Tribe, Your Arts and Culture Source: Winter 2011 Issue

FREE Winter 2011 Issue

Arts, Culture, Ethnic Dining & Shopping.

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WINTER 2011

Tribe: making it more than a dream

Since childhood, I have always been captivated

by culture. In middle and high school, I dabbled in model making, painting and photography. College opened the door to multicultural awareness. I used to sample various ethnic foods because they provided an entryway to tastes, smells and sights unlike the traditional Latin food to which I was accustomed. It was an inexpensive luxury. The quest was then, as it is now, to understand and appreciate traditions different from my own.

Our mainstream culture of mass consumption offers the intellect little more than unfriendly indifference. In these trying economic times, it seems many are experiencing cultural entropy. The primary goal of Tribe is to fuel the mind and stimulate the senses by exposing the rich cultural tapestry that surrounds us.

I am not aware of a publication like Tribe. My goal the cultural diversity available to all of us. Sure, we want to enjoy dumplings for Chinese New Year, corned beef and cabbage for St. Patrick’s Day and a margarita for Cinco de Mayo, but I want Tribe to go deeper and wider. I want to discover the basic meanings of each celebration from an anthropological perspective. Let us discover the beauty of our collective humanity and its expression of art, culture and way of life. I want Tribe to enthusiastically nourish the culturally neglected among us. I hope you enjoy each section: arts, culture, shopping, music, and dining. Welcome to Tribe.

Tony Aguilar Publisher

PUBLISHER & EDITOR-IN-CHIEF Tony Aguilar SENIOR EDITOR Soren Sorensen EDITORS Peter Edwards Joseph Morra ART DIRECTOR Kaycee Morin CONTRIBUTING WRITERS Genette Nowak Jason Perez-Dormitzer Soren Sorensen FEATURE WRITERS Chad Beauchemin Sussy Santana PUBLIC RELATIONS Ruth Davis RESEARCH & DEVELOPMENT Kim Polson CREATIVE & PRODUCTION DIRECTOR Tony Aguilar

New Flavor Media New Flavor Media, LLC 151 Broadway, Suite 200 Providence, RI 02903 401.578.2952 TribeRI.com

Cover: Aaron Douglas, Building More Stately Mansions Image provided by the Museum of Art, Rhode Island School of Design The original content in Tribe, including but not limited to text, photos and graphic elements, is the sole property of New Flavor Media, LLC. Reproduction without the permission of the publisher is prohibited. views expressed Tribe are those of the author and do not necessarily represent the views of New Flavor Media, LLC. For advertising partnership information, please contact us for our Media Kit which contains information on demographics, ad sizes, rates, print run and areas of distribution. Tribe reserves the right to refuse and edit any editorial content. Efforts have been made to verify information contained in Tribe, both in print and online. Tribe does not assume responsibility for errors, omissions or damages that may result from use or misuse of information contained herein. Be good to the environment and recycle this magazine. All brand name, product, company name and registered trademarks are the intellectual property of their respective owners. Tribe Š 2011 New Flavor Media, LLC. All rights Reserved. Photo Credits: Page 7: Thinkstock/ Jupiter Images, Page 23: Think Stock/George Doyle, Page 31: Thinkstock/Hemera, Page 38: Thinkstock/iStock photo.

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CONTENTS ARTS

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A Renaissance at RISD Museum

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Bannister: The Story Behind the Name

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Man’s Second Sin Short Fiction by Chad Beauchemin

44 Simple Sentences for the English Learner Poem by Sussy Santana

CULTURE

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AS220: Think, Make, Do

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Winter Solstice Celebrations

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The Fantastical Lion Dance

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MLK: Striking a Delicate Balance SHOPPING

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A Warmer Shade of Winter Blues La Piñata Center & La Tiendita

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Embracing Life with Great Design Phillip Sawyer Designs MUSIC

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Omar Sosa Talks to Tribe DINING

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TribeRI.com

Restaurant Guide

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WINTER 2011 | CONTRIBUTORS

CONTRIBUTING WRITERS Genette Nowak Genette Nowak spent seven years weaving the tunnels of New York City in order to unearth her creative process. She ranted and raved in a music column, reported on MercedesBenz Fashion Week, interned at Zink Magazine, taught innercity and ESL students in Chinatown, but most importantly, Connecticut Review Carrier Pigeon. Currently she teaches at Western Connecticut State University, and spends her free time communing with Nature and succumbing to her writing.

Jason Perez-Dormitzer Dormitzer ning work has appeared in American Banker, Taunton Daily Gazette, The Standard-Times, Brown Medicine and the Providence Business Journal from Rutgers University.

Soren Sorensen After earning a music degree at Berklee College in Boston, original music has been heard all over the world on ABC, airing Redlight music, that was selected for the 2009 Cairo International Film Festival, the 2009 Woostock Film Festival, the 2010 dence, Rhode Island.

TribeRI.com

The Key to the WorldS. Embracing DifferenceS.

La llave de loS mundoS. Acoger laS diferenciaS.

Celebrate the value of diversity and the power of language through literature.

The Key to the Worlds. Embracing Differences. La llave de los mundos. Acoger las diferencias is the new bilingual children’s book brought to you by Project Crisol, a Providence-based educational collaborative, committed to establishing a new literary trend that celebrates the value of diversity and the power of language.

Authors Nuria Alonso Garcia and Mandee Adams craft stories of cross-cultural relevance to which children of any background can relate. Illustrator Jessie Lee Perry frames these tales with her innovative approach to drawing, guiding young readers through worlds that differ from their own. The narration and illustrations blend organically into a universe where reality and fantasy coexist harmoniously. The book is published by New Flavor Media.

To learn about Project Crisol and to buy the book online, visit projectcrisol.com.

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WINTER 2011 | ARTS

he galleries dedicated to the artistic sensibilities of the twentieth century at the Museum of Art, Rhode Island School of Design (the RISD Musuem) now reveal a more complete story with the modern vision of Aaron Douglas (1899-1979), told through his oil painting, the cover image for this issue, Building More Stately Mansions to be excited about this painting—most notapainting was completed in 1944 as a variation on a larger canvas of the same name that is a part of the permanent collection at Fisk UniverBuilding More Stately Mansions was originally purchased by a colleague family until February of 2008 when it went up for auction at Swann Auction Galleries in New dred years of art that uniquely colors American history.

Sculpture, explained that the RISD Museum had been looking to enhance and add diversity to ture, Negro Head (1922), from RISD alumna Nanof African and Narragansett Indian descent and with racial discrimination and a personal ambivaunsupportive of her artistic inclinations.

by Romare Bearden: Tidings (color photo offset lithograph, 1973), Man with Moustache and Pipe (graphite, 1940), and Ritual (collage, 1965).

Bearden, a famed humanitarian, wove his broad intellect into his visual art and literature. Works Tribe seeking an Aaron Douglas exclusively but upon learning of the auction of Building More Stately Mansions, they seized the opportunity and were Building More Stately Mansions was heavily inDouglas came of age. In 1925 the Kansas-born Douglas moved to New York City during the emerging and hopeful cultural movement some-

ARTS | WINTER 2011

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times referred to as the New Negro Movement.

In New York, he was able to immerse himself in the growing cultural movement now known

and he studied at AcadĂŠmie Scandinave and Columbia University. At Fisk, Douglas served as an artist in residence and later became an assistant

thread in an intricate pattern made up of artists, writers and musicians, a cornucopia of progressive and proactive creativity. In the coming years he illustrated for magazines and books, painted canvases and murals and studied under the German-born American artist Winold Reiss who encouraged Douglas to unearth his African

celebrate African heritage, the history of his people and how they emerged and would continue to emerge. Douglas was able to fuse tradition and modernism to demonstrate adaptability symbolized in Building More Stately Mansions by his use of geometric repetition and bands of color.

