the feel the importance of my Loma lineage, with students in Carrie Bailey’s class at dances of one group, there is stylistic and believe I must continue to pass on my Leeds Middle School, and elsewhere. In all variation.” Dances also differ between men skills and knowledge through teaching settings, Kormassa aims to use dance to and women. Men and women dance and performance.” teach young people how to be responsible separately with distinct steps in most In 1984, the National Cultural Troupe, citizens of the world. Along with dance ceremonial contexts. The one place where Kormassa among the members, toured the technique, she offers students stories about they always dance together, however, is in United States. Over several months, they the dances and their place in Liberian life, the Moonlight Dance. visited a number of major American cities, and invites them to ask questions in return. A social dance, the Moonlight Dance drawing audiences of both Liberian and non- Both Kormassa and Nana note that creates a space for boys and girls to meet Liberian heritage. At the end of the tour, they while students are attentive when they talk one another and socialize, and for local returned to Liberia, but Kormassa did not with them about aspects of West African news and gossip to spread. Some of the stay there for long. arts and cultures, dancers at CAPA are steps imitate manual labor, but the song After about six months in Liberia, restless to move, to use every minute to texts are improvised and often mock local Kormassa returned to the U.S. to visit her enhance their technical knowledge. Students figures. Singers create lyrics on the spot cousin in Philadelphia. She planned to come at Leeds are a bit more engaged in such when they see someone of interest. They here for a short stay, but during this time discussions. Their teacher, Carrie Bailey, embed the songs with social commentaries rumors of conflict started to spread through integrates the program with lessons in regarding which girl is interested in which Liberia. Each time she phoned home, her African history and culture taught throughout boy, or what someone was seen doing that mother would tell her that things were not the school year. “It’s great that their day. Older folks are also mocked during the right. People were not getting paid on time exposure to dance and drumming is dance as the lyrics present aspects of their 22 and they were beginning to have trouble reinforced in other ways,” comments personalities that would not be so openly kormassa bobo /continued from p. 22 commented on in daily discourse. Everyone is vulnerable to embarrassment through this tool of social expression. While it is a challenge to explain the history and meanings of these dances, and to convey to a classroom how important such dance can be, an even bigger challenge to teaching Liberian dance in Philadelphia is finding the right drummer and the right drums. As each dance step is associated with a particular rhythm, drummers are expected to follow cues from the dancers that indicate changing sections. Or, they lead the dancers, who follow with these changes, thus achieving a measured. intricate interaction Kormassa Bobo performing dance between sound and movement. Ethno- of the Kru people. musicologist Barbara Hampton has written Photo: Toni that “performers try to make audiences ‘see Shapiro-Phim, 2002 the music and hear the dance’.”4 Recorded music is undesirable as it creates rigidity in which the dancers only follow. In order to use live drummers, however, Kormassa needs one or two expert drummers who know the dances that she performs. (It is ideal to have five or six seasoned percussionists, but she has found that additional parts can be played by drumming students.) Because there are no drummers in Philadelphia familiar with Loma dance or the drums specific to Loma music, shoring up their nation-building agendas. The she usually teaches dances from other Liberian government did the same — 2 Although Keneja was set up as an artists’ center ten miles Liberian ethnic groups. outside of Monrovia, the city has since grown and supporting the development of this troupe to This year she has started on a productive surrounded the area. Most of Keneja, and its exhibits and highlight both the diversity of traditions collections, however, were destroyed during the civil war. partnership with Nana Korantemaa Ayeboafo, present in Liberia and their ability to come a percussionist most skilled in the Akan 3 The Sande Society School is an indigenous secret society together under a unified nation. Dance was traditions of Ghana, but with a broad range of for women. A girl is initiated into Sande at a young age thus a tool to celebrate unity and diversity in a and for the rest of her life it is there to support her. For all expertise to which she is now adding Liberian land plagued by social, economic, and political the major events in a woman’s life, the Sande is there rhythms. Nana is a dancer as well and (weddings, child birth, death of parents, death of spouse, ills that were to erupt into a devastating civil etc.) and when she dies, they (with her family) bury her. therefore especially sensitive to the dancer- war in the latter part of the century. All of this Sande is a vibrant institution of women’s traditional drummer interaction. Their hope is to travel to authority and autonomy that, even over a thousand docu- frames Kormassa’s dance. Liberia together one day to study further with mented years, continues to be dynamic in relationship to In May of this year, Kormassa attended women’s changing realities. experts, and to bring a refined and expanded the Brooklyn Academy of Music’s Dance repertoire back to Philadephia. 4Referencing a personal communication from A.M. Opuku, Africa, a festival devoted to the rich legacy of 1970. Barbara Hampton, “Identities: Music and Other One of the things Kormassa emphasizes in African dance and music. Following the African Arts,” The Garland Encyclopedia of World Music, teaching dance is that movement has Africa, Vol. 1., ed. Ruth M. Stone. pp. 102-123. NY: performance, she says, she wanted to shout meaning. Dance is not just about Garland, 1998, p. 108 to all who would listen that that is what she entertainment and spectacle, but also about had been doing in Liberia and on international Cory W. Thorne worked at the PFP as a Samuel Fels Winnet intern, where he developed contex- teaching culture and tradition. In her work tours—performing with a full ensemble on with Philadelphia students, she educates tual material about some of the artists who world-class stages to appreciative audiences. work in PFP folk arts residency programs. He is about self-sufficiency, respect for elders, and In relative isolation in Philadelphia, she looks completing his Ph.D. in Folklore at the University cooperation with those around them. She to a future when her current students blossom of Pennsylvania teaches about diversity within Liberia, as well into adept performers so that together they as diversity across West Africa, and aims to can take the stages of Philadelphia (and demonstrate that we can at once respect each beyond) by storm. of these various traditions yet build bridges across cultural differences simultaneously. —Cory W. Thorne This was one of the primary functions of the Liberian National Cultural Troupe to which she used to belong. In many countries in the 1 William R. Tolbert was the president in office when twentieth century, governments encouraged Samuel Kanyon Doe overtook the government in 1980. the creation of such ensembles as one way of President Taylor has led the country since 1996. 23 Lithuanian folk art journeys /continued from p. 21

