PHILADELPHIA

P • R • O • J • E • C • T I N P R O G R E S S

Volume 10:2-3 Summer/Fall 1997 ISSN 1075-0029 Roshni Bhakta Special 10th shows mehandi Anniversary work done by Issue Rashmi Jhaveri, Photo courtesy R. Jhaveri V V V V

ANNIVERSARY Where INSI DE were From the editor, p. 2 you in Ten years at the PFP, p. 3

Painted ladies: mehandi, p. 10 January Chia Kue’s carved fruits, p.14 1987? Ione Nash, dancer, p. 16

African dance party fieldwork, p. 18

The Still family reunion and the Underground Railroad, p. 20

A labor organizer in Honduras, p. 24

Information about PFP publications, events, and exhibitions, p. 28 10 V V V V FROM THE EDITOR

If you are just meeting us, or if you’ve gotten to know PFP from one of our projects, we hope you

will enjoy the abbreviated “growth chart” we include in this special birthday issue. While we can’t V V V V possibly condense 10 years into a few pages, we thought people might enjoy getting glimpses of places we’ve been, people we’ve worked with and things we’ve done. Other articles in this issue Over time, we’ve devel- reflect the work of the past six months. They provide a window on some of what we’ve accom- oped three kinds of plished in this, our 10th year. We’re growing up and out. Our new traveling exhibitions program responses to local placed photos of local folk arts and culture in 26 sites across the region—from the Kensington needs: public Joint Action Council to the Down Jersey Folklife Center, from the Walt Whitman Cultural Arts programs to make Center to the Black Family Reunion Cultural Center. This past year, we also produced our first documentary videotape, “Plenty of Good Women Dancers: African American Women Hoofers local folk artists from Philadelphia”— and showed it at 14 community screenings to wonderful and moving better known and response. We offered nine workshops and gatherings, teaching folk arts, bringing people togeth- understood, services to er, and helping artists and community organizations to sustain and fund the folk arts in their own artists and grassroots communities. Over the course of this past year, more than 12,700 people came to a PFP program, saw an exhibit, learned to tap dance, or joined with others who believe that the quality of life of folk cultural agencies our neighborhoods is improved by a vital folk culture. Our publications, including our brand new to help support local children’s book, “In My Heart I am a Dancer,” reached at least another 5,300 people. And thanks culture in our commu- to the continuing generosity of the Lila Wallace-Reader’s Digest Fund, we grew as a staff, complet- nities (a key compo- ed a strategic plan, improved our ways of working, asked a lot of questions, learned. It has been a wonderful year. We like being 10! nent to quality of life!) The artists in this issue were all involved in this year’s programs. We introduce you to Chia Kue and resources—books, and Rashmi Jhaveri, gifted women who were featured guests at the folk artists’ marketplace at videos, magazines and this past year’s Folk Art Auction. Both Chia Kue and Ione Nash are artists who have participated an archive with more successfully in our technical assistance programs. Fieldwork for forthcoming programs also kept than 45,000 items—to us busy all year, and PFP staff members write about their research and what will come of it in these pages. Stacey Ford describes work that will result in a fabulous social dance party this fall. preserve a record of (Please plan to come!) Teresa Jaynes shares excerpts from a gripping interview done for our Folk the folklife of our city, Arts of Social Change project and for the same project, former PFP staff folklorist Bill Westerman past and present. Some profiles the Still family’s long connection to the Underground Railroad, and ways in which that highlights of those dif- history connects to present traditions and values. Fieldwork with activists is inspiring. In the worst ferent programs are of times, people have managed to hold on to a vision of equity and justice, and to develop pow- erful strategies for working towards that vision. We are 10, but we are only 10, and we are well included here. aware that we are just beginning to learn our job, beginning to ask harder and better questions of all of our teachers: the artists and activists and locally rooted thinkers and chroniclers and histori- ans. We are privileged to start a second decade in such company, and we hope that you are among them. If you are not yet a member, I invite you to join. In these hard times, we need your support more than ever. Our ability to do good work depends on turning occasional magazine readers into participants and supporters. Come to a PFP event this year. Meet the people described in these pages. Help us start our next decade by investing in the arts in our own city neighborhoods. —Debora Kodish HAPPY

2 10 BIRTHDAY! 10 YEARS: Birthday Growth Chart

Despite the often-touted years, and those whom life of family businesses, and on folk cultural organizations and on show. Our annual grants workshop Italian folk arts. diversity of the city’s we’ve yet to meet— we doing oral history, and our technical led to technical assistance for assistance resulted in support for apprenticeships and projects involv- Where neighborhoods, we saw offer this growth chart. apprenticeships and projects involv- ing Chamroeun Yin, a Khmer classical incredible neglect of 1989/90 ing Hal Taylor, who carved European- dancer wno had just moved to town, were folk arts (which we also This was the year we were gearing style marionettes, and Blanche Epps, Mom Sak, a Khmer beadworker, and saw as powerful, often 1987/88 up for: the 100th anniversary of the a traditional gardener, and for a Lati- the Cambodian Association of Greater The 100th anniversary of the challenging, alternative American Folklore Society. A thou- no festival organized by Iris Pagan at Philadelphia. American Folklore Society, a sand folklorists from all around the Thomas Eakins House. you in points of views rooted in national organization, was world came to the city in October, approaching, and we wanted to people’s experiences.) and joined the Philadelphians who 1991/92 know more about the place of folk- We saw some work that lore in our city. We opened an turned out for Philadelphia Folk- 1990/91 Intensive fieldwork went into a pho- January lore Month. For a citywide celebra- On the eve of Lithuanian Indepen- tographic exhibition using both needed to be done, and office at the Fleisher Art we created an organiza- Memorial, began field research tion of folklife, we organized 121 dance, our new community con- family pictures and images by into Philadelphia folk cultures, cert series presented the Lithuanian Khmer and American photogra- 1987? tion—with your help— published the first issue of Works Folk Song Quartet in a moving phers. “Bamboo Shoots Grow to do it. As a birthday in Progress, and established our (SRO) concert that was their first Up to Be Bamboo: Cambodian card to all of you—those archive on Philadelphia folklife. As performance outside the Lithuanian Folk Arts in Philadelphia” whom we’ve gotten to we met people and groups who community. Our second concert opened at the Fleisher Art Memorial We were moving into a were trying to preserve and sup- V V V V know over the last ten event featured tap dancers LaVaughn and traveled to United Communities small back room at the port local folk arts and culture, we Robinson and Germaine Ingram in of Southeast Philadelphia. Also at were able to offer them technical an intimate performance and dis- Fleisher, Cambodian master musi- Photos this page, Samuel S. Fleisher Art assistance in carrying out their Memorial. Shortly after plans. Our own research was cussion. We curated two exhibi- cian Koung Peang and his phleng kar l-r: Cambodian that, we could be found focused on understanding how tions as part of the “Art in City Hall” ensemble performed “kat sao,” a wedding, 1990. the city’s many organizations program. “Passing on Traditions: Photo: Thomas B. V V V V in many corners of the supported folk arts, on the folk- Sixteen Master Folk Artists,” co- Morton. Koung city, talking to folk curated with the Folklife Center of Peang playing a Photos this page, artists and to other peo- International House, examined the tror, c. 1990. clockwise from top ple and groups working history of state support of Photo: Thomas B. left: Alpha Kappa to keep culture alive and events offered by 70 organizations. master/apprentice partnerships. Morton. Terrence Alphas stepping at The PFP and Fleisher created a major “Preserving Traditions,” a PFP Cameron and the Greek Picnic, vital in our neighbor- exhibition on the arts of our own exhibition, introduced a wide range one of his steel 1988. Photo: hoods. We met hundreds neighborhood— “Uses of Tradi- of local folk arts, past and present. drums. Jerrilyn of amazing and little- tion: Arts of Italian Americans in Brief catalogs accompanied each Photo: Thomas McGregory. known artists whose Philadelphia.” We supplemented B. Morton Blanche Epps works were significant the exhibition with palm-weaving teaches gardening, workshops, a book, and walking 1990. Photo: Jan and whose voices and tours featuring dressed windows Greenberg. Pegg points of view we came and Italian craftsmen’s work. We Kidwell weaves to believe in deeply. worked with the Smithsonian and palms. Photo: Tere- the Afro-American Historical and Cul- sa Jaynes, 1995. tural Museum to produce “Stand By Tawaddud Rey, Me,” a powerful ethnographic photo Isaac Maefield, Jr., exhibition by Roland Freeman on and Beatrice African American expressive tradi- Maefield with one tions in Philadelphia, based on field- of her son’s canes, work by Glenn Hinson and the PFP’s traditional haircutting ceremony c. 1983. Photo Al Jerrilyn McGregory. Our fieldwork that is part of a Khmer wedding. A Whitney, courtesy was focused on family businesses, powerful grassroots gospel com- Isaac Maefield. traditional gardening, Italian folk arts, munity concert featured Reverend and African American folklife. We Carolyn Bryant and the Preston offered workshops on grants for 4 10 Continued on following page ➛ 5 10 YEARS: Birthday

on Hmong kwv txiaj, Khmer New Year’s celebrations, and Vietnamese New Year traditions, all as collabora- tions between SEAMAAC, the Cam-

bodian Association and the Hmong V V V V United Association. We completed a modest survey of Native American Photos this page, Arts in the Philadelphia area. Techni- l-r: Crystalyn cal assistance won grants for Hmong Moses jumps artists to teach rhymed improvisato- double-dutch at ry courting poetry to young people, Shaw Middle for Ethiopian krar music, and for School (from “Art Chayale Ash and Golde Goldman to Happens Here” Singers. We held our first Folk Art teach Yiddish theater and folksong. exhibition). Photo: Auction, published a resource vol- Teresa Jaynes, ume, the Guide to Philadelphia 1995. Baba Folklife Resources, describing 301 youth and two folklorists worked 1994/95 Crowder. Photo: groups that in different ways present, together to document Khmer artists Three sold-out performances of Thomas B. preserve, or support local folk cul- and folk art traditions in the city. In “Stepping in Time,” an exhilarating Morton, 1993. ture. Four brief “Videos on Folk the Antecedents to ODUNDE Pro- transaction. A series of workshops revue of veteran African American Arts” illustrated folk gardening, ject, researchers explored traditions and a working paper resulted. entertainers, drew on Germaine mummery, palm-weaving, and of festivals and gatherings in South Rhythm tap dancers gathered for a Ingram’s insights and leadership and Khmer arts. Our annual grants work- Philadelphia’s historically African Peang Koung, Eang Mao, Sipom series of Philadelphia Tap Initia- two years of interviews and planning. shop and followup technical assis- American neighborhoods. About phia Folklife Resources, issued two Ming, Chamroeun Yin, and their stu- tive rehearsal sessions under the “Art Happens Here” let us move tance resulted in support for forty Cambodian American students working papers, and kept up publi- dents, this exhibition was shown at direction of project director, tap our exhibitions outside the Fleisher’s apprenticeships and projects involv- were drawn into the Khmer Arts cation of Works in Progress. We the Fleisher Art Memorial and the artist, and PFP Board co-chair Ger- walls and into community-based ing Chamroeun Yin, Khmer classical Education Project: classes and offered grants workshops and con- Philadelphia Museum of Art. Eleven maine Ingram. Cambodian American agencies, literally reinvesting in dancer, Phally Doung and Son Ren, apprenticeships that began at the vened a roundtable meeting of tradi- workshops and community gath- students again participated in the diverse city neighborhoods. We built Khmer folk dancers; Chia Ker Lor, Fleisher Art Memorial and spilled tional artists. Our technical erings brought artists together Khmer Arts Education Project, an a wide range of connections in the Hmong basketweaver and Furman into the Cambodian neighborhoods assistance won support for appren- around issues of equity and access, experimental arts education project process. We installed 122 photos in Humphrey, African American carver. of South Philadelphia. Artists ticeships and projects involving: Lao grant opportunities, project plan- intended to increase arts education eight different sites. Programs includ- instructed students in their own traditional dance and Southeast ning, and law and culture issues. Our opportunities for Cambodian chil- ed eight exhibitions and seven

