Club SAW hosts Black History Month Doc & Talk in partnership with One World Film Festival.
WHAT: Screening of Invisible City WHERE: Club SAW at 67 Nicholas Street, Ottawa WHEN: Thursday, February 25 at 7 pm COST: Suggested donation is $5 for the general public & $4 for One World Arts members. **Seating is limited**
One World Arts and the One World Film Festival are marking Black History Month with a screening of the award-winning documentary INVISIBLE CITY and a post-film talk with Saide Sayah (Program Manager for the Affordable Housing Unit at the City of Ottawa) and Chelby Daigle (Community activist and long-term resident of social housing).
The evening will also feature a new Heritage Minute about Canadian civil rights icon Viola Desmond, a Nova Scotian woman who challenged racial segregation and is often referred to as “Canada’s Rosa Parks,” courtesy of Historica Canada.
INVISIBLE CITY follows the lives of two black teens from Toronto’s Regent Park neighbourhood, Kendell and Mikey, as they make the transition from adolescence to adulthood. Their mothers and mentors root for them to succeed as the teens grapple with issues of race, crime and notions of manhood and the social pressures of an environment that places them at risk.
Turning his camera on the often ignored inner city, Oscar-nominated director Hubert Davis sensitively depicts the disconnection of urban poverty and race from the mainstream. INVISIBLE CITY was the winner the Best Canadian Feature award at the 2009 Hot Docs Canadian International Documentary Festival.
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Also, this week INTERGALACTIC NOISE:: A partnership between Black Future Month & the Art Gallery Mississauga
WHAT: Panel Discussion and Reception WHERE: Art Gallery of Mississauga WHEN: Friday, February 26 at 7 – 10 pm
“Intergalactic Noise invites a re-engagement with the concept of Black History Month, as artists, designers, and multi-media creatives explore the concept of Afrofuturism. In using the date of 3016, Black Future Month offers an entry point to imagine utopic Black realities beyond the assigned month. Rather than accepting a naïve concept of a future full of advanced technology, the featured artists instead contemplate the possibilities of an advanced humanity.
The extended cultural influence of urban space in Africa.
My childhood experience of Africa was urban. Inside photo albums wrapped in 70s textiles, I flipped through the photographs of my parent’s honeymoon in South Africa and saw images of cities and ports.
Gratefully, my adult experience of Africa wasn’t confined between a front and back cover. This time I was riding the waves of the Mediterranean towards an ancient metropolis. I arrived at the opposite end of the continent as my mother and father. From the sea the city of Tangiers stretched out before my eyes. Breathtakingly beautiful, it contained within its borders stories of commerce, trade, and cultural admixture – African, Moorish, Spanish, and French. This Moroccan city was flourishing a thousand years before the cities built by European settlers in Canada. Another trip to Africa would have me arrive by air to Nairobi with its nightclubs, bank machines and matatus. I left travelling overland by bus to the port of Mombasa, on the Swahili coast, where hundreds of years of African, Arab, Portuguese and even Chinese cultural influence made an impact on all my senses; from there I made my way to other cities – Harare, Gaborone and Johannesburg. When I recall Africa I recall urban spaces. The cities I encountered reminded me of the ones back home where people from different cultures come then go about the business of life, all the while creating new cultural expressions.
“February 1998 ceramic tile panel designed by Malian artist Abdoulaye Konaté (b. 1953) and produced by the Viúva Lamego tile factory. Trained at Bamako and Havana, Cuba, Konaté lives and works in Bamako. He was one of the 11 prominent international artists who were commissioned to produce works of art for the Oriente metro station, Lisbon, where this panel is installed.” Image by Bosc Anjou
Samito is an African born artist with the experience of living his life in port cities. From his birthplace of Maputo, Mozambique, then onto Cape Town, South Africa, he now calls the port of Montréal home. I was interested in his reflections on living in places where pluralism, within the urban setting, is the social structure and how that influences one’s artistic practice and culture production.
