CACE International

                                                      THE  NATURAL  MYSTICS

                                             MARLEY, TOSH, AND WAILER

    by  Fikisha Cumbo

The Natural Mystics  by historian and biographer Colin Grant ( W.W, Norton, 2011) is a delightful, insightful, easy read. With his extensive notation, aided by his research team, he recollects  the post-slavery history of Jamaica, showing how it is the backdrop to the coming in of Rasta.   Through interviews, journals, books and newspapers he intertwines the real roots of Tench Town,  Rasta, and the political atmosphere with the social climate that dictated the status of the "sufferer."  Bob, Peter and Bunny, living in this "sufferer" condition identified directly.  Through the influences of local musician/hero Joe Higgs and Rasta 'prophet' Mortimer Planno they became solid musicians and firmly Rasta.

Grant allows glimpses into the childhood of each of the three Wailers, showing that of the three, Bob may have been the most displaced, sleeping where he could.  He also explains their close 'family' connections as Bob and Bunny share a sister and that sister had Peter's first born child.  So they could never be totally 'broken up.' They were family.

Colin's writing is vividly and illustratively filled with humor.  Unless you have seen the intensity of Marley's piercing brown eyes, looking 'through you', this may not seem humorous, but imagine how he must have looked as he sat in a chair in Sweden when Danny Sims, a business partner, stormed the room in an angry outburst.  After knocking one songwriter (Bundrick) to the floor , he headed toward Bob to 'clock' him too.  "Marley remained coolly in his chair... Marley fixed him with an even stare and said with barely a trace of emotion: 'Yuh rass, yuh nah rass with I, mon, clatt.'  Sims didn't need a translation. He hesitated, thought better of it, turned and left angrily; and Bundrick witnessed a slow grin play across Marley's face." (p. 196).     Former 'rude boy' now Rasta Tuff Gong in full effect!

Grant explains Jamaican terms and folkways often heard and read but never understood until now. It helps that he has Jamaican roots which give further insight into this triple biography.  He tracks the group in Jamaica, England (introducing Chris Blackwell), and in America.  He wanders the backwoods and disappearing roads to talk with Obeah men, preachers and other folk griots who add spice and often humor to the story.

We find that Bunny, although the most reclusive, is the most volatile, quick to anger and to have a temper.  However, the author ,who appears to have never met Tosh, falls into the same labeling 'trap' of Peter as most writers.  In the book's index under "characteristics", the first word for Peter is 'anger', for Bob it's 'ambition' and for Bunny, 'attitude to sex and procreation'.  Actually, all three were 'rude boys' who would, allegedly, beat up the radio  DJs to get them to play their records.  Of the three, Peter acted on his convictions, joining marches against apartheid and other demonstrations for equal rights and going to jail more than once, because of his staunch conviction to the belief that ganga should be legalized.

Jamaica had/has the same color prejudice, as all other countries in the world, where the lighter the skin the more acceptable you are.  But Bob suffered because he was the only  light-skinned child around brown and dark brown children.  So he developed a tough exterior and a 'rude boy' persona as many youth did, patterning after the Rhygin character so skillfully played by Jimmy Cliff in the classic cult movie "The Harder They Come."

Rasta was despised , and still is to some degree, by the upper class Jamaican. It was not until Peter, Bob and Bunny became internationally known artists,  putting Jamaica on the map with reggae music, that they began to receive some respect. However, the average Jamaican loved them throughout the years.   The youths of the 'upper class' began to emulate them with the locking of  their hair. One pilot even lost his job because he was Rasta.  Even up to their transition, Bob, Peter (and Bunny's) music was seldom heard on the Jamaican radio.  When Peter was assassinated, he and Free I were busy planning a 24 hour reggae radio station.  Now there is a full time reggae station on the island.

In the opening of the book the author acknowledges, with  Bunny Wailer getting literally run off the stage at the National Stadium Sting concert, the introduction of  dancehall

"slackness" music and the waning of roots reggae.  But in the conclusion, the elusive, mystical , Bunny Wailer continues to hold court with the Wailer progenies performing on stage with him.....Tosh's son, Andrew Tosh and Bob's son, Ky-Mani Marley.  So the Wailers are still performing. The Wailer bloodline still lives!

For reggae and Wailer lovers , The Natural Mystic is not only a fun read, but it is also a treasure.

                             PHILADANCO  SIZZLES AT THE  BROOKLYN CENTER FOR THE PERFORMING ARTS

by Fikisha Cumbo

Brooklyn  Center for the Performing Arts announces its 2010-2011 World of Dance.  Since  the inception of a dance  series in 1966, over 40 dance companies have made their New York City debuts at Brooklyn Center and more than 170 regional, national and international companies have premiered new works.  The mission of the Brooklyn Center is to present  outstanding performing arts and arts education programs, reflective of Brooklyn's diverse communities, at affordable prices. It boasts one of the largest arts education programs in the borough, serving 46,000 school children from over 300 schools annually with its School Time series.

