A fellow artist and friend kindly forwarded this TED video featuring conceptual artist Sanford Biggers. I thought to share it. The artist uses painting, sculpture, video and performance to spark challenging conversations about the history and trauma of black America. He details two compelling works and shares the motivation behind his art. “Only through more thoughtful dialogue about history and race can we evolve as individuals and society,” Biggers says.
I’m looking forward to attending the St Lucia Jazz festival. The event is now in its 25th year so I’m excited to be on the island, attending the concerts, being inspired by the arts programme and soaking up the Caribbean sun.
The first St. Lucia Jazz Festival in 1992 was an idea to attract tourists over May and June, apparently seen as relatively quiet period in the calendar. The event was inspired by the launching of the October Jazz Festival in 1991 spearheaded by Luther Francois as Musical Director.
The event now ranks second in the Caribbean after the Trinidad Carnival as an attraction, with artists such as Herbie Hancock, Branford Marsalis, Lauryn Hill, Courtney Pine and India Arie performing over its 25 years. The line up this year includes the legendary George Benson.
In 2013, Saint Lucia Jazz was rebranded as the Saint Lucia Jazz & Arts Festival. The rebranding included a fashion show branded as Saint Lucia HOT Couture, the Cultural Explosion, Saint Lucia Sound Stage, and Blu Session. Dance, art, theatre and culinary arts now form part of the festival experience.
For further info on the festival please visit http://stluciajazz.org
Those of you familiar with Harlem in New York have probably seen it’s transformation over recent years. Walking around the area, you can see a difference from how it was over a decade ago. The area is yet another example of the gentrification of urban environments with increased rents, an array of expensive condos and luxury apartments purchased by upwardly mobile city workers. Of course, no area of the city should be exempt from developments or regeneration projects if they further the goal of more sustainable communities, benefiting society’s most disadvantaged. However, there is a legitimate concern for generations of local families being forced out of an area full of history, artistic expression and a sense of place. I’m very interested in the many views held by stakeholders and continue to observe how Harlem, as an historically and artistically rich area, benefits from change. This brings my focus to how Harlem is celebrated as an arts and cultural hub by contemporary writers.
There are numerous resources capturing the essence of the Harlem’s Renaissance, the cultural, social, and artistic explosion that took place in the 1920s and 30s. The latest is Joe Okonkwo’s novel Jazz Moon, set against the backdrop of the renaissance and glittering Jazz Age Paris. The novel will be published by Kensington Books this May.
David Ebershoff, author of The Danish Girl and The 19th Wife has called Jazz Moon “A passionate, alive, and original novel about love, race, and jazz in 1920s Harlem and Paris — a moving story of traveling far to find oneself.”
Jazz Moon’s author Joe Okonkwo is a graduate of the University of Houston with a B.A. in theatre and an MFA in Creative Writing from City College of New York. Joe made his living in theatre for a number of years as an actor, stage manager, director, playwright, and youth theatre instructor.
His short stories have appeared in a variety of print and online venues including Promethean, Penumbra Literary Magazine, Cooper Street, Storychord, LGBTsr.org, Chelsea Station, Shotgun Honey, Best Gay Stories 2015, Rind Literary Magazine, Em Dash Literary Magazine, Best Gay Love Stories 2009, and Keep This Bag Away From Children. His short story “Cleo” has been nominated for a 2015 Pushcart Prize.
Continually fascinated by Harlem’s rich history, I was intrigued to quiz Joe on his perspective and his ability to capture the essence of this notable period of African American history in the book.
Q.What books have most influenced your life?
James Baldwin’s Another Country was a big influence. I read it in high school, but not as part of any curriculum. It was the first gay book I ever read. When I finished it, I was depressed because I had really entered into the world of that book and found other people like me and I didn’t want to leave.
Toni Morrison’s books have been a big part of my life, especially Beloved. Historians and sociologists talk about how black Americans continue to be scarred by the experience of slavery. That was certainly something I believed, but more in a theoretical sense. Then I read Beloved and I saw that it’s not just a theory. Morrison captures the personal side of slavery and how it destructive it was—not just on a grand scale, but on a very personal level. Slavery destroyed individuals. It was a destruction that doesn’t heal easily or quickly. It’s a destruction that filters down the generations. I think Beloved is the most powerful book I’ve ever read because it takes the theoretical and puts human faces on it.
