to begin to explain how coming to bronzeville has changed my life is difficult to put into words. i remember one day on my way to class a feeling of excitement and refreshing change to be having class in another part of the city came into my perception as i was sitting on the train traveling to this new found place. to literally think outside of the box by being able to make new connections with a community found outside of school has given me a chance to relate more to my surroundings as an artist or simply as an aware human being. i just moved here in august, so i am still settling into my new surroundings. having this class in bronzeville opened my eyes to places i might not have discovered in the same way if i wasn't connected to the south side community art center. the center itself is a welcoming place that embraces your imagination and provides a place to bring people together. it is a process of becoming comfortable in the bronzeville community and i do notice how i don't feel like an outsider anymore when i travel here.
after trying to take part in my first african dance class in chicago i again felt embraced by a new community. the other dancers in the class began conversation with me immediately. i was talking to the musicians, the teacher, the students, and everyone welcomed my participation. unfortunately my stomach didn't welcome the situation, and i realised i hadn't eaten all day. so i left to take care of myself...but i am very excited to go again this sunday. mainly to be part of that group of people again. and to simply move through space together.
Tuesday, March 31, 2009
proposal by sang hee
SITE/ENVIRONMENT/COMMUNITY
SANG HEE JUN
Proposal for “SCAC meets DOWNTOWN” in Bronzeville
I am a young artist designer who is interested in space planning.
I am part of a group of students who are planning to celebrate the connection between communities. We will invite people to South Side community Art Center from various local communities particularly from downtown Chicago.
The day will be a day of (title) exchange between communities and through that event people will get know about the South Side community’s African American society.
And through this event, our goal is advertising and refurbishing the South Side Art Center and African American society and raising the fund for this center.
The event will begin in the afternoon to the late evening.
There will be two parts of events, a daytime and evening event.
The event will start at 4pm. By the time and the floors the events will go on. At the day time the in the main room on the first floor, there will be tea lounge while t-shirts making and origami experiences goes on the 2nd floor. Simultaneously there will be a dining event at the garden area.
From the 7pm, the evening section will start.
The evening time event will be a party. And an auction Artworks from South Side Communities and various artists will be displayed. And the auction is the main event for this section is will be a silent auction on the 2nd floor. And the garden will be changed as a chilling space for party.
Since the event separated in two parts, there will be two different kinds of tickets, one for full day and one is just for night.
It is my hope that this event will continue to be held annually as a means to strengthen the connection between the South Side community and other local communities.
IDEA FOR THE OUTSIDE GARDEN LIGHTING INSTALLATION for night party.
*-I would like to install the letters or sentences into the surface of wall with simple equipments.
Need ; lettered mirror – 1’ * 1’ (it can be any size)
Lighting – lighting which use for the figure drawing class (from school of art institute of Chicago media center) or any lighting source which can operates over 100W
SANG HEE JUN
Proposal for “SCAC meets DOWNTOWN” in Bronzeville
I am a young artist designer who is interested in space planning.
I am part of a group of students who are planning to celebrate the connection between communities. We will invite people to South Side community Art Center from various local communities particularly from downtown Chicago.
The day will be a day of (title) exchange between communities and through that event people will get know about the South Side community’s African American society.
And through this event, our goal is advertising and refurbishing the South Side Art Center and African American society and raising the fund for this center.
The event will begin in the afternoon to the late evening.
There will be two parts of events, a daytime and evening event.
The event will start at 4pm. By the time and the floors the events will go on. At the day time the in the main room on the first floor, there will be tea lounge while t-shirts making and origami experiences goes on the 2nd floor. Simultaneously there will be a dining event at the garden area.
From the 7pm, the evening section will start.
The evening time event will be a party. And an auction Artworks from South Side Communities and various artists will be displayed. And the auction is the main event for this section is will be a silent auction on the 2nd floor. And the garden will be changed as a chilling space for party.
Since the event separated in two parts, there will be two different kinds of tickets, one for full day and one is just for night.
