Wednesday, November 20, 2013

David Haygood Jr., Artist, Gallery Owner/Operator - Gallery One Fine Art



David Haygood Jr.'s, art work, like most artist, continues to morph. Much of his early work centered around mastering airbrush as a technique, coupled with his then and still love for portraiture. However, “creativity does what creativity is meant to do,” and that becomes evident by his foray into the, “abstract,” resulting in turning heads like the memorable scene in the, “exorcist.”

Standing in front of and absorbing the scale and color field, initiates a flight into wonderment and sound, letting go of any restrictions. The modulation of light emitted from both under glazed layers and refractions of doppled acrylic is amazing. By definition, an exorcist is, “a person who drives out evil spirits through various means such as: religious ceremonies, prayers and other religious means including clearing the mind of any thoughts of evil.” Like a piece by, John Coltrane, you are now buckled in to explore spaces known and unknown. This reviewer had the bounty to be present viewing this work with a reknown national art critic and an equally accomplished artist, whose praises and critique of said work only solicited superlative descriptions and comments like, “if this is his latest foray into the abstract, it is definitely working for him.”

Within the African cultural landscape, artisans and healers, often use many forms to execute their contributions, and as African Americans, we are still seeing the evidence of these attributes and practices. So when you go see the work for yourself [and you should, at Gallery One], be sure to get past the acrylic, past the scale, past the color fields and even composition, then assess what you feel that you didn’t feel…….before you arrived. Ase

Visit David at: www.haygoodart.com


Reviewed by: Omobowale Ayorinde

Sunday, September 8, 2013

Frances Hare:A Soft Sculpture Quilt Exhibit



“Frances Hare: A Soft Sculpture Quilt Exhibition,” presented by, Gallery One, opened to an audience that was stunned and in awe, experiencing a truly amazing artistic statement.

Anyone who has ever experienced any artistic endeavor presented by Frances Hare, knows, she always comes strong, over the top and exceeds most anticipated value for any venue. True to form, this exhibition integrated some spectacular works by host and gallery owner, David Heygood Jr. and began with an eclectic dance performance.

Those who were fortunate to attend the opening witnessed, no doubt, some of the most significant works of this fabric artist, however, through Frances’s generosity and urged on by many in attendance, a second opening reception was planned and duly called, “The Second Coming,”

About the Work

“Frances Hare: A Soft Sculpture,” exhibition, has secured her position as one of western New York [for sure] and beyond, as a premiere fabric artist. This work is bold with no recognized bounds, the technique displayed is impeccable and crafted; the artistic statement, even like, “Afrocentric,” is not adequate, as implied by one titled work, entitled, “Just Me.” These pieces are journeys for sure and along with those that are three dimensional, challenge the viewer’s sensibilities, esthetic histories of form, color, texture and even storytelling. Piece after piece, was awe inspiring and free as her noted dance signature and she so aptly quips, “my work can be sometimes crumbly, sometimes rumbly, sometimes frilly but always fun.” Musicians were inspired to play, writers inspired to write, painters to paint and others to bore witness to, “the second coming.

Wednesday, January 18, 2012

Eddie Lamar Davis, Memorial, Sunday, March 11th, 2012 at the, Baobab Cultural Center, 4-6pm, Family present & work on display, for additional info, call, [585] 563-2145, public invited

Creative Hue Artist Collective, mourns and celebrates the life work and contributions of our fellow pioneer sculptor artist, Eddie Lamar Davis. As many of you may recall, Professor Eddie Davis was unable to attend the opening reception of his last exhibit here in Rochester, “Traditional Beats, New Rhythms,” at the Baobab Cultural Center [see earlier posting on our blog].

Eddie Lamar Davis, a long-time Rochester-area, sculptor, potter, painter and arts educator has been a well-known artist throughout our area for many years. A native of Knoxville, TN, Eddie earned a BA in Art Education from the School of the Art Institute of Chicago and in 1973, a MFA from RIT's School of American Crafts.  As an artist-in-residence and adjunct professor, he taught ceramics and sculpture throughout New York State, including RIT, Keuka College, Ithaca College, and numerous K-12 schools.