V V V V homes. At different periods, folk Asian New Year traditions (Hmong, technical assistance leveraged dren, and, with PFP’s help, to make public programs at Taller Puertor- 1992/93 painting and drama “classes” Lao, Vietnamese, overseas Chinese, about $110,000 in grant funds for tra- the Fleisher Art Memorial more riqueño, the Point Breeze Perform- Photos this page, We began our work in folk art educa- occurred every day of the week. Khmer); Eang Mao and Raky Mao ditional artists and grassroots cultural accessible to this community. This ing Arts Center, the Mill Creek Jazz l-r: Confesor tion with “Representing Folk Cul- Three to six artists acted as masters received grants for Khmer painting. organizations. We were busy with was the second year for this pro- and Cultural Society, the Southwest Melendez, cuatro- ture,” a workshop for teachers on and teachers, while older students Furman Humphrey received sup- advocacy and organizing for pub- gram, sponsored by the Pew Arts Belmont Community Association, maker, 1990. moving past stereotypes, combined often instructed younger ones. We port to teach African American lic funding for arts. Fieldwork began Education Development Project. the Free Library of Philadelphia Photo: Thomas B. with a resource fair that introduced helped the Southeast Asian Mutual woodcarving. Many grassroots for our “Art Happens Here” pro- “Hucklebuck to Hip Hop” docu- Kingsessing and Haverford branches, Morton. Koung Khmer musical ensembles to teach- Assistance Associations Coalition groups also benefitted: our techni- ject, and we worked to identify folk mented and presented African Ameri- and the Italian Market Florist, and on Peang prepares for ers and community groups. We (SEAMAAC) with the Southeast cal assistance raised $55,000 artists in West Philadelphia, in part- can social dance as a vital folk art SEPTA busses. Artists exhibited a lakhon bassac curated a multicultural photo exhi- Asian New Year's Project, involv- for/with traditional artists and nership with the Haddington Devel- form in South Philadelphia. This included Italian palm-weavers, Lao performance. bition, “You, Me and Them: Pho- ing fieldwork and publications in five community groups. opment Corporation. We held exciting project was undertaken by plaiters, Hmong basket-makers, Photo: Bill Wester- tographs by Thomas B. Morton.” communities. A new project on mul- another great Folk Art Auction. In ODUNDE, with PFP support in the African and African American drum- man, 1992. At a Cambodian music concert, the ticultural issues and the law our Law and Culture project, inter- form of research, technical assis- mers, dancers, and singers, Cambo- Leendavy Koung Koung Peang and Van Pok ensembles examined ways in which culture 1993/94 views with lawyers and legal con- tance, and grant-writing. It resulted dian dancers, painters, musicians, dances roam presented pleang kar, roam vung, affects justice. We began research on Based on field research in local sumers centered on parajudicial in fabulous community dance par- folk opera actors and wedding spe- vung, 1992. Photo: and lakhon music. Our field research African American tap dance with our Cambodian communities, we curat- features that are aspects of culture— ties. We continued to offer technical cialists, graffiti artists, drill teams, Bill Westerman, included two collaborations. In the Philadelphia Tap Initiative. We ed “Giants, Kings and Celestial matters that are outside the written assistance for publications coming steppers, hairbraiders, storytellers, 1992. Cambodian Community Docu- held our second Folk Art Auction, Angels: Teaching Khmer Arts in record of a case but that may be the out of the SEAMAAC New Year’s quilters, gardeners, doll-makers, mentation Project, seven Khmer republished our Guide to Philadel- Philadelphia.” Featuring works by most significant features in a legal Project. Three volumes appeared, 6 10 Continued on following page ➛ 7 10 YEARS: Birthday

Hmong Association have borne real year, including six workshops for on strategic planning. The PFP diverse crowd of other tap dancers shows on video. Our workshops fruit. As the year ended, our Cambo- artists and grassroots folk cultural moved to our own space. We were to work with the masters. Our new and technical assistance resulted V V V V dian Arts Education Project became agencies, a publication party for one of three independent folklife traveling exhibition, also called in local folk artists and grassroots folk institutionalized, with Chamroeun artists featured in Works in Progress, centers around the US to receive a “Plenty of Good Women Dancers,” cultural organizations receiving fel- Right: Arlene Yin joining the Fleisher faculty, and and community concerts. One prestigious Lila Wallace -Reader’s was installed at the Philadelphia Clef lowships from major foundations and Heath, singing at incubating his own dance company. featured the Native American a capel- Digest Fund award. We mourned the Club of Jazz and Performing Arts for public funders. These included Frito the Redeemer ODUNDE’s social dances—“Huckle- la women’s ensemble Ulali, co-spon- loss of talented and young artists, six months. It, too, opened to an Bastien, Haitian painter, Mogauwane Baptist Church buck to Hip Hop” cabarets—have sored with Fleisher and United and friends, to the epidemic of vio- SRO reception. Our six traveling Mahloele, South African musician, (from an “Art turned into permanent features, and American Indians of the Delaware lence: Leab Koung, Rey Nuñez, and exhibitions (listed under 1995/96) Ione Nash, dancer, Kulu Mele Dance Happens Here” a book on the subject was published. Valley. A second concert, presented Shafeeq Murrell. reached 16 sites around the region, Ensemble, African dance troupe, exhibition in Hucklebuck to Hip Hop established with Fleisher, featured Chamroeun from Kensington to Bryn Mawr, from Hawa Moore, Liberian singer, Chia Point Breeze). the significance of African American Yin, Khmer court dancer. The Ulali Camden to Harrisburg, and many Kue, Hmong needlework artist, and Photo: Teresa social dance as a folk art form, and concert came out of “Art Happens 1996/97 points in between. We rehabbed six Pang Xiong Sirirathasuk Sikoun, Jaynes, 1995. engaged community members in dis- Here” fieldwork conducted in 1994. We proudly presented “Plenty of existing exhibits from “Art Happens Hmong paj ndaub artist. Below: Painting a cusssions about the history of their The trio, led by Pura Fé, a local Good Women Dancers: African Here,” which also remained installed “piece’ at Taller gospel singers, and more. Our publi- own arts. We continued offering singer, had not previously performed American Women Hoofers from in community sites. Two more chil- —Debora Kodish Puertorriqueño, cation program continued to grow. technical assistance to new publica- locally, despite their growing reputa- Philadelphia,” the first public pro- dren’s books were in the works, as 1984. Photo: Three thick issues of Works in tions coming out of the SEAMAAC tion; they subsequently performed grams in Philadelphia to bring atten- well as a second series of slide/tape Sandra Andino Progress introduced folk arts, artists, New Year’s Project and to programs for the national Folk Masters series tion to the little-known and V V V V and issues, and our bilingual lakhon organized by the Hmong Associa- and elsewhere. We turned some of long-overlooked history and arts of bassac book finally saw print (and tion. We began working with the our past work into traveling exhi- African American women tap Photos this page, Office of Curriculum Support of the bitions and sent them on the road: dancers. At nine public previews of l-r: Libby Spencer School District of Philadelphia to “Uses of Tradition: Arts of Italian a documentary videotape we got teaches young develop an Anti-Racist Asian Folk Americans in Philadelphia,” “You, Me solid feedback from those attending. dancers at the Arts Education Project, and a and Them: Photographs by Thomas Our completed videotape pre- dress rehearsal team of students, teachers, and B. Morton,” “Giants, Kings and Celes- miered to a SRO house (250 peo- for “Stepping in artists worked together to develop tial Angels: Cambodian Arts in ple) at the Philadelphia Clef Club of Time,” 1995. model curriculum and pilot pro- Philadelphia,” “ODUNDE African Jazz and Performing Arts. The event Photo: Jane grams. Amid all this activity, we American Festival: Twenty Years on included live performances and a Levine. Drill offered a range of programs bringing South Street,” “Plenty of Good public reception. Additional public team (from the people together: workshops, com- Women Dancers: African American “Art Happens munity gatherings, artists’ Women Hoofers from Philadelphia,” Here” exhibition breakfasts, and a fabulous Folk Art and “Keep It Real.” The exhibitions “Roots of Auction featuring an artists’ mar- traveled to 10 sites in Pennsylvania Rhythm”). Photo: ketplace. We launched our first and New Jersey reaching an estimat- Thomas B. Mor- archive rehousing and computer- ed 7,250 people. The Anti-Racist ton, 1993. Edith was celebrated at a publication ization project. Our transformation Asian Folk Arts Education Hunt and Ger- party). This was the first American into an agency with a full- and part- Project, our collaboration with the maine Ingram at book on Cambodian folk opera, and time staff (rather than many contract Office of Curriculum Support, the opening it was based on interviews with many teams) made a great difference in our changed its focus to develop tools reception for local people. Technical assistance ability to function. Technical assis- for artists and teachers. A children’s “Plenty of Good efforts diversified, reaching individ- tance helped many artists and grass- book on Chamroeun Yin and a Women ual artists as well as grassroots folk roots organizations accomplish slide-tape/video on Asian American Dancers.” Photo: cultural agencies, and blossoming projects, including Edith Hunt, tap youth and their response to folk arts Teresa Jaynes, into several “free school” sessions. dancer and Baba Crowder, drummer were the first products. Through the 1997 Organizing and advocacy contin- (who was able to visit Ghana, his Cambodian Narratives Project, screenings reached both school ued around issues at the National life-long dream). we interviewed 12 local storytellers; groups and the general public. A riv- Endowment for the Arts and the the publication will be added to the eting tap dance workshop with Pennsylvania Council on the Arts. Asian Folk Arts Education series. We Jeni LeGon and Edith Hunt allowed Collaborations with the Fleisher, 1995/96 began working with Mal O’Connor, young tap dancers at the Point ODUNDE, SEAMAAC, and the We offered 10 public programs this of the Center for Applied Research, Breeze Performing Art Center and a 8 10 9 ARTIST PROFILE: Rashmi Jhaveri