It is my hope that this event will continue to be held annually as a means to strengthen the connection between the South Side community and other local communities.
IDEA FOR THE OUTSIDE GARDEN LIGHTING INSTALLATION for night party.
*-I would like to install the letters or sentences into the surface of wall with simple equipments.
Need ; lettered mirror – 1’ * 1’ (it can be any size)
Lighting – lighting which use for the figure drawing class (from school of art institute of Chicago media center) or any lighting source which can operates over 100W
Proposal by Joon
Re:
New
Proposal 03/28/09
Won Joon Lee
Wlee3@saic.edu
213 448 0825
Proposal: Revitalization
As a part of an evolving relationship between the South Side Community Art Center and SAIC, SAIC artists are creating an event that explores and expands the role of SSCAC as a vital community arts resource.
I am proposing three different preparations for the event. A Silent Auction, one of the most important programs through the night, will be held in the first main floor. Just for the fundraising part I will send out letters to the school alumni and the artists from the society around here to ask for their arts as valuable donations for the auction event. Therefore, first of all, I and Jessica will work on researching the list of contributors and collectors with our school and the associations; Bare-wall, Ox-Bow, and etc. And then once we receive their works, the works will be placed in the main lobby as well. Once we get much of donors and collectors for the event, the silent auction will collect the fund successfully enough for the preservation of SSCAC.
As a second part, a Flash Mob event will happen from the beginning of the day of event. I will participate in and work with Evan’s Marching/Tour Bus plan to create a visual focus on what we are doing and who we are from- targeting on publics that day. This will be held in front of our Museum and the freeze in placed for 5 minutes is the motion we create to be united and shared a moment with large number of strangers. That is the starting point leading people’s attention to SSCAC.
Meanwhile preparing those event, to use my specialty into the project I am planning to install landscape lights at the garden. As collaboration with Sang Hee we will present text images on the wall outside of the building, not only for the visual effects, but advertisement. To create enough light with small effort we will use two small floodlights and one mirror that can create much bigger illusion than actually it could.
As SAIC students we hope to help preserve this rich historical landmark of Bronzeville by instigate local community as well as SAIC community involvement in the preservation process. Any proceeds from the programs will be used toward the preservation of SSCAC; historically significant art collection as we aimed for.
Budget
Home Depot: Floodlight x 2 = appr. $22
A Mirror = appr. $26
Total = $48
Malibu 20 Watt Black Cast Metal Floodlight
Model CL9
New
Proposal 03/28/09
Won Joon Lee
Wlee3@saic.edu
213 448 0825
Proposal: Revitalization
As a part of an evolving relationship between the South Side Community Art Center and SAIC, SAIC artists are creating an event that explores and expands the role of SSCAC as a vital community arts resource.
I am proposing three different preparations for the event. A Silent Auction, one of the most important programs through the night, will be held in the first main floor. Just for the fundraising part I will send out letters to the school alumni and the artists from the society around here to ask for their arts as valuable donations for the auction event. Therefore, first of all, I and Jessica will work on researching the list of contributors and collectors with our school and the associations; Bare-wall, Ox-Bow, and etc. And then once we receive their works, the works will be placed in the main lobby as well. Once we get much of donors and collectors for the event, the silent auction will collect the fund successfully enough for the preservation of SSCAC.
As a second part, a Flash Mob event will happen from the beginning of the day of event. I will participate in and work with Evan’s Marching/Tour Bus plan to create a visual focus on what we are doing and who we are from- targeting on publics that day. This will be held in front of our Museum and the freeze in placed for 5 minutes is the motion we create to be united and shared a moment with large number of strangers. That is the starting point leading people’s attention to SSCAC.
Meanwhile preparing those event, to use my specialty into the project I am planning to install landscape lights at the garden. As collaboration with Sang Hee we will present text images on the wall outside of the building, not only for the visual effects, but advertisement. To create enough light with small effort we will use two small floodlights and one mirror that can create much bigger illusion than actually it could.