Europe became embroiled in the Great become deeply involved in the local commu- Dancing, and in particular these festivals, is Depression and the Second World War, and nity. We dance in the folk dance group one of the key ways that Lithuanian young later when Lithuania was annexed by the Zilvinas, are regular members of St. people in the diaspora meet their peers and Soviet Union, she was cut off from her par- Andrew’s Parish and my mother also helps are connected to a larger international ents and all of her brothers and sisters who to lead the Kaimo Kapela or “Lithuanian Lithuanian youth (and eventually adult) com- remained in Lithuania. She never made it Country Band.” munity, something particularly important for back to Lithuania to live. It wasn’t until the In 1991, as a high school student, I Philadelphia’s relatively small Lithuanian 1970s that she could return to Lithuania to became the first in my family’s direct line to community. Thousands of diaspora visit, and even then visits were only allowed travel to Lithuania in the century since my Lithuanians join together, usually in the in the capital city, and were closely watched great grandparents immigrated to the United United States or Canada, for a weekend of by Soviet authorities. States. My trip was postponed by the social events and a joint dance and folkloric Letters between Sally and her siblings, August 1991 coup in Moscow, which led to presentation for the public. The performance and especially between her and her beloved the rapid breakup of the Soviet Union. As involves dancers of all ages from dozens of brother whom she left behind as a toddler, the Soviet Union fell apart, Lithuania and communities from about ten countries danc- testify to the sense of longing, loss and dis- the two other Baltic States, Latvia and ing well-practiced folk dances simultaneous- placement experienced by millions of people Estonia, which had also been occupied by ly to a live orchestra and choir. Dances of all nationalities in the process of emigra- the Soviet Union during World War II, include children’s games, traditional wedding tion, or torn apart, usually forcibly and often became independent countries for the first dances, and dances imitating daily life on the forever, by war, genocide, occupation and time in more than fifty years. I arrived in farm, washing, weaving and spinning. exile. Ironically, while Sally all but lost her Lithuania just days after independence was The diaspora festivals, until recently family back in Lithuania, in later years, recognized by the international community. called the World Lithuanian Folk Dance when communication lines between the During the two months I was there I watched Festival of the Free World, have been held United States and Lithuania opened up, she as Lithuanian society began to struggle to since 1957 and are modeled roughly after would become my family’s only link to rela- overcome the legacy of Soviet rule, to develop similar festivals which were begun in tives there. When my family visited a newly economically and politically, and to reclaim Lithuania in 1923, the pre-World War II independent Lithuania in 1992, it was Sally’s and preserve Lithuanian culture and folk arts independence era, in an effort to develop a brother and sister, nieces and nephews, and while attempting to avoid cultural, political national Lithuanian culture and to retrieve their children (our second and third cousins) and economic domination by the West, and folk arts nearly lost during a century of whom we visited. We were able to visit her particularly by the United States. czarist occupation. The Lithuanian Song and beloved brother before he died, to record My mother has been the accordionist Dance Festival in Lithuania continued him on video for Sally, to visit her home- for Zilvinas (Serpent), the only active adult through most of the Soviet occupation, and town and home parish, and to trace where folk dance group in Philadelphia’s Lithuanian is still held every four years in Vilnius. the family farm may have been before it community since its reorganization in 1991. Ironically, while these festivals helped to was confiscated and collectivized by the Zilvinas was originally founded in 1963 by provide a sense of cultural identity, and thus Soviets. Now, although Sally and her sib- Genovaite Maciuniene and Irena Bendziute, fed Lithuanian nationalism, when Lithuania lings in Lithuania are gone, we maintain both members of families who came here as was under Soviet domination the song and regular contact and visits with their children refugees at the end of World War II. Now dance festivals were used by authorities as and grandchildren. directed by Estera Bendziute-Washofsky, the a symbol of cultural freedom. Soviet- My mother, Lynne Cox, grew up here in sister of one of the founders, Zilvinas pri- Lithuanian government officials participated Philadelphia, surrounded by a tight group of marily