contents issue six | 2013
4 5 10 11
Cover photo by Carrie Mateosian Photography
Editor’s Desk A Snapshot of home N’Jelle’s Tips Kehinde Wiley Painting Poetic Truths
A Mind-Full With N’Jelle Gage
Gallery Scene: The First Cut
Ancient Mayans Demystified
Cultural Voice News
Upcoming Exhibitions & Cultural Events
Editor’s Desk The summer is at our heels and Cultural Voice is heating up as well. We’re on the verge of launching something that will make it easier for our readers to stay connected with us… Keep posted to our Facebook page and Twitter feed to hear more about this initiative. From the Art Basel experience worldwide, to things closer home, Cultural Voice will certainly keep you covered. The world recently celebrated International Day for Cultural Diversity and Cultural Voice joined forces with the United Nations Alliance of Civilizations in celebration. We’ve posted a list of 10 easy things to do to celebrate cultural diversity on our blog. The mission of Do One Thing for Diversity is to promote increased tolerance for people around the world, putting the emphasis on personal responsibility. Asking the question: how can I make a difference in carrying the torch for inclusion and diversity? In our Cultural Voice News, you’ll see images from Kehinde Wiley’s visit to Jamaica, Tashkeil’s latest exhibition in Saudi Arabia and highlights from Zinc Shower Spain. As always, we thank you for your feedback, comments and suggestions; they are essential as we develop a relationship with you, our valued readers. Please send all comments to email@example.com.
Blessings, Steffi T
A Snapshot of
home The world may just be the same place we all call home, but home is not the same place we all belong. Each home unravels bits and pieces of our life’s puzzle. What we make of our situation, whether our living quarters are ostentatiously elegant or minimally humble, determines how our life is lived — the “My Room” project explores the concept of happiness with a simple snapshot of home. John T, the photographer, initially worked in filmmaking and dabbled in photography on the side. “I was not a photographer and my plan was to make portraits of some of my friends and I’d take 10, 20 or 30 different people and people were very enthusiastic about that.” This became the genesis of John T’s project dubbed, “My Room”. The photographer, born in South Africa and raised in France, explains that “My Room” “consists of photos of people in their bedrooms, to show each individualistic lifestyle from different corners of the world.” The project commenced over three (3) years ago exploring what “home” means in various European countries. This exploration continued across continents and regions to North America, Asia, and the Middle East, and now the project finds itself in the Caribbean. Following that, the project heads south to Latin America.
By Derefe Chevannes
“ ‘My Room’ consists of photos of people in their bedrooms, to show each individualistic lifestyle from different corners of the world.”
Photographic Mosaic At its core, the “My Room” project captures the “link between whether you are rich or poor and whether you live in a trench or in a modern way, focusing especially on one’s happiness. That is, how you can be happy.” Happiness can be whatever a person chooses it to be, no matter where or how you live. Specific to the My Room project is the concept of youth empowerment, “the idea is to take a kind of witness account of the generation that was born in the 80’s and show how similar we are, and at the same time, how different we are depending on our country.” This distinction embodies a sort of cultural mosaic, with each tile mirroring the idiosyncrasies of individual lived experiences. At the heart of this project beats a curiosity with younger adults; John T confesses he wants “to see how people my age live abroad.” The “My Room” project has travelled to over 35 countries, capturing the lives of over 500 people. In deciding which countries to travel to, he plots the most effective way to achieve his goal “to cover 75% of the earth and at least 70% of the world’s population”. Through this world excursion, John T vulnerably exposes some of the belongings laden within his backpack of privileges, some of which include birthright and gender, which have been key to his success to date, “European citizenship is the best passport — I am young, white and a boy. If I were a girl, it would be impossible in some countries, as doors wouldn’t open.” This aspect of the journey is very much a part of the story being told.
The project, at first, was funded via the photographer’s own income predominantly from advertising, having the experience of working on other advertising campaigns for many well known global brands. A watershed moment occurred after John T won the “Prix Du Jury Rencontre Photographique D’arles,” which is “the biggest award for emerging photography in Europe.” John T noted that he had been presented with offers to use his “photos as regular advertising” but in the end, “completely rejected it.” However, he entertains corporate sponsorship for conferences and exhibition appearances, which allows for greater face-to-face engagement with his works.
link between whether you are rich or poor and whether you live in a trench or in a modern way, focusing especially on one’s happiness. That is, how you can be happy.