of brides with whom she has worked. When customers see the photos, they immediately want her to do the mehandi for their own weddings. Other business is gener- Painted women: ated by word of mouth. Since the mehandi lasts for about a month, other women see it and ask about Rashmi the artist. Word spreads, and Ms. Jhaveri is very well known. Ms. Jhaveri has developed new designs, worked out in more than a Jhaveri’s hundred drawings. Light pencil on newsprint, the drawings are simple outlines of hands (including palm, wrist, and forearm) and feet (ankle henna to mid-calf). The outlines are filled Mehandi is the art of applying India) and how her hair is braided in with intricate designs relating to henna in intricate, lacelike designs with flowers. She also is skilled at the natural world, like birds, leaves, on women’s hands and feet. Now painting a bride’s forehead with the and flowers. Ms. Jhaveri also uses arts that tattooing and other body arts traditional makeup: a delicate bead- some abstract, geometric pat- are increasingly popular, mehandi ed line of red, white and gold that terns—for example, a checkered is beginning to gain wider recogni- follows the line of the bride’s eye- pattern interlocked with a reversed tion, and to be done outside brows, meeting at a bindi, or jewel, swastika. Associated with marriage, South Asian ritual events and spe- in the center of the forehead. this pattern is often used in cial occasions. These are social, not solitary, mehandi designs. It can also be Living in New Jersey, Rashmi arts. Three to four days prior to the found in Hindu temples and in Jhaveri is an Indian mehandi artist wedding, women will often have a rangoli, decorative and ceremonial active in the greater Philadelphia “mehandi party” with members of floor painting. Ms. Jhaveri uses area. Born in 1965, in Gujarat, their extended family and friends. many traditional motifs in her India, Ms. Jhaveri learned to create The bride has her mehandi done, mehandi, and some of the designs mehandi as a child by watching usually covering her hands (from that are appropriate and popular other women applying henna in the tips of her fingers to just below for weddings have numerous preparation for weddings. By the the elbow) and her feet (from her ancient and symbolic associations: time she was 15 or 16, she and her toes to the mid-calf). Many of the the peacock, musical instruments, sisters were already learning this other women attending will also coconuts (exchanged between the traditional art. Every mehandi artist have mehandi done for the wed- bride’s and groom’s families), and pictures of a bride and groom.

creates her own individual designs, ding, but it is usually a small design V V V V but she must first learn the tech- on the hand, not nearly as elabo- Formerly, the bride was carried to nique and its meaning in the wed- rate as the bride’s. “They want to the ceremony in a litter while the ding ceremony. Soon after their show their joy for the bride, and this groom followed on horseback. Left: Roshni Bhak- informal apprenticeship, Rashmi is a way to do that,” says Ms. Jhaveri. Although this is seldom done ta, in her wedding and her sisters were going to In 1995, soon after marrying today, both images continue to be mehandi, done by friends and neighbors’ houses to Biren Jhaveri, Rashmi joined her used in mehandi. Rashmi Jhaveri. do mehandi for the women of new husband in the United States. Each artist brings her own style Other unidenti- these households. Ms. Jhaveri con- They settled in Edison, New Jersey, to mehandi so every design is fied photos are tinued to develop her knowledge, and now operate a jewelry store in unique. While most artists create also of Ms. and over the years she has become nearby Iselin, selling jewelry their own mehandi patterns, the Jhaveri’s work, art has become so popular that a ritual specialist on matters related imported from Biren’s family’s from her clients. books of patterns are now avail- to Indian Hindu wedding cere- business in India. Selling the jewel- Photos courtesy able. Ms. Jhaveri feels that copying monies. She knows how the bride ry worn for weddings leads natural- Rashmi Jhaveri should dress (including subtle ly into Ms. Jhaveri’s mehandi work. a design is much harder than creat- details that differ by region of Posted near the phone are photos ing something as she works. She 10 Continued on following page ➛ 11 RASHMI (continued)

doesn’t even copy her own the ceremony. Nor is mehandi designs, using them chiefly as a used only for ceremonies these source for ideas. Even when a cus- days. Indian women also use tomer asks Ms. Jhaveri to repro- mehandi for engagements, baby duce a mehandi design from a showers, and even simply for fash- book, she never copies a pattern ion’s sake. exactly. More often, because of her In her business, Ms. Jhaveri reputation, her customers give her often does mehandi for secular complete artistic freedom. purposes and on non-Indian Other variations that affect Ms. women. In such instances she may Jhaveri’s mehandi painting have to change her design to better suit do with how Indian women cope the customer, her reason for having with life in America. Occasionally, a it done, or other special circum- bride will ask for partial mehandi stances. For instance, many of the the design very slowly, over and to avoid attention or potential motifs connected to marriage over. The sugar, lemon, and heat all act to “set” the dye, producing a darker, richer, and long-lasting Each artist brings her own style color. Done five hours to two days before a wedding for optimal effect, to mehandi so every design is unique mehandi eventually fades. Ms. Jhaveri’s customers send her wed- problems at school or work. Ms. would be inappropriate to other ding photos and letters, thanking Jhaveri feels that while the back of occasions. Ms. Jhaveri also has her for her guidance and attentive V V V V the hand is painted for fashion’s pragmatic concerns to consider India. She mixes the henna with artistry. While the beautifully sake, it is essential that the bride when she does mehandi at festivals lemon juice and eucalyptus oil, designed mehandi is temporary, Rashmi Jhaveri at have mehandi on her palms at (and at the artists’ marketplace at allowing the mixture to stand most women preserve a record work, and with least. In the wedding ceremony, the PFP Folk Art Auction). She cre- overnight, or for 12 hours. Recipes both of their special day and of her notebooks. the bride holds a leaf and betel nut ates designs specifically for these vary. Some artists mix the powder themselves in mehandi. Photos: Teresa in her open palm while the groom events, often without much Indian with tea water instead of lemon Jaynes, 1997 cups his hand over hers. It is symbolism, “so that people can juice, but Ms. Jhaveri feels the —Teresa Jaynes important for the bride’s hand to understand them better,” she says. design does not last as long. She be covered in mehandi. In order to keep the price low and also makes the cones, similar to Rashmi Jhaveri is available for The tradition of mehandi has accommodate long lines of cus- pastry tubes, with which she bridal mehandi or any other occa- varied widely over time and space. tomers, Ms. Jhaveri preserves the applies the henna. Whereas, sion. She can be reached at Natraj In small cities and towns in north- quality of her designs, but simpli- women used to grind their own Jewelers, Tuesday-Sunday, noon to ern India, Ms. Jhaveri recalls that fies them a little, using geometric henna, now some women even buy 8 PM. (732) 283-0899. Ms. Jhaveri the men also have mehandi done shapes (circles, diamonds, and rec- henna pre-mixed in cones that look will be demonstrating mehandi at for their wedding. A much simpler tangles) that people can combine like toothpaste tubes. Technology a PFP “Rent Party” this spring. Stay form, it consists of five large dots in many multiple ways. has changed, but mehandi remains tuned for details. on the palm (one large dot in the Ms. Jhaveri is aware of other a popular women’s art form. center surrounded by four smaller changes in style, as well. She has During the mehandi party, dots in each corner). The other tra- been told that 50 years ago women women talk with one another while ditional ceremony where women had the whole hand dyed in solid Ms. Jhaveri creates beautiful pat- have mehandi applied is Kadva henna color, without designs. She terns with henna. Once the Choth, an annual day on which attributes some changes to the cur- mehandi has completely dried on women gather in temples to pray rent availability of powdered the women’s skin, she moistens for their husbands’ health and henna, which makes a finer paste, the design with a small cotton cloth prosperity. Here in the Philadelphia in turn allowing more intricate dipped in sugar water and lemon area, where temples are not always designs. juice. When the resulting paste has available, such gatherings occur at Like many other mehandi dried and fallen off, a small piece of people’s homes, and women have artists of her generation, Ms. cloth heated and infused with the mehandi applied the day before Jhaveri brings henna powder fom aroma of cloves is then patted on