In our rush to celebrate diversity sometimes we discount how discombobulating the experience can be when you are the minority within the larger cultural context you inhabit. “My 11 years of living in Montreal has pushed me to think about my past identity and new identity, pushing me into a fragile place. As an immigrant you have [to face] a wall of judgement before you are accepted.” Samito goes on to express that as an artist arriving from somewhere else, people superimpose their (mis)conceptions on you as well as on your work. “Because of that I went into a profound reflection regarding who I was and who I became with immigration. I realized I was in a tangled place. Music allowed me to shape some things that reflect my present space. On one side, you want to talk about your culture and everything you have observed in life, including your past, but you still want to communicate to people in this space, now.”
For five years Samito has been working on an album that will be released Spring 2016. “When I started working on my record I went through a lot of questioning, [you realize] that when you are too ‘African’ people don’t like you. It can change you in profound ways. I started censoring myself. How do I want people to see me? This can help shape the narrative but it can make you less effective. It was a really difficult thing for me. It was part of the shaping of my own artistic persona – figuring out who I am in Canada – how I present myself as a Black man from Africa while still having an impact on how people perceive Africa.”
To negotiate, with a certain amount of grace and artistic integrity, between the roles of cultural producer versus cultural ambassador is the existential knot that newcomers have to unravel. You must keep your wits about you as your senses acutely feel the current city that surrounds you, breathing it in even if the air becomes acrid with xenophobia. If you are mindful you can apply an artist’s alchemy to the experience – producing something beautiful and solid from the confusion. With his music, Samito does just that.
During a vacation back home, Samito worked with three women from the Northern region of Mozambique whose articulate sound – Tufo, a traditional dance and music style thought to be of Arab origin – shifted aspects of his music. “It took two or three years to reflect on what I wanted.” The soundtrack of the multicultural Cape Town that he experienced while living there in his twenties is also crafted into his music. He was influenced by Shangaan electro beats. This style of music originated in the townships of South Africa and was produced by the mixing of traditional Shangaan music from Limpopo with 21st Century digital technology. The mixture, as it seems to happen with everything technology touches, stimulated the speed. Traditional Shangaan music was part of Samito’s auditory memories of childhood. The music was imported into the city of Maputo by Mozambican miners who would go to South Africa for employment. In the diversity of the city of Montréal, Samito heard new sounds that were added to his repertoire. The result is what he shares with us now, in his latest single Tiku La Hina.
Samito bestows upon his adopted city his own brand of Afro aesthetics – guiding principles that recognize the continent of Africa and the African Diaspora’s influence on the culture of cities, both historically and in the contemporary context. Samito’s cultural production is his contribution to the urban. This contribution, in it’s own way, will go on to change the rhythm of the city – not just in Montréal, but in all the cities Samito has called home in the past and the ones he will arrive at in the future.
Samito will play this coming Thursday, February 25 at the National Arts Centre on the 4th Stage, part of Black History Month.
Tickets can be purchased here & Trinity Life Rush Student Tickets here.
Manifesto Festival 8th Annual Art Show features Visual Artists from around the GTA.
I met these two beautiful women, Esie Mensah and Sara Golish, at the Opening Night art exhibit at Manifesto two years ago. Esie was proudly standing in front of the stunning portrait Sara had painted of her. I noted both these women had serious style. But more than that, they had spirit. I have a knack for picking out the good souls in a crowd. They were both vibrant and gracious, two qualities this world needs more of.
Tonight Canadian Art’s amazing documentary film fest, RAFF (Reel Artist Film Fest) launches. Under the direction of the former Executive Director of Canadian Art, Ann Webb, RAFF became the sweet spot in the year for incredible inspiration. The Opening Night has become a big art star event with this year’s guest of honour Kehinde Wiley in attendance. Known for his vibrant portraits of black men that reference the portraiture work of Renaissance painters, Kehinde has (with some trepidation) moved on to paint women. An Economy of Grace is the documentary that follows Kehinde as he searches for the women who will become his new muses.
“Her work interrogates how the toxic postindustrial geography of Braddock, Pennsylvania has shaped multiple generations of her family, acting as a mirror for the complex social problems that beset America today.”Read more…
The second short is Rashid Johnson Makes Things to Put Things On.
“In this film, Rashid Johnson discusses the fluid nature of black identity in America and its escapist tendencies, from the Afrocentric politics of Marcus Garvey to the cosmic philosophy of Sun Ra.”Read more…
Another great art party happens Thursday night with the Opening Soirée for The Artist Project Toronto. Running until Sunday The Artist Project offers three full days to experience beautiful work.