includes non-Lithuanian speaking in the festivals, sanctioned the events as my grandmother’s Lithuanian friends and rel- descendents of first wave immigrants. The part of the “Let a Thousand Flowers Bloom” atives, including Sally, her godmother. This group performs at the annual Lithuanian fair campaign, and promoted social policies group shared Kucios, the annual Christmas (November) and Independence Day celebra- ostensibly supporting the arts. Meanwhile, Eve vigil and dinner, other holidays, and tions (February) at the Lithuanian Music huge numbers of rural people were being yearly trips to the Jersey shore. Lithuanian Hall, and at other events inside and outside massacred, deported and evicted from the was spoken when the adults didn’t want the the Lithuanian community. After a period of farmsteads, villages and communities which children to understand, and so my mother inactivity, Zilvinas was reorganized in prepa- had been the basis for Lithuanian culture grew up with Lithuanian customs and a strong ration for the Ninth World Diaspora and folk arts. While the festivals went on, Lithuanian identity, but without the language. Lithuanian Folk Dance Festival in 1992 in the way of life that gave rise to its songs When my grandmother died in 1986, my Chicago, and has since danced in three of and dances was being destroyed. While family became involved in Philadelphia’s these festivals. Zilvinas also joined with tens Lithuania was occupied by the Soviet Union, Lithuanian community. At age 12, I began of thousands of singers and dancers from both the diaspora festivals served not only to learning Lithuanian at the Vinco Kreves Lithuania and the diaspora in the 1998 maintain Lithuanian identity, but also to Lithuanian Saturday School, held at Saint Lithuanian Song and Dance Festival in Vilnius. build the movement for independence Andrew’s Lithuanian Roman Catholic Parish. Ausrinele (little morning star) is the chil- among exiled Lithuanians. My teacher was Jurate Krokyte-Stirbiene, dren’s folk dance group of the Vinco Kreves At the 1992 festival in Chicago, just a whose father Bronius Krokys has appeared Lithuanian Sunday School, based at St. year after independence, dancers from in the pages of this magazine for his preser- Andrew’s Lithuanian Catholic Church. The Lithuania joined in the diaspora festival for vation of Lithuanian folk songs. When I group, also taught by Estera Bendziute- the first time. In turn, two years later, joined the Saturday School, my mother was Washofsky when it is active, is made up of dozens of diaspora folk song and dance recruited as the accordionist for the school’s the students of the school, from ages four to groups joined the Song and Dance Festival folk dance group. Over the years, I have fifteen. Ausrinele performs at annual events in Lithuania. My sister and I were privileged learned to speak Lithuanian, often acting as in the Lithuanian community. This group also to be able to dance in the festival, with a translator between my family and our rela- dances every four years in the World combined dance group from Philadelphia tives on trips to Lithuania. My family has Diaspora Lithuanian Folk Dance Festival. 24 [Continued on following page ➝] Lithuanian folk art journeys /continued from p. 24 and New Jersey: Liepsna (Flame) and The struggle to maintain culture in the This article is dedicated to Petras Vaskys, Ausrinele (Morning Star). For many of the diaspora is a struggle to hold on to memory, who died in April of 2001. Mr. Vaskys, a older participants in the festival, it was their relationships, values and traditions against refugee who came to the United States in first time back to Lithuania since their flight the forces of forgetting and of loss, against the late 1940s, was a sculptor, a founding in the 1940’s. For many children and grand- the forces of distance and time, and against member of the Lithuanian Folk Art Institute children of the displaced, it was a first trip, the forces of a broader culture that works and an active participant in Philadelphia’s and many met aunts and uncles, grandpar- against the ties of family and community. My Lithuanian community— someone who dedi- ents and cousins for the first time. Every own story of participation in the Lithuanian cated his life to creating, preserving and evening, I watched highly emotional and community is one of reclaiming and recover- passing on Lithuanian arts and culture. awkward reunions, as dancers, whose par- ing memory, traditions and language that ents and grandparents fled the country fifty keep culture alive, that give a sense of histo- years before and who grew up in the shadow ry, and that instill values of belonging and of of an unknown (and seemingly lost) home- responsibility to community, something larger land, met for the first time the families their than ourselves. parents and grandparents had left behind in the race to escape war-torn Europe. — Jen Cox