His work has been exhibited in galleries throughout our region including the Memorial Art Gallery, MCC, Germanow Gallery, Artisan Works and many others.  He was well known for the large ceramic vases and sculptures that he created, many are in private collections throughout the US and Canada.  Some of his portrait sculptures are currently on display at the Baobab Cultural Center in the Neighborhood of the Arts.

In the eighties, he moved from Rochester to rural Yates County where he established a studio; he was featured in a Democrat and Chronicle article, Artists No Longer Feel Bound to the Big City, on Feb. 18, 1990.  Two of his commissioned pieces are on permanent display at the Lamberton Conservatory in Highland including a sculpture at the entrance to the conservatory.

In the early nineties, Davis moved back to Knoxville and established a studio.  He continued to teach, create, and exhibit his sculptures and paintings including a bronze relief in a Knoxville park. After a courageous battle with cancer, he died in Knoxville on Saturday, January 7, 2012 at the age of 66.  He continued to work in his studio until the last few weeks of his life. He is survived by three children, to whom we offer our most sincere condolences to all in their family on behalf of a grateful Rochester community.

Plans are underway to host a memorial service, check our blog for a posting date. Please feel free to share your reflections on our blog.

Friday, December 9, 2011

Latisha Eggleston, Creative Hue Artist Collective Member


Ms Laticia Eggleston, is better known as, “Tish” among her peers and friends. She paints mostly, on porcelain, silk, wood or any substrate she is drawn to. Originally, from Pontiac, Michigan, she attended Baker College, where one might surmise, her earlier formal interest began with computer assisted design [auto cad] targeting a career in the auto industry.

However, as many can attest, life sometimes writes its own script and today, one can easily understand, Tish’s sense of design and attraction to clean graphic lines much of which evolves from a, “spiritual well” of humility, perhaps in search of, “oneness” with her Creator. Clearly, she is unpretentious to some of the origins of her designs but others will find what might be perceived as an Aztec influence, maybe even Japanese and at other time, a taste of the, Caribbean, such is the case for art. Above are some details from some plates and views that provide a taste. When work comes together, one can often hear it sing and sometimes whisper. This writer heard, John Coltrane’s, “Oleo,” an eclectic Spanish concerto jazz piece with continuing turns and twist, emanating while perusing, the work of, “Trish Eggleston.” Visit her web page at:


http://www.moondanceexpressions.com/

Sunday, November 6, 2011

David Johnson, "Golden Decade:1945-55" & Civil Rights Photographer....and Keeping On..


David & Jacqueline Johnson, [photo by: O. Ayorinde]

Few can forget, when Snoop Dog at the, Source Awards, in New York [1995], stepped to the mic and asked the rhetorical question, “what, the east coast ain’t got no love for Dr. Dre & Snoop Dog?, you mean to tell me the east coast ain’t got no love for Dr Dre & Snoop Dog….”  The 3,000 mile divide from east coast to west coast, was and still, can be put to, “audience response.”

Well, fast forward to Rochester, New York, the city that houses the George Eastman International Museum of Photography; the headquarters of, Kodak which once controlled the lion share of the world market for most things photographic and Rochester Institute of Technology, the premier teaching facility dispensing the technology needed to support such an industry.  There was a buzz that enshrouded the city, when the, Community Darkroom announced, they were bringing [almost completely unknown….on the east coast], African American, photographer, David Johnson from, San Francisco. So, the resounding question became, “who is David Johnson and would the east coast show him any love?”

Inquiring minds, quickly found out by, “Googling” mostly, that David Johnson is an 84 years old, African American photographer, born in Jacksonville Florida, raised by an aunt, eventually found his way to the, “Fillmore District of, San Francisco and was the first, African American photography student of, Ansel Adams. In the history of photography, few names command such lofty notice, than that of Ansel Adams, especially in this, hallowed photographic city.