As SAIC students we hope to help preserve this rich historical landmark of Bronzeville by instigate local community as well as SAIC community involvement in the preservation process. Any proceeds from the programs will be used toward the preservation of SSCAC; historically significant art collection as we aimed for.
Budget
Home Depot: Floodlight x 2 = appr. $22
A Mirror = appr. $26
Total = $48
Malibu 20 Watt Black Cast Metal Floodlight
Model CL9
36 In. x 24 In. Polished Edge Mirror
Sebastian's Dream Map
...an imaginary trajectory from Pilsen to Bronzeville:
Why I see my trajectory to the SSCAC as a exploration through a territory that no longer exists? The first day I arrived into the South Side Community Art Center, I felt nostalgic for something I did not know and privileged for having an opportunity to work in a place with some much creative history.
Why I see my trajectory to the SSCAC as a exploration through a territory that no longer exists? The first day I arrived into the South Side Community Art Center, I felt nostalgic for something I did not know and privileged for having an opportunity to work in a place with some much creative history.
map
Here in bronzeville, I am seeing this entire situations and characteristic of Chicago in 3rd person’s view as a Korean woman. But in some ways I can see the same situation in my community in korea. for example, there is an visible and invisible boundary in seoul between
south and north with the Han river.
Anyway, the bronzeville, now feel comfortable whenever I go to south side community art center. Actually I think that uncomfortable feeling was not because of the characteristic of legging behind of this community than other side relating to the history of African American community. Because that kind of issue is also common thing in our community in korea, even if we are composed of same races. So, as a person who can see little bit away from, I really feel queer. But the gap between African American society and American society is bigger than I expected. I felt that when we went out to the street for murals. I guess am learning and seeing the true American present and truth.
Tuesday, March 24, 2009
another article....links to our reading today, investigating the causes for the race riots in chicago
Many causes have been assigned for the three days of race rioting, from July 27 to 30 in Chicago, each touching some particular phase of the general condition that led up to the outbreak. Labor union officials attribute it to the action of the packers, while the packers are equally sure that the unions themselves are directly responsible. The city administration feels that the riots were brought on to discredit the Thompson forces, while leaders of the anti-Thompson forces, prominent among them being State's Attorney Maclay Hoyne, are sure that the administration is directly responsible. In this manner charges and counter-charges are made, but, as is usually the case, the Negro is made to bear the brunt of it all--to be "the scapegoat." A background of strained race relations brought to a head more rapidly through political corruption, economic competition and clashes due to the overflow of the greatly increased colored population into sections outside of the so-called "Black Belt," embracing the Second and Third Wards, all of these contributed, aided by magnifying of Negro crime by newspapers, to the formation of a situation where only a spark was needed to ignite the flames of racial antagonism. That spark was contributed by a white youth when he knocked a colored lad off a raft at the 29th Street bathing beach and the colored boy was drowned.
Four weeks spent in studying the situation in Chicago, immediately following the outbreaks, seem to show at least eight general causes for the riots, and the same conditions, to a greater or less degree, can be found in almost every large city with an appreciable Negro population. These causes, taken after a careful study in order of their prominence, are:
- Race Prejudice.
- Economic Competition.
- Political Corruption and Exploitation of Negro Voters.
- Police Inefficiency.
- Newspaper Lies about Negro Crime.
- Unpunished Crimes Against Negroes.
- Housing.
- Reaction of Whites and Negroes from War.
an interesting article i found
Article Tools Sponsored By
By JENNIFER DUNNING
Published: August 18, 2001
It is not often that New Yorkers get to see the Muntu Dance Theater of Chicago. That's a pity, because the company put on a first-class show on Wednesday night at the Damrosch Park band shell, where it appeared in the Lincoln Center Out of Doors festival.
Muntu was founded in 1972 as an African dance troupe. Now under the direction of Amaniyea Payne, also a choreographer and dancer with the company, Muntu has created a repertory of stylishly staged African dances, accompanied by drums, flute and whistle. The dancers, who also sing, perform full out but with wit and an easy rapport with the audience. The costumes are an exquisite blend of fabrics and colors, with masks, plumed headpieces and horsehair wands figuring prominently.