¡Aquí estoy! /continued from p. 15 herself and her right to assert her presence. many flamenco classes conducted solely in and hear, and guided each ensemble of stu- Anna herself is of Italian, Native English, and accessible only to those who dents through the choreography and songs. American, and Irish descent, to name but could afford them. So she approached While the applause and cheers from the three elements. She grew up “often without AMLA with the idea of offering classes to audience were genuine and encouraging, it enough food, but always with music,” ostra- neighborhood youth. And her program was was the students’ display of confidence in cized by schoolmates or neighbors at times born.3 presenting themselves on stage that was because of her coloring and at times The journey to pride in and mastery of most moving. (One group even asked to do because of her family’s economic plight, yet skills doesn’t follow a single or unbroken an encore because a classmate, late return- nurtured by jazz piano- and classical Spanish path. Once captivated by flamenco, students ing from a doctor’s appointment, has missed guitar-playing relatives and acquaintances face obstacles to continuing their studies. her chance to perform with them earlier. The who surrounded her. She began music (Anna and Tito teach a weekly evening class request was granted.) lessons at three, continuing with piano and at AMLA.) Proper shoes are expensive, and Fostering self-discipline and trust in the guitar as she grew up. Her maternal grand- unavailable to those who don’t get out of group process, developing pride and confi- mother had spent some time in Spain. Upon the neighborhood or don’t have access to dence in giving a public presentation, and her return, she brought Anna fans and the internet. Anna finds some shoes at sec- encouraging an awareness of new and con- shawls. Anna was enthralled. Her biggest ond-hand stores, but can’t provide shoes for structive avenues for self-expression, fla- dream became to play flamenco music. She all. Girls are often asked to care for younger menco, here, has become a language for also studied dance — ballet, modern, and siblings —and even for ailing older rela- growth in all those areas. The grand finale jazz. It wasn’t until she moved to San tives— in the evenings, keeping them from of the recital was reserved for Martha Ortiz Francisco from her hometown of participating. Many students ride the bus (who doesn’t know, yet, where she’ll be Philadelphia, however, that she started for- from distant neighborhoods to the magnet teaching next year) and her students. They mal flamenco dance classes. school, and their parents are unable or performed “Plena to Tangos Gitanos to One morning, on the west coast, Rosa unwilling to drive them to an evening dance Plena,” the girls dressed this time not in Montoya of the well-known Montoya Gypsy class in another part of the city. Those in the khaki pants but in long, full blue and red family peeked her head in to watch the Latin neighborhood are sometimes kept from skirts that they manipulated with grace. Jazz class held in the same studio where attending class because of the dangers Drummers hitting the congas, dancers alter- she was teaching. When class was over, inherent in the walk from and to home. And nately clapping (palmas) in syncopated Ms. Montoya approached Anna, a student in there is, of course, the cost of the class. rhythms and stomping their feet, they con- that class, and said, “Tu tienes la pinta, hija Only a limited number of scholarships is cluded with shouts of “Temporada!” (You have that look, daughter). Come available. upstairs with me.” In addition to studying On May 20th, students of all six classes —Toni Shapiro-Phim under Rosa Montoya, she also became a from Julia de Burgos Bilingual Middle 1. student of the late Maestro Cruz Luna. By Magnet School involved in the AMLA pro- Julia de Burgos (1914-1953), for whom the school is 1986 she had joined Theater Flamenco of gram performed for their fellow students named, was an acclaimed Puerto Rican poet and jour- San Francisco, performing flamenco and nalist of African descent who was committed to con- during a school recital. With rhythms and structive social change. She moved to New York in the Spanish classical and regional dances movement styles ranging from tangos to 1940s. throughout the Bay Area. bachata, from hip-hop to bomba, from 2. Back in Philadelphia in 1991, she taught bulerías to merengue, spanning cultures Tito Rubio has performed throughout the United States classes at the flamenco studio run by Julia from Spain to Cuba, from Africa to the (touring with Maria Benitez’ Teatro Flamenco in 1995), and in Asia, Australia, the Middle East, and Spain. Lopez, performed with Flamenco Olé, and Caribbean to the streets of Philadelphia, the