Let’s set the stage, if one goes to Detroit, one anticipates the history making of cars and the famed, “Motown sound,” it is part of the defining identity and ethos of that city. Conversely, Rochester, represents the, “holly grail” for all things photographic, including, the knowledge of the history of photography, since, the first permanent photograph in 1826 by the French inventor Joseph Nicéphore Niépce, the introduction of the, “daguerreotype” by, Louis-Jacques-Mandé Daguerre, 1839, the photographic records of the expeditions that opened the west [including, San Francisco] and the history of those many initial visionary photographers who brought this form from obscurity to the current recognized art form that we share today, this is what we do in, Rochester, New York.

So, the question, “who is this David Johnson,” was answered by, David Johnson, himself while attending the, “Little Theatre” [art theatre complex] and the screening [and Q&A] of, a film depicting his life entitled, “Positive Negative,” directed by Mindy Steiner,” finally we would have our answer, “would the east coast show some love to this African American photographer from San Francisco, being brought to Rochester by the, “Community Darkroom .“

The room was darkened, the screen flickered, I held my breath, there was a kind of a thick anticipation wafting in the theatre, I sat transfixed. What began with an emulated slide show on film, with a sound track to die for will remain embedded in most peoples minds for years to come, be they black, white or in between, there before us, our history sensitively revealed, photographed and preserved documents of times past, starting in what has become to be known as the, “Golden Decade” [1945-55]. David, being interviewed in the film, was “dropping it,” in a continuous stream. This 84 year old, going on 50, was smooth, articulate, precise in his recollections and his generosity, recollected to a fault. He spoke of the early migration of, “Negroes,”[a politically correct term of that era] from Arkansas, Mississippi, filtering into what was known as the, “Fillmore District” a portion of San Francisco vacated housing, resulting from the interment of Japanese people during, World War II [another ugly chapter of this country’s history]. Consistent, with what we now know of most early cities and towns receiving an influx of African Americans or, “Negroes” in those times, these towns began to flourish with black culture, small businesses and the history of the, “free blacks” was being written through these replicated living patterns and David was there, with his camera, documenting, “thank you,” David.

The silver screen was now popping and the period music of the, “juke joints” had many in the audience, totally uncharacteristic of Rochester audiences [both black & white and in between] screeching, “Whoa! Heeye, Alright Now,” [y’all know how we can do, when we do it]. This writer, with a personal photographic history background remained transfixed, watching everyday early black people in San Fran, going about their daily doings, the barbershops, people strolling and girls playing, “hop-scotch” and of course, David’s photographs of legends like, Nat King Cole, Eartha Kit, A. Philip Randolph, W. E. B. Du Bois, Aaron Thibadeaux “T-Bone” Walker, Langston Hughes, Jackie Robinson and many others, I didn’t want to blink.

These were not just documents, which would have been enough for some but David, after all was the first, African American photography student of Ansel Adams [see, “El Capitan, Yellowstone”], Minor White [zone system] was his printing mentor and Edward Weston, was the lead instructor, when David attended the, California School of Fine Arts [see, “Golden Decade]. This writer observed the master printing technique, the modulation of light found on black skin of images like that of Nat King Cole, the careful attention to, “detail in the black areas” and more importantly, the exquisite handling of the diversity of “black skin”” tones, avoiding that, “shiny” look often the results of images photographed during high contrast conditions or during that time, most often with flash. In addition, many people may have been unaware they were viewing original images that were archival printed, some more than 60 years old.

David enlisted in the Navy when he was about 16 and upon his return at the age of 19, would eventually begin to make his way westward by segregated train to attend the, California School of Fine Arts, headed by, Ansel Adams, who actually allowed David to live in his house for quite some time. David Johnson, found himself alongside of, historic photographic icons who were admittedly, unknown to David at the time, photographers like, Dorthea Lange, Lizette Modell, Homer Page, Imogen Cunningham and the list goes on and on [this is storybook stuff]. Most, in this group would be featured in the, “Family of Man” exhibition, which represents a cornerstone in the history of photography that would follow.

Life evolves and David Johnson’s career was no different. He was encouraged by Edward Howden, director of the, “Council for Civic Unity,” a community organization working towards integration [1940-1960], to focus his lens on the, “slum” housing of the, “Fillmore District.” Howden assisted David in acquiring a position of, staff reporter, with a local newspaper, the, “Sun-Reporter.” The decline of Fillmore, the eventual bulldozing, razing and the actual reclamation through gentification, this time, by the Chinese provided the backdrop and window of opportunity which, David Johnson’s work captures. Thus we get the jazz and club scenes of the 40’s, people simply hanging out and the evidence of a community bygone. However, it could easily be argued that David Johnsons defining work is seen throughout the annals of the Civil Right marches and figures.