Eric Robitaille’s pieces show his talent as a graphic designer with stories emerging from the many colour washes and textural layers of his work. “During the last few years, the development of several new techniques has allowed for a more spontaneous and raw style, balanced throughout with meticulous detail.”Read more…
The Introduction #5 & #11 by Samara Shuter, The Artist Project Toronto.
Artist Samara Shuter paints crayola coloured canvases of men in suits because the suit “has represented something for decades; power, productivity, strength, economic prosperity, and hard work.” Read more…
Lego City Tower on Hill Elevation by Laird Kay,The Artist Project Toronto.
Laird Kay has studied planning and design so it’s not surprising his photography reaches back to the concepts of city planning via the playful medium of lego as the building blocks.
“Lego City Elevation, Is it Dubai? Is it Hong Kong? New York? Singapore? Toronto? Vancouver? Or all of the above? Cities used to be the result of collective will and a desire to shape – to control – our environments. They were expressions of the things that happened in them. Now they’re about branding and image. Like plastic, like LEGO City, they’re no longer built to last – they can be pulled down when fashions change. LEGO City expresses the modern absence of community in city-shaping. Although stylized, these photographs of LEGO City show us how the line between plastic and uninhabited has become virtually indistinguishable from the “real thing”.” See more…
Tears in the Ice Box by Noah Gano, The Artist Project Toronto.
The technicolour spectrum contained in Laird’s work on how places start to eclipse our human essence with their artificiality is in sharp contrast to the minimalist whiteness of Noah Gano who also makes use of materials the are divorced from the natural. “Navigating through themes of experience and identity, he works conceptually in photography, sculpture, and collage.”See more…
There is much to see at The Artist Project and much to buy with all artists exhibiting work that is for sale and ready to find a new home. Plan on making a purchase!
“This conference consists of both closed working sessions and public events. The conference opens with one and a half days of closed working sessions designed to provide opportunities for artists, educators, curators, scholars, and cultural workers to engage in intensive and critical collaborative discussions about the current state of blackness and the challenges and strategies employed to increase visibility. Emphasis will be placed on developing networks of engagement and knowledge exchange while developing methodologies and practices that inform the future of black Canadian artistic production and teaching.”
Corresponding with the conference is the exhibit Face Value by curator / artist Heidi McKenzie.
“The way people look, and the way they are looked at, has a profound effect on the person being seen. For the bi-racial or mixed-race person, the simple act of being seen by others can be fraught with tension and ambiguity. The familiar unconscious act of identifying and categorizing a person’s race based on their face value slips beyond the concrete into the murkiness of the grey zone.”
Another artist using Lego in his work is Ekow Nimako who uses the toy blocks to produce pieces that are about the less-than-playful issues around identity and racial narratives.
For the month of February his work in the show Building Black is part of Daniels Spectrum’s programming around Black History Month. On the main floor of the Arts Centre, Ekow’s work greets you at the side entrance and lines the hallway outside the theatre spaces. His masks reflect the cultural legacy Ekow inherited from his parents who immigrated to Canada from Ghana. They are each infused with their own personality and speak of the strength and tenacity of culture.
His other figures have darker stories which Ekow, also a writer, provides. Mounted on the walls is the poetry he has written for each piece. A golliwog sits less than comfortably, performing a stiff smile that would make Paula Deen feel nostalgic. The life sized figure of a child dressed like a flower girl is exhausting in its detail but also in the back story. Ekow was researching slave narratives and considering the lost girls who would never be granted the innocence of childhood dreams.
Flower Girl Requiem
Forever innocent they say,
Free from taint or world decay,
Pretty basket filled with blooms
Plucked from the earth none too soon.
Love she for all her hope and youth,
Her pretty gown, the purest truth
Her basket and the whites within,
The blooms of cotton, soft and grim.
The world can never seem so stark,
So bright, so safe, so cold and dark
As when gazed upon through childhood’s eyes,
For which my precious dare not oblige.
Alas, her aisle will not be strewn,
For she who’s ever loved is gone
The child of flowers, picked and praised
Forever innocent, they say.