The Lincoln Center program concentrated on dances from West Africa, most involving rites of passage and harvesting. Each of the 11 dances flowed into the next in a continuous, largely undifferentiated swirl of color and styles. The first half, which included choreography by Abdoulaye Camara, was a selection of excerpts from dances of the Sene-Gambia region that was called ''Koutero Collage.'' The evening ended with a suite of dances, gathered under the heading of ''Ancestral Memories,'' from Mali, Guinea and Senegal, some choreographed by Youssouf Koumbassa and Moustapha Bangoura.
The dancers performed with such clarity that it was possible to see and enjoy each shift of style. At times the bent-kneed dancers appeared to skim the ground as they hurtled and spun about the stage. In a dance whose beautifully muted costumes suggested traditional African street wear, the women moved almost stealthily. In ''Koumpo,'' a masked harvest dance from Guinea-Bissau, an explosion of squatting, thudding dance as insistent as the drumming that accompanied it came to a momentary lull when the men sank unexpectedly and suddenly to a sitting position, one knee bent and wrapped with an arm.
The second half included dances in which all energy and motion seemed contained in the columnar bodies of the fast-moving women. In two other works the arms and then all limbs looked as if they were ploughing furrows in space. And in another dance the men's feet flew out to the sides as their bodies shot upward.
There were also moments of teasing humor. A furry spectral creature, sometimes called an egungun in African dance, lurched, somersaulted and tilted with an expressiveness that recalled the Bauhaus oddities that peopled Oscar Schlemmer's ''Triadic Ballet.'' After each of the creature's sorties, the men rushed over and brushed him clean with small whisks. As amusingly, admiring women patted down their dancing men in another piece.
The evening also included a jaunty jazz-flavored flute solo by Babu Atiba, the company's assistant artistic director. Mr. Atiba then proceeded to draw the audience into a vibrant call-and-response exercise in Mandingo and talked with eloquent simplicity of the sharing of cultures and life experiences.
By JENNIFER DUNNING
Published: August 18, 2001
It is not often that New Yorkers get to see the Muntu Dance Theater of Chicago. That's a pity, because the company put on a first-class show on Wednesday night at the Damrosch Park band shell, where it appeared in the Lincoln Center Out of Doors festival.
Muntu was founded in 1972 as an African dance troupe. Now under the direction of Amaniyea Payne, also a choreographer and dancer with the company, Muntu has created a repertory of stylishly staged African dances, accompanied by drums, flute and whistle. The dancers, who also sing, perform full out but with wit and an easy rapport with the audience. The costumes are an exquisite blend of fabrics and colors, with masks, plumed headpieces and horsehair wands figuring prominently.
The Lincoln Center program concentrated on dances from West Africa, most involving rites of passage and harvesting. Each of the 11 dances flowed into the next in a continuous, largely undifferentiated swirl of color and styles. The first half, which included choreography by Abdoulaye Camara, was a selection of excerpts from dances of the Sene-Gambia region that was called ''Koutero Collage.'' The evening ended with a suite of dances, gathered under the heading of ''Ancestral Memories,'' from Mali, Guinea and Senegal, some choreographed by Youssouf Koumbassa and Moustapha Bangoura.
The dancers performed with such clarity that it was possible to see and enjoy each shift of style. At times the bent-kneed dancers appeared to skim the ground as they hurtled and spun about the stage. In a dance whose beautifully muted costumes suggested traditional African street wear, the women moved almost stealthily. In ''Koumpo,'' a masked harvest dance from Guinea-Bissau, an explosion of squatting, thudding dance as insistent as the drumming that accompanied it came to a momentary lull when the men sank unexpectedly and suddenly to a sitting position, one knee bent and wrapped with an arm.
The second half included dances in which all energy and motion seemed contained in the columnar bodies of the fast-moving women. In two other works the arms and then all limbs looked as if they were ploughing furrows in space. And in another dance the men's feet flew out to the sides as their bodies shot upward.