During the Q&A, a question was asked of David, in retrospect, having seen these astounding images compiling his work, how would he compare what he sees today. Almost, without skipping a beat, he answered, “what happened to the Negro?” Another question/comment worth noting was one asking him about his visit to the George Eastman International Museum of Photography, which had offered to give him a behind the scene tour and the opportunity to view a photographer[s] of choice. Well, as the account goes, the staff had great difficulty locating the works of photographers of color. However, equally interesting was David Johnson’s quiet response, stating that we need not assign all the responsibility, in this case, to  the George Eastman International Museum of Photography, leaving us with the inference that the IMP and other repositories must be engaged and encouraged by the people themselves to house a truthful and representative collection.

David Johnson and his wife, Jacqueline, traveled here together for what amounted to two full days of an itinerary that a 21 year old person would have found demanding, because so many wanted a piece of this living history and to the credit of Rochester, they received a pretty, “red carpet” treatment, wherever they toured. The day after the screening of his film, “Community Darkroom” opened an exhibition of at least 30 plus original and exquisite prints of; David’s and a party featuring live jazz music [Paradigm Shift], dancing which was reminiscent of some of the club scenes found in David’s images, only this time it was David on the center floor dancing and Rochester was rocking.

David Johnson, is in fact, a national treasure and is, no doubt the best preserved living artifact of a gloried period he lived and is still living. Time has passed but he remains, quietly humble, incredibly energetic and if we can grant, “griot” status to any in our culture, let me be the first to suggest the petition. It is impossible to do justice via a short article reflecting, 60 + years of steady contributions made to our lives and for that, apologies to David Johnson. So the once ambiguous question, “who is, David Johnson, would the east coast show him any love,” has and is being met with a continuous outpouring of love and gratitude and for his traveling from the west coast and by way of special and personal delivery of our continued “shared” history, with an emphasis on the African American diaspora. It remains amazing under the shade of the umbrella of such big institutions this article has noted, that a small, community organization, “the Community Darkroom” [with support from Luminiere] has done such a very large thing, we got nothing but love for, David Johnson.

On a parting note, this writer asserts, many people of color under estimate the role the black photographer has played in our history, usually relegating them to, pretty picture takers and this is okay. However, some thought should be given to viewing visionaries such as, James Van Der Zee [Harlem Renaissance], PH Polk [Alabama], Gordon Parks [Farm Administration, “dust bowl”], Roy De Carava [Harlem], the Sherlock Brothers [Washington, DC.] as writer/reporters, early historians and recorders of our history, sometimes not vocal but never quieted as the camera has left us these indelible documents.

Ayorinde

Omobowale Ayorinde, MFA [Fine Art Photography], a noted photographer, is a graduate of, Rochester Institute of Technology and has taught there the last 31 years.

Friday, November 4, 2011

Dr. David A. Anderson & Shawn Dunwoody, exhibit at, Nazareth College Art Center Gallery....... A Review


This exhibit, entitled, “We Are Stories….If My Child Should Ask” is a unique artistic collaboration featuring the photography of, Dr. David A. Anderson and installation, mixed media artist, Shawn Dunwoody.

The work of, Dr. David A. Anderson, was very reminiscent of being a retrospective of another former, Rochester Institute of Technology, photography alumni. Well, if one counts the number of, African American photographers matriculating through RIT, it narrows to a very select and prestigious group, including a few who quickly made their signature known, such as, Bernie Boston [LA Times, Pulitzer finalist, covered every president from Truman to Clinton] and Gordon Parks Jr. [directed, Super Fly, Thomasina & Bushrod etc.], come to mind.

However, this reviewer did not recognize this body of work as the signature, “zone five” the hallowed system taught at leading photographic institutions but yet a more cryptic journey is to be experienced by the viewer, who is willing to do some homework.

