MILESTONEST H E S O N J A H AYNE S S T O N E C E N T E R F O R B L A C K C U L T U R E A N D H I st ORY spring 2013 · volume 10 · issue 2 www.unc.edu/depts/stonecenter ▲ CARRARRA MARBLE. Toni Scott 2007. ▲ Toni Scott 2011. STONE CENTER BRINGS CELEBRATED ARTIST TONI SCOtt’S “BLOODLINES” FOR LA SOMBRA Y EL ESPÍRITU II: Women’S HEALING RITUALS IN THE DIASPORA The Robert and Sallie Brown Gallery Series, La Sombra y el Espíritu II: Women’s Healing Rituals in the Diaspora, brings noted Los Angeles multi-media artist Toni Scott to the Stone Center for its Spring 2012 exhibition. Scott’s show, Bloodlines will open on February 7 and run through April 26, 2013. ◄ Toni Scott with sculptures. Photo by Cynthia Perry ©2007. Bloodlines is a personal and carefully executed exploration work ranges from lifelike sculptures cast in bronze and into the historical foundations of African Americans and fiberglass, to carvings in marble, alabaster, soapstone and their interest in recovery, remembrance, reconnecting Douglas fir — wood from which she carves totem poles and re-visioning. Through sculpture, painting and digital which stand over nine feet tall. Her paintings range from renderings, real stories of courage, survival, and racism large scale colorful figurative works to masterful represen- are explored. tational paintings in oil. A multimedia artist, Toni studied the classic and contemporary masters, is a former student The series was inspired by the years of research done of the Otis College of Art and Design and has a BA from by Scott’s uncle along with historical information and the University of Southern California. poignant stories told by Scott’s father about her Great Grandmother Fannie. Fannie’s story ignited a strong de- An opening reception for the exhibition featuring an artist sire for discovering and understanding America’s history talk by Toni Scott will be held on February 7, 2013 at 7:00 regarding slavery and oppression. p.m. at the Stone Center. The exhibition is co-sponsored by Department of Women’s Studies at UNC at Chapel “With this exhibition we depart slightly from featuring Hill, Carolina Women’s Center, Center for the Study of artists who work, or who are presented, through one me- the American South, and the American Indian Center at dium” said Stone Center director, Joseph Jordan. “Scott UNC at Chapel Hill. La Sombra y el Espíritu II: Women’s is an accomplished artist whose vision has been realized Healing Rituals in the Diaspora, Bloodlines: The work of Toni through a variety of media that extends her expressive Scott will be on display through April 26, 2012. Thegallery capacity as well as the possibilities for those expressions.” is open Monday - Friday, 10:00 a.m. – 8:00 p.m. or by appointment. Toni has sought to express her love of God, Beauty, ▲ THE UGANDAN INSPIRATION, KABAKURU Toni Scott 2011. Humanity, and Culture in everything she creates. Her For information on the exhibition call 919-962-9001 or visit http://sonjahaynesstonectr.unc.edu. 2 MILESTONE · SPRING 2013 · VOLU M E 10 · ISSUE 2 The Sonja Haynes Stone Center for Black Culture and Histor y 3 AFRO-PUERTO RICAN MUSIC AND COMMUNITY REINVESTMENT DANCE GROUP, LOS PLENEROS DE LA by Zaina Alsous Fall 2012 Sean Douglas Fellow 21, RETURNS TO UNC FOR 2 DAYS OF WORKSHOPS AND ­pERFORMANCES The late Bill Friday once stated, “Every Los Pleneros de la 21 (LP21), a Spanish Harlem-based ensemble that morning a million North Carolinians performs traditional Afro-Puerto Rican music and dance, will perform get up and go to work for wages which in the Stone Center Auditorium on April 20 at 7 p.m. The Stone Center leave them below the poverty line so is hosting LP21 for a two-day residency that will include 2 FREE work- they can pay taxes that finance the shops on Friday, April 19 (one for UNC students and one for members education you receive at Carolina. of the community) and concludes with the performance on April 20th. Your job is to figure out how you’re going to pay them back.” The ensemble was founded 26 years ago in the South their descendants in the context of plantation life in Bronx, NYC. The name evokes the place of origin of early colonial Puerto Rico. The musical style is highly In this quote, Friday raises a significant purpose its members, the Parada 21 (Bus Stop 21). The Parada participatory with dancers moving their bodies to the of public education — not solely as a tool for 21 was a predominantly black neighborhood in San beat of a drum. Plena has a similar call and response individual advancement, but rather, a public good ▲ YOLANDA RABUN AS NINA SIMONE, photos by Kathy Perkins Juan, Puerto Rico where many ofthe islands’ bomba fashion, but places more emphasis on lyrical narration to be redistributed in a process of uplifting our