There were also moments of teasing humor. A furry spectral creature, sometimes called an egungun in African dance, lurched, somersaulted and tilted with an expressiveness that recalled the Bauhaus oddities that peopled Oscar Schlemmer's ''Triadic Ballet.'' After each of the creature's sorties, the men rushed over and brushed him clean with small whisks. As amusingly, admiring women patted down their dancing men in another piece.
The evening also included a jaunty jazz-flavored flute solo by Babu Atiba, the company's assistant artistic director. Mr. Atiba then proceeded to draw the audience into a vibrant call-and-response exercise in Mandingo and talked with eloquent simplicity of the sharing of cultures and life experiences.
beginning of my research...
I will be going to this african dance class this coming sunday. i'm looking forward to meeting moustapha.
Moustapha Bangoura hails from the West African Nation of Guinea, home to the largest and most celebrated dance company from the Continent of Africa; namely Les Ballets Africains. Mr Bangoura is a 22 year veteran of Les Ballet Africains and is a Master, Dancer, Dounun drummer, and Choreographer with acclaimed performances in over 165 capitals worldwide. In addition to extensive international touring with the company, Moustapha has independently conducted music and dance residencies and master classes throughout Africa, Europe, Australia, South America and the United States. Mr Bangoura is of Baga and Sousou decent bringing you the culture of both heritages, including the dance, drum and song that originates from them.
Le Bagatae West African Dance Class
Come dance with us in Chicago!
Energizing dance class
Sundays
Sunday Class 3:00 pm to 4:30 pm
Hamlin Park--2nd Floor Dance Studio
3035 N. Hoyne Chicago, IL
CLASS FEE: ONLY $10 PER CLASS
For more information email us at lebagatae@yahoo.com or call 773.752.5289 or 773.802.1668.
Moustapha Bangoura hails from the West African Nation of Guinea, home to the largest and most celebrated dance company from the Continent of Africa; namely Les Ballets Africains. Mr Bangoura is a 22 year veteran of Les Ballet Africains and is a Master, Dancer, Dounun drummer, and Choreographer with acclaimed performances in over 165 capitals worldwide. In addition to extensive international touring with the company, Moustapha has independently conducted music and dance residencies and master classes throughout Africa, Europe, Australia, South America and the United States. Mr Bangoura is of Baga and Sousou decent bringing you the culture of both heritages, including the dance, drum and song that originates from them.
Le Bagatae West African Dance Class
Come dance with us in Chicago!
Energizing dance class
Sundays
Sunday Class 3:00 pm to 4:30 pm
Hamlin Park--2nd Floor Dance Studio
3035 N. Hoyne Chicago, IL
CLASS FEE: ONLY $10 PER CLASS
For more information email us at lebagatae@yahoo.com or call 773.752.5289 or 773.802.1668.
allison fall proposal
Social Networking within the African Dance Communities in the Chicago Area
A proposal by Allison Fall
Through action research of African dance that is happening now I will create a “Tap Room” at the SAIC event at the SSCAC that will share insight of how dance now connects to the past. By participating in African dance classes for the next two months I will become connected to a network of dancers and musicians. I will gain a greater understanding of movement that is passed on from generation to generation. The South Side Community Art Center, SSCAC, and the School of the Art Institute of Chicago, SAIC, have a relationship that has continued to grow overtime. As a grad student at SAIC I will foster this relationship by adding to the community of artists that I will connect with during my action research within the African dance community in the Chicago area.
I propose to have a “Tap Room”, where I will facilitate small tap dance workshops. I will teach people various tap dance steps, which has deep roots within African traditions. In an effort to expose people to the action research I collect, I will create a Powerpoint presentation of interviews and music that I find. I will also share stories of my experience of networking within the African dance community. The tap dance learned becomes a vehicle to present an insight into the history of African dance as well as a present representation of dance.