Dr. David A. Anderson, PHD, came through a time when black photographers were a fairly new listing, and did not necessarily have the, “liberty” of casually photographing, there was a war going on. The 60’s and 70’s saw Vietnam come and go but the real war was raging in urban streets, company protest lines, civil rights marches and in the hearts of many Americans, here on the home front. There were, “isms & schisms,” there were identities to be established, stories to be told and “his-story,” to be corrected.

Many of the images in this collection seemed personal and others personalized by added text. Yet, it could be said, others are photographs for those who could not speak up and for those who could not stand up, these were a declaration for the, “voiceless” and Dr. David A. Anderson, like many of his contemporaries, armed themselves and set about turning their cameras on the, “unsung” and "singing" and the preparation of the generation to come. That preparation included a, PH.D. in Educational Administration, Chairing the Rochester-Monroe County Freedom Trail Commission, Community Scholar in Residence, Nazareth College and as member of the, National Association of Black Story Tellers, teaching countless children by enacting, reciting rich cultural antidotes and pros.

Dr. David A. Anderson, AKA, Sankofa, is a consummate storyteller, who has combined his passions by marrying words with his images, executing the, "art of education," through a tireless life of advocacy. Thus, the exhibits title, We Are Stories….If My Child Should Ask.”

Ayorinde


Shawn Dunwoody’s installations and mixed media work illustrates how lucid Shawn’s work is. My first thought was, “clearly, he can make art out of anything.” The work is bold, laced with black memorabilia and seemingly, whimsical. However, as in art, things are often not what you first think it to be. The materials found or selected, often convey a very pointed statement without necessarily stabbing its viewers.

The gallery executed a wonderful presentation of this work. One enjoys a sense of, “strolling” through a kind of public art park, encountering delights and brain teasers, cultural quizzes and celebrations and yet, sometimes one wonders if oneself is an interactive pawn in this exhibit field.


In viewing much of this work, there is a sense of liberation from conventions and constraints yet there are obvious latent Afrocentric, sometimes tribal iconic renderings, "blue-sy," as in, "Delta"  and again coming full circle to, "Beta" world. Thus, the exhibits title, “We Are Stories….If My Child Should Ask.”

Ayorinde

Tuesday, October 4, 2011

L. Bruce Jackson, Creative Hue Artist Collective Member


L. Bruce Jackson, is an abstract, surrealistic painter, custom design matting artist and framer, among other pursuits. Bruce's work is often the result of contemplative meditation, imploring  pre-visualization as well as a place to park latent layers of social, cultural, as well as spiritual commentaries. Now showing at the Williams Gallery, as part of the Creative Hue Artist Collective members exhibit. [see announcement below....]

Tuesday, September 27, 2011

Richmond Futch Jr.: Creative Hue Artist


Artistically Revealing the Spirit [A.R.T.S] Gallery is presenting the works of Richmond Futch Jr, Fine Artist. 
Gallery hours by appointment, call, Richmond Futch Jr. at 729-9916

Friday, July 8, 2011

Creative Hue Salutes, Eddie Davis - Ceramic Artist, on display at, Baobab Cultural Center





Professor, Eddie Davis’s work needs few words. Although his pottery is elegant in their own right, his busts, whisper and draw you closer, like the familiarity of old and dear friends. They are conversational, inward and outward, moving the viewer to ponder and ask, assess, answer and state, “yes these are special.” On display at the Baobab Cultural Center [7/2 thru 8/27], as part of the exhibit, “Traditional Beats & New Rhythms,” featuring the artworks of three of western New York’s native sons and premiere artists, Jack White, Jim Pappas and Eddie Davis. Unfortunately, due to illness, Professor Eddie Davis was unable to attend but his work speaks volumes.

Wednesday, July 6, 2011

Jim Pappas: "Traditional Beats & New Rhthms _Review by: Omobowale Ayorinde






James Pappas has had a long and illustrative career as a painter who chose, “abstract” as a modality even early in the 60’s & 70’s, years associated with the, “black art movement.” To understand the difficulty of acceptance and recognition of, "abstract," in the early years, might be similar to the way in which many people approach, their understanding and acceptance of jazz music. Jazz is a form of music that layers many ethereal associations, many of which could be described as a meta-physical and even spiritual associations. In this case, it is often helpful if the viewer is equipped by being knowledgeable and capable of following an intimate audio weave, that massages consciousness, spirituality, cultural identity and even prophecies such as, “hope.”