Conscious Photography He tells Cultural Voice (CV) that his favourite musical genres are Folk, Reggae and French Hip-Hop. Artists such as Alborosie, Don Carlos and C2C, are some of his favourites. John T describes the landscape of his own room as “18 square meters in an artsy district of Paris.” In speaking to its intimacy, he continues, “my room is full of memories of my trips, feathers given by Indian chiefs, books, magazines of many countries, many photos, many postcards and boxes of presents from people.” John T describes himself as “not egoistic” and as a private individual. He does not readily divulge information. His focus on anonymity allows the pendulum of attention to swing from himself to his project. He notes that he values personal interactions among people. He’s very protective of his work and admits that he is “not a big fan of how people display art all over the internet. I don’t judge people for doing it, but I don’t want to contribute to that.” This partly stems from the fact that he sees himself as not “just an engaged or committed photographer,” but rather, as a “conscious photographer,” understanding the political, historical and geographical dimensions of his photography.
John T’s top
1. Tokyo, Japan 2. Berlin, Germany 3. Chiang Mai, Thailand 4. Lake Baikal, Siberia 5. Dali City, China
John T regales us with an honest proclamation of his favourite things in Paris, which include “food, girls and creative energy.” His life motto is “la terre n’est pas un don de nos parents, c’est nos enfants qui nous la confient,” which loosely translated means, “the earth is not a gift from our parents, it is a loan from our children.” In making his claim on a final word, John T concludes, “it is important to say that I am really optimistic about young people.” CV awaits the completion of the My Room project. In the meanwhile, ask yourself, should a snapshot be taken of your room, what tales would it whisper and how would it speak to your own happiness?
N’Jelle’s Tips Tips to stay in shape: Don’t underestimate the power of water. Stay hydrated! Systematically remove processed & artificial food from your diet. Don’t underestimate the value of using love to prepare your food. Eating is a dialogue between you and the earth. Exercise and be mindful about it. Put your consciousness inside your body, and then you will find results more tailored to you. Have a good mental attitude. Think less, do more, worry less, and concentrate on your own personal peace.
Advice to upcoming dancers: Get rid of your inner critique! We often as dancers are extremely critical of ourselves, and we miss the beautiful, unique things about us. Believe in miracles, by that I mean the universe is conspiring for your success, you just have to breathe out, relax and allow it to happen. Don’t judge; whatever people see of you is their evolution. What they are seeing has nothing to do with you. Mind your own business, and by that I mean, move towards your goal, as if nothing else matters; because nothing else does.
Painting Poetic Truths By Stefanie Thomas
Kehinde’s words “art saved my life” capture the essence of his humility, which belies the import of his paintings on the evolution of conversations of Black juxtaposed against Eurocentricity. His naturalistic paintings of contemporary urban black models address the image and social recontextualization of primarily black and brown young men in contemporary culture. In his interview with Cultural Voice (CV), he explains that his craft has evolved as the perfect marriage of all his interests – interaction with people, travelling, and engaging with different cultures.
Atypical As if the Gods ordained a passage of artistic discovery, Kehinde developed a “deep love” for the classics at an early age, atypical of a young boy growing up in the hot streets of South Central Los Angeles. His mother enlisted Kehinde in art school at age 11. When he looks back now, many of his peers from those streets ended up dead or in prison - insufferable alternatives. This keeps him grounded. A proud American born to a Nigerian father, Kehinde grew up Californian, but in a very African environment. His mother, then on welfare and incredibly resourceful at finding free government programmes, found a programme which sent Kehinde to Russia at the age of 12 to study art alongside 50 children from the Soviet Union and 50 children from America. He spent a year studying Russian and an entire summer engaging with artists who were from different cultures but with the same burning desire to make excellent paintings.
For Kehinde, art is about finding new fields of providence and he believes that sometimes removing a few of the tools at hand is beneficial.