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he initially had no interest in retelling African culgrowth and constant desire to become more educated, Douglas was able to blend his African ancestry with his knowledge, allowing him to develop his modernist style.

As seen in the painting, Douglas was inspired by the silhouettes and architecture of the city that blossomed around him.

advice of racial apologists and, without a clear conception of African decoration, attempted to imitate in stilted fashion the surface patterns and geometric shapes of African sculpture. It emerges of forms which, though dismemberment of tradi-

the concentric bands move throughout the canvas to sciousness and intellectual

According to the Building More Stately Mansions was valued between $100,000 and $150,000, but was purchased by RISD for $600,000, a record for an

interest in history and human achievement are about poetry, it is about the continuity of huBuilding More Stately Mansions allows its audience to feel the experience, intellect and inspithe online publication Art Daily labor of black men and women in the creation of architectural monuments, silhouetting their Silhouettes hold various implements in hand and appear to be dancing into the future. As they rise from the bottom of the canvas they are tied to hopes and dreams. Building More Stately Mansions sion of creativity.

Constantly on the hunt for information on art, Aaron Douglas was a Barnes Foundation Fellow

Lippitt Fund. Frederick Lippitt, before his death in 2005, was a longtime friend of RISD and forof art into their collection. t Building More Stately Mansions can be viewed at

permanent collection. For information visit RISDMuseum.org.

Images provided by RISD Museum.

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WINTER 2011 | CULTURE

AS220

Think, Make, Do

AS220 Youth Studio, expects people to take away from the of 2012.

Lapham told Tribe program to photograph their own lives. I think they given the artistic tools to capture and reproduce their own lives, the resulting images provide a view of city life that comes directly from the streets and Think, Make, Do, the exhibit will include student work Think, Make, Do runs will be paintings, photography, performance art, digital media pieces and writing produced by AS220 a population that has little or no exposure to the arts.

CULTURE | WINTER 2011

many of its students from the Rhode Island Department of Children, Youth and Families, including youth in foster care, group homes and correctional facility in Cranston.

AS220 goes beyond teaching its students how to create art. Think, Make, Do is an example of how these students bring their work to the public by hanging and promoting it. Lapham said the Studio is enhancing creative practice and exposing young people to expertise they can take with them throughout their lives, whether experience the process of putting together a show, they realize they have skills they can use in In addition, students get a chance to spend a number of years in the program, which gives them time to hone their skills and develop positive relationships with their teachers. Gianna Tribe that the relationships between teachers and incarcerated youth is particularly representative

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girls against a backdrop of city homes, all in a

photos a layer of local appeal. Rodriguez said the portraits put together by her seventeen students represent a cross section of student you can see the difference between a portrait created by a Cranston public school student, for

just three months, their skills have increased In addition to Lapham and Rodriguez, the the computer lab known as the Fabritory, Emon Mahoney, head of creative writing and Anjel Newman, head of the performance program.

kids how to create art, but we are also mentors to

participated in a travelling show with the Rhode

the relationship after they are released. Think, Make, Do will speak to the community we have

and New Urban Arts.

She said students from her classes have created a wide variety of artwork for the exhibit.

Council on the Arts (RISCA), said AS220 was selected to have their own show because they promote the same ideals as her organization.

and abstract art, created not only with paint but also with maps produced by the students.

thinking that this she said referring to content falling outside of the Lapham described some of the work produced Tribe some artwork inspired by the different cultures and

educational piece is exactly what we want to Think, Make, Do is part of the

two feet of wall space for exhibition. networking and showcasing their work to the public with the vision that they will continue sharing it at future venues and events outside the develop minority artists and curators throughout program, which started in May of 2011, featured works and curators from diverse backgrounds.

photographs document a Narragansett Indian

Native American art of Rhode Island. t

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WINTER 2011 | CULTURE

Winter Celebrations

by Gennette Nowak

Las Pasadas in Latin America & Spain

Background: Starting on December 16, Christmas festivities in Spanish-speaking countries build up over the course of nine days of candlelit

Chinese New Year

lead up to Christmas Eve, symbolize the nine months of pregnancy.

Background:

Tasty Treats: Feasting is a very important aspect

Lantern Festival, marking the end of the winter season.

(punch), pork and chile stew) and tamales.

Tasty Treats: mandarin oranges, uncut noodles, dried fruit, taro cakes and turnip cakes.

Decorations: display a nativity scene and light candles inside of shaped like the Christmas star.

Decorations: Red oval lanterns hang in homes.

Fresh blossoms are placed into pretty vases.

Unique Customs: Children gather to reenact the

strung about.

dress in colorful, festive costumes and are followed by even younger children posing as angels. During

Unique Customs: the lion and dragon dances. Elders place money into red envelopes and present them to their children hoping to pass along good fortune. Families take part in a thorough cleaning of their home to sweep away any bad energy that maybe lurking.

traditional songs as they move from house to house looking for lodging. In Mexico, this tradition dates back to the sixteenth century and commemorates the birth of the Aztec sun god.

CULTURE | WINTER 2011

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Kwanzaa

Background: December 2011 will mark th

was established in 1966 by Maulana Karenga, a former chairman of African Studies at California State University, Long Beach. After the Watts Riots in Los Angeles, Karenga sought a holiday to unite the African-American communities of the United States. Kwanzaa is a combination of the harvest celebrations of the Ashanti and the Zulu.

Tasty Treats: greens are traditional African delights. In the 1980s macaroni and cheese found its way to the Kwanzaa table.

Makar Sankranti

Background: Makar Sankranti is the major lunar calendar, when the sun moves from the it commemorates the beginning of harvest season and the cessation of the northeast monsoon in South India. It is one of the few inner peace and the relation of the self to the

Decorations: the major symbol of Kwanzaa. Families also decorate using colors such as red, black and green. Red represents blood that was shed for freedom, black represents skin color and green is symbolic of the fertile land.

Unique Customs: Candles are lit for each night of the holiday observed annually between represents a principle: unity, self-determination, collective work and responsibility, cooperative sixth night they eat a large feast called Karamu.

Chanukah in Israel

Background: Chanukah is the Festival of Lights.

those who have contributed to their wellbeing.

Gratitude is offered to the sun as a symbolic appeal for a plentiful harvest.

Chanukah celebrates the liberation of Israel

Tasty Treats: Dishes vary from region to region but often families eat bandaru laddu kajji kaayalu (deep fried pastry) and other sweets made with sesame.

menorah, but only a little bit of olive oil was found. Miraculously, the candle burned for eight nights.

Decorations: their doorways with leaves from the banana and the mango trees.

and jelly donuts.

Unique Customs: Many celebrate happy moments and bask in the

Tasty Treats: Anything that is fried in olive oil.

Decorations: Unique customs: For eight nights, families gather around the menorah and say a prayer over the candles. Children spin the dreidel and receive gelt, chocolate coins, from older family members.

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WINTER 2011 | CULTURE

The Fantastical Lion Dance

by Gennette Nowak

I

negative spirits that may be lurking, to wish good

bold beats; its nature is quite impressive in its

Because the reason for celebration differs the

Lion Dance is dedicated to the ancient art form that incorporates the movements of martial arts and dance to celebrate various events, both on

For example, if they are dancing at the opening of a new space, they will cleanse the threshold.

that has been committed to the spirit of the Chinese Lion Dance since 1996. Students pass down their routines and with every year their performance evolves into something that much more special. with the Dragon Dance. While both dances are celebratory and an intricate part of many Chinese festivities, the Dragon Dance involves a dragon while the lion dance—you guessed it— the lion and hoisted high into the air needing it. As for the lion, it only takes two people to recreate the personality and emotions of the animal—one for the head, one for the tail.