3. traveled widely giving lecture-demonstra- students demonstrated their command of Whenever possible, Anna continues her studies in New tions. In 1997 she left for Spain with her the drums, the floor, and the air. Tino York with Olympia Estrella from Sevilla, and Jose Spanish tocaor (flamenco guitarist) husband Serrano, percussionist, and Tito Rubio, gui- Molina and Victorio, and in Spain with La Chiqui de Tito, and stayed close to two years.2 Again tarist, helped with the accompaniment. Jerez. in Philadelphia, Anna resumed teaching and Anna Rubio, on stage as well, explained to performing, but was dismayed at seeing so the audience what they were about to see 25 dance journeys /continued from p. 3

re-create here. In North America they workshop organizer, has long pointed silence—of forgetting, of passively help forge a connection to history and out that this history needs to be accepting one’s “lot,”of isolation, are cultural knowledge for children who reclaimed in a town where American far greater in the long run. are refugees from Liberia’s civil war, Bandstand appropriated local African and, she explains, teach discipline and American dances and moves, while —Toni Shapiro-Phim self-respect. denying local dancers the right to per- Cambodians in the U.S. also know form on the show, further contribut- the terror of war and displacement. ing to the invisibility of aspects of Special thanks to Miriam Phillips, Those born after their families left local culture and of its practitioners. San Francisco-based dance ethnolo- their homeland encounter the bleak These popular workshops are gist, teacher and performer, for recent past through stories.And they reminders of how the not-so-simple reviewing selected articles in this come to know other aspects of their performance of dance (and history issue. Some of the artists mentioned heritage through communal events and culture) can be a matter of both in these pages participate in our arts such as the Trot procession at a South politics and pleasure. residency program for children; oth- Philadelphia festival. Most of the Jen Cox’s essay focuses on the ers have participated in our techni- adults in attendance at the April cele- Lithuanian community in cal assistance program. Still others bration had traveled a rough road to Philadelphia, and her passage to an have been partners in community get here—one rutted with violent rev- ancestral homeland she had only festivals in which we share in efforts olution, with loss of family members, known from a distance.Tracing to make these arts accessible. Our of friends, of home, with a prison-like Lithuanian struggles for indepen- dance programs, and this special existence in refugee camps, and then dence, and then the history of emigra- issue, occur with the support of adjustments to life in a foreign land. tion, she places the local Lithuanian Dance Advance (a program of The Trot, the itinerant dance-drama, fol- community and its folk dance and Pew Charitable Trusts, administered lowed the same path. Trot was music in changing political and cultur- by Drexel University), the National banned for several years in al contexts. She is a dancer herself Endowment for the Arts, the Cambodia—along with all other famil- who finds powerful resonance in the Humanities in the Arts Initiative iar songs, dances, and spiritual prac- struggle to hold onto and strengthen (administered by the Pennsylvania tices. Its performance here is a state- family and community ties through Humanities Council and funded pri- ment of identity, and survival. participation in Lithuanian folk arts marily by the Pennsylvania Council Shawn Saunders writes about and other traditional practices. on the Arts), and PFP members. ODUNDE’s “From Hucklebuck to Hip Each of the artistic endeavors Hop” project in which participatory shared between these covers is workshops introduce attendees to the embarked upon with considerable social and stylistic histories of some of risk.These include the risk of being the most popular social dances of the branded old-fashioned or “foreign,”or, last century in Philadelphia’s African conversely, too innovative and not American communities. Lois “pure” enough; the risk of being Fernandez, ODUNDE founder and labeled subversive. But the risks of