Surprisingly Human Kehinde, who says his “wile” is intrinsic to his identity, also describes himself as pugnacious, slippery, elusive, bold and surprising. When he comes across an art-obsessed fan, he remembers how he felt as a “kid looking at Kerry James Marshall’s or Kara Walker’s paintings”, recognizing that he was once a fanatic. A friend of them both, Kehinde continues to look up to them, but “time gives you wisdom and perspective” and he sees them on a “much more human scale now.” A sensual being, with a penchant for fishing, cooking, and languages, Kehinde experiences culture shock daily and it comes in ways in which different people interact with “blackness.” As he tells us, “the fact of my blackness is a surprise to me constantly.”
Freedom through Restricted Lens For Kehinde, art is about finding new fields of providence and he believes that sometimes removing a few of the tools at hand is beneficial. In his work, he finds that narrowing the variables, for example in establishing a target age group of models between 18 and 35, and finding poses within the canon of Western European easel painting, allows the vastness and multiplicity of his concepts to be manageable and to have greater contextual relevance. An artist “brings into existence different ways of looking at this beautiful, terrible world around us,” and though much of art is based on experience, Kehinde stands by gaining a formal education which “allows artists to be fluent in conversing with the ways of artists before.” Educated at the San Francisco Art Institute and Yale University, Kehinde believes, “It certainly gives you access to some of the strongest and brightest voices and allows you to pit yourself against that,” and in many cases people end up with an “anxiety of influence – how do I, this sole individual, compete with the burden of history?”
He boldly addresses the notion of “anxiety of influence,” saying that “It becomes the subject matter, it becomes the heart.” It has raised many questions in Kehinde’s consciousness including, “Who has the right to call themselves master? Who has the right to populate these paintings? What societal viewpoints give rise to even the existence of those types of paintings in such circumstances?” To answer these, he “folds into the question, turning into it” and allowing the question to drive the subject matter at work.
The Reset Button This “poet of colour” takes to the seas when he wants relief from the intensely social type of art to which he finds himself life-bound. Being out on a boat is solemn for Kehinde, providing space and bringing him into balance through the connection between the controlled world where man has his rules, laws and protocols, and the wild world, especially poignant when you are physically immersed in the water where man sets no laws. In this balance, a metaphor for truth gains life as he describes “the moment when your hook is out there in the vast abyss and you have no idea if what you’re looking for is there until that moment of contact.” As Kehinde’s life and works continue to make contact, we look forward to what is to come.
A MindFull with N’Jelle Gage By Kira Hibbert
CV engaged jack-of-all-trades, nomad, highly energized, artistically creative dancer and choreographer N’Jelle Gage. Gage is the Co-Founder and Associate Artistic Director of Futurpointe Dance, a dance company that “strives for the advancement of dance as an innovative trans-media discipline.” Futurpointe is located in the heart of Rochester, NY, an interesting, yet vibrant community surrounded by a multifarious number of tertiary level institutions, museums and historical sites such as the famous “Underground Railroad.” Its mission is to “provide a philosophical experience of life through dance for all people in hope that through the metaphorein presented, the world might hear the call to social, economic, and spiritual responsibility.” Futurpointe is committed to building new audiences, by creating engaging and uplifting works of extraordinary artistry.
“Lots of Hugging”
According to Gage, “what makes us unique is our approach. We have roots in the Caribbean, and there aren’t that many companies of colour to begin with; we represent a diverse cultural experience that the Caribbean has afforded.” N’jelle studied in Cuba and Jamaica, so she is very much a child of Caribbean ethos. “Living in Jamaica you are accustomed to different cultures such as Chinese, Indian, Black, White – everything”. She explains that Futurpointe’s approach is one that infuses their movement vocabulary with Folkloric and Contemporary dance techniques, forming a “Contemporary Fusion” that she refers to as “Reggae Ballet.” This wealth of cultural influences, themes and gestures transform into a beautifully sacred language. “It’s a little magic that we infuse into what we are doing, and how we present our work, that makes us stand out,” N’Jelle adds. The team’s core consists of four other members: Guy Thorne, Heather Roffe, Melinda Blythe and Liam J. Knighton. They meet daily, for about four hours to rehearse, review specific techniques, and do “lots of hugging” in preparation for upcoming repertories.
