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Upcoming Events:

WILLIAMS SYMHPONIC WINDSAND OPUS ZERO BAND

STEVEN DENNIS BODNER DIRECTOR CHAPIN HALL FEBRUARY20

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CENTERSERIES INTEGRATED PROGRAMMING: SCREENING: MIRACLEINMILAN

LAURIE ANDERSON Q&A/RECEPTION IMAGES CINEMA FEBRUARY25TH

CENTERSERIES INTEGRATED PROGRAMMING: PANEL DISCUSSION PERF. POLITICS:

NEW OCEANA, DANCEAND RESISTANCE DIR. STUDIO MARCH1ST

CAPAND BELLS PRESENTS: THE LASTDAYSOFJUDAS ISCARIOT

DIRECTEDBY NOAH SCHECHTER '12 ADAMS MEM. THTR. MARCH4TH

TO 6TH

WILLIAMSTHEATRE PRESENTS: SHAKESPEARE'STWELFTHNIGHT, ORWHATYOUWILLDIRECTEDBY ROBERT BAKER-WHITE CENTERSTAGE MARCH

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THTO 13

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WILLIAMS DEPARTMENTOF DANCE PRESENTS: INISH

DIRECTEDBY HOLLY SILVA MAINSTAGE MARCH12TH& 13

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THE BOX - MUSICBYLIVINGCOMPOSERS CENTERSTAGE MARCH 15TH

For more information go to:

http://62center.williams.eduOr Call:(413) 597-2425Tuesday-Saturday 1 pm to 5 pm

Visit us on Facebook

CENTERSERIESPRESENTS: DELUSION

ANEWWORKBY

LAURIE ANDERSON

COMMISSIONEDBYTHE

2010 VANCOVER OLYMICS

MAINSTAGE FEBRUARY26

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CENTERSERIESPRESENTS:

BLACK GRACE

NEW ZEALANDS

LEADINGCONTEMPORARY

DANCECOMPANY

MAINSTAGE MARCH2

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Stalwart Originality:New Traditions in Black Performance

Presents

New Meanings:Afro-descendant Percussion Practices

Williams College & Mass MoCA

February 12-14, 2010

This year marks the 10th anniversary of Stalwart Originality: New Tradi-tions in Black Performance. Created by Annemarie Bean and SandraBurton, Stalwart was developed to nurture artistic and academic inter-est in expressions informed by African traditions. Integrating practice

and theory, Stalwart provides a context to explore these traditions, aswell as new forms of music, dance, media, theater, literature and mul-

tidisciplinary art. This year, Arif Smith, Assistant Director of the Multi-cultural Center and Berta Jottar, Assistant Professor of Latina/o Stud-ies, are curating New Meanings: Afro-descendant Percussion Practices,a symposium that will network percussion practices from West Africa,the Caribbean and the U.S.

Interactive workshops, lecture/demonstrations, panel discussions, andmedia practices will serve as a platform to engage with the following

questions: How are these practices interrelated? How do we historicize

the dialogue between these practices? Are the conversations betweenthese traditions recent, continuous or contiguous, and why? How arethese practices impacted by migration and exile? What factors contrib-ute to changes in percussive style? What contexts do the Diaspora andglobalization create for the formation of new, hybrid styles and sound-ings? What are the new cultural meanings of these traditions?

STALWART ORIGINALITY: NEW TRADITIONS IN BLACK PERFORM-ANCE is sponsored by Williams College, the Dance Department, the

Multicultural Center, the Music Department, Africana Studies, CampusLife, the Deans Office, Latino/a Studies, the Gaudino Fund, the BlackStudent Union, Claiming Williams, Latin Percussion (LP), the WilliamsCollege Lecture Committee, and co-presented with MASS MoCA.

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INTERACTIVE WORKSHOPS

Bombaby Ilu Aye

Bomba means in Kikongo language secret. The bomba music and

dance tradition dates back to the Spanish colonial slavery era, and wasbrought to Puerto Rico by the Saint Domingue diaspora. It is the mostAfrican-rooted form of all Puerto Rican folklore, and performed with

barriles (bomba drums) originally built from wooden barrels. Its maincharacteristic is the call-and-response vocal relation between the solovocalist and the chorus, as well as the dialogue between the solo drum-mer (primo) and the solo dancer. The dancer is the leaderhis or hermovements dictate the primos responses. Theres an element of antici-pation as the dancer tries to rhythmically outmaneuver the drummer.

Improvisation is central to bomba performance but rooted in a deep cul-tural knowledge.

Doundounbaby Mbemba Bangoura and Bashir Shakur

Doundounba (the dance of the strong men) is a rhythm and dance fromGuinea. In 1959, after Guinea gained independence, newly electedpresident Ahmed Sekou Toure commissioned musicians to create newDoundounba rhythms for social interaction and engagement throughout

the country. Doundounba has over 40 rhythmic versions; today,Doundounba is equivalent to a party.

Kpanlogoby Jason Lucas & Rob Michelin

Kpanlogo is a popular form of music and dance originating in Accra,Ghana at the end of the 1950s. It is still performed and danced sociallybecause of its ever-evolving repertoire and meaning. The youth culturewithin the Ga community was looking for a new form of expression.Kpanlogo got its sound from some of the instruments that make up the

traditional instrumentation of the Ga people: Kanganu, Axatse,Gankogui(bell that plays a pattern that is considered to be son clavemost recognized in Cuban music), Sogo, Kidiand Kpanlogo drum. Thedances are emblematic of the connections between Ghana and theUnited States at the time because Rock n Roll became popular as itwas introduced through imported American films. Movements like thetwist, and others were incorporated into the Kpanlogo repertoire.

Kpanlogo quickly became a sexy, ruckus inducing, youth movementthat solidified the idea that a glo(c)al community had been developed

and was continuing to grow; carried on the shoulders of afro-urbanyouth around the world.


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