Chinese New Year is right around the corner, the dragon signifying ambition and dominance.

In the beginning of the routine the objective uses humor and wears what Li refers to as a lion encouraging movement, dance and energetic tricks. As drums beat and cymbals crash, lettuce is also used to tease the lion; it is suspended and persuades higher acrobatics. After much trickery the lion eats the lettuce and spits it out at the

heads in different colors; they are quite sizable constructed of rice paper and bamboo involving a network of pulls and rods that allow the dancer

are said to not fear any challenge that may come celebrate Chinese New Year is the Lion Dance.

Brown senior, Brian Yang explained to Tribe,

performers are able to evoke facial expressions

Year because it chases away the evil spirits and

dancer who functions as the body of the lion. it were to dance.

Chinese New Year but the dance is used at any

represents the academic scholar, the red one

junior, Marvin Li.

Different colors represent different things.

the Mid-Autumn Festival, a harvest holiday, is another celebration that is often associated with weddings, religious occasions and when a new

different tails, different faces. Some are lighter allow us to do different moves. Some styles

incorporate more acrobatics, like the Malaysian styles. But what we do is based on performance for cultural events that is much different than competition where the dancers are So, where does this legacy come from? While there are many variations to the story according to region, Li tells the version he is familiar with. Legend has it, there was a monster the boisterous lion. Another version of folklore involves the him and out of nowhere an unfamiliar creature chased the

subjects believed the creature was from Western civilization. and colorful. Its depiction in the Lion Dance is based on

and elementary school students and other organizations to help

For more information and to watch clips of this lively, traditional dance please visit: Students.

Brown.edu/Liondance.

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WINTER 2011 | ARTS

woman named Christiana Carteaux in 1857 and Rhode Island became Edward Mitchell BannisKnown primarily for landscapes, Bannister was drawn to the gauzy realism of the Barbizon School, a mid-nineteenth century French move-

had little artistic training to speak of—the Fugitive Slave Act of 1850 would probably have prohibited him from visiting a museum.

So it often comes as a shock to people when

Montford told Tribe, it sometimes obscures the him being human has sort of not really been emlisher of The Liberator around a table with all those folks as an equal,

by Soren Sorensen

N plaques, engraved stone or other prominent sig-

nage in and around building entrances, beneath countless names, some likely familiar to you but maybe many more that are unfamiliar. College campuses are perfect for this. At Rhode Island

someone, and each individual namesake has a story—some more singular and improbable than the others. Such is the curious case of Edward Mitchell Bannister, the namesake of Rhode IsE.M. Bannister Gallery.

Resources among them—but Bannister Gallery and the story of the painter for which it is named are a little different.

Edward Mitchell Bannister was born in 1828 Barbados in the West Indies. By 1844, both of was living in Boston. Between odd jobs, including a stint as a cook at sea, Bannister learned to paint, met and married a wealthy Rhode Island

life would be incomplete without mention of his him. Ray Rickman, president of the Rickman Group and former State Representative from Tribe, feminist statement, was made by Edward Ban-

A few years before they were married, Bannister worked for his future wife in a beauty salon she owned on Washington Street in Boston.

She sold restorative hair treatments, perhaps not Sweeney Todd history and all things Bannister, Rickman told Tribe the empty containers that once held product sold

a very unique position because he was younger than her and she bought him a yacht so he could

eral local patrons and he did make money from his art. But his wife really was the breadwinner.

ARTS | WINTER 2011

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sitting at the breakfast table having a conversawomen national Exhibition of Arts, Manufactures and

woman president, showed Tribe Bannister works: The Woodsman (center) and Meadow Landscape

biographical information but when the judges

quently rural and outdoor, owe as much to the Barbizon School of mid-nineteenth century painters as to any other movement that his life

tors, fellow painters, insisted that the award be Under the Oaks, is now lost.

Rickman told Tribe

racism of the day. It was a blind

Rickman imagines that the wind tional notoriety—must have certainly helped push the Rhode Island School of Design (RISD) into existence in 1877. But, as Rickman is careful to point out, Bannister was of black scholars say that Bannister

Adelia Rowe Metcalf and the Centennial WomIn some ways, Bannister seems to have led a charmed existence, even given his relatively to assert himself and speak on his own behalf

in Europe, his American tonalism exhibits characteristics of the BarTribe citing Charles Walter Stetson and George William Whitaker.

Ray Rickman concluded that, in terms of notoriety, Bannister ranks artists, alongside Gilbert Stuart, responsible for the George Washington portrait on the dollar

the third or fourth most collected Rhode Island Edward Mitchell Bannister died in 1901 and the inscription on his grave marker at North

ery was still an institution and he came into this

of this pure and lofty soul, freed from the form which lies beneath the sod, have placed this stone to mark the grave of him who while he portrayed

In 1880, Bannister and a small group of Rhode Island artists and collectors, both profes-

1970s. Rhode Island College named its gallery for

Club, the second oldest group of its kind in the United States. Alice K. Miles, who served as the Tribe,

erated ceaselessly ever since, featuring between eight and ten exhibitions every year.. t Images provided by

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WINTER 2011 | CULTURE

by Soren Sorensen

Martin Luther King, Jr. National Memorial was formally

Aside from the new MLK Memorial, Ameri-

and memorials in and around the National Mall have come to symbolize citizens and events of immense historical importance to the United States. For many visitors to Washington, these spaces are sacred and, for them, the very act of traveling there is a pilgrimage, not unlike a visit to the grave of a loved one. For others, the National Mall is not much different than a shopping mall—a place to wander around on lunch break, read the paper or talk on the phone.

Regardless of the disparities, these contradictory uses seem to coincide harmoniously. As much as we hope others might mourn or pay tribute in a manner we prefer, these behaviors are as diverse as the citizens that call the United States

public on September 12, 2011. Both of these public works of art, quite different in scope and meaning, represent an occasion to observe the

prominence.

this magnitude, often fraught with controversial and sensitive subject matter, travel rocky roads to completion. foot statue of the celebrated civil rights leader, carved from 159 blocks of granite. A 450-foot crescent-shaped inscription wall allows visitors not

CULTURE | WINTER 2011

has a unique understanding of the challenges facing public works like the MLK Memorial.

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on the MLK Memorial, has been criticized for, among other things, his nationality?

Sculptor Ed Dwight, who has made several statues of King during his career, derided the de-

told Tribe ed African-American sculptors who said, ‘Wait a minute. What about us? Why in the world is this being built by a Chinese guy? We are capable

idea of having this thirty-foot-tall sculpture of

public works of art in which there are many people who will ultimately, more times than not,

Washington designing their own monuments, for Mr. Dwight, consideration of what King himself might have wanted seems to be of paramount

far away from each other geographically, seem at

of a thirty-foot-tall statue of himself might re-

that in the land just northeast of the Lincoln MemoMemorial now seems to have outlasted the controversies that permeated its design and construction, to the point where it now exists as an almost unassailable example of public art.