12 13 ARTIST PROFILE: Chia Kue Carved birds and flowers: Chia Kue’s edible art

Ms. Kue recalls that the most com- it’s empty you just eat it.” White, an Asian specialist, similarly con- mon pattern carved by other women Everything was edible. Nothing jectures that much of Thai cuisine, from was a type of “feather” that resembles was wasted. Forethought went into elaborate preparation to ways in which the pointed scales of a fish. She her- the carving, since it was all meant to food is presented (including the food self often uses this pattern to create a be eaten. For example, in a water- displays described here), is derived chrysanthemum bloom effect. She melon carved like an open flower, from the traditions of the royal court, has made up other patterns on her each petal was carved individually and in imitation of royalty’s habits. own— for example, a shape that and then put back in place. Guests Ms. Kue was surprised when peo- looks like an open flower petal—and could easily “pick” one petal at a ple at Philadelphia Folklore Project devised distinctive ways of carving time to eat. “Once the party started events responded so enthusiastically particular fruits and vegetables, pat- back in Laos, everyone went up and to her work— she never thought that V V V V Kue says. “I don’t schooled her in this art. Every day, terns and designs that take advantage immediately started eating,” Chia’s people would like it. “If people like have anything to give, Ms. Kue and her friends would sit of their form and consistency. Ms. Kue daughter Ka adds. “After the party, my work I will try to do more and Examples of Chia so I made a little flower down together and set to work carv- was taught how to carve a pumpkin everything was gone! They’re not better carving than you have already Kue’s carvings, and you liked it so much, I ing flowers, plants, and animals. “For into a single flower, but now she like American people where every- seen. The better you practice, the and Ms. Kue. Pho- started to do it again.” How many three years, every day I made my carves three interlocking flowers. This one just grabs a little bit. Everything’s better you are…” Already she is think- tos: Teresa Jaynes, Twenty years ago and many other extraordinary gifts and skills flowers, so they were very beautiful,” is quite an achievement, for pumpkin gone and cleaned up, that’s it!” ing about how she can carve tradi- 1997 thousands of miles away, Chia Kue remain hidden until chance or she recalls. If a special occasion or meat is firm and sticky. Pumpkins tional Hmong needlework designs carved beautiful birds and flowers out opportunity or a random circum- celebration was coming up, everyone must be carved very slowly. Any fruit in fruits… of fruit. This was part of her life as a stance brings them into plain sight? would contribute to one elaborate requires clean cuts and a steady hand. How Ms. Kue creates a display young woman in Xieng Khovang, After Ms. Kue brought her beautiful display. Once the party began, their Laos has significantly more fruits depends on the occasion. The carv- —Teresa Jaynes Laos, but war, marriage and coming to hlas ntxuj mci to us, we invited her painstaking work would be com- than the United States, and the fruits ings she has done in conjunction the United States caused her to aban- to display them at the annual folk pletely eaten within a couple of available here in Philadelphia offer far with PFP events feature many ele- As a result of her appearances at don fruit sculpture. This past year, artists’ marketplace that occurs at our hours. A slightly more permanent less variety in color and shape than ments, arranged so that people can PFP events, Ms. Kue has been hired wanting to bring a gift for the PFP’s Folk Art Auction. Here, too, they display of carved flowers was done in those of her home country. In Laos, see the range of her work. In con- to do displays for several parties 10th birthday, Ms. Kue thought of fruit caused a sensation and led to jobs a different medium. The women Ms. Kue could carve a mango that she trast, a wedding usually has a theme, and a wedding. If you are planning carving, took out the tools that she and commissions for Ms. Kue—for made a fragrant clay soap from a had just picked from the tree, “so it’s and the display is much bigger and an event and are interested in talk- had carefully kept all these years, and work in an art form she had set aside powdered mix specifically to create not gummy like mango that you buy more elaborate. “Weddings [are] ing with Ms. Kue about a carved set to work. When she walked in the for 20 years! everyday house decorations. here. The same with pumpkins.” very big. I would [carve] a really big fruit display, please contact her door at our 10th birthday party, she Ms. Kue first learned how to carve The chisels Ms. Kue brought from Being able to pick the fruit from her watermelon into two peacocks fac- through her daughter Ka Xiong at set the crowded room abuzz. She had fruit as the young bride of a Thai Laos and carefully saved for twenty own garden allowed Ms. Kue to use ing each other.” As for the carvings 610-352-8052. created extraordinarily beautiful flow- man. Festive events—parties, wed- years are small and comfortable in fruits at varying stages. A single type that we have seen so far, her ers and leaves out of watermelons, dings, and special occasions involving her hand. Each type of chisel has a of fruit could be carved in various col- daughter laughs and says, “This turnips, cantaloupes, pumpkins, car- family and friends, as well as her new different blade with a distinct angle ors depending on ripeness: yellow, is nothing!” rots, cucumbers, and more. It was a husband’s business associates—hap- and shape. “I just think about what a light green, dark green, ripe red The origins of fruit carving are truly amazing display, and we were pened every week or so in Laos. Elab- flower looks like and I make it,” she orange. Once carved, the fruits lasted unknown to Ms. Kue. She assumes honored. Although we had come to orate fruit carving was a regular part says with a broad smile as her daugh- much longer. Here, things are differ- that it is an old art that came, one know Ms. Kue for her mastery as an of the food presentation at these ter pulls from her refrigerator exam- ent: “In this country to make it really way or another, “from the ancestors.” artist in sewing traditional clothes for occasions. Although at 14 she was ples of roses cut from beets and nice, most of the fruits and vegetables She believes that few women in Thai- Green Hmong women, we all learned already adept in other kinds of hand- butterflies carved from carrots. How you can’t eat right away and you have land now want to learn the art, and that, as is true of many traditional crafts, this young Hmong woman does she choose what to carve? She to cook it first…. Here a pumpkin will that it was much more common in artists, her “art making” is not limited had never seen sculptured fruits. gets an image in her head, then be carved into a bowl to put sauce or the past, although it may still be to a single discipline. “I wanted to do a Other women, including her new begins carving and sees where it food in, and in Laos they would carve done for the king and queen or in little gift for the Folklore Project,” Ms. Thai family, friends, and neighbors, takes her. the bowl out of a papaya so that once very expensive restaurants. Dr. Joyce 14 15 ARTIST PROFILE: Ione Nash

years ago: $2,500 from the stage.” She takes every one of her dance, it is pretty helpful because be credited to her early and contin- ❝I do not do Pennsylvania Council on the Arts to students seriously, and that changes we know that we can do it and uing efforts. create a brochure and document how they think about themselves that’s how we get our dreams and From 1958 to 1960, Ms. Nash her work. Both of these awards and how they think about dance. that’s how we start fulfilling them.” was one of 10 dancers to perform came about with the help of the Many of her students have gone on Lynn’s mother, Christina German, with Saka Acquaye of Ghana and ❞ Philadelphia Folklore Project. We are to dance in companies around the agrees: “Ms. Nash won’t settle for his African dance ensemble. From recitals : proud to have helped bring some city. She is far too modest to make less.” Kids adapt to Ms. Nash’s high 1960 to 1963, Ms. Nash danced as a long-overdue and greatly deserved claims, but for more than 40 years expectations: “Anything you partner to Arthur Hall. She found- recognition to Ms. Nash, who is a she has been an “inside secret,” achieve, you have to work hard. ed her own company in 1960. Ms. genuine community treasure. known in the community, unac- She takes her dancing seriously Nash has choreographed more Ione Nash, As a teacher, she is amazingly knowledged and unsupported out- and that communicates to the than 600 dances, many of which perceptive and skilled—able to give side it. Generations of students kids. Ms. Nash went that extra have been performed by her many a student exactly what each one have recognized her gifts as a mile for [my daughter], and she generations of students. Her work needs, to help each meet new chal- teacher—and found their way to does that for all of them.” and her students are her legacy. dancer and lenges and rise to new levels. A par- her and stayed. “Some kids now, I Ione Nash was one of the first The George Bartol Award is belated ent (and former student) says, “You had their mothers,” she says. teachers at the Village of Arts and but well-merited public recognition get individual attention…she does Ms. Nash acts on the truth that Humanities, and Lily Yeh says that of Ms. Nash’s significance. not miss anything, she will show talent is everywhere, and she finds the she was a major key to the teacher you how to do it right… She will and nurtures that talent. She treats Village’s success. “She has always —Debora Kodish work you…to the best of your abili- young people as professionals, and been there,” says Ms. Yeh. “In our ty. She will not accept anything less, they rise to the challenge. Neither first performance, with people with Ms. Nash continues to teach and V V V V s. Ione Nash is nearly legendary and that gives kids a confidence. she nor many of her students had little experience, she took the perform. For information about for her skill and impact as a dancer .…Kids learn how to expect the advantages. They make great art, whole thing [to a different level]…. performances and classes, contact Kenneth “Skip” M best from themselves.” Ms. Nash Burton, drummer. and as a teacher of dance. Virtually and they make the city better She sees what is possible and trains Kenneth “Skip” Burton at anyone in this town who knows sets an inspiring and empowering because of it. people. She is undaunted, whatever 215-463-7205. Photo courtesy African dance, or Haitian dance, or example. She puts so much into it Searching for a single anecdote the hindrances, and she takes peo- Kenneth Burton what used to be called “interpre- herself that “it makes kids try more.” that would best communicate Ms. ple somewhere they never dreamed tive” dance, knows—and was likely Ms. Nash is committed to passing on Nash’s significance, I heard the they could go. She has determina- taught or influenced by—Ms. Nash. dance traditions to the next genera- same story from many people. tion and a wealth of knowledge. At 73 years of age, Ms. Nash is not tion. She knows that dance can “help Again and again, students, parents, Her presence made many only still dancing—intense, athletic, young people to develop self-esteem dancers (former students), and co- things possible.” powerful, fully in the dance; she is and their own body motion and a workers all spoke of how Ms. Nash Ms. Nash is personally modest as active as ever, teaching 14 to 17 comfort with their own bodies.” moved people far beyond what they and unassuming and does not call classes a week, in three different Many people understand that thought they could accomplish. attention to her own stature and community-based arts programs, art can provide young people with Many tell of individual students influence. Her career in dancing and choreographing and perform- discipline, with avenues of expres- who blossomed, of young people started in 1950, when she was in ing with her students. Inspiring sion, with alternative languages— who came from families with prob- her late 20s. She had been discour- because of her physical skills and but Ms. Nash takes all of these lems and who found in Ms. Nash aged from dancing when she was V V V V her absolute determination and insights to another level because not only art, but a foundation, a young, and only took it up when commitment, she loves to dance, she truly believes, and acts on the source of values to hold on to. she could manage it for herself. She Ms. Ione Nash. and she loves to teach dancing— belief, that her children can be seri- People note how Ms. Nash “brings was first drawn to ballet but Photo courtesy and it shows. And this is just part of ous dancers, serious performers. total consistency and dedication expanded to modern, jazz, tap, and Kenneth Burton why she is so sought after as a She expects great work from them, and discipline” to her work. Aura interpretive dance (as African dance teacher, and so deeply respected by and she teaches them how to pro- Eldridge came to the Village of Arts was called at the time). In 1960, her students. duce great work. This means that and Humanities at age seven, and when she opened her dance school And yet, until this past spring, she opens to her students the full truly found herself through Ms. in the 5800 block of Germantown when she was honored with a range of what art can be. “First Nash, becoming “a rising star.” A Avenue, Ione Nash was the first $10,000 George Bartol Arts in thing I tell people is that I do not current student, 11-year-old Lynn African American to open a busi- Education Award, she had never do recitals,” she says. “I teach the German says, “They need more ness on that street. She had to go to received an award or any formal children how to perform… not teachers like her. She helped me do court to keep the right for her recognition of her talents and her ‘Oh, doesn’t she look real cute on better. She gives you a dream until drummers to perform. Times have incredible gifts to the community. stage,’ and not in a costume but you fulfill it…. I think that people changed. But nearly 35 years later, She has continued to dance and to not really doing anything. What I should know that she is incredi- Ms. Nash is still dancing and still teach for nearly 50 years. Her first do, when you put on that costume, ble…. She is very old and she is a teaching—and the vitality of the you’re dancing when you hit the great dancer. When we see her local African dance scene can partly 16 (and only other) grant came two 17 LOCAL TRADITIONS: PFP investigates social dance

are very few opportuni- particular songs, music, and dances ties for live African marked the given event. For exam- Where there is music, traditional music and dance ple, Lariba Asamoah, one of the in Philadelphia. dancers from AFARI, described how Music is part of the a high-tempo, rhythmic Ga song essence of many African coun- and dance called kpanlogo is now there is dance: tries’ culture and life. And performed at social gatherings at according to some Africans, “where the sponsor’s request or the per- there is music, there is dance.” In formers’ discretion. Kpanlogo was contrast to the western view of traditionally used to welcome the African social dance music and dance as a form of enter- fishermen home and to celebrate a tainment, Africans from different bountiful and safe return. Separated countries and regions know of from those original functions, it is music and dance as a functional enjoyed both for the pleasure of the in Philadelphia part of their existence. It is not seen dance and music and for what it rep- as separate from the spiritual, social, resents for people—i political, and economic aspects of ncluding a con- community and life. It is not used as a nection to their diversion or distraction from every- homeland. ance—the kind people learn enced their cultural experiences day life; rather it supports the exis- People—especial-

