For those who like stories

A 

Barry O

I actually think this is clever...and funny! Don't sleep on Barry O, ha!

You can see it

A friend and I were playing capoeira in the park last night. His friend so happens to be returning home and spots us. We greet each other, then he takes a seat for a moment to see what we are doing.

We continued jogando and play we did. It was a controlled game, but one so very free. After thirty minutes or so we took a break. My friend asks his friend what he thinks of capoeira. "It's good. I can see it."

Coming from a person only viewing capoeira for their first time, the words "I can see it" are one of the highest compliments you can pay angoleiros. We display art even to the untrained eye. We are craftsmen and women playing with shape and form. We view the world different, or rather just express it different, and yes, you can see it. 

THE POLYGLOTS: A MUSICAL ODySSEY

REQUEST FOR MUSIC (RFM)

SUBMISSION DEADLINE: JULY 15, 2011

Afropolitan Legacy Theatre (ALT) is seeking original music submissions to compose a soundtrack for its next project, a short film entitled “My Mother’s Tongue”. This narrative follows a teenage boy as he learns the value of his mother tongue when his mother loses her ability to speak. The story explores themes of multiculturalism, acceptance, and loss, and thus ALT is seeking musicians who reflect the same in their artistry.

The title of the soundtrack is “THE POLYGLOTS: A MUSICAL ODYSSEY”. Tracks selected for this project will be uploaded to a Bandcamp page (www.bandcamp.com) and cross- linked to the film’s website. The album will be sold as a collective and proceeds will benefit both the artists and the film’s production costs. Two songs will be shared every week,

in random rotation, to promote the sale of the music.

Artists will be paid once every month beginning September 1, 2011 for the duration of the use of their song for our fundraising purposes.

           All proceeds will be divided into two:

           1) Artist compensation                   

           2) Raise funds for production of the film

                                           

All genres of music and spoken word are welcome. Special consideration will be given to artists who sing/rap in more than one language but English-only submissions are welcome as well.

Selected artists will be credited in the end credits of the film as well as on the film’s website.

  

Please send files in mp3 or jpeg format. Songs should be 3 – 6 minutes in length. Send all material to mymotherstongue@gmail.com

Thank You and Good Luck!

Afropolitan Legacy Theatre is a NYC-based production company that shares the Afropolitan experience through

theatre, film, and social media.

www.afropolitanlegacy.com

What She Said

“I be ki je ko?” These are the first words spoken in my new short film script and it is the fundamental question posed throughout the story, “Where are you going?” The protagonist, Obi Yagazie, has a school project due on Monday about his family history and he needs to solicit information from his mother. It is already Saturday but he has not started on it. His nonchalant attitude and uninterested demeanor towards this project doesn't help him because failure to perform well on it will mean his grades will slip even further and he would have to quit his band, which is the last thing he would ever want to do. When an unexpected incident renders his mother physically unable to communicate with Obi he is faced with the angst and anxiety of finding someone to provide such specialized knowledge on such short notice. He seeks hope in his grandmother, who is currently visiting from Nigeria, but he doesn't know how to converse with her because he doesn't speak her language.

“My Mother’s Tongue” is the name of this script and its scenario is all too familiar in the immigrant community. Obi doesn't speak his native language, at least not well, thus he can't communicate effectively with his extended family members who do not share his fluency in English. His mother serves as the liaison between Obi and his familial culture. She tells him about “home”, instills in him the values of her upbringing, and, most importantly, interprets her native tongue for him to be able to understand the idioms and wisdom of her people.  But what happens if Mom can’t play that role anymore? What happens if Mom is not there to translate the words and ideas of the long line of ancestors that came before him? Essentially, how important is it for children of immigrants to learn their mother tongue?

Many people in my generation point their fingers to their parents for why they do not speak their local language. While there is some merit to that argument, I also argue that we are grown up enough to learn it on our own if we so choose to. We parade around in our native wear, break into “accents” to tell jokes or make points, and defend our people when they are being abused by non-natives, be it physical or psychological. Yet, without speaking our native tongues how connected are we really to our cultures? By no means am I, or this film for that matter, trying to denigrate this generation for its lack of linguistic competency. However, I am simply presenting a scenario that is meant to challenge what we value. Just as we learn other world languages for business, career, or pleasure, we could do the same with our own languages if we felt the feat worth it. This issue of cultural transmission can stop where it began and pick back up where it left off whenever we choose to proactively do something about it, for without the ability to communicate with your ancestors, seriously, “Where are you going?” 

This film will be produced by Afropolitan Legacy Theatre and its fundraising campaign will begin in the coming months. Please check www.afropolitanlegacy.com and/or www.chikestory.com for updates and more detailed information about the project. 

Dalu so...or thank you very much. 

Everybody wants to be a thug

Being an artist is not easy. The creativity the public sees takes time to develop, practice to perfect, and tenacity not to give up. The same rules apply to making a living as an artist. It has been said that the artist's financial career takes just as much creativity to manage as it does to actually create the art. I find this to be true.

