African song / Fatu Gayflor • War and wealth - Philadelphia Folklore ...

all that we do/continued from p. 18
in the family business: klezmer.”
—Susan Watts
11] Susan Watts teaching at
KlezKamp, an annual gathering of
Yiddish arts and culture enthusiasts
from all over North America, upstate
New York, 2006.
12] Klezmer drummer Elaine
Hoffman Watts teaching Curran
Browning at Rosemont School of the
Holy Child, 2006. “This is a great
picture. I’m showing Curran how to
use his hand and wrist, not his arm.
I’m teaching the kid. That’s the whole
point, passing on the art.”
—Elaine Hoffman Watts
and meanings. And paths for a
next step…
13] Anna Rubio sewing
costumes in her basement. She sews
flamenco dresses as well as costumes
for the Kulu Mele African American
Dance Ensemble and other dance
troupes,
14] Anna Rubio, flamenco singer
Antonia Arias, Tito Rubio (guitar) in
concert at Amada Restaurant in Old
City, Philadelphia, where they
regularly work, 2006.
15] Middle Eastern dancer
and singer Michele Tayoun (left)
rehearsing with the Herencia Arabe
hidden are the histories of these
particular arts, and the women who
practice them.
17] Yvette Smalls doing the hair
of Estan Wilsonus El in her sanctuary
at home, 2007. Through her hair
sculpture and her documentary film,
“Hair Stories,” Yvette actively
opposes racism and negative selfimage:
“Some of the techniques I
employ are over 10,000 years old…
I weave tradition, creativity and love
into my tapestry of natural hairstyles;
especially since generations of Black
women have been taught to wage
war on their coil.”
10] 3]
Vision
What do we see and hear in public
performance of folk arts? So much is
likely outside the immediate
experience of the onlooker. Yet,
what we don’t notice has been part
of the artists’ vision as they work
toward a concert, festival, or ritual
event. The intensity of performance
carries within it the passion of
rehearsal, long histories of
knowledge of a particular piece or
rhythm, and the devotion to pulling
together all the elements that go
into the spectacle the audience will
take in. Color, shape, sound, and
movement coalesce at a certain
moment, in a certain place, after
extensive time and effort
beforehand, creating beauty, magic,
Project, which combines Arabic music
and dance with flamenco, St. Maron’s
Hall, Philadelphia, 2005.
16] Anna Rubio (dancing), Joseph
Tayoun, Antonia Arias and Tito Rubio
in concert at Amada Restaurant in
Old City, Philadelphia, 2006.
Courage
The myriad aspects of behind-thescenes
art-making are often unknown,
or invisible, once a hair sculpture,
crocheted hat, embroidered shirt, or
musical piece is presented to the
world. Lock-by-lock, stitch-by-stitch,
note-by-note, and then over again
(sometimes starting completely over
again): the process is part of the
artistry. Also often unknown or
18] Separating the locks. Yvette
Smalls, at home, 2007.
19] Ayesha Rahim, crocheting at
her home in North Philadelphia, 2006.
Her hats and “crowns” are widely
prized in the community now; it took
years to find her way, to push past
institutions that diminished her gifts.
“My art is like spirit work. I was over
at Temple University selling the hats
and I was impressed because they
were telling me what part of Africa
they were from. I had no idea! Spirit
comes and spirit talks. Spirit tells you
where to put this color, this shell. So
that’s basically how the hats were
made… I used to say, ‘Whose hands
did they give me?’ because they are so
big! Lord God! Whose hands are
[Continued on p. 20 >]
2007-2008 Winter WIP 19