Seeing Art through Life
To Gage, what stands out the most about the Rochester community is that despite long hard winters, the city comes alive with the most colorful Lilacs, Tulips, and Daffodils. Although Rochester is considered a mid-sized town, Gage explains, “it’s a big city with a small town feel, and within those limits there is a large amount of artistic expression happening.” She enjoys this welcoming, vibrant, artistic community and its all-encompassing closeness. N’Jelle expresses art through all the veins of her life. “I want to see things, I want to be seen, I want to collaborate, and that works for me, as there is support for it here. People appreciate art, and go out to see it.”
N’Jelle as an Artist
Gage believes it is of utmost importance for a dancer to maintain balance, vitality and enthusiasm. This can be done by having a good mental attitude, connecting to your core, and being mindful of your body. “Think less, feel more, worry less, and release outcomes a bit more every day.” She explains that the older and more experienced she became, the more she realized that the outside is a reflection of the inside. It is important to concentrate on your own personal peace in the midst of a tornado.
“Think less, feel more, worry less, and release outcomes a bit more every day.”
“Find a spot and work from your centre,” she advises. Gage believes that by turning off her inner dialogue, and tapping into her inner core, she is able to find calmness and access to the wisdom she needs to maintain her body. “I turn off my inner dialogue by meditating. Every day, I take at least 20 minutes somewhere sometime to observe my thoughts rather than getting caught up in what is being said.” She finds a quiet place deep within herself, where she becomes in touch with the wonders of life that is available within and around her.
Gage explains that she has had a lot of help over the years that shaped her into the artist she is today, from working with L’Acadco Dance Company (Jamaica) to being surrounded by dancers from the National Dance Theater Company (NDTC), and working with her peers. However, a pivotal moment she shares was when she disassociated herself from her dance identity. “Being outside of the art world and then returning is one of the things that molded me into what I am today.” A new perspective had been revealed to her and it’s then she understood what it meant to express herself as an artist.
We can anticipate lots from Gage. When we asked her about the legacy she hopes to achieve fifty years from now, she speaks sanguinely, comparing it to Reggae. “Reggae is an interesting thing,” she says, “It has inundated peoples and cultures everywhere. It has this amazing impact, and how it did that was through a message. The message speaks to enlightenment, and making life and love high on the priority list.” Similarly, this is the message Futurpointe intends to spread, using dance as their medium. Gage imparts her final bit of advice, “In this journey you must believe in yourself, you have to be able to say what you are, who you are, and believe that you are the best.”
“Reggae is an interesting thing, it has inundated peoples and cultures everywhere. It has this amazing impact, and how it did that was through a message. The message speaks to enlightenment, and making life and love high on the priority list.”
Gallery Scene: The First Cut
By Tovah-Marie Bembridge
Enter a world of extraordinary possibilities where the boundaries of paper are ripped to shreds. The First Cut exhibition featured the works of 31 international artists who cut, tear, fold, sculpt and otherwise manipulate the ubiquitous medium of paper to create intricate and detailed works of art. From fantastical worlds and whimsical fairytales to installations commenting on globalization, ecology, power, sex, slavery and knowledge, this exhibition was truly an exhilarating experience. The exhibitionâ€™s title, The First Cut, refers to the initial act necessary for the creation of the works of art on display. This destructive action, which has dark and violent undertones, also represents a new beginning, making way for the transformation of the mundane into the extraordinary. Loosely arranged around five thematic concepts, the exhibition takes one on a thought-provoking journey of incredible creativity and imagination.
Imaginary Worlds The works featured under the theme Imaginary Worlds explore the boundaries of our perceived notions of the world.
Papering the Body
Papering the Body features artists who create dresses and shoes from paper.
Drawing with a Knife
Drawing with a Knife encompasses twodimensional works accomplished with a scalpel as the tool of choice.
Off the Page
Off the Page reminds us that books are a major source of inspiration for many of the artists. This refers not just to the ideas contained in the books but the use of the physical books themselves as the artistâ€™s canvas.
Mapping New Territories
Mapping New Territories features works that use maps and currency as their medium for expression. The First Cut canvasses new ideas of how paper can be used as a medium for expression and commentary. The exhibition, which opened at the Manchester City Galleries continues its tour of the United Kingdom at the Djangoly Art Gallery in Nottingham and the Southampton Sea City Museum.