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● $50 dinner & show, $15 performance alone ($37 $11 pfp members)

join us for an outdooring celebrating the first honorary titles bestowed by the Ga people, followed by wonderful performances 26 Place an advertisement, business card, or message in the next issue of WIP Magazine to support PFP programs (and guarantee your ticket to Philly Dance Africa!) magazine of the philadelphia folklore project

About the event: This year’s Philly Dance Africa is special guest dancers and musicians who also preserve scheduled for December 7, 2002. A collaboration between and extend African traditions here. Tickets: $50 for a Gadangme Association, ODUNDE, and the Philadelphia dinner/reception, outdooring, pre-event discussion, and Folklore Project, it will feature a special outdooring performance. OR: $15 (without dinner/reception). ceremony honoring the founder (Christine Wiggins) and an elder (Alonzo Matthews) of Imhotep Institute, and a Support local folk and traditional artists, and Philly Dance special recognition award to Ms. Ione Nash. Join us for Africa, by placing an advertisement in our program the first honorary titles (enstoolments) ever granted by the book—a special issue of the PFP magazine-- to be Ga people. Come together to celebrate honorees dedicat- distributed locally and nationally. . . Reach a diverse ed to preserving and extending cultural traditions in our audience with your congratulations and support. community. Then celebrate and enjoy performances by Blamoh Doe and company, Kulu Mele African Dance Ensemble, Lisanga Ya Banakin, Tamara Xavier and other

Place your advertisement in the next special issue of this magazine, to be published in December in conjunction with Philly Dance Africa 2002

Program book advertising rates: Name: $1,000: Full Page (8 x 10) +10 reception/ performance tickets $500: Half-Page (5 x 7) Address: +4 reception/performance tickets $250: Quarter-Page (3.5 x 5) Phone: + 2 reception/performance tickets $125: Eighth-Page (2 x 3.5, business card) Amount enclosed: Size advertisement: + 1 reception/performance ticket $80: Eighth-page (2 x 3.5, ➠ Please attach camera-ready copy and check. business card) Make check payable to “Philadelphia Folklore Project”. + 2 performance tickets Mail to: 1304 Wharton Street, Philadelphia, PA 19147. (no reception) FOR INFORMATION, CALL THE FOLKLORE PROJECT: 215.468.7871 Messages of congratulation: $35 (50 words or less)

A c t no w ! Ad v e r t i s i n g de a d l i n e : Se p t e m b e r 30 , 20 0 2 . Traveling exhibitions