Viewing the current body of work displayed in the Baobab Cultural Center, Jim Pappas is one of three exhibitors in a show aptly entitled, “Traditional Beats & New Rhythms.” Like any jazz piece, one doesn’t have to be like the last you encountered and so begins the journey of Jim’s paintings, unlike the last seen [“New Rhythm]. This series of work was admittedly influenced by Jim’s stay in the Bahamas and more probably the, “Junkanoo” Caribbean Festival. There is an explosion of not only, “jump-up” colors associated with the Caribbean but one can also almost hear the lyrical percussions of the, “pans” being executed through Jim’s keen sense of, “cotton candy colors and use of staccato negative spacing. If one does the work, one can now begin to locate, Jim Pappas, “The Conductor, the Band Leader” totally in charge of this concerto. Upon careful scrutiny each purveyor will work through layers of associations such as, “Nefertiti” was constructed with negative spaces while “Pisces” muses at the “Songhai Dynasty.” Other pieces of work examine the confluences of Picasso and the “House of Stone,” the Shona people of Zimbabwe, preeminent African abstractionist and still others one might finds shades of, “Athens’’ oozing from  Jim’s stint in Greece along side of the, “Blues” imprinted from days past.

Jim Pappas may be perceived as a quiet man but not necessarily, a simple man, after all, he was one of the first in western New York to break the 10second barrier in the 100 yard dash, back in the day. This body of work is uniquely reminiscent to Coltrane’s, “Ole” and yet one can find, Armstrong’s trumpet blowing wide open the, DNA of “rap.” This series of paintings are more than, stand-alone works, they can provide a quiet and/or explosive safari for both the artist, musician and lay viewer. One needn’t expect to see and/or experience the aforementioned elements and relationships this writing sites; but each will interact with the work, integrating one’s own esthetic DNA, cultural and artistic imprinted fusion. It could be opinioned there is an absence of, “value” in the color palette, which appears to be utilized to keep the work lyrical and light, thus creating, “Traditional Beats & New Rhythms."

Omobowale Ayorinde

Monday, June 27, 2011

Terry Chaka, Painter, Curator, Creative Hue Artist curates......." Traditional Beats & New Rhythms...."



Terry Chaka, although an excellent painter in her own right, is clearly recognized as a preeminent curator of exhibitions in Rochester and other parts of western New York. Terry prolifically pulls together, film series, themed and Afrocentric artistic exhibits at the Baobab Cultural Center, where she serves as the resident curator and manager. Always one to push the envelope, this current exhibit, “Traditional Beats, New Rhythms,” brings together, three long time friends, artist and sons of western New York, Eddie Davis, Jack White and Jim Pappas. These three major and early contributors to the, “black artist” movement of the 60’s & 70’s, hardly need bio’s as they arrive at the door of, “Griot” status.

Terry describes, Jim Pappas as a, contemporary painter, now, as well as, back in the day. She states, his didn’t and doesn’t, necessarily exhibit the figurative and recognizable, “black iconic symbols,” but rather, was and is, the results of inward forays, often using abstract lines, forms, colors, rhythms to speak to intimate reflections and sometimes, topic driven meditations, while he presents as an, “external caterer.”

Conversely speaking, Terry describes, Jack White as a painter, who treads the line of, “mixed media abstractionist.” Terry states, “Jack does sometimes employ, Afrocentric forms, but they communicate inward as opposed to outward, leaving you in a position to question, ponder and grow, with statements so simple, leaving one, “to do the math.”