Within th e lush an da of the an cient May mple bosom of th e Mesoam a. The M how the M aya erican lan aya lived dscape, li has taken had no centralized contours e the sac a governm rch of red monu ent, and work and present day Centr aeologists years o ments s o unearth f careful r al Americ architectu ing clues esearch, o a. From p re reveal and crea as to re-classic v dynamic tive expr changes. to post, p er and across the w ession w helped to T ere impo r re rtant featu hese changes sugg e-Columbian May ide Unfortun create what Maya a craft e r s e t s that deve ately, the o s f o cieties m Mayan cu lo re is still s p in a y lt g u h a re ave looke r o much th d like at th . These discover tistry at we do ies have e height o not know f their civ about the ilization. se ancien t people.
One of the harder myths to bury has been the belief that the Maya either vanished or were wiped out by European explorers. The truth is, by the time Spaniards arrived to this part of the world, the Maya had already largely abandoned their solemn stone temples. Furthermore, they did not completely nor mysteriously vanish into the interior jungle landscape. Many of them resisted conquest in the years following European arrival and continue to live throughout southern Mexico, Belize, Guatemala, western Honduras and El Salvador - all regions known to have been inhabited by their ancient ancestors. Some of them live in contemporary urban settings and are very much involved in all the trappings of modern society and global culture; while others prefer to live traditional lives in rural settings - farming and observing many of the values and customs that have been passed down orally for many years. The Maya, like many of the great ancient civilizations, showed remarkable skill in the areas of arithmetic, cosmology, architecture and the measuring of time. Lesser talked about, but equally noteworthy, is the fact that the Maya were quite proficient in the area of medicine and healing. Hence, this current wave of practices by hipster, holistic healers is something that most ancient cultures, including the Mayas, used for centuries, where treatments came directly from the earth itself.
The Maya, like many of the great ancient civilizations, showed remarkable skill in the areas of arithmetic, cosmology, architecture and the measuring of time. Lesser talked about, but equally noteworthy, is the fact that the Maya were quite proficient in the area of medicine and healing.
The Mesoamerican landscape - of forest, savannas, swamps and valleys - supplied the ancient Maya with both food and medicine. Traditional Mayan healing practices incorporated the earth’s natural elements; earth, air and fire, with herbs, tree barks and various plant sources. In fact, the “modern sauna” is an ancient practice. Similar to the modern day sauna, Maya “sweat baths” or Temazcal as they were called, consisted of stone walls and a ceiling with a small opening. Water was poured through the small opening on the roof onto hot rocks below, and the steam that rose was believed to purify and bring about healing by sweating out the body’s impurities. Less a myth, and more a misconception, is the belief that the Maya lived as we do. In many ways they did. Their societies had structure, they had families, they got married, went to war and they enjoyed, believe it or not, a good ball game too. Our games however, hardly qualify as blood sports. In the Maya ball game, Pitz, winners were sacrificed to the gods in order to secure favour. These blood sacrifices are no Maya myth. Blood, as the literal essence of life, was believed to be the principal food of the gods. A request from the gods would require either the blood of rulers, human sacrifices, or both. But don’t feel too bad - sacrificed victims were believed to enjoy great happiness in the afterlife, having made of course, the ultimate sacrifice in service of their people and in appeasement to the gods.
And finally, perhaps the biggest myth of them all the end of the world according to Maya prediction. Chalk it up to a few misguided new agers maybe, but is there anything to suggest the Maya actually predicted the end of the world? No. There isnâ€™t. So what caused all the confusion? Well, the Maya had a unique view of time and the cosmos. They did not perceive time in the way that we do, as linear, but rather they saw time and events as occurring in cycles. The Maya believed that supernatural forces controlled time within the universe and by observing what they viewed as celestial beings, i.e. the sun, the moon, the planets and the stars, that they were actually gaining clues and insight into various cycles, very important cycles, which they could then use to better understand both their environment and the gods. So there you go, what the Maya actually predicted was the end of another creation cycle and the beginning of a new one - not the end of the world.
Their societies had structure, they had families, they got married, went to war and they enjoyed, believe it or not, a good ball game too.
Even with all the clues they left behind, there is still so much that is unknown about the ancient Maya. Why did the Maya abandon their ancient cities? What is the crystal skulls myth? Is there really such a thing as a skull of doom? Maybe one day science will provide us with the answers but for now, the ones we have will have to do. Or, maybe, they know what every good storyteller knows, that everybody likes a little mystery.