D V V V V from one another and from fami- since moving to Philadelphia. tence of the community. ly dancers and musi- early age. Kormassa Shareff, a for- own safety. His experiences have ly— is a fundamental folk Some recurring Kofi Yamoa is a Ghanaian musi- cians—were eager mer member of the Liberian made him keenly aware of the ways art. It is also practiced in themes emerged. cian, dancer, historian, and leader to talk about the Photo: Ivoirien National Dance Troupe, learned tra- in which the current generation of many different Philadelphia People wanted me to of a cultural dance troupe named way dance used to be musician Jess Sah ditional songs and dances at the children, especially those most communities. But not all com- understand that in many African AFARI (African Arts and Resource in their lives. Vox Sande Society school when she was affected by civil war in his country, Bi plays a musical munities have venues, sites, that and Caribbean countries music Institute). During the 1970s and Augustin, a Haitian lead singer for eight. Among the various life skills have lost touch with the communal bow. Photo: Stacey can sustain social dance, or and dance are used to cele- 1980s, this Philadelphia-based the group Reflex learned the social taught to the children in this “bush heritage of music and dance. E. Ford, 1997 the musicians who make so brate and mark the significant group of six to 10 Ghanaian musi- dance called kanpa while attending school” or “secret society” are tradi- Artists living in Philadelphia many dance parties come alive. events in a person’s life, and also cians and dancers performed tradi- a family gathering as a child. Bibi tional drumming and dance. These struggle with the task A lively and local dance scene is an to teach values, pass on history, tional music and dance at parties Jepkemboi, a Kalenjin/Nandi from schools aim to equip youths to of maintaining their important part of quality of life for and support communal working and spiritual gatherings, and also Kenya who has lived in Philadelphia participate constructively in musical culture. Because many people, and a vital way for relationships. It became clear that offered school workshops for chil- for seven years told of courting their community; knowledge of of the lack of performing communities to come together. many Africans from different coun- dren. Local Ghanaian observances dances held for young people from traditional music and dance opportunities here, many Over the last year, the Philadelphia tries share a history of actively par- of life cycle events like birth, com- neighboring villages or communi- is a necessity. artists have left for cities Folklore Project has created a Social ticipating in music and dance at a ing of age, marriage, and death all ties where each dance has specific Many forces have served to where there are venues Dance Project to gain a clear pic- very early age. One of the most dis- called for music, and AFARI provid- rhythms and movement. Liberian interrupt these traditions. Ms. and audiences receptive to ture of where social dance hap- turbing things I learned is that there ed it. At each of these celebrations, musician Hawa Moore recalled Jepkemboi learned many of the tra- African and Caribbean music, pens, the types of music that are dances used for celebrating and for

V V V V ditional songs and dances from like New York and Washington, played and danced to, the musi- work: marking the season for plant- friends, since her family, which had D.C. Philadelphia-based African fami- cians and dancers involved, and the ing crops, encouraging the farmers converted to Christianity, did not lies usually hire musicians and Reflex, a local significance of these gatherings to and people of the village to prepare allow them. The Christian coloniz- dancers from these cities to perform Haitian band, local communities. We have for the labor that leads to a fruitful ers’ active disapproval destroyed at weddings, funerals, or baby- includes percus- become especially interested in the harvest, for fishing, and for other many cultural traditions. Luckily, naming ceremonies. sionist Yrvens situation of immigrant communities workday tasks done communally. not all of the converts fully relin- The artists still living in with strong dance and music tradi- Songs and dances made work easi- Saintcyr. Photo: quished their traditional beliefs and Philadelphia attribute the lack of tions in their native lands: er and joined people together in Stacey E. Ford, customs; others actively practiced performance opportunities to sev- Ghanaians, Senegalese, South their efforts. Like Ms. Moore, Siso 1997 indigenous arts as an act of defi- eral factors. According to Samba Africans, Kenyans, Ivoiriens, Sibiko, a 27-year-old South African ance. War and violence have also Sela, a Senegalese Djembe drum- Liberians, and Haitians. Musicians, dancer, told of learning to dance at interrupted various music and mer from the Soninke ethnic dancers, merchants, taxi drivers, the age of five. Annual festivals and dance practices. Steve “Big Steve” group, African music is not mar- parking attendants, chefs, civic events that celebrated ancestors Worjloh is a well-known Liberian ketable here because the larger leaders, and others were willing to and kings included music and danc- singer and songwriter currently liv- community does not understand talk to me about traditional social ing by the people of her communi- ing in Philadelphia. Despite his the music or the language of the music and dance and how these ty. She watched her elders and was increasingly popularity, he was arts (or their absence) have influ- encouraged to participate, from an 18 forced to leave his country for his Continued on page 27 ➛ 19 LOCAL TRADITIONS: The Underground Railroad Lives On

“Tell the must not forget the rock from phia—as many as 95% of whom Still’s Day in Lawnside begins Vineland and Mt. Laurel, New Jersey, istics. “By this time,” wrote William whence they were hewn…Like other stayed overnight with him and his with a Sunday church service at Mt. while representatives—official and Still, “I was simply thunderstruck, so story to the races, this newly emancipated people wife, Letitia, at their home at 5th and Zion United Methodist Church. This unofficial—from other families, like to speak. I had to summon all my will need all the knowledge of their Poplar—taking meticulous notes on is the day that has been set aside by the Tubmans, the Harpers, the Lippin- powers of control in the presence of children”: past condition which they can travel methods, physical descriptions, the church for the Still’s Day celebra- cotts, the Purvises, and the Anthonys, the stranger, so fully was I convinced get…Here, therefore, is the best and, equally important, details of tion; it includes a performance by have come too. by this time that he was one of my William Still and the possible reason for vigorously push- plantation life and mistreatment in four elder members of the Camden One day a man named Peter pur- long-lost brothers. I scarcely knew ing the circulation of this humble the South. He hid these notes in the branch of the family who have orga- chased his freedom with the help of what to do for a little time, but by Still Family Reunion volume—that it may testify for thou- attic of a building in Mt. Lebanon nized a fine gospel quartet (now a local Jewish merchant in Alabama and by I dismissed the pilot, saying I sands and tens of thousands, as no Cemetery for up to 20 years before augmented by younger family mem- and escaped on the Underground would look further into the case after other work can do.” he felt the stories were safe to pub- bers on electric instruments). After I got done with my mailing, and Thus began a book that became a lish. Working, of course, without tape church, family members proceed to would take care of the stranger over- bestseller over the next 30 years. recorder, Still had to rely on his care- the Still home for lunch. For many night…Before intimating to my broth- V V V V Still’s book consisted of the stories of ful notes and his memory, yet he years the entire reunion took place William Still er the discovery I had made, I allowed over 200 Underground Railroad refused to ornament the testimonies at the church, with lunch served a full hour to pass, meanwhile plying Harriet Tubman arrivals in Philadelphia, detailing, in or letters of the refugees or any par- during a break in the middle of the took the time to him with a thousand questions touch- track team at the his words, “the escapes of many ticipants in his collection, noting: “In service. But for roughly the last 10 record the ing his entire life. Then, seating myself 1994 Still family men, women and children, from the use of these various documents, years the reunion has outgrown this by his side, I said: ‘I think I can tell you reunion; Still the prison-house of bondage; the writer begs to assure his readers arrangement. Now, the Still Family stories, all about your kinfolk—mother, father, family reunion from cities and plantations; from that the most scrupulous care has Reunion Committee provides etc.,’ and went on to say, ‘You are an t-shirts. Photos: rice swamps and cotton fields; been taken to furnish artless stories, enough barbecued chicken and ribs, own brother of mine.’ As anxious as William Wester- from kitchens and mechanic simple facts,—to resort to no color- corn on the cob, green beans, and Railroad, arrived in William Still ’s he had been all his life to find his lost man, 1994 shops; from Border States and ing to make the book seem romantic, potato and macaroni salad for all, office. Peter was trying to locate his parents and relatives, this news was at Gulf States; from cruel masters as he is fully persuaded that any exag- though most of the families who parents, who, he had heard, had the moment too good for him to fully and mild masters;—some guided gerations or additions of his own come bring their own picnic as well. escaped to New Jersey when he was credit. He was as one dumbfounded. I by the north star alone, penniless, could not possibly equal in surpass- There is music and dancing, with fin- a child. As William Still interviewed went on to assure him of the truth of braving the perils of land and sea, ing interest, the original and natural ger paints for the children and every Peter, he learned that his parents and all I had said by narrating our family eluding the keen scent of the blood- tales given under circumstances, year a decorative cake donated by the visitor’s shared the same names history in detail.” hound as well as the more dangerous when life and death seemed equally the Norris E. Still family in memory and many other significant character- William Still’s organization devised pursuit of the savage slave-hunter; balanced in the scale.” of the departed members. In the a mission to free Peter Still’s family, some from secluded dens and caves The publication party for Still’s past few years, branches of the fami- hiring a local “Like millions of my race,” declared of the earth, where for months and book, held in 1870, was itself histori- ly have had their own, smaller William Still in the introduction to the years they had been hidden away cally significant. It was organized by reunions at different times of the second edition of his book, The waiting for the chance to escape; William Still’s brother Dr. James Still, year, in Underground Rail Road Records, from mountains and swamps, where known as “the doctor of the Pines,” “my mother and father were born indescribable suffering from hunger in Indian Mills, New Jersey. The event V V V V slaves, but were not contented to live and other privations had patiently was a celebration of the suspension and die so.” A leader of the Under- been endured…Not a few…arriving, of the Underground Railroad and a William Still, ground Railroad from 1847 through of course [with] hardly…rags celebration of freedom as well, notes Photo courtesy 1861, William Still wrote these words enough on them to cover Clarence Still, a local historian and The Charles L. here in Philadelphia, at the beginning their nakedness, even in the descendant of William’s brother Blockson Afro- of a 780-page volume of collected sto- coldest weather.” Charles. And it was also a reunion of American ries, testimonies, letters, and reminis- A clerk for the Pennsylvania Anti- the entire Still family—the first of 128 Collection. cences first published in 1872 and Slavery Society at 5th and Arch consecutive annual family reunions revised in 1879 and 1886. “The rea- Streets, William Still began his inter- the Still family has organized in the sons,” he continued, “which years ago views in an attempt to help runaway Camden County area every August. led me to aid the bondman and pre- slaves find their relatives in the The 122nd was actually the largest serve the records of his sufferings, are North, but he realized too that the (over 700 relatives and guests came to-day quite as potent in convincing narratives had historical significance. to Clarence Still’s house); an average of me that the necessity of the times Still interviewed hundreds of fugi- 400 people have come to gatherings requires this testimony…. The race tives who came through Philadel- in recent years. 20 Continued on following page ➛ 21 UNDERGROUND RAILROAD (continued)