Another artist, Gilbert Young, started a proAfrican American be hired for the lead sculptor position. In an online essay entitled The King Monument: The Illusion of Inclusion posted to Mr.

pecially considering that Yixin, the lead sculptor

design and the recent uproar over Yixin are not of the product, not the racial or ethnic group of argument to make but it can evoke a lot of Tribe history and its rough journey to fruition have

don’t see a controversy with respect to a public

book, blogs with anonymous comment threads porters and experts, judges and juries. In a recent Image provided by MLK National Memorial Foundation.

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WINTER 2011 | CULTURE

This American Life can sympathize with anybody who feels that they stand what they were saying and I think a lot of

it. In fact, the public is overwhelmingly accepting memorial has two large wings coming out behind the statue and the wings have quotes from Martin

studied Gandhi and he had incorporated some of the great thoughts of civilization into his personal

couple hours just hanging around the MLK Medisappoint, infuriate and miss the mark for some strive eventually takes a back seat to what is left after the stone and metal tributes fade into the D.C. landscape years after the fervor subsides. t

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Buying

a unique gift can be a challenge.

the tree means getting away from the usual big-

carries its own sense of character, a keepsake that is a story unto itself, an exceptional choice that inspires a search for meaning beyond its surface.

Tribe visited two Rhode Island businesses that specialize in presenting their clients with out-ofLa Pi単ata Center & La Tiendita carries a vibrant line of products from Guatemala, everything from clothing to home decoration.

Philip Sawyers Designs specializes in handmade clothing for men and women that focus on artistry as much as fashion.

Sussy DeLeon brought a piece of Guatemala

masks positively vibrate with liveliness.

DeLeon told Tribe she wanted to bring aspects DeLeon, who is of Mayan and Spanish least twenty different Mayan cultures. Each has its own dialect, celebrations, food and includes diverse family traditions, food, and native birds. All of these are embroidered in the handmade

to the United States with La Pi単ata Center on

2009, she expanded her product line to include handcrafted goods from the Mayan tradition in her newest venture, La Tiendita

blouse for weddings and another for birthdays.

Whatever the occasion, each garment epitomized blouses were then turned into pillows to be sold recycle what they already have because it takes

Center, are ablaze with every bright color under the sun. cozy winter hats, scarves and shawls is perfect for New Eng-

DeLeon said that the women who make these items may have children in school or other resposibilities leaving little time to recreate their wares. Still these are the items she searches for

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WINTER 2011 | SHOPPING

other piece of the country she wanted to bring to the United States, particularly after looking for women to produce items using traditional techniques and incorporating the latest in colors and product lines, which can be a blessing for DeLeon because there are always products in the pipeline from which to choose.

t La Pi単ata Center & La Tiendita 300 Broadway Providence, RI 02903 | (401) 421-5180 pinatacenter.com

the country where artisans sell their handmade DeLeon told Tribe

For instance, she recently received a shipment Tribe

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WINTER 2011 | SHOPPING

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SHOPPING | WINTER 2011

Embracing Life

with Great Design

All the items at Philip Sawyer Designs in Newport are produced in a renovated mill on locally crafted, eco-friendly clothing that looks good and, as importantly, honors the intricate relationship between a design and the complexities of the human form.

body, a complex arrangement of curves and lines that Sawyer says demands clothing that respects its wearer. Sawyer saw the relationship as intriguing, more intriguing than the sculpture class he took while attending Wheaton College.

Sawyer told Tribe

interested in designing clothes.

Song of Saigon, the account of her escape from Saigon

said he would be deluding himself if he ignored the pulse of the fashion world. the same sea. We are subject to the same culture Sawyer describes his pieces as updated versions inspired pieces like a dress inspired by a seashell.

Sawyer revels in the craftsmanship that goes into

religions, a component of his philosophy degree at Wheaton College, are experiences that they adapt to create clothes with a collaborates to create products that combine her sense of style with his design ideals. Aside from clothing, there are numerous pieces of art and jewelry created by friends of the Sawyers, said and added that self-promotion can be

tables, or there is an emphasis on pretty pieces without attention to why they are there.

right, is seamless and features precisely placed pockets.

Tribe wear every day for many years as opposed to just a single season.

Sawyer said he tries to make his store as ecomaterials to other artists and hopes eventually to use only organic silks, linens and cottons and work solely with natural dyes. Sawyer said that

emphasis on being green means clothes at

are currently expanding the business to include wedding dresses and home dĂŠcor. t Philip Sawyer Designs | 233 Spring Street Newport, RI 02840 | (719) 649-5424 | philipsawyer.com Tribe

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WINTER 2011 | MUSIC

tribe

by Soren Sorensen Cuban born jazz pianist Omar Sosa is a characterized by a seemingly effortless blend of backbeat, swing, blues, bebop and hip-hop. From the meditative solo piano improvisations of Calma to the breakneck tempo and time signature changes of Afreecanos, Sosa has been releasing music at a dizzying pace for the last decade and a half.

Alma Tribe was fortunate

t:

Alma?

der

OS: went to his house to talk a little bit about the

t: So you never heard Graceland when it came out?

OS: Well actually I listened to a little bit but when I left Cuba I tried to focus on the founda-

Fort Apache Band, sampled tracks from Alma and spoke to Sosa at length, via Skype from his home in Spain, about his life in music. t: Before Alma Fresu a lot?

OS: recording, we had already done a tour in Italy and we played in France. I really enjoy playing

have the opportunity to listen to the masters like Monk or Miles Davis. For me, back in the day, it

chemistry when we play and this is something anybody, just to enjoy the music ourselves. You know, jazz and even classical music have become like a strange competition. In my humble opinion all this music should be based on unity and love between the people.

I listen to music from every part of Africa, from a new window in my life. Actually, back to your

express what we feel inside of us. Sometimes we

t: Graceland record and

going to express until the music comes out. If

poppy songwriting with the South African vocal group, Ladysmith Black Mambazo.

OS: You know what? I listen to Ladysmith Black Mambazo. I listened to the roots, but not the where

want to do some kind of established form of music, like pop or something, most of the time you have to write music based on if the people

t:Looking at the notes I made for our interview, Simon.

Graceland at all, to tell you the truth.

piano

OS: sometimes like musicians. You have one idea and, you know, somebody says something and the entire think anybody knows what song is going to be industry, you can make anything come out like the biggest hit in the world. Eighty percent of the music on the radio—nah, eighty percent is t:When friends of mine, especially on Face-

polite—is crappy music, man. t:

and seasons. Sometimes this gives me the feeling that, besides the obvious ways the music business is changing, music itself is becoming a craft and

be enjoyed only for its beauty. Do you think about that in terms of your own work?

OS: Man, that was so beautiful what you just said. really deep what you just said. Actually, yes. Evthrough my soul, or whatever you want to call it, For example, Calma this record. t: OS: listen to my next record Alma pretty much in the same vibe. Even if we have

OS:

try to express how they feel. Most of the time, only a few artists come out with this kind of concept. t: at some point were ridiculed for their derivations people in the 1950s and 60s, familiar only with European classical music or the folk traditions of their ancestors, Miles and Monk may have sounded brainless and silly. Do you feel like intellectual content in music has been steadily declining since Miles and Monk were around?

OS: new world we live in with computers and the internet is crazy and beautiful and complex all

body has access to everything today. You can even solos on Kind of Blue going to play

between one day, one year, and one lifetime. of day or a season or a stage of human existence in your music?

now is struggling just to survive, to put food on survive. Sometimes people put intellectualism

have everything in the computer. A lot of young t: OS: When I started in school, I had to do everything mon, I told you I spent a lot of time listening to jazz to try to learn. But I spent more time just trywhere the music of all my heroes was prohibited.