Founder and long time and past president of, Creative Hue Artist Collective, Ms Chaka describes, Eddie Davis, as a master clay artist, who produces many perfectly sculpted bust. “Eddie’s motivation is and has been, “to do the work.” His body of work speaks vividly to his skill level, variety of interest, reflects an, “earthiness” in color and also through his, “process driven work.” Although, these three have been exhibiting together since the 60’s, in many, many venues throughout western New York and the country, the opportunity to exhibit them at this stage of their careers, could not get past this visionary curator. Like the famous African Baobab Tree of which Terry’s resident gallery shares the name, this is the center of activity, this is a trading post, this is where history is observed and where it is being made. Terry, along with other artist of Creative Hue Artist Collective, salute these three fine artist, in this appropriately named exhibit, “Traditional Beats & New Rhythms.” Ache

Saturday, June 11, 2011

Valeria Cray-Dihaan, Creative Hue Member, Sculptor, "Creative Legacies"

Valeria holds a BFA from SUNY Buffalo and an MFA from the Pratt Institute of New York. Valeria studied and taught art with the Aztec Indians in the mountains of Tespostlan, Mexico, where she also assisted with the construction and organization of area schools; she also studied Jamaican art and culture. Cray-Dihaan has the distinction of being the only African American female modern artist who has a sculpture in the permanent collection of the Albright Knox Art Gallery, a work entitled “Adam and Eve.” Valeria was commissioned to design the outside doors of the new Frank E. Merriweather Library.

Thursday, March 31, 2011

"Sankofa" Clyde Morgan, Artistic Director Extraordinaire..

Funga Alafia
Sankofa” African Drum and Dance Ensemble, guided by its world renown, Artistic Director, Clyde Alafiju Morgan and accompanied by resilient master drummer Khalid Abdul N'Fally Saleem. These two men have been collaborating annually since Khalid joined the ensemble in 1994, although Clyde came to Brockport in 1985.

To say, “Sankofa” is a well kept secret, might sound kind of cliché but for the most part, there are several factors to really build a case on. Gone are the great ones, Babatunde Olatunji, Aladji Camra, Denizulu and others of that ilk and many do not know their secrets as well. When great men and women walk among us, they will not be the ones to utter their praise, like true artist, they are proclaimed and recognized by the people whose ethos they construct and reflect. These legitimate Griots hold secrets of the past, the future, as well as those of “secret societies.”

For anyone wanting to learn traditional African drum and dance, they would find themselves attending, Brockport College as part of the SUNY system of New York. African drum and dance, has indeed, been taken to the national and international stage and has been recognize as a global form and taught to all nationalities. So, back to Clyde or more appropriately, “Alafiju.” He is a native of Cincinnati, graduate of Cleveland U. and made his professional debut with Jose Limon which you will see him dedicate many pieces, “in memory of.”

His professional work includes, Merce Cunningham, New Dance Group, Robert Joffrey, Paul Sanasardo, and the Ballet Russe de Monte Carlo Studios. Babatunde Olatunji, Sophie Maslow, Daniel Nagrin, Louis Falco, Pearl Lang and Anna Sokolow. He toured West and East Africa, began a second phase of his career in Brazil where he held the position of Choreographer and Artistic Director of the Grupo de Danca Contemporanea da Universidade Federal Da Bahia in Salvador, Bahia, Brazil. A Fulbright Professorship allowed Clyde to continue international teaching and performing in Haiti, Brazil, and West Africa from 1984-86. Alafiju is steeped in traditional Yoruba culture, as experienced in various countries in Africa as well as being a, “Candomble Priest” in Brazil.

One of the reasons, most Americans know only a little about Alafiju is, we don’t read Portuguese. However, when you begin to research dance in Brazil, there are few names that will come up more often than that of Clyde Alafiju Morgan. If your research interest is in the traditional orishas, again, you will find, “a life time” of contribution.

Now, back to why, Sankofa is a well kept secret, because every year in April, when Sankofa presents its annual student showcase, it is quietly sold out, sometimes before people in Rochester hear that tickets are on sale. It is very common for Clyde to invite several guest choreographers and world talents to share the stage and even post upwards of 80 dancers and twenty drummers and these performances have simply been a privilege to witness. Presented have been, Ghanaian Ewe stick rythms, court drumming, Congo, Yoruba, Carribean, Cuban, Haitian and Brazilian drum and dance of course to name a few. Maybe, just maybe, if you follow the link, right now, just maybe, you will be able to obtain tickets for what is sure to be a tremendous family, couples outing…just maybe.