Q .What was the hardest part of writing this book?
JO- Jazz Moon is a historical novel, so making sure I had my facts correct was probably the biggest challenge. Making sure the characters’ language and slang was in keeping with the times. I reference a lot of real songs in the book, so I had to make sure that they had actually been composed by the time Jazz Moon begins (1925). Making sure descriptions are historically accurate.
I think the major challenge for any writer of historical fiction is sure to blending the historical research in to the story in a seamless and creative way. You don’t want the novel to feel like a history book. It’s historical, but still needs to read like fiction. I get extraordinarily irritated when I read historical fiction that feels like I’m reading a chapter from a history book. I do want to be instructed, but I don’t want to feel like I’m being instructed.
Q. Tell us briefly about your forthcoming book Jazz Moon.
JO- It started as a short story in 2004. It’s set against the backdrop of the Harlem Renaissance and Jazz Age Paris. It’s part coming-out story, part love story, part personal and creative odyssey.
I love the Harlem Renaissance. If I had a time machine and could go back to any era, it would be the Harlem Renaissance. The 1920s were a very difficult time to be black in the United States, but it was a very culturally and politically fruitful time nonetheless. Literature. Art. Broadway. Jazz, of course. And it was during this period that the foundations of the Civil Rights Movement of the 1950s and 1960s was laid. It was during the Harlem Renaissance that people—both white and black—realized that black was beautiful and, in terms of Broadway and the recording industry, marketable.
One of the most fascinating aspects of Harlem during that period (and something I focus on extensively in Jazz Moon) was gay life. It was mostly underground, but not completely. There were gay bars and an annual drag ball that was one of the social events of the year. There were places called “buffet flats,” which were the 1920s equivalent of sex clubs. You’d go to a house or an apartment and in each room were “performers” engaged in a different sexual activity. Could be hetero or homo. As an audience member, you selected the rooms and activities that piqued your interest the most, hence the “buffet.”
People were not pro-gay in the way we think of pro-gay in 2016, but they were certainly aware of the gays and mostly took the attitude of live and let live—as long as gays weren’t too open.
Q.Tell us about the book’s protagonists? Was there a real-life inspiration behind Ben Charles and his devoted wife Angeline?
JO- There was not a real-life inspiration behind Ben and Angeline. Jazz Moon is not based on real people. That said, there is absolutely a lot of me in many of the characters, especially Ben. I didn’t realize just how much of me was in these people until I was near the end of the process. Some of the characters are who I am. And some of the characters are who I want to be.
Q. What other real-life inspirations did you draw upon if any?
JO- Jazz Moon is, in part, a coming out story, and Ben suffers greatly during this process. I did draw on my own coming-out experience. I realized I was gay when I was thirteen, denied it like crazy till I was seventeen when I came out to myself, then “formally” came out at age twenty-one. While working on the novel, whenever I hit an emotional roadblock about Ben’s coming-out, I’d delve into my own experience, which was, at times, painful, lonely, and confusing.
Q. Much is being made of the gentrification of Harlem. Since 2000 particularly, the number of historically black, blue collar residents has fallen notably, especially in central Harlem. Whilst capturing the spirit of the renaissance, do you feel Jazz Moon contributes to forwarding the discussion of heritage, sustainable communities or a resistance to change?
JO- I don’t know about sustainable communities and resistance to change. But I would certainly like to think that Jazz Moon can start people thinking about heritage. As I’ve already mentioned, the Harlem Renaissance was a culturally and politically rich period. It’s a period that deserves study and recognition. We’re starting to see some recognition, I’m happy to say. Queen Latifah starred in a biopic about the great blues singer Bessie Smith last year. Audra McDonald is getting ready to open on Broadway in a version of Shuffle Along, which was produced in 1921 and was enormously important in the development of the black Broadway musical. I would be honored if Jazz Moon’s legacy is that it contributes to the continued rediscovery of the Harlem Renaissance.
Q. What are your future projects?
JO- I just finished a short story called “Picnic Street.” The first draft was based very closely on a childhood incident, but in subsequent drafts, the story veered pretty far from that incident. The story just started to write itself, which is exactly what you want: to give in to the story.