It was the music for capitalism, for Americans. everything on the computer. Everything. Sometimes we have a situation here with my kids in school with some phrase or something and we go to the internet and there are millions thing happens with art and music. t: OS: Yeah, too many choices. And when you have too many choices, most of the time people will choose the wrong one. t: OS: I wish people would choose the simple one because simple things are the foundation of everything.

OS: thank you to the spirit of life and the ancestors who drive me—to live where I live. You know, the only thing I do is translate what I have in front of my eyes every single day. In the beginning, my idea was only to record Calma for myI was trying to translate, without thinking, what vous because tomorrow I need to go on tour in the United States. If you get the opportunity to see the sun set in front of your face every single Brooklyn, I took a couple of hours and I said to to my wife and we put it on in the car and one

puts music to every moment of the day, in one people feel what I tried to express when I went into the studio. And this is something beautiful. of being in tune with Mother Nature. t:Is Calma doing well?

OS: ished. When I record and the CD has come out, I never listen to it again. t:

t:

OS:

OS: Yeah, the clave. You got it, brother. When people have too much choice, they choose what-

time I look back to my roots, now I see a lot

about to choose. t:Alma seems to have a very early morning feel.

And the titles of the tracks on your last record, Calma seem to superimpose the times of day over

nostal-

With my music, every time I go back and listen, most of the time I tend to be really critical of my work. So I decided when I do a project and

t:

t:

OS: No, not at all and it was interesting for me because I needed to compose the music with my part. I played a Fender Rhodes thinking about playing the piano later. My next record, after Alma, is going to be Afri-Lectric. We recorded it in

OS:

of old school. You got drums with the bass with er. Now with the computer, you play one note, and you can make a beautiful piece with only one

did with Afreecanos because sometimes I want to take out something and the guy mixing it says,

we played together to create a sound with a new

technology. I use a lot of effects and samplers but mostly, I tend to go to the old school. You Mulatos and Afreecanos and it was interesting for me because he has a different approach. When he produces

er. We need to let the spirit talk in the moment.

Sometimes with the new technology, I feel like the spirits are afraid to talk. Sometimes technology cuts their voices.

layers. I think about them a lot in my music. But I tend to present this idea in only one moment, when we are playing, even if I add a little touch with one or two overdubs. And it was interesting for me when we did these projects because it was completely different. We recorded the basic tracks without a piano! I recorded the piano later.

t: music.

your

OS: the opportunity to feel each other closer, to enjoy ourselves with one simple note. Your energy, what happens around you in terms of connection with the supreme force or whatever you want to

humble opinion. t: Alma and your last album, Calma the fact that the titles rhyme, are they related in some way?

OS: Yes. I think that Alma is the next step of Calma

Images provided by

t: week actually.

saying thank you to the sun. Say thank you to the stars. Say thank you to a tree.

OS: people. Solo trumpet! I really love to play with him because his soul is so clean and so fresh.

We did the record in one session of two hours, Alma. Alma we created this environment based on freedom. any

t: Do you still play marimba?

OS: Yeah, yeah! I try on every record to do a little bit. Unfortunately on my last three— Calma, Alma come out at the end of 2012, Afri-Lectric—I really love.

t: What does love mean in your music?

t: piano when you were younger.

OS: what love means.

OS: It was by accident, man. You know, I switched to the piano because I discovered in

t: wanted to make a peaceful record?

OS: deeper, I need to say, every time I leave my village—this is a little village—I see dark faces, man. I see beautiful faces with no hope. And this is young people. And this is a problem, brother. is one of the only things that will move the world ahead. In the big cities—New York, rough people

at least I have the opportunity to express myself how I want through music. A lot of people struggle with themselves and this is why you see violence. A lot of young people are deeply into drugs. A lot of talented people are deeply into Mother Nature, man. Sorry for repeating this over and over but this is what I see every day here. from Cuba, an island, I never swam in the sea.

Actually the beach in Cuba is warm and beautiful and amazing. I never swam! Can you imagine, man? Now I swim almost every day. Now I have my wife every day. Every time we get out of the

them. So every time I walked around the school the day, every day I spent three or four hours piano player and has an amazing salsa band in is called Bamboleo. I remember he was trying to

session for almost a year, every day at lunchtime because that was the only time the vibraphone was free. After this I thought I would like to training. But something I know that comes

t: into your music.

OS: Calma. I went to the studio to reproduce what I feel inside when you express something and you listen know, sometimes some people call me and ask me to reproduce the same thing. I simply need back and transcribe every single note I played and this is going to take me a lot of time. I got a request from a kind of famous French movie called Inside

pieces in my movie but I want you arrange these

you need to learn and respect the elders to see something clearly in front of your eyes. t: ancestors.

OS: Yeah. You know, I need to respect the

t: Improvisation is obviously an important part of your music but talk a little bit more the way you think about the piano.

OS: love the harmonic world. If you look at nature, you see perfect harmony in front of your face waves in the sea. But always in the perfect harmony that Mother Nature gives to you, you have rhythm and you can change this rhythm.

name the elders. t: Now that you have children, how has your practicing, writing and recording changed?

OS: environment and a lovely environment. We enjoy pretty much the same things or at least

t: on the piano?

OS:

but they are really talented in art. t: You told me they paint.

Miles Davis and Bill Evans. In my humble opinion, Bill Evans put a stamp on every single contemporary jazz piano player on this planet, on every one. Sooner or later, somebody needs to come out with a book of his chord positions.

OS: Yeah, my daughter loves to paint. My son crazy inspired everything comes quick and fast. If a song comes to me—even if I need to write

wanted a person who could make the model in a new, different way, with a little classical touch, take it too seriously, creating and studying. I try t: music but also George Gershwin and Aaron Copeland. For some reason, Calma reminded me of The Köln Concert OS:

see my wife coming now to say tell me the kids brother. t: I really appreciate your time.

OS: Actually, I need to say something. With my kids and my family, I try to not have

somebody, I prefer to go more for Randy

my career. When you have high expectation and

our conversation. I took a lot of time to listen one note in the way they do. But I always say

t: You have to go put them to bed.

OS:

Alma, Omar Sosa’s collaboration with Paulo Fresu, will be released in the United States on January 10, 2012.

Sosa’s next band album, Afri-Lectric, will be out in late 2012 or early 2013.

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WINTER 2011 | ARTS

She was always there for me as I was there for her. She knew what was on my mind.

Man’s Second Sin

A

by Chad Beauchemin

will mark the day I bring him back to life.

to be impossible will always appear insane to bound by what seems rational and they will use

over to me and sat on the edge of my desk. Even in her stark white lab coat, she was stunning. She was so happy as this day approached. Every day now she smiled like she was experiencing life for glossed as if at any moment tears could start falling from them, were large and expressive yet in genetics and biotechnology was perhaps only eclipsed by her loving kindness. I was lucky to now a few feet from my own and I could see that she wanted to comfort me.

mathematician Simon Newcomb once wrote a

back, a part of me thought you were in denial, as if you detached yourself from the reality of his death. But as you talked more about it I began

crafts that are heavier than air is impossible. Little did he know that the day after he published his

moment possibly to tame potential tears, and

over his grounded, logical mind. Everything is improbable, and what seems impossible is only limited to how willing one is to believe this and how much effort one expends. could see half the city. All of the other buildings, cars and people were so far below me. It allowed me to take in so much. Every single person down there lived life absentmindedly because they so easily taken away. Why do we exist in this vivid world of pleasure and pain. We learn to love and to hate, and we put things into perspective. If things. Life is good; death is bad. Everything slap. It shows us that no matter how intoxicated we become from our consciousness, we will inevitably lose this momentary ecstasy.