My experience of researching Traditional Italian Folk dance and doing field research and interviews over the past seven years will help contextualize the beginning phases of the process of my research. Within the following nine weeks I will only begin to tap into what the African dance community in the Chicago area has to offer. I will create a social network of dancers and musicians and use the knowledge I already have of tap dance to provide the beginning of using dance as a resource to understanding our past while remaining focused on the present and the future.
Timeline:
3.17.09
-Group collaboration discussions
3.20.09
-African dance class: action research
3.21.09
-Research articles online about Mutu Dance Company and possible interviews
3.24.09
-Group collaboration discussions
3.27.09
-African dance class: action research
3.28.09
-African dance class: action research
3.31.09
-Group collaboration discussions, possible visit to Mutu dance studio?
4.3.09
-African dance class: action research
4.4.09
-Interview day if no articles are found
4.7.09
-Group collaboration discussions, possible visit to Mutu dance studio?
4.10.09
-African dance class: action research
4.11.09
-Start organizing interviews and begin work on Powerpoint presentation
4.14.09
-Group collaboration discussions
4.17.09 and 4.18.09
-African dance class: action research
-Talk to drummers/musicians about possibility of coming to SSCAC for our event
4.21.09
-Group collaboration discussions
4.24.09
-African dance class: action research
4.25.09
-Reconnect with drummer/musicians about coming to the event at SSCAC
4.28.09
-Final discussion before the event happens
4.30.09 and 5.1.09
-Finish PowerPoint presentation
-Choreograph 10 tap dance combinations for the “tap room”
-Take last African dance class
A proposal by Allison Fall
Through action research of African dance that is happening now I will create a “Tap Room” at the SAIC event at the SSCAC that will share insight of how dance now connects to the past. By participating in African dance classes for the next two months I will become connected to a network of dancers and musicians. I will gain a greater understanding of movement that is passed on from generation to generation. The South Side Community Art Center, SSCAC, and the School of the Art Institute of Chicago, SAIC, have a relationship that has continued to grow overtime. As a grad student at SAIC I will foster this relationship by adding to the community of artists that I will connect with during my action research within the African dance community in the Chicago area.
I propose to have a “Tap Room”, where I will facilitate small tap dance workshops. I will teach people various tap dance steps, which has deep roots within African traditions. In an effort to expose people to the action research I collect, I will create a Powerpoint presentation of interviews and music that I find. I will also share stories of my experience of networking within the African dance community. The tap dance learned becomes a vehicle to present an insight into the history of African dance as well as a present representation of dance.
My experience of researching Traditional Italian Folk dance and doing field research and interviews over the past seven years will help contextualize the beginning phases of the process of my research. Within the following nine weeks I will only begin to tap into what the African dance community in the Chicago area has to offer. I will create a social network of dancers and musicians and use the knowledge I already have of tap dance to provide the beginning of using dance as a resource to understanding our past while remaining focused on the present and the future.
Timeline:
3.17.09
-Group collaboration discussions
3.20.09
-African dance class: action research
3.21.09
-Research articles online about Mutu Dance Company and possible interviews
3.24.09
-Group collaboration discussions
3.27.09
-African dance class: action research
3.28.09
-African dance class: action research
3.31.09
-Group collaboration discussions, possible visit to Mutu dance studio?
4.3.09
-African dance class: action research
4.4.09
-Interview day if no articles are found
4.7.09
-Group collaboration discussions, possible visit to Mutu dance studio?
4.10.09
-African dance class: action research
4.11.09
-Start organizing interviews and begin work on Powerpoint presentation
4.14.09
-Group collaboration discussions
4.17.09 and 4.18.09
-African dance class: action research
-Talk to drummers/musicians about possibility of coming to SSCAC for our event
4.21.09
-Group collaboration discussions
4.24.09
-African dance class: action research
4.25.09
-Reconnect with drummer/musicians about coming to the event at SSCAC
4.28.09
-Final discussion before the event happens
4.30.09 and 5.1.09
-Finish PowerPoint presentation
-Choreograph 10 tap dance combinations for the “tap room”
-Take last African dance class
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