I have another short story that’s writing itself in my head right now. It may end up being a novella. I’m not sure yet. It involves politics and love and how (or if) people of differing ideologies can also have a successful relationship.
My next novel will again be set in the Harlem Renaissance, but this time it’s about a real person from the era: Gladys Bentley. She was a pianist and a blues singer and a drag king. She was known for wearing a white tux and white top hat and performing at a gay Harlem club called The Clam House. She would dirty up the lyrics of popular songs and flirt with women in the audience. She claimed to have married a white woman in an Atlantic City ceremony, but no one knows the identity of this woman. In the 1950s, Bentley gave an interview to Ebony magazine, renouncing her lesbianism and claiming that taking female hormones had “cured” her. She had an amazing, entrancing voice. She makes a cameo appearance in Jazz Moon and my protagonist is hypnotized by that voice.
There’s still so much to know and learn about the Harlem Renaissance. I’m not done with it yet.
Q. What advice would you give to young enthusiastic writers?
JO- READ. Read everything. Literary fiction. Genre fiction. Thrillers. Biographies. History. Read the news. Read politics. I’m a political junkie. I read up on political affairs every day and I’ve found that reading politics makes my fiction writing stronger. Political writers have to get to the point, get the facts across, and accomplish that in a way that’s engaging and keeps the reader reading. That’s valuable for a fiction writer. But to the main question: just read. Stephen King says that if you don’t have the time to read, then you don’t have the time or the tools to write.
I thank Joe for his interview and wish him well with his book. For further info please visit http://www.joeokonkwo.com
Hoping you’re all well and the week has started well for you and yours. Recent work available as gift cards and limited addition prints. For further images please visit my online shop. Feel free to drop me a line for enquiries. http://www.davidemmanuelnoelart.net/#!cards-for-sale/c20gj
Saddened to hear the news of Prince’s passing yesterday. Once again, another hugely gifted, inspirational star has left this world. This is a sad year. Like Michael Jackson, Whitney Houston and David Bowie particularly, I feel the generation of hugely iconic figures I grew up listening and watching are now slowly leaving this world, leaving me nostalgic and appreciative of the artistic role models I was exposed to. Prince, like fellow top artists, illustrated the importance of self-invention, determination and creativity. As Maya Angelou said “You can’t use up creativity. The more you use, the more you have.” It is a lesson for us all. Life is short so live and express it as he did. RIP Prince.
Like others, I do advise creative colleagues with tips to further their careers. I also welcome advise from others as none of us know everything! It’s common to come across other creative professionals providing tips and suggestions on how to progress with their careers but this week I was fortunate to come across an article by ArtsHub’s Australia’s Deputy Editor Madeleine Dore that provides a very comprehensive approach I wholeheartedly agree with. Moreover, a number of the suggestions can be applied to many professional disciplines. The full article ’50 ways to land a job in the arts’ is available via this link . It’s a very good read!
Occasionally I have guest bloggers writing on subjects related to art or architecture. I was approached by Jessica Kane of Indian Traders to talk about the increasing popularity of Indian Trade blankets which I find very interesting. Jessica Kane is a native Californian who has always had an interest in arts & crafts, DIY projects, and other handmade products. Her favorite stores are Joann and Michael’s. When she’s not creating items, she writes professionally. She currently writes for Indian Traders, a leading vendor of Pendleton blankets and jewelry located in Glibert, Arizona. Their Pendleton blankets are wool blankets that are a combination of beauty, quality, and durability. The jewellery is designed by Native American artists from the Navajo, Hopi, Zuni, and other pueblos of the Rio Grande.
The Pendleton Trade Blanket as Cultural Art
Trade blankets have been a part of the culture of Native Americans since the first European traders brought brightly colored wool blankets over on ships. Those blankets were made specially for the trade with the natives. The ‘trade blanket’, as they were often called, would feature bright and interesting color combinations not possible with traditional robes made of animal hide or local materials. The blankets woven by hand were not as intricately woven as those made by a machine. Soon the European machine-made blanket would replace the traditional robes.
Traditional hide or plant fiber robes were not just worn for warmth. Robes were decorated with symbols signifying many things of importance. So-called wearing blankets of the western Native Americans were often made of highly prized buffalo hide. Some groups such as the Navajo used hand-woven textile made of local plant fibers or even wool. They were dyed with natural pigments. The end results were beautiful. But the muted natural shades and coarser hand woven fabric did not have the same visual impact as the new trade blankets. Over a period of time, even the stately buffalo hide robes were replaced with vibrant and highly detailed Pendleton trade blankets.