As I sat at my desk dwelling upon these morose predicaments, my wife Eveline knocked on the

ability to do this because I witnessed something seen in anyone else. And all I could think was, I need to do this. I need to support you in this and help you any way possible because, in the end, I got up, went around my desk, and hugged her. in me was, at times, all the fuel I needed to keep I pulled away slightly, held her face between my hands and kissed her softly. and smiled. She was trying so hard not to cry.

I felt she had made a quiet pact with herself a while ago. She had decided one day after our son died that she had shed enough tears for a lifetime.

Even through her emotional struggle, her smile should really head down there if you want to

ARTS | WINTER 2011

30 6

was improvising since I was running late. I could the one who hated talking in front of people.

I smiled at her encouragement and kissed her know a hell of a lot about the science behind it. You always were so good at simplifying its complexity. You could explain to everyone how the chemical composition works in a way they opinions would get drowned out by technical

he spoke with such clarity and charisma that his spontaneous ramblings sounded like a wellrehearsed speech. I listened more intently to what he was saying: a private company that invested in the research and production of anti-venom. As we grew we have broadened our reach by delving into genetic research and biotechnology. Who would have thought that our once small anti-venom company despicable poison that has plagued humankind

I looked through the door as if what was beyond the threshold was something distasteful. *** Upon entering the auditorium I could feel the tension mounting. It looked like there were hundreds of people in the room. Reporters, protesters, wealthy businessmen, polititians and religious leaders—every one of them was ready to pounce. Even though they were all invited to my company to hear about our radical leap in biology, they were also welcome to speak their

they failed, we are going to succeed. We have created the Fountain of Youth, the mythological ambrosia, the elixir of life. With the development animate once again. Nature presented us with the unsolvable perplexity that is death, and we have

already answered and addressed most of their

away. I walked out onto the stage, smiled at the

press conference before the event tomorrow was a last attempt by some to express their thoughts about what I was planning to do. I was ready for

gods, which, needless to say, was not the image

no one, was going to stop me, regardless of their ideology. It was going to happen and, on some level, they must have known as well. I smiled at the thought of their attempts to persuade me otherwise, which probably made me appear

might have taken his poetic analogies seriously.

After becoming aware of my displeasure, he smoothly segued into announcing my arrival. I

only had one thing on my mind.

Luckily, when I entered, the lights were already

great pleasure that I welcome to the stage my friend and president of Cobra Corporation, Dr.

of my company was on the stage at the podium

place at the podium. I looked at the crowd and most of them seemed surprisingly supportive, but I also noticed a few glares. I spoke pleasantly into the microphone:

31

WINTER 2011 | ARTS

been following our progress, you should know

the heart stops, muscle cells can live for several hours and skin and bone cells can stay alive for

testing it on small animals that had died of natural its success rate since there are fewer cells to be their death we froze their bodies and a couple of months later we unfroze them and injected the dead mice with the serum. After many trials and errors we slowly made headway and eventually we were able to consistently reanimate our test mice. test subjects were chimpanzees and we met the same success that we did with all the previous

organism after death, which is precisely what I did how morbid that sounded. But I knew I had to freeze him. I knew I had to preserve his body if

if death is caused by a cerebrovascular accident, myocardial infarction or asphyxiation. A person

to remember everything learned in life before I stopped here. Not for dramatic effect but sign language. Upon testing them after death—or

scans are promising because they prove that the results make us hopeful about the possibility of know, will be the day we try to reanimate the

A sea of hands went up. With so many inquiries looked the hungriest for answers. I could relate to those people. A man in the second row seemed to show a sincere fervor to know the truth, I pointed to him. Looking very pleased and Bailey, New York Times. You claim the serum brings the dead back to life. In what condition do the dead have to be in in order for the serum to be successful? Also, after taking it, are the life-

voice. Maybe this conference was going to go

forward rather than backward because that memory in the past was too painful for me to focus on and accept. I should have never trusted the lifeguards to do their jobs. With so many people in the water how are they supposed to pay

void. I felt myself about to fall into despair, a continue to live with that reality. But as I stood near the brink of this, I asked myself a few questions. What if we did not have to accept death? What if I could bring my son back to passion: Is it possible that what is conceivable is that this is the truth. In that moment between two paths, I could choose a crushing misery or ideal was all that mattered and with it I was empowered. I shed no tears. I felt no pain. My and I was going to succeed.

ARTS | WINTER 2011

idealistic as I had made it out to be in my head.

Maybe I just felt responsible. I should have been watching more carefully. Maybe I was just being

32 6

Individuals die every day, and people assume that, because death is natural, they should accept it. But I have the intelligence, fortitude, and

mattered. Regardless of my motives, I would have my son back and that felt good to me. swallowed hard and moved to the next part of his question.

or magic to achieve this. I am using science. I, like possible. What is natural is simply what is possible.

if it makes the organism immortal. You see, it organism needs a greater quantity of the serum, and more frequently, than a small organism. A chimpanzee needs about sixty milliliters to live

I stared down at my questioner intensely and he seemed to be at a loss for words. Still staring Nature presented this problem of life and death

same for a human, which was derived from the At this point a fanatic from the crowd in my starts to wear off and subjects become feverish.

Another two to three hours, the organs begin to shut down and the organism dies. If the serum is continually injected then it appears that the

wanting to argue because my mind was resolved there and listen to insults.

have lived one year so far post-death provided the injections are continually administered. But it is unknown whether the serum will continue to work after an extended period of time, let alone eternally. person to my left who was a number of rows back. I chose him because he seemed the most adamant about having his question answered, but I failed to realize that he looked displeased. sincerity because he was too focused on what he

I stared at him for a while before I spoke. I question nor was I afraid of him. I continued to stare into him until he broke eye contact. At this point I broadened my gaze and addressed my statement to the audience as a whole. me while others condemn me for what I am

how I feel and what I am going to do. You can

questions you can ask Dr. Adder here or any one

people for years now and I felt that the best thing to do was just walk away. *** It was tough going to sleep with so much on my mind, so much anticipation. When I strange with a mishmash of color and light. But eventually my dream crystallized into something more solid and real, and I could see that I was standing somewhere outside. It was strange. translucent. I could see something glorious, bright and pure above me, and something pitiful, dim and despairing below me. Somewhere in

33

WINTER 2011 | ARTS

the middle of all of this was a beautiful garden.

never left your side at the beach. If I had been watching, I would have never taken my eyes off of you. I would have seen you were in trouble

color spilled out, giving off a glow that radiated light.

In the center of the garden was a majestic tree must have been wider than the largest sequoias on Earth. It had the appearance of they seemed to gracefully brush up against the fantastic, boundless cosmos, but the roots were entrenched so low that they seemed capable

have saved me dad because I know you love me,

I pondered this statement that is so often thought of as clichĂŠ, but I was still happy to be in his presence. What he had said made sense to me for some reason. I felt it was easier to accept this as a truth in the state I was in. My face went solemn

the tree was not that it was between something beautiful and something horrid—it was its leaves. of color. As they morphed from one color to the next, they did so in synchronized alteration. Like stripes of different colors that moved in waves from stem to tip.