Quaker named Seth Concklin to the strength of its written tradition. the Quakers of Haddonfield, and the struggle that continued with his the Peter Mott House is a project of the Lawn- pose as a slave trader to purchase the So, members of the Still family history of Lawnside, one of the first desegregation activities later on. side Historical Society, for which Mr. Still family’s freedom in Alabama. Conck- come together every year to renew towns in the state to be settled by What William Still realized during serves as President of the Board of Trustees. lin indeed found the family in Alaba- ties and, as the title of one of Gloria African Americans. In addition to times of crisis, Clarence Still and Glo- This historically significant building has ma and brought them as far north as Tuggle Still’s poems suggests, “Tell using written, archival sources, and ria Tuggle Still and so many others been moved off its foundations, rebuilt and Indiana, before the entire group was the Story to the Children.” People books and articles realize today: replaced on the foundation through the captured. Peter Still’s family was sent regularly come from New York, Wash- handed down in their work is commitment and dedication of the com- back to Alabama; Concklin’s body ington, and as far away as Alaska, his family, Still has not just histor- munity. $100,000 of the $260,000 project was found on the banks of the Cum- Japan, Canada, England, Germany become the “in some way or ical research, cost has been raised. Donations are still berland River, William Still wrote in and Ecuador. The family rolls are repository of other some of the but the contin- being accepted by the Lawnside Historical his opening chapter, filled with doctors, scientists, educa- many oral tradi- uation of that Society, P.O. Box 608, Lawnside, “drowned, with his hands and tors, musicians, athletes, a composer, tions. But he bleeding and road to free- New Jersey 08045. feet in chains and his skull a congressman, a former mayor of acknowledges the dom. This is William Still’s Underground Rail Road fractured.” Lawnside, the inventor of saltwater existence of more severed why the Records is still in print and is available It is easy for us to forget taffy, and other accomplished legends, more his- hearts Still family from the Johnson Publishing Company in today that the Underground descendants of William, Peter, Dr. tory, than he will reunions con- Chicago. It is also available at most Railroad was completely ille- James, and all their siblings. But ever be able to might be united tinue to draw libraries. William Westerman, a former PFP gal, that the Fugitive Slave Act blood relationship is not essential; record. “You can large numbers staff person,undertook this work as part of

of 1850 made sheltering and for many who have married into the never pull it all and and have the a project exploring the current legacies of V V V V assisting runaways a crime family, or who have an interest in the together,” he says, comforted” primacy in the the Underground Railroad. This work was punishable by fines and work of the Underground Railroad, thinking about the family that supported by a grant from the Pennsylva- Doing the Electric prison, that the runaway the connection with freedom is more family reunions. they do. They nia Historical and Museum Slide, and a slaves we celebrate today were spiritual than biological. Though the “Every time you talk to somebody are about being together, and being Commission. banner with more often seen as the “illegal Railroad suspended operations when they have a different slant. Every year family and sharing stories, but they are handprints of aliens” of their day. Illegal, too, it was no longer needed, its inspira- you find out something new.” Other also about the hard work and satisfac- attendees. Both was all the “fieldwork” William tion and work continue through historians of the Underground Rail- tions of being free. from the 1994 Still Still conducted. Still’s book is memories kept alive by the sharing of road, most notably Charles Blockson family reunion. rich in information on the family stories. William Still began as a of Temple University, who has pub- Photos: William workings of the Underground clerk of the Pennsylvania Anti-Slavery lished several books on the Under- Westerman Railroad, right down to meth- Society, and eventually ran it. Serving ground Railroad and whose archive ods of disguise and code- on its board after slavery had been at Temple is an unparalleled resource, words for abolished, he and would agree that this kind of histori- runaway slaves, the Society itself cal work is a lifelong experience, a such as “packages,” and record were involved in painstaking bringing together of “boxes,” “the desegregation activ- scores of stories, years of meetings goods,” and even them for the ities in Philadelphia and reunions, the knowledge of many

V V V V “hams.” Without in the late 19th cen- shared bit by bit with those in suc- that hazardous writ- future, not tury; the Society ceeding generations. Sign announcing ten record, the only for their has not been dis- William Still took the time to the 124th “Still’s strength of the oral banded yet. record the stories, not only for their Day.” Photo: tradition notwith- historical Clarence Still is a historical value, not only so that “in —William Westerman William standing, many of prominent histori- some way or other some of the Westerman, 1994 these details would value an in southern bleeding and severed hearts might Among his other work, Clarence Still is have been lost. The not only New Jersey. His be united and comforted,” and not involved in the restoration of the 1844 Peter Still family is remark- books and articles only for their merit as “sad and Mott House, in Lawnside, New Jersey. Peter able not only for the so that on the history of thrilling stories.” For him the enter- Mott was a free black man and an Under- strength of its oral African Americans prise was also functional, part and ground Railroad agent who worked directly tradition, poet, story- in Camden County parcel of the work of rescuing and with William Still in moving passengers, and teller, publisher, and family historian include works on Civil War soldiers, housing refugees, part of the strug- Mr. Still holds that Mott’s is the “most outstand- Gloria Tuggle Still remarks, but also for local abolitionists like Peter Mott and gle for the abolition of slavery, and a ing house in New Jersey.” The restoration of

22 23 WORD OF MOUTH: Mike Finley

And we didn’t. It’s twelve noon in downtown Tegucigalpa and they’re the CIA-financed labor arm that the FacingFacing downdown aa not accomplishing their goal. US runs through their embassy with They’re not going to shoot us there. Kirkland’s approval. Lane Kirkland And there’s two reporters there tak- was the President of the CIO at the death squad: a ing pictures and stuff. So they started time). death squad: a getting real nervous. All of a sudden So, we got back to Managua. We the army appeared —trucks, learned several months later that one machine guns, pointing them at us, of the Hondurans who helped save V V V V laborlabor ororganizerganizer from out of nowhere. And behind us from the death squads was assas- the army was a car with Texas tags sinated and another one had her Mike Finley and with a white, blond guy in the back house blown up twice and she’s now Denys Everingham. in Honduras seat with a walkie-talkie directing the in exile in Costa Rica. We had her up Photo: Teresa in Honduras operation from the embassy. So the on tour here in Philly just before her Jaynes, 1997 army says, “You’re supposed to go house got blown up. with these men.” And we say, “We’re That I’ll never forget, never forget Teresa Jaynes interviewed Mike Fin- Nicaragua across the border. US not getting in those vans.” And we that. I have that passport with those ley and Denys Everingham about Green Beret advisors and special had a screaming argument with the numbers still. I had to get a new their work as activists and organiz- units were fighting. army. The Hondurans are standing passport because I didn’t know what ers, as part of the Folk Arts of Social So we go to Honduras, and we vis- between them and us and we negoti- those numbers mean. It could mean Change project. Here Mr. Finley talks ited several trade union people and ated. The death squad guys split “deport upon—.” “We’re banned about a powerful experience in had to have secret meetings with without us, and the army says, “Well, waited. We knew the US government to El Salvador, then we’re really in from returning to Honduras…. ” Honduras in 1984. their Disappeared Committee and you’re under arrest, you’ve got to was behind it, so we started saying, trouble!” So he said, “You got to get We had six people from trade human rights group, and one day the come with us.” And an army truck “We want the embassy here, we want on that plane.” And we said, “We’re unions, one of which was the head Mike Finley: When I went to Central Hondurans invited me and another pulls up, “Get in there.” We say, the embassy here.” Even though we not getting on that plane. You’ll have of AFSCME in Philadelphia, Tom America, that had a big impact on me guy from Philly to speak at the labor “We’re not going in your truck knew that it was their job. So, they’re to beat us. You’ll have to knock us Cronin. Upon our return to because I spoke at a labor rally in rally that they were holding. I spoke either.” We were due to leave that stalling —they’re on the phone a lot. out. And we’re not leaving anyway Nicaragua, we read in a pro-govern- Honduras. I was invited to speak in Spanish and the other guy spoke in day and the army says, “We know And while we’re waiting we can see until these two Hondurans are ment Tegucigalpa newspaper a there. Philadelphia sent 36 unionists English. Right after the rally, a death you’re leaving today and we want to out the window US Air Force 130s released.” (They had thrown the telegram (in Spanish). It was from to Central America in one year, in squad started to follow us. They fol- escort you to the airport and make landing every 10 minutes with US reporters out. They did release Irving Brown, who at that time was 1984. We all went to Nicaragua and lowed us the rest of the day. sure that you get on the plane.” So and Salvadoran troops getting out them.) head of the AFL-CIO International then six of us were going to do a side They watched us —we stayed at we said, “We’ll go in our own vehi- constantly. So, finally, the US consul So, this is taking five hours and by Affairs Department, and Bill Doherty, trip to Honduras from Managua. So, this hotel, they had us watched there. cles and you can escort us.” So that’s shows up. It’s clear he’s hostile to us. this time there’s a crowd outside the who was the director of the Ameri- you know, we all go to Nicaragua, it’s Next morning we went to a union what happened, but we were under And we said, “What are we under airport. The Honduran union had can Institute for Free Labor Develop- under Sandinista rule — everybody’s hall, and upon coming out they were arrest. They arrested the six of us, arrest for?” And he said, “You guys mobilized people. There’s all kinds ment (AIFLD), addressed to the happy, gets along great and we visit out there waiting for us, and they had the two North American reporters have violated Honduran law.” “What of media. They don’t know what to leader of the most right-wing labor the right wing and the left wing and their vans and their sunglasses and and two Honduran labor leaders law?” we asked. “You insulted the do. The US consul is clearly in charge confederation (CTH), Victor Artiles. everybody —the dissidents. Uzis, you know, sports clothing — who volunteered to go with us, national dignity.” (Because in my of the whole thing. He’s snapping (Of the three labor confederations in And then six of us went over to you knew them. And they said, “You including the head of their number- speech the previous day I made a orders, speaks very good Spanish to Honduras, CTH was the most con- Tegucigalpa [the capital of Honduras] guys are going with us”—they tried to one left-wing trade union, who was a reference to them shooting their all the Honduran officials and they servative, and it was widely known and at this time death squads were take us. They’re pointing guns at us. survivor of several assassination own people. Also, this was broadcast scurry every time he talks. So one that they worked hand-in-hand with rampant in Honduras. They had a tit- And the Hondurans put themselves attempts. (His predecessor had been on the radio station and we appealed thing led to another and we basically AIFLD.) The telegram stated, “We ular, you know, a facade civilian gov- between them and us, and we had a killed.) to US troops to disobey orders — won our point. They released the don't know who these so-called ernment. There was a general named screaming session. That’s the day my So they took us to the airport that’s really what I think upset Hondurans and we got on the plane union people are. As far as we’re Alvarez. The US embassy was run- hair started going gray, and I learned under armed guard. As we walk in, them.) for Managua. They took 75 dollars concerned they’re not with the AFL- ning the country. US troops had a lot of nice words [in Spanish] that six US Air Force officers are standing So, we had a big session with from each of us, they photographed CIO. Do whatever you need to do.” made Honduras into a base. Salvado- day. We refused to get in their vans — there laughing at us. They took us him. He said, “They’re going to us, fingerprinted us, and put secret These guys tried to have us killed! ran troops were in Honduras being tinted glass, no license plates, typical into a giant waiting room. They throw you out off the county.” And code numbers in our passports. They They knew who we were. We were used on the border. This was official- death squad vehicles. And the Hon- cleared the whole waiting room out we said, “We’re leaving anyway.” And also stole a photograph that I’d been there as an official delegation. We ly denied, but Salvadoran troops duran [unionists] are saying, “Don’t for us and sat us down in chairs and he said, “They want to send you to El given of two AIFLD officers stationed had a guy who was a high-ranking were in Honduras attacking go with them, don’t go with them.” just pointed guns at us and we just Salvador.” We said, “We’re not going in Honduras from my bags. (AIFLD is official in AFSCME, another guy from 24 Continued on following page ➛ 25 WORD OF MOUTH: (continued) CITY TRADITIONS: (continued)