on Philadelphia folk arts and culture available now! exhibits ✱

Borrow some of our pictures for your Giants, Kings and Celestial Angels: ODUNDE African American walls...and get to the heart of commu- Teaching Cambodian Arts in Festival:Twenty Years on South nity traditions important to diverse Philadelphia. Work by Peang Koung, Street. Photographs by Thomas B. folks.Six exhibitions can now be rent- Eang Mao, Sipom Ming, Chamroeun Morton. ODUNDE is one of the old- ed—they show how people use folk books Yin and their students.This exhibition est African American street festivals in arts today in diverse urban neighbor- introduces four Cambodian artists: a the country.It has grown into a hoods,as essential tools for living.Let mask-maker and folk opera director,a dynamic event that draws more than us know if you want to bring pictures costume-maker,a temple painter,and 200,000 people every year.Included from our neighborhood to yours.Six a dancer/mask maker.The focus is on are vivid images of the Egungun exhibitions are available: how they try to teach Cambodian dancer,a batá battery,the procession pfp arts here in Philadelphia, sharing and offering, drummers, dancers, and Uses of Tradition:Arts of Italian Khmer values along with Khmer arts. celebrants. Photographs show the arts Americans in Philadelphia explores 24 framed and matted photographs that are at the heart of a twenty-year- the meanings of some of the beauti- with 7 original drawings by students old African American street festival that ful and useful folk arts that Italian and text panels. has persisted,despite opposition and immigrants brought to this region gentrification.30 matted and framed over the last one hundred years— “Plenty of Good Women Dancers:” photographs with text panels. from the stonecarving, stained glass African American Women Hoofers and mosaic work that ornament our from Philadelphia. Glamorous film Keep It Real. Graffiti has become grand buildings to the family and clips,photographs and dancers’vivid increasingly controversial. But the regional craft traditions carried on in recollections convey a portrait of debate over graffiti is usually one- more private settings, like palm- veteran Philadelphia women hoofers sided, with all young urban graffiti weaving and window displays.This prominent during the golden age writers and artists grouped together exhibition considers the meanings of swing and rhythm tap (1930s- and treated as vandals and worse.This and uses of inherited 1940s).This exhibition focuses on exhibition pays attention to some of traditions in peoples’ lives. 54 matted women who “came up”from the the opinions and experiences of a and framed photographs with 1920s through the present.Restricted group of eleven young men who 17 interpretive text panels. to few roles,unnamed in credits,these paint elaborate graffiti. Each is repre- African American women dancers sented with a single color photo- You, Me and Them: have remained anonymous within and graph of his work—chiefly “pieces” Photographs by Thomas outside of the entertainment industry (short for “masterpieces”),with some B. Morton is an extended essay on and sometimes even in the communi- memorial walls and commercial com- how culture is created, reshaped and ties in which they reside.The exhibi- missions.The artists are also repre- attacked in our multicultural society. tion offers us a glimpse into an era sented by text panels which include Photographs by this thoughtful often viewed only through the per- their comments and questions.They African American photographer rep- spectives of male tap dancers, agents, ask why there is money to arrest graf- resent more than twenty years of his and entertainment impresarios. It fiti artists, but not for schools or jobs. documentation and exploration of honors the artistry and rhythmic The exhibition raises questions about culture-making in communities of innovation of these dance pioneers. disinvestment in urban communities, color in the Philadelphia area. Morton 50 framed and matted photographs and controversies over what is public has attended community festivals and in six panels,with two additional and private property.11 large-format celebrations, witnessed weddings, text panels. matted and framed photographs with funerals, momentous performances, text panels. triumphs and tragedies. Included are images of Korean, Hmong, Vietnamese,African American, Puerto Rican and Jewish people that testify to the ways in which folk arts are important in peoples’ lives. 27 framed and matted photographs with text panels. 28 Books

✱ In my heart I am a dancer. ✱ Uses of Tradition:Arts of Italian By Chamroeun Yin.Edited by Americans in Philadelphia. Deborah Wei and Debora Kodish. By Dorothy Noyes.Foreword by Photographs by Réne J.Marquez Richard N.Juliani.Describes trans- and others.Khmer translation by formations in Italian American folk- Chiny Ky.A beautiful children’s life,tracing and linking the work of book about a Cambodian artist that diverse artists: palmweavers, punctures stereotypes and honors painters,stonecarvers,woodcarvers, the complexities of a person’s life. seamstresses,makers of stained 1996.32 pp.,full color,photos.Ages glass,mosaics,Christmas presepii, 5-11.$12.95 mummers costumes,carousel ani- mals,window displays,and more. ✱ The Giant Never Wins: 1989.80 pp.,photos.$10.00 Cambodian Lakhon Bassac (folk opera) in Philadelphia. ✱ Hmong Kwv Txhiaj. Stories by Koung Peang and Pun Compiled by Pang Xiong Siriratha- About Our Exhibitions: Our Nhiv.Essays by William Westerman suk and T-Bee Lo with the assis- exhibitions are user-friendly,and with Prolung Khan Ngin.Transla- tance of Ellen Somekawa.A project appropriate both for agencies with tions by Leendavy Koung,Chiny Ky, of the Southeast Asian Mutual Assis- no previous exhibition experience, Prolung Ngin and Debora Kodish. tance Association Coalition and the and for museums.Exhibitions come Edited by Debora Kodish.Giants Hmong United Association of PA. in well-labeled crates,with detailed fight humans,celestial angels and Six songs,in Hmong and English, packing,installing,and repacking magical messengers are agents of from different Hmong singers,with instructions.Photographs and panels change,and good and evil battle in comments.These are chiefly kwv have wire backs,and are easy to hang. these enjoyable stories,once per- txhiaj,lovely rhymed songs,impro- Exhibits cost $500 for each six- formed on stage by the artists inter- vised in response to other songs, week rental.We provide insurance viewed,and included here in English usually as part of a tradition of for the exhibits. Shipping costs are and Khmer.Essays explain the histo- courting done at New Year.1993. the responsibility of the borrower ry,social context and meanings of 32 pp.,illustrated.Accompanied by and must be arranged through our this tradition enjoyed and performed 2 home-mode audiotapes.$10.00 office. Organizations that serve low- by Philadelphia artists.1995.160+ income or under-served communities pp.,photos,glossary.$15.00 ✱ Chol Chhnam:Cambodian may be eligible for reduced fees. ✱ New Year’s Celebrations in ODUNDE presents From Philadelphia (1979-1993). (Please call us for more information). Hucklebuck to Hip Hop. Social Interpretive, educational and mar- Dance in the African American Compiled by Leendavy Koung keting materials (such as postcards, Community in Philadelphia. with the assistance of Wutha Chin. posters, videos, and related PFP By John W.Roberts.An ODUNDE A project of SEAMAAC and the publications) are available for many project.People tell their own Cambodian Association.A brief his- of the exhibits.We also provide bor- histories of vernacular dance, tory of how the Cambodian com- rowers with sample news releases, describing how they grew up munity in Philadelphia has photographs, and captions. dancing in Philadelphia neigh- collectively celebrated New Year. borhoods, what made a good Describes 15 years of events orga- Please call Shawn Saunders dancer, and why dance is impor- nized through a mutual assistance tant. 1995. 123 pp., photos, index- (215-468-7871) with es. $10.00 association. 1993. 30 pp. illustrated. any questions about our $6.00 ✱ traveling exhibitions Lithuanian Wedding Celebration Songs.From the memory of program, or for further Bronius Krokys. information. Edited by Joseph Kasinskas. A project of the Lithuanian Folksong Quartet.Forty-one songs sung Or visit our website for virtual during Lithuanian weddings in the tours of the exhibitions: region of Dainava,Lithuania.Largely learned by Mr.Krokys from his www.folkloreproject.org mother,they were current between the wars in Lithuania. In Lithuanian and English. 1994.xiv + 47 pp., photos,illustrated,musical transcriptions.$10.00