At the base of its trunk sat a boy who, upon my spotting him, stood up. I did not recognize features became somewhat familiar to me. As I approached him he smiled and, as he did, his skin glowed a golden hue that reminded me of the light of a sunset. It was now harder for me to distinguish his features. I moved closer to him until we were face to face. I did not know how to react. As I stood there the glow from his face faded and my body reacted before my mind could catch up. I crouched down and embraced him. I could feel his warmth and his heart. laughed a good, healthy laugh not from anything

deserve it. said still holding him close.

whenever you laugh with Mom or whenever you in life and you truly appreciate what it means to

Dad. Life is about living and learning and being As we let go of each other I said with a slight

I looked at him curiously and the image of him began to fade as a loud repetitive noise pierced my subconscious. Bzt Bzt Bzt went my alarm clock and I lay there pondering the dream I had as the sound continued. It was very strange and very emotional. Reality eventually set in and I was going to bring my son back to life. *** unfrozen and his appearance was slightly purple.

ARTS | WINTER 2011

34 6

shut and his face wore a neutral expression.

me that death was natural and it had its purpose.

muscles were obviously relaxed after he died, but oddly enough he seemed peaceful, as if the

looked down for a minute because on some level I felt ashamed to admit this. I felt it went against what I was so driven to accomplish these past

which resembled my own, was awry and stiff and for that matter his whole body seemed rigid and a young Egyptian pharaoh who was about to be put through some ritual to help his soul pass into

me this before, but it seemed to make more sense was just going to have to accept. But then I woke make sense, and if I can bring him back then

doing the opposite.

Eveline stood anxiously beside me. We had been crew accompanied us to document the event.

him back, for some reason I—I have mixed

there to help with the preparation. In a matter

Eveline looked at me with concerned eyes,

again like they once did. I turned away from his body nervously and closed my eyes. Am I doing the right thing?

Eveline softly touched my shoulder and said, some of my tension went away.

doubt. You have to believe in what you have She reached out and touched my face as she took a step closer. She lifted my head so that my gaze met hers. Eyes that could cry at any moment, but did not, showed me her faith in this project and

needed to tell her. I needed to get this burden off my chest. her. She nodded apprehensively in response. I grabbed her hand and headed towards the exit,

We left the room and immediately Eveline

She was right. My wife had been alongside me ever since I worked towards this goal. She was a brilliant scientist too, easily the best in my company. Eveline had worked so hard with me to help make this once considered impossibility a true possibility. A part of me still felt uneasy, but

I turned to her and considered for a moment how to bring the dream up without sounding

I hugged her tightly and kissed her, and she smiled that dazzling smile of hers.

It seemed very real. More real in some ways than At this she smiled, laughed a little, and said,

some would call a spirit, but within my hand I held the product that reanimated the inanimate.

I know it may sound overly poetic, but it was like

35

WINTER 2011 | ARTS

a sublime power that I held within my hands. I thought about this for a moment and realized smiled at him and he winked back.

I looked to my wife and she understood. We decided a long time ago that when we gave our son the serum we were going to administer it together. Standing next to me, she positioned her hand around the syringe and my hand. At this point we looked at each other and shared a quiet

administered him the serum.

It only takes a couple of seconds to take effect

only imagined the noise out of our desperation?

After thirty-two seconds did that really happen?

Beep ‌ Beep ‌ one because of me. A once lifeless heart was here with me again. since we injected the serum, I saw his mood

I looked back down to my son and slowly his cheeks were rosy and he was breathing now. I

is supposed to work rapidly by restoring life to everything it comes in contact with. Injecting it directly into the heart is purposeful because after doing so the heart begins pumping, and with each pump the serum spreads throughout the rest of

chest rise and drop. Even knowing the science all. If miracles were real, then I was witnessing one. My wife laughed out of excitement, and I was silent and astonished with my mouth slightly open.

was a second his heart was not beating. I felt sick.

I knew immediately that something was wrong.

enough oxygen in the room for my lungs to take in and I began breathing more deeply. I looked to my wife and she still seemed hopeful. She cast a smile. What if this fails way.

in them was missing. I felt immediately numb, as if I was watching everything but not really experiencing it. Everyone was celebrating around me enthusiastically, though, which only highlighted my lack of a reaction. Even my wife,

She was only staring at his body. She grabbed my hand and her hand was clammy. I looked down and saw that her knuckles protruded beneath

failed to see what was troubling me. If she but looked into his eyes a moment longer, or perhaps if she had seen them the night before in a dream, she would have realized that something was amiss.

bear the stillness. I wanted something to happen. in my ears and the quick pounding beat of my own heart. It was as if my racing heart was accelerating itself.

Beep went the cardiograph and my wife leaned It was at this point that I felt my wife beginning

ARTS | WINTER 2011

36 6

to understand the horror of this whole situation. was lowered into the earth. Dr. Adder as well as the other scientists from Cobra Corporation suggested that I continue the project since we were so close, but it was different for me now. of these, and though he sat in front of me alive and talking he was no more alive than a computer

how eerily disturbing it was for my wife and me robot. We decided that we would not make the

Although he was fully functional as a human being, there was something wrong psychologically.

My team of colleagues believed that it might have been caused by some slight brain tissue damage, only apparent in highly cognitive organisms, which is why this trait was not apparent in the animal specimens. If this were the case, then it seemed that the serum had its limits. In all of its miraculous abilities to bring life back to the dead, it failed to restore some small part of the cerebrum that held some unique quality. In truth, my team

dead back to life could continue onward with something like that ever again.

My wife stood a few feet away from me and her face was solemn. For so many years she thought I would come through, but now it appeared we were accepting his death, and I could tell she to comfort her.

Although conscious in the manner that the subject could recall memories and describe objects it observed, there was nothing behind it. No emotion whatsoever.

Some people considered the experiment a

eyes. and allowed myself to look back into the past. I remembered his death and I felt the pain of that memory stab at my heart and I did not resist it.

And then I allowed myself to look further back and I remembered all of the good times I had

see for themselves. I experienced it, though, and I

with that a rush of something overwhelming hit me. I opened my eyes and tears blurred my

was more real.

As the next day approached the serum began to the whole time because I felt it was the right thing from it after this statement. I was emotionless as I table in front of me. After a while I grew slightly bitter because of how ignorant I was to think I could bring him back. I brought life back to a body, but it was a life without the capacity for happiness or love of life, which to me was hardly a life at all. death. It was more like a toy whose batteries lost their charge. ***

a problem Nature presented, or attempt to hold back my guilt. I was just a man lamenting—a man who was accepting that some things inevitably as warm tears streamed down my face, I walked over to my wife. I looked down at the ground and then mustered enough courage to look into her eyes. I saw that she was shocked to see me this way. to say through my sobbing. With that, her eyes began to instantly water and she began to cry too.

We hugged in an attempt to comfort each other.