lyrics. Kofi Yamoa from AFARI, with tural heritage and history. the machinists’, we had a vice presi- CIO would run counter tours. —Mike Finley and Denys Evering- a similar perspective, attempts It is our intention to support dent of the postal workers’ union. Sweeney also went on a counter tour, ham. The audiotaped interview and to address this issue through edu- the artists who can provide a social They wanted us dead…. but he ended up joining the national full transcription are in our archive. cation. Saah Tamba, a dancer from dance scene for these and other When we came back we did a lot body of the labor committees when Liberia who moved to Philadelphia immigrant communities. We want of followup. We talked at a lot of he [returned from Central Ameri- Mike Finley is currently a Staff Rep- in 1991 and joined Kormassa the music and social dance of these labor meetings about what we expe- ca]…. He became president of the resentative in Trenton, New Jersey Shareff ’s new Liberian Dance communities to come out of the rienced. We published a written AFL-CIO for other reasons (unrelated for Communications Workers of Troupe, has also found few public closet for the education and enjoy- report —gave out thousands of to that experience), but I think Lane America (CWA), local 1039. Denys or private performance opportuni- ment of the entire Philadelphia copies to workers. A lot of labor com- Kirkland is out partly due to [the work Everingham is Organizing Director ties. Ms. Shareff also cites the lack community. Maintaining and pre- mittees did stuff like that, they would we did with Central America]. You and Recording Secretary for Service of Liberian drummers. Though she serving the cultural arts that have send delegations down and come know, and if Kirkland was not out, Employees International Union and Hawa Moore have performed created a strong foundation and back and use the evidence [of what Sweeney would not be in. Although (SEIU), Local 36 in Philadelphia. If at Liberian weddings, the money sense of pride in these communi- ties, and making that experience they saw first hand] to back up our Sweeney was elected specifically for you work in a place that you think that they receive is not enough to pay the members of the group, available to African, Caribbean, and general argument. We deliberately some of the organizing that SEIU has needs a union, call Denys at SEIU at which can include three to five other ethnic communities would tried to put on these tours of people done —specifically a domestic reason. (215) 563-9851. drummers and percussionists and be a benefit to many. who were still walking the fence on Denys Everingham: Yes, but… a lot four to six dancers. Without ade- issues. We didn’t just want the choir of the people who were doing the quate compensation, surviving —Stacey E. Ford to go down and cheer on the Sandin- Central American work ended up get- financially in America while main- istas. We tried to get conservative ting involved more heavily in their taining culture through dance and Look out for PHILLY DANCE trade union officials to go with the unions. And turning their unions into music becomes a challenge.When AFRICA, our fall social dance delegations, and they would come more responsive organizations to the need to survive wins the battle, party and workshops with back hopefully changed and join us. members who were being hurt [by US a very important piece of the cul- African dancers and musicians. The present leader of the AFL-CIO is intervention policies]... a lot of pro- ture of these immigrants is lost. See the fall calendar on p. 30 for John Sweeney. He was the former gressive activists became involved in The loss of this culture surely details, and SAVE THE DATE: president of the Service Employees unions [because of the Solidarity affects the adults who NOVEMBER 8th! International Union (SEIU). The AFL- movement]… remember the role that music and dance played in their lives. It also affects the first generation of chil- dren born in this country Are you a member of the who have no real concep- tion of the purpose of music and dance in their cultural her- itage. For their parents and elders, Philadelphia Folklore Project? music and dance teaches about self- love, acknowledgment and appreci- ation of a higher being, and the importance and value of communi- If so, you receive this magazine 3x each year ty, but these dimensions of music are difficult to pass on to children whose culture of music and dance and you help support the work described in is dominated by the popular culture of America. these pages. PLUS you get Great Benefits. Music and dance of various African and Caribbean countries is vital to maintaining and passing on of these rich cultures. It is how val- ues and history are taught. It is one We REALLY depend on memberships. of the means by which a sense of community is built and maintained. Please join us. You can use the form on p. 31. It can be a way to bring communi- ties together despite differences. It is a way to mark and remember cul- 26 27 PFP EXHIBITS ✱ PFP PUBLICATIONS ✱ PFP EXHIBITS ✱ PFP PUBLICATIONS ✱PFP EXHIBITS ✱ PFP We Loan Exhibits: We Publish Books:

Traveling exhibitions on Philadelphia ✯ In my heart I am a dancer ✯ Uses of Tradition: Arts of folk arts and culture available now! By Chamroeun Yin. Edited by Italian Americans in Deborah Wei and Debora Philadelphia Kodish. Photos by René By Dorothy Noyes. Foreword Marquez by Richard N. Juliani. A beautiful children’s Borrow some of our pictures for your mances, triumphs and tragedies. the communities in which they reside. They ask why there is money to Pictorial and textual descrip- book about a Cambodian walls. . . and get to the heart of com- The exhibition offers us a glimpse arrest graffiti artists, but not for tions of the varied folk arts Included are images of Korean, dancer, mask-maker, gardener, schools or jobs. The exhibition raises that Italian craftspeople munity traditions important to diverse Hmong, Vietnamese, African Ameri- into an era often viewed only friend and neighbor. The book, questions about disinvestment in brought to Philadelphia, and folks. Six exhibitions can now be rent- can, Puerto Rican and Jewish peo- through the perspectives of male tap in a simple way, punctures how they changed the face ed—they show how people use folk ple that testify to the ways in which dancers, agents, and entertainment urban communities, and controver- stereotypes by showing many and feel of the city through the arts today in diverse urban neighbor- folk arts are important in peoples’ impresarios. It honors the artistry and sies over what is public and private sides of this Cambodian man, a introduction of these tradition- hoods, as essential tools for living. Let lives. 27 framed and matted pho- rhythmic innovation of these dance property. 11 large-format matted survivor of the Khmer Rouge al arts. Vivid and moving us know if you want to bring pictures tographs with text panels. pioneers. 50 framed and matted pho- and framed photographs with regime. Edited from his words. descriptions of Philadelphians from our neighborhood to yours. Six tographs in six panels, with two addi- text panels. NEW! 1986. (Grades K-4), 32 creating stone carvings, wood exhibitions are available: Giants, Kings and Celestial tional text panels. pp., full color, photographs. carvings, stained glass, plaster Angels: Teaching Cambodian Arts About Our Exhibitions: Our $12.95 Uses of Tradition: Arts of Italian in Philadelphia. Work by Peang ODUNDE African American exhibitions are user-friendly, and work, innovations in mummers’ costumes, palm weavings and Americans in Philadelphia Koung, Eang Mao, Sipom Ming, Festival: Twenty Years on South appropriate both for agencies with no ✯ other significant folk traditions. explores the meanings of some of Chamroeun Yin and their students. Street. Photographs by Thomas B. previous exhibition experience, and The Giant Never Wins: 1989. Illustrated, 80 pp., $10 the beautiful and useful folk arts This exhibition introduces four Cam- Morton. ODUNDE is one of the old- for museums. Exhibitions come in Cambodian Lakhon Bassac that Italian immigrants brought to bodian artists: a mask-maker and folk est African American street festivals in well-labeled crates, with detailed pack- (folk opera) in Philadelphia this region over the last one hun- the country. It has grown into a ✯ opera director, a costume-maker, a ing, installing, and repacking instruc- Stories by Koung Peang and ODUNDE presents ”From dred years—from the stonecarving, temple painter, and a dancer/mask dynamic event that draws more than tions. Photographs and panels have Pun Nhiv. Essays by William Hucklebuck to Hip Hop.” stained glass and mosaic work that maker. The focus is on how they try 200,000 people every year. Included wire backs, and are easy to hang. Westerman with Prolung Khan Social Dance in the African ornament our grand buildings to to teach Cambodian arts here in are vivid images of the Egungun Exhibits cost $250- $500 for Ngin. Translations by Leendavy the family and regional craft tradi- Philadelphia, sharing Khmer values dancer, a batá battery, the procession each six-week rental. We provide Koung, Chiny Ky, Prolung Ngin American Community in tions carried on in more private set- along with Khmer arts. 24 framed and offering, drummers, dancers, and insurance for the exhibits. Shipping and Debora Kodish. Edited by Philadelphia tings, like palm-weaving and and matted photographs with 7 origi- celebrants. Photographs show the arts costs are the responsibility of the Debora Kodish By John W. Roberts. window displays. This exhibition nal drawings by students and that are at the heart of a twenty-year- borrower and must be arranged Eight stories (in Khmer and An ODUNDE project. Based considers the meanings and uses of text panels. old African American street festival through our office. Organizations English) recounting the plots on interviews with African inherited traditions in peoples’ lives. that has persisted, despite opposition that serve low-income or under- of lakhon bassac, a lively and American dancers from “Plenty of Good Women 54 matted and framed photographs and gentrification. 30 matted and served communities may be eligible entertaining folk drama tradi- Philadelphia, this book Dancers:” African American with 17 interpretive text panels. framed photographs with text panels. for reduced fees. (Please call us for tion. Essays explain the back- explores the dances, settings, Women Hoofers from more information). ground, history and art of style and significance of You, Me and Them: Philadelphia. Glamorous film clips, lakhon bassac, Cambodian folk social dance, literally from Keep It Real. Graffiti has become Interpretive, educational and mar- Photographs by Thomas photographs and dancers’ vivid recol- opera, as practiced and hucklebuck in the 1940s to hip increasingly controversial. But the keting materials (such as postcards, B. Morton is an extended essay on lections convey a portrait of remembered by Cambodians hop in the 1990s. 1995. debate over graffiti is usually one- posters, videos, and related PFP publi- how culture is created, reshaped and veteran Philadelphia women hoofers who now live in Philadelphia. Illustrated, 123 pp., $10 sided, with all young urban graffiti cations) are available for many of the attacked in our multicultural society. prominent during the golden age Based on three years of field- writers and artists grouped together exhibits. We also provide borrowers Photographs by this thoughtful of swing and rhythm tap (1930s- work in Philadelphia. 1995. ✯ and treated as vandals and worse. with sample news releases, pho- Order form: p. 31 African American photographer rep- 1940s). This exhibition focuses on 186 pp., photos, glossary. $15 This exhibition pays attention to tographs, and captions. ✯ Call us for a full listing resent more than twenty years of his women who “came up” from the some of the opinions and experi- documentation and exploration of 1920s through the present. Restricted ences of a group of eleven young Please call Teresa Jaynes (215-468- of resources on local culture-making in communities of to few roles, unnamed in credits, men who paint elaborate graffiti. 7871) with any questions about our folk culture. color in the Philadelphia area. Mor- these African American women traveling exhibitions program, or for Each is represented with a zsingle further information. ton has attended community festivals dancers have remained anonymous color photograph of his work— and celebrations, witnessed wed- within and outside of the entertain- chiefly “pieces” (short for “master- dings, funerals, momentous perfor- ment industry and sometimes even in pieces”), with some memorial walls 28 29 Philadelphia Folklore Project ✸ UPCOMING EVENTS FOR ✸ FALL 1997 PFP Educational Resources ✱ PFP EVENTS ✱PFP EXHIBITS ✱ PFP PUBLICATIONS