29 video: pfp new

We’re pleased to announce “Look forward and carry on the past: stories from Chinatown,” our new half-hour documentary about Philadelphia’s Chinatown, illustrating the strength and complexity of this neighborhood. Our focus is on the role of folk arts and commu- nity cultural expression in the community’s continuing struggles for respect and survival. Touching on community efforts to stop a stadium from being built in the neighborhood (one of many fights over land grabs and “development”), and on other occasions when the commu- nity comes together (including Mid-Autumn Festival and New Year), the documentary attends to the everyday interactions, relationships, and labor— so often overlooked— that build and defend endangered communities. The bilingual documentary is a collaboration between Asian Americans United, the Philadelphia Folklore Project, and filmmaker Barry Dornfeld. It is directed by Debbie Wei, Barry Dornfeld, and Debora Kodish, with assistance from Ming Chau, Linda Chung, Anh Ha, and James Yoo.

Watch WYBE (Channel 35 in Philadelphia) for broadcasts this fall: September 24 @ 9 PM & September 28 @ 10 PM

This project occurs with the support of the Office of Curriculum Support of the School District of Philadelphia, the Rockefeller Foundation, the University of the Arts, and WYBE.

SPECIAL PRE-RELEASE DISCOUNT FOR PFP MEMBERS AND FRIENDS!!

$12 INDIVIDUALS (AFTER 9/30: $15) $30 INSTITUTIONS (AFTER 9/30: $50)

30 Look forward and remember the past: stories from philadelphia’s chinatown

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magazine of the philadelphia folklore project

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about the philadelphia membership form folklore 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 pow- erful institutions. Here at the Philadelphia Folklore Project, we are committed to paying attention to the experiences and traditions of “ordinary”people. Name We’re a 15-year-old independent public folklife agency that documents, sup- ports and presents local folk arts and culture.We offer exhibitions, concerts, Address workshops and assistance to artists and communities.We conduct ongoing field research and we organize around issues of concern.We maintain an archive and issue publications and resources.We urge you to join—or to call City State Zip us for more information. (215-468-7871) join and get the shirt off our back! Phone ____$25 Basic. Get magazines like this 1-2x/year, special mailings and 25% discount on publications. E-mail ____$35 Family.(2 or more at the same address).As above. ____$60 Contributing. Please make checks payable to: Philadelphia Folklore Project ____$150 Supporting. ____$______Other Mail to: PFP ____$10 No frills. Magazine & mailings, no discounts. 1304 Wharton St., ____Sweat equity.I want to join (and get mailings). Instead of $$, I can give Philadelphia, PA 19147 time or in-kind services, help with mailings, computer (MAC) consult- thanks to new and renewing members! ing, work on a committee, or something else. Please join us today!

Visit our website: www.folkloreproject.org