And while we embraced, for a moment, only for t ***

37

WINTER 2011 | DINING

DINING | WINTER 2011

dining African Abyssinia Ethiopian & Eritrean Comfort Food & CafĂŠ 333 Wickenden Street Providence, RI 02903

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Providence Kent Washington Bristol Newport Connecticut Massachusetts

Cambodian Angkor 10 Traverse Street Providence, RI 02903 angkorrestaurant.com

Angkor Restaurant Express 100 Smith Street Providence, RI 02908 angkorrestaurant.com

Apsara 716 Public Street Providence, RI 02907 (401) 785-1490

Apsara Palace 783B Hope Street Providence, RI 02906 apsara-palace.com

200 Exchange Street Providence, RI 02903 jackyswaterplace.com

Caribbean El Caribe 884 Brock Avenue New Bedford, MA 02744 (508) 997-2657

TribeRI.com

38 6

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WINTER 2011 | DINING

French 223 Atwells Avenue Providence, RI 02909 (401) 490-4625

tinasjamaican.faithweb.com

Chez Pascal 960 Hope Street Providence, RI 02906 chez-pascal.com

Central & South American Restaurant 903 Chalkstone Avenue Providence, RI 02908 losandesri.com

651 Admiral Street Providence, RI 02908 (401) 831-5925

Mi Guatemala Restaurant 1049 Atwells Avenue Providence, RI 02909

Le Central 483 Hope Street Bristol, RI 02809 lecentralbristol.net

Greek Athenian Deli and Restaurant 1242 Oaklawn Avenue Cranston, RI 02920 (401) 463-6025

268 Thayer Street Providence, RI 02906 andreasri.com

(401) 621-9147

166 Valley Street Providence, RI 02909 mosaicprovidence.com

Chinese Gourmet House Restaurant 787 Hope St Providence, RI 02906

Markos Kabob and More 126 Boon Street Narragansett, RI 02882 markoskabob.com

Indian A Taste of India 35 Williams Avenue Mystic, CT 06355

(401) 831-3400, gourmethouseri.com

Hong Meas Restaurant 332 Warren Ave East Providence, RI 02914 (401) 438-5227

China Inn Restaurant 285 Main St Pawtucket, RI 02860

145 Dean Street Providence, RI 02903 bombayclubri.com

Maharaja 1 Beach Street Narragansett, RI 02882 maharajari.com

chinainnri.com

90 Rolfe Square Cranston, RI 02910 (401) 467-8916

Kabob and Curry 261 Thayer Street Providence, RI 02906 kabobandcurry.com

kingsgardenrestaurant.com

Phoenix Dragon Restaurant 256 Broadway Providence, RI 02903 (401) 831-7555

Red Ginger Restaurant 560 Killingly Street Johnston, RI 02919 redginger.biz

Providence Kent Newport Connecticut

Washington Bristol Massachusetts

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Rasoi 727 East Avenue Pawtucket, RI 02860

Il Piccolo 1450 Atwood Avenue Providence, RI 02919 ilpicoclo-ristorante.com

rasoi-restaurant.com-

Tadka India 49 Providence Place Providence, RI 02908

CaffĂŠ Itri 1686 Cranston Street Cranston, RI 02920 caffeitri.com

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The Fastnet Pub 1 Broadway Newport, RI 02840 (401) 845-9311

907 Matunuck Beach Road Matunuck, RI 02879 tarasfamilypub.com

Harp & Hound Irish Pub 4 Pearl Street Mystic, CT 06355 harpandhound.com

Italian / Italian American Estia Restaurant 28 Old Tower Hill Road estiarestaurantri.com

(401) 273-7070

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238 Atwells Avenue Providence, RI 02903 sienari.com

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WINTER 2011 | DINING

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thechattabox.com

206 E Washington Street North Attleboro, MA 02760,

Korean Restaurant 95 Warren Avenue East Providence, RI 02914 sunandmoonkorean.com

shogunmass.com

59 South County Commons Plaza

300 George Waterman Road Johnston, RI 02919 sura-ri.com

shogunri.com

Mediterranean 12 Coogan Boulevard Mystic, CT 06355 johnnysushibar.com

Yokohama 300 Quaker Lane Warwick, RI 02886 yokohamari.com

375 Putnam Pike, Unit 30 yamatosushi.com

Korean Ginger Grill 778 Purchase Street New Bedford, MA 02740 (508) 858-5273

International Pockets CafĂŠ 52 East Main Road Middletown, RI 02842 (401) 847-8900

110 Poquonnock Road Groton, CT 06340 alkebab.webs.com

Pick Pockets Deli Newport 190 Thames Street Newport, RI 02840 pickpocketsnewport.com

45 Williams Avenue Mystic, CT 06355 thepitaspot.com

DINING | WINTER 2011

Mexican

Portuguese

Providence, RI 02909

Lincoln, RI 02865

(401) 942-3938

(401) 724-6007

Chilangos 447 Manton Avenue Providence, RI 02909

1214 Stafford Road Tiverton, RI 02878

(401) 383-4877 chilangosmexicanrestaurant.com

(401) 624-6649

El Rancho Grande

637 S Main Street Fall River, MA 02721

Providence, RI 02909 (401) 275-0808 elranchogranderestaurant.com

La Lupita 1950 Westminster Street Providence, RI 02909 (401) 331-2444

(508) 235-1030

Cinderella Restaurant 85 Columbia Street Fall River, MA 02721 cinderella1983.com

579 Warren Avenue East Providence, RI 02914

La Hacienda Providence, RI 02909

(401) 438-3769

(401) 275-2385

Mi Ranchito 1516 Westminster Street Providence, RI 02909

580 N Broadway East Providence, RI 02914 (401) 431-9231

(401) 331-6584

Spanish

Taqueria Lupita 765 Dexter Street Central Falls, RI 02863

Flan y Ajo 225a Westminster Street Providence, RI 02903

taquerialupitari.com

El Taconazo 500 Valley Street Providence, RI 02908 (401) 437-8808

Thai 21 Valley Road Middletown, RI 02842 bangkokcity.us

Middle Eastern La Camelia 92 Waterman Avenue East Providence, RI 02915

123 State Street New London, CT 06320 bangkokcitythaicuisine.net

(401) 434-1225

235 Meeting Street Providence, RI 02906 providencebyblos.com

361 Reservoir Avenue Providence, RI 02907 (401) 461-5651

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WINTER 2011 | DINING

Noodles 102 102 Ives Street Providence, RI 02903

823 W Main Road Middletown, RI 02842 sunriseviet.com

noodles102.com

Rim Nahm Thai Cuisine 2212 Broad Street Cranston, RI 02910

6900 Post Road North Kingstown, RI 02852 7-moons.com

(401) 467-7897

Thai Cuisine 517 Thames Street Newport, RI 02840 thaicuisinemenu.com

Vegetarian and Vegan Garden Grille 727 East Avenue Pawtucket, RI 02860 gardengrillecafe.com

1088 Chalkstone Avenue Providence, RI 02908 thaistarrestaurant.com

Thai Taste 544 Milford Road Swansea, MA 02777

727 E Avenue Pawtucket, RI 02860 (401) 475-4718

thaitastema.com

Thai Pepper 249 Main Street thaipepperri.com

93 Hope Street Providence, RI 02906 sawaddeerestaurant.com

1050 Willett Avenue Riverside, RI 02915 siamsquareriverside.com

238 E Main Road Middletown, RI 02842 siamsquaremiddletown.com

Providence Kent

Vietnamese

Newport

Minh Hai Restaurant 1096 Park Avenue Cranston, RI 02910

Connecticut

minhhairestaurant.com

Pho Horns 50 Ann Mary Street Pawtucket, RI 02918 phohorns.com

Washington Bristol Massachusetts

ARTS | WINTER 2011

“Simple Sentences for the English Learner” José packs his dreams José kisses his kids goodbye José meets his coyote José crosses the border José can you see?

Can you see José?

José dishwasher José landscaper José lives across from your house José is just as afraid of you as you are of him José is an onion José can you see?

Can you see José?

José cooks at the American Grill José calls his kids every Tuesday José, Good morning sir!

José can you see?

Can you see José?

José janitor José plays loud music José loves Janis Joplin José Walmart José made in Guatemala José made in China José made in Mexico José can you see?

Can you see José?

José shovels your driveway José calls his kids every Tuesday José K-Mart José has a crush on Barbie José can you see?

I hope you see José Sussy Santana © 2011 Printed with permission.

Tribe’s thought-provoking multicultural Tribe, we believe that life is a journey, from childhood to maturity and from unknowing the way but on our individual paths. Join us.

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