W ORKS IN P ROGRESS

Dance Concert Programs Information Works in Progress, the magazine of the Please Join! Philadelphia Folklore Project (PFP), is pub- About the Philadelphia # Philly Dance # Sacred lished three times a year. We depend upon for Young & Technical subscriptions and donations to cover the Folklore Project Africa: Journeys costs of the work described in these pages and the magazine itself. To subscribe and Folklore means something different to everyone— #____$35 Family. (2 or more at the same Workshops Kule Mele African Dance Ensem- People Assistance for more information, please use the form as it should, since it is one of the chief means we address). As above & 1 FREE PFP publication. # below, or call: 215-468-7871 ble and Atzilut in a concert of # Philly Dance Funding Editor: Debora Kodish have to represent our own realities in the face of (choose 1 on p. 29) & Party Afro-Cuban and Jewish sacred Designer: Ife Nii-Owoo powerful institutions. Here at the Philadelphia Folk- Don’t miss a chance to dance to musics. Kule Mele will present a Africa opportunities Printing: Garrison Printers lore Project, we are committed to paying attention #____$60 Contributing. As above, 2 PFP books Printed on recycled paper fabulous African roots music— series of orisha dances, usually Here’s a chance for young peo- for folk artists to the experiences and traditions of “ordinary” peo- (pick 2 on p. 29), discounts, and a brand world beat from Ghanain, South seen in bembés honoring the ple to learn to dance kpanlogo ple. We’re a 10-year-old independent public folklife new “Plenty of Good Women Dancers” Philadelphia Folklore African, Liberian, Haitian and deities. Atzilut will draw on the and more. Musicians and and grassroots agency that documents, supports and presents local t-shirt. ($15 tax-deductible) Ivorien musicians and dancers Judaic mystical legacy of kabbala, dancers from Africa will teach Project Staff folk arts and culture. We offer exhibitions, concerts, Director: Debora Kodish who now live here in Philadel- calling on Middle Eastern and popular social dances from cultural groups: workshops and assistance to artists and communi- #____$150 Supporting. Magazines, mailings, 3 Program Director: Teresa Jaynes their homelands. Get a head phia. Learn kpanlogo, konpa Mediteranean traditions along info session Special Projects Director: Stacey E. Ford ties. We conduct ongoing field research and we PFP books (pick 3 on p. 29), discounts, and other social dances from the the way. Part of the Philadelphia start on the big dance party on Office Manager/Archivist: organize around issues of concern. We maintain an t-shirt, PFP video. ($75 tax deductible) African diaspora and then get out Fringe Festival. Co-sponsored with November 8. Learn about grant programs and Michelle Jackson archive and issue publications and resources. We October 25 Cultural Specialists: Chiny Ky, René # on the floor and party! African the Painted Bride Art Center. get information that will help J. Marquez, Khom Koung urge you to join—or to call us for more information. ____$10 No frills. Magazine & mailings. and Caribbean food and bever- September 21 4 - 5:30 PM you plan ahead for the year’s Marketing Specialist: Katharine Allen (215-468-7871) ages will be available. Philly 8 PM Point Breeze Performing Arts grant deadlines. Intern: Leslie Kaplan #____Sweat equity. I want to join (and get mail- Dance Africa features South Painted Bride Art Center Center September 9 Join and get the shirt off our back! ings). Instead of $$, I can give time or in-kind African musician Mogauwane 230 Vine Street 1717 Point Breeze Avenue 6:30-8:30 PM Philadelphia Folklore #____$25 Basic. Get magazines like this 3x/year, services, help with mailings, provide comput- Mahloele, Ghanaian musicians Admission: $15 FREE, RESERVATION Philadelphia Folklore Project Project Board special mailings and 25% discount on er (MAC) consulting, work on a committee, Germaine Ingram, Chair Nii Armah Hammond and ($7.50 PFP and Bride members) REQUIRED 1304 Wharton Street publications. or something else. Thora Jacobson, Executive Board Ishamal Adjin-Tettey, Ghanain Tickets: 925-9914 FREE Cheryl McClenney-Brooker, Exec. Board dancer Victoria Laryeaa, Liberian # Cambodian folk- Samien Nol, Executive Board musician Hawa Moore, Liberian Ann Ollman, , Executive Board tales: storytelling Deborah Wei, Executive Board dancers Kormassa Bobo Shareff Terrence Cameron and Saah Tamba, Haitian band Philadelphians know great sto- ✄ Ruth Cameron Membership/Order Form Reflex, and others. Exhibits ries about the tricky rabbit, the Blanche Epps (See article, p. 18) clever man Ah Chey, and other Lois Fernandez If you are joining at family membership and # heroes who outwit the rich and Jack Lindsey November 8 Folklife Exhibits Pang Xiong Sirirathasuk Sikoun above please list your free publication here. 6-8 PM Dance Workshops powerful. Come hear them tell Also, use this form to order books from p. 29. Name stories passed down in their 8-10:30 PM Dance Party Keep on Touring We are happy to I would like to order the following: families. In Cambodian and Urban Education Foundation “ODUNDE: Twenty Years on acknowledge support from: English. From a new children’s Address 48th and Market Streets South Street” is one of five dif- The Lila Wallace-Readers’ Digest Fund ______price:______ferent PFP photo exhibitions book being prepared by the PFP. National Endowment for the Arts Free parking in guarded lot City State Zip that can be seen around the September 24 The Pew Charitable Trusts ______price:______(enter from 48th St.) region this fall. October 15 The William Penn Foundation Admission: $10 ($5 Pennsylvania Council on the Arts ______price:______Phone PFP members) Until September 9 November 12 Independence Foundation Co-sponsored by the Ga- The Village of Arts and 3:30-4:30 PM Penn. Historical and MuseumCommission ______price:______Please make checks payable to: Philadelphia Cultural Fund Adongbe Association of Pennsyl- Humanities The Free Library of Philadelphia Folklore Project 2254 Germantown Avenue Philadelphia Foundation ______price:______vania and others… Philadelphia-South Philadelphia Philadelphia Music Project FREE Branch Samuel Fels Fund Subtotal ______Mail to: For dates, places and times for Broad and Morris Streets CoreStates # Members’ Discount (25%) ______PFP other exhibitions, call us: 215- Union Benevolent Society FREE + postage and handling $ 3.00 1304 Wharton St., 468-7871 Phoebe Valentine Foundation and individual Philadelphia Folklore Phila., PA 19147 Project members Total ______Thank you to all. Thanks! 30 31 Philadelphia Folklore Project NON-PROFIT ORG. U.S. POSTAGE 1304 Wharton St. PAID Philadelphia, PA 19147 PHILADELPHIA, PA PERMIT NO. 1449

PHILADELPHIA

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September October November 9 15 8 Workshop Storytelling Dance Party & Technical Assistance Cambodian folktales Dance for Artists & Free Library-S. Phila. Organizations Broad & Morris Workshop s PFP OFFICE 3:30-4:30 FREE Philly Dance Africa 1304 Wharton St. Urban Education Fdn. 6:30-8:30 FREE 48th & Market Sts. 25 6-8 Workshops 21 Dance 8-10:30 Dance Party 97 Workshop $10 ($5 PFP members) Concert Co-sponsored by the Ga- (for young people) Sacred Journeys: Adongbe Association of Philly Dance Africa Pennsylvania and others. Kulu Mele & Atzilut Point Breeze Painted Bride Performing Arts 12 230 Vine St. Center 8:00 1717 Point Breeze Storytelling $15 ($7.50 members) Avenue Cambodian folktales Details 4-5:30 PM FREE Free Library-S. Phila. are 24 RESERVATION Broad & Morris Storytelling REQUIRED: 3:30-4:30 FREE inside… 215-468-7871 Cambodian folktales Free Library-S. Phila.

Broad & Morris 19 Calendar 3:30-4:30 FREE