and plena performers resided. The term Los Pleneros of daily life and satirical commentary on current events. means “plena practitioner / musicians” and LP21 are The group also integrates contemporary and traditional communities. considered New York’s preeminent bomba and plena musical styles such as jazz, salsa, rock and rap in its Community reinvestment of resources and musicicans. The ensemble has performed all over the lively and engaging performances. world including Canada, Mexico, Cuba, Australia and education is a practice and a philosophy that is FALL 2012 SEASON OPENS WITH ­cAPACITY CROWDS AT the former Soviet Union. The group consists of an This is the group’s second visit to UNC-Chapel Hill. The of paramount importance to me. Yet this call to intergenerational mix of Puerto Rican folk master’s and Stone Center brought LP21 to campus in 2009 as part reinvest our education in our communities is more of the Carolina Creative Campus Initiative, a yearlong professional musicians united to preserve and honor multifaceted than the popular notion of simply ‘act NINA SIMONE EXHIBITION AND PLAY their heritage. In addition to performing, the group University-wide project initiated by the Office of the Executive Director for the Arts to explore global diaspo- locally’. holds regular workshops in public and private schools, The Nina Simone…What More Can I Say? California, and the archives and personal about the famed singer. Written by poet, Both the play and exhibition garnered ras and examine ideas on migration, nationality and the educating youth about traditional Puerto Rican music I am a product of diaspora — the daughter of exhibition and original play kicked off the collection maintained by Crys Armbrust, playwright and Stone Center artist-in- significant media coverage throughout the politics of home. traditions. Palestinian refugees that settled in the suburbs of Fall 2012 season in September. The exhibi- founder and director of the Nina Simone residence Howard Craft, Nina Simone…. state, with features in The Daily Tarheel, tion featured rare photographs, awards, Memorial Project located in Tyron, North What More Can I Say? starred singer and Independent Weekly, Triangle Tribune, LP21 perform two styles of Afro-Puerto Rican music; For more information on the LP21 workshops or the American south. I carry this diasporic identity personal letters and other documents of Carolina, Nina’s birthplace. The Stone actress Yolanda Rabun, was directed Chapel Hill News, The Herald Sun, UNC each has its own historical trajectory and musical performance ticket info, please call the Stone Center at wherever I go. Yet it is a deliberate choice I make to 919 – 962 – 9001, email [email protected] or visit acclaimed singer and activist Nina Sim- Center hosted Caroll Waymon, brother by UNC’s own Kathryn Williams with Public Radio’s “State of Things” and UNC distinctiveness. Bomba and plena are traditional Afro- utilize my privilege to invest myself in community one. The show combined materials from of Nina Simone, as a special guest at the lighting by UNC professor Kathy Perkins. Public Television’s “Black Issues Forum.” Puerto Rican musical genres respectively dating back to http://[email protected]. needs and struggles. 3 different collections: the Alden Kim- opening night reception. The play’s two night run was a huge suc- The exhibition was also spotlighted on the early 17th and 20th centuries. The music took root This article is adapted from the LP21 Web site and brough Collection, located in Los Angeles cess — hosting standing room only crowds the home page of the University of North when Spanish colonists brought West African slaves to I see this complexity of perspectives in the work group bio and descriptions. California; the Carroll Waymon (brother In addition to the exhibition, the Stone on both the Saturday evening premiere Carolina at Chapel Hill website. cultivate Puerto Rico’s sugarcane. Bomba describes a carried out by the Stone Center, a fusion of of Nina Simone) Collection of San Diego, Center commissioned an original play and Sunday matinee performance. range of regional styles, rhythmic patterns and associ- global understanding with deep roots within the ated dance styles that were cultivated by Africans and North Carolina community; evidenced by the Chapel Hill youth empowerment and engage- ment program: Communiversity, or bringing in Durham community organizers from El Kilombo Intergaláctico to discuss their commitment to the needs of their Durham neighborhood. SEAN DOUGLAS ­LEADERSHIP ­FELLOWS PROGRAM The artist the Stone Center chose to spotlight this THE PUBLICATION OF THE ­AFRO-LATIN/ semester was singer and North Carolina native THE SUMMER - FALL AMERICAN RESEARCH ASSOCIATION The Sean Douglas