Cultural Voice News Cultural Voice Roams Spain’s Artistic Treasures
Editor’s Desk Cultural Voice witnessed the unravelling of fresh, eclectic creative businesses at “Zinc Shower,” an event which was held April 11-12, 2013 in Madrid, Spain. The event brought together some of Spain’s most promising young entrepreneurs in the world of the Creative Industries. Innovative teams presented a varied range of ideas, products and services, regaling and intriguing attendees with their novel ideas and approaches to interacting with the Creative Industry marketplace. The setting for this occasion was an unconventional venue, an abandoned slaughter house known as the Matadero, which itself spoke to the distinctive and creative character which came to define the high calibre event.
Kehinde Wiley Captures Jamaican Lifestyle
Concept NV facilitated the visit to Jamaica of renowned New York based portrait painter Kehinde Wiley, April 22 to May 05, 2013. This exploratory visit will facilitate preparation for ‘The World Stage: Jamaica’, a portrait exhibition to be presented at the Stephen Friedman Gallery in London, October 2013. Mr. Wiley’s portraits are typically based on photographs, and include heroic portraits which address the image and social recontextualization of primarily black and brown young men in contemporary culture. Over the years his extensive ‘World Stage’ series has expanded to include models from countries such as: China, India, Israel, Brazil and Senegal. Jamaica will now be added to this venerable line-up. During his visit, Wiley conducted photo sessions with people of interest whose portraits will be displayed in ‘The World Stage: Jamaica’, exhibition in London. He immersed himself in the island’s cultural offerings by investigating sites of historical significance and observing expressions of contemporary Jamaican life.
Tashkeilâ€™s Creative Space
Tashkeil, a Cultural Voice eZine partner, is the first Middle Eastern platform to help Creatives succeed by equipping, facilitating and fostering them to reach their full potential. Tashkeil focuses on guiding and incubating Creative Entrepreneurs. Tashkeil hosted a series of design workshops, seminars & an exhibition on the 4th-7th of May, 2013 at The Creative Space titled Design Road. The workshops topics included Retail Design, Window Design, Fashion Branding, Fashion Exhibition and Cool Hunting. Design Road enabled participants to sharpen their talents and increase the skills needed to attain a higher level of creativity. By providing an open dialogue with designers and artists, they are able to influence their surroundings and as a result, help enhance the design culture in participating countries.
Cultural Events June-July Australia’s largest and most exciting contemporary visual arts event, the Biennale presents performances, forums, film screenings, family events, guided tours and other special events, all FREE to the public. What: Biennale of Sydney Where: Sydney, Australia When: June 27, 2013 – September 16, 2013 The Mori Art Museum presents diverse artworks that explore the varied and complex forms of ‘love’, from romantic to familial, selflove, virtual love, and love and peace. What: Tokyo – Mori Art Museum Exhibition Where: Mori Art Museum, Tokyo, Japan When: April 25, 2013 – September 1, 2013 L’Acadco – A United Dance Force, for their 30th anniversary celebration of dance presents “WAVES OF PEARLS,” featuring special performances for three nights, with three different shows. What: Waves of Pearls Where: The Phillip Sherlock Centre, Kingston, Jamaica When: June 28, 2013 – June 30, 2013
What: Dynamo, Espaceet vision dansl’art de nosjours à 1913 - This is a show where shines, shivers and glows come to the Grand Palais in spring, celebrating the conceptual and visual fireworks of perceptualart. Where: GaleriesNationales du Grand Palais, Paris, France When: May 30, 2013 – July 21, 2013 What: 50 Greatest Photographs by National Geographic – Thistraveling exhibition showcases some of National Geographic’s most-remembered and celebrated photographs from its 125-year history. Where: Franklin Institute, Philadelphia, United States of America When: May 11, 2013 – October 6, 2013 What: Paris Opera Ballet School Exhibition – On the Occasion of the Tercentenary of the ÉcoleFrançaise de Danse, the Opéra National de Paris and the BibliothèqueNationale de France are retracing the history of the Ballet de l’Opéra, from Louis XIV to the present day. Where: PalaisGarnier, Paris, France When: June 5, 2013 - September 1, 2013
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