Eventually the trade blanket would become known as a robe. Historically, the term robe had only been used to describe a buffalo hide garment. While the trade blanket was sometimes used as bedding, it was most often worn as an outer garment. While it was first called a robe while being sold to European-American buyers, the label is more accurate.
The earliest Indian trade blankets made by Pendleton were very different from other trade blankets. A talented weaver by the name of Joe Rawnsley went to the tribes in northwest Oregon. He asked them what they would like to see in a blanket. Using their suggestions for colors and design, he helped to create a uniquely native blanket. These newly designed blankets sold extremely well. Joe Rawnsley went next to the tribes of the Southwest to create new designs for them. The hundreds of ideas that he returned with formed the basis of the new trade blanket design.
The trade in Pendleton blankets started with the Nez Perce nation. It soon spread to all the southwest tribes such as the Navajo, the Zuni and the Hopi nations. The people wore them with pride. Soon the blankets were valuable as both everyday and ceremonial garb. The Pendleton blankets were just sold to the natives by the company, at first. Some patterns and color combinations were more valued than others by those using them. The American Indian tribes traded and gifted their favorites among themselves.
Advanced Loom Technology
The Pendleton trade blankets were woven on Jacquard looms. These extremely advanced looms used a series of punched cards to control the thousands of strands that would make up a single blanket. The Jacquard loom was key in creating the many complex designs that were otherwise impossible to weave. The woven designs are reversible, with either felt bound or fringed ends. They often feature a light side and a darker side with bright highlights.
American Indian cultures of the west have long used the gifting of ornately woven colorful wool blankets as a way to mark the passage of important events and life celebrations. Many are worn at powwow gatherings to mark belonging to a tribe. Women wear smaller shawls while the men don a blanket while dancing and celebrating.
A Prized Gift
An important cultural item, a gift of a blanket holds high meaning. During powwows the important members at the gathering will often give gifts of Pendleton blankets. These gifts are given in thanks to those who selected such people as the powwow chairmen, the directors or the head singers and dancers. While there are many types of gifts given, the Pendleton trade blanket is the most highly prized.
While the heavy wool or cotton blankets are quite warm, they have much more meaning than just utilitarian use. When given as a gift the Pendleton blanket symbolizes respect, friendship and gratitude. It is a symbol of belonging to a people with a long and proud tradition outside mainstream American life. The emotions felt by those wearing them and symbolism shown to others are part of the “language of the blanket”. It’s what makes the Pendleton trade blanket such a part of American Indian cultural past and present.
The trade blankets have always been woven on machine looms, often by non-Indian people. But these blankets are a part of American Indian culture as the powwow itself. Because of the care taken to work with the tribes from the beginning, these blankets are unique in the cultural consciousness. They serve as a visual statement of belonging to a native people. This is true both within the native cultures and in the greater American cultural consciousness. While the old trade blankets started out in traditional European plaids and block-woven colors, the increasing use of native designs made the blanket uniquely American Indian.
Today finds the Pendleton trade blanket as prized as ever. As the last remaining Indian blanket maker, Pendleton is proud to work with native groups to create new designs. Such traditional designs as the Chief Joseph line feature colors and patterns from the very earliest Pendleton blankets. These are the designs most often given as gifts.
Pendleton Woolen Mills continues to create new Native American designs. Some newer patterns are based on natural phenomena such as early morning in the mountains or the swirl of colors in the arctic sky. The newer Indian designs celebrate the wheel of life and many other traditional motifs. Just as the older patterns were designed for various tribes to enjoy, the newer ones are also made to celebrate different traditions and peoples. Today the motifs are often created by the very people who they celebrate.
There is no parallel in any culture to the uniquely American art that is the Pendleton trade blanket. The designs and colors have been on the radar of the high fashion industry off and on over the decades. Most recently, the Pendleton fabrics were featured in everything from coats to work boots. Today the blankets themselves are valued by many outside of the Native American community for their design, durability and high quality.
I thank Jessica for her educational and thought provoking blog entry. For further information please contact indiantraders com