I work as a substitute teacher on occasion to earn money when other fiscal opportunities are not rampant. Today I had an experience that I felt worth blogging about. It started yesterday. I was in a 6th grade class with another teacher - their regular teacher - when she was having an extremely difficult time getting her students on task. So much that she took away their recess for the following day and told the Dean of the School that their class needs to have a "serious talk" with the Dean and herself. I was asked to wait in the back of the room until the second half of the lesson to assist the students but this teacher was struggling so hard that I decided to intervene earlier than instructed to. As I approached students they generally got quiet and heeded to my pleas for no talking and attention on their teacher, although I had to say it more than once. However, one particular student decided not listen at all and was simply dismissive of me. I repeatedly asked him to get on task, they were supposed to be taking a quiz, but he would ignore me or just flat out say no he won't get on task, repeating "you're just a sub" as he would backtalk me. I've experienced this before. It wasn't a big deal...it didn't have to be. Before I stooped to his level and argued with a 6th grader, I walked away, shook my head, and uttered under my breath, "Everybody wants to be a thug". This triggered something in him.

I returned to this school today with a fresh attitude and was greeted warmly by the staff and students. During one of my breaks the Dean asked to speak with me. In her office was none other than the "you're just a sub" boy from the day before. She asked me what happened in class for me to call him a thug. Aghast, I had to jog my memory to even remember what she was talking about. When it came to me I explained to her the situation and let her know that I said, "everybody wants to be a thug", when my back was to him as I walked away from his provocations. She let me know he told his mother about I called him a thug. And his mother wasn't happy about that. I apologized to him and told him I didn't mean to offend him. I meant it. He didn't accept my apology. The Dean said she will talk with him later about that and thanked me for apologizing. She followed by saying I shouldn't call a student a "thug" and he shouldn't be disrespectful to adults. She'll call his mother to let her know we met and everything should be fine. Later this day the very same Dean approaches me and tells me she won't be needing my services anymore, and then starts to walk away. I had to stop her to ask her why. She told me that the word "thug" was inappropriate to call a student and not something one should ever hear coming from an adult's mouth in their school building. She said it's negative and disrespectful and no student should feel like they are being disrespected by anybody there, especially a teacher. Point taken. But didn't we already resolve this?

From my understanding the word "thug" does have a negative connotation and it is not something you should say to just anyone. I also think the word "thug" is associated with insecure people who try to feel powerful by bullying someone around. I feel like this kid bullied me. He challenged an adult in the school building and then used his "kid" status to bully his mother and Dean into believing I had ill intentions by using my words against me. His mother then used her parent status to backup his bullying. The Dean had to bully someone because she was getting jumped. and I was the last person in the equation. To recap, I was provoked into my slip of the tongue (the kid admits this too) and I apologized on my own accord for any offense. In our conference with the Dean, the kid, and myself he wasn't interested in my side of the story or my remorse. The Dean also said that this particular student had a "rough year" and has been influenced by what he hears and sees on the street. But to his credit he is making a better effort and getting back on track. I am happy for the kid. I wish him the best. I wish all kids the best. I thought the Dean saw this when she sat in my next class and witnessed the rapport I had with her other students. Apparently she didn't. Or apparently mother didn't. Either way, I was "fired" from that school. The Dean asked me to leave and called the organization that contracted me out to tell them not to send me there anymore. Damn, who's the thug in all of this?

My contractor was pretty understanding about the incident and just told me to be careful moving forward. I still got paid for the day and keep a working relationship with them. Plus, this incident is somewhat juxtaposed to a good review I received earlier this week for recent work I did with kindergarten children. It is what it is. The point of this story is do be mindful of what you say. You never know how someone will interpret it or use it against you. But if you are going to say something that could be misconstrued or misrepresented, make sure the people you saying it to hear you. It'll be worth in the end. If they can ever adversely affect you because of the words you speak, at least they'll know how you really feel. That's how thugs do it.

It's not what you call me but what I answer to

What's in a name? Everything. And possibly nothing. It's all about what we put into it, the power we give its meaning and what we do to live up to it. This is what my new play explores. Through drama, comedy, and thought-provoking dialogue the "The Naming Ceremony" follows Ada Kalu, a Nigerian-American, in her last stage of pregnancy as she struggles with what to name her expected son. When her baby's father, Tony Phillips, an African-American, advocates for suggestions of names a clash of cultures ensues between their families. Ultimately, the play investigates the importance of names and cultural identities in a world where globalization convolutes our ethnic make-up.

I recently held the 1st public reading for this piece at Center Stage NY. To my surprise and delight, it was presented to a standing room only audience that gave us a great response when it was over! I am still getting texts and emails from people congratulating me on the work and I am very thankful for that. It is humbling, yet empowering, to make art that speaks to the people.

I am looking forward to seeing this project in full production this year and collaborating with the great artists that help to tell this story. This one is for the Afropolitans, our generation. This is our time, our lives, our ceremony. Let's give it a name.