PHILADANCO ignited the Brooklyn Center performing the work of choreographers, Talley Beatty,  Rennie Harris ,  Jawole Willa Jo Zollar and  Christopher Huggins.  The Philadelphia Dance Company , PHILADANCO, is celebrating over 40 years of providing exceptional dance performances and training to its many communities throughout the US and abroad.   In 1970,  JOAN MYERS BROWN founded Philadanco , a compnay recognize for its dynamic performances, its creativity and its exhibition of mainly African American traditions in dance,

  " A  RAG,  A BONE , AND  A  HANK  OF  HAIR"

To the thumping beats of Prince's "Let's Go Crazy" followed by another of his grinding, bumping musical pieces, eleven dancers in Natasha Guruleva's bright rainbow colored costumes, took butt shaking, undulating, gymnastics and winding down to a new level with varied twirls, kicks, leaps, dips, jumps and stretches.  The third part of Talley's piece, reconstructed by Kim Y. Bears-Baily, saw dancers moving with extreme rapidity to Earth, Wind and Fire's music,

  "PHILADELPHIA  EXPERIMENT"

Choreographer Rennie Harris, founder of the hip-hop troupe PureMovement , says this piece "is a retrospective of the city of  Philadelphia, an  acknowledgment of  political, social, and economic change.  This dynamic, energetic piece alludes to the rhythms, posture, physicality and speed of the city of  Philadelphia."  

The first part of the dance saw dancers reacting to the changing music genres on a static-charged radio from New Orleans music to James Brown, finally finding the music of P-Funk; even having a Soul Train P-Funk line.  A whole lot of shaking going on here, but  the second part of the dance lost its focus. It was boring and not understandable. The last part was much more interesting and involved with its hip-hop and traditional African dance language as it reverted back to P-Funk's music. Maybe that is where it should have stayed from the beginning. This piece seems to be a stretch from Harris' hip-hop roots and part of it worked, but mid-way it got lost; however, it did manage to regain focus in the final segment.

" BY THE WAY OF THE FUNK"

This piece choreographed by Urban Bush Women (UBW) founder Jawole Willa Jo Zollar harnesses the energy and culture of funk music in a joyous celebration of the 40 years of Philadanco's existence.

 Solo statues of beauty in black open the dance then seven dancers make it a unique symmetry, enhanced by great lighting on the soloists and Parliament Funkadelics'  deep funk.  The movements of the bodies to the beat of the music made for a "funky good time."

"ENEMY BEHIND THE GATES"

The last piece by Christopher Huggins " was inspired by enemies within our midst.  They look like you..They act like you,,,They live like you but, they are not one of you. The Gate is not invincible but it's yours to secure." Here the fire-licking music of Steve Reich coupled with the explosive energy of Philadanco.   In black matching costumes accentuated by flares of bright red, the dance moved with electric speed and unbelievable coordination. One dancer actually leaped from one dancer's arms to that of another at synchronized break-neck speed, a move  that "floored" the audience,

In the words overheard from a young attendee , " PHILADANCO IS THE BOMB!!"

                                                           MEMPHIS  JOINS  BROADWAY

Rhythm and Blues set the sound for the new musical, MEMPHIS , which opens at the Shubert Theatre on Broadway October 19 2009. African American dances, The Whip, The Hully-Gully, The Chicken, The Lindy Hop, high kicks, a plethora of leaps , a swish of the South African Boot dance, embellish the dynamics of this electrifying performance.

The segregated South of the 1950s marks the backdrop for MEMPHIS, focusing on white DJ Huey Calhoun's  love of rhythm and blues and his unabashed love for Felicia Farrell, a black singer whom he met in his favorite black club  owned by her over protective brother. Their love relationship remains secretive for years until one "unexpected" event ruins his career. The audience gets a taste of  the racist milieu of life in the South with its violent white hoodlum gangs and media smears.  MEMPHIS is a show with ideas it wants to get across.

Scored by David Bryan and Joe DiPietro, choreographed by Sergio Trujillo. directed by Christophr Ashley, it stars Chad Kimball as Huey, Montego Glover as Fellicia, Derrick Baskin as Gator, J. Bernard Calloway as Delray, James Monroe Iglehart as Bobby, Tony Awaqrd winner Michael McGrath as Mr . Simmons and Cass Morgan as Mama.

Although rock n' roller keyboard player, songwriter and co-founder of the rock band, Bon Jovi wrote the original score, its music is basically soul and rhythm n' blues which led to the birth of rock n' roll.  David  wrote the music for DiPietro's story and both collaborated on the lyrics.  "One thing it does", said Bryan , "is give the proper kudos back to African American music. Rock came from rhythm-and-blues, slave songs, gospel- music with a simple, soulful passion."

Actress Montego Glover who grew up in a Baptist Church, previously appeared on Broadway as an understudy for Celle and Nettie in "The Color Purple".  She is also the voice behind the Charmin ads where cartoon bear cubs use too much toilet paper , as well as a voice of characters for "Star Wars".

MEMPHIS played a limited , sold-out engagement at La Jolla Playhouse from August 19- September 28, 2008 and received San Diego's Craig Noel Awards for excellence in Theatre for both Outstanding New Musical of 2008 and for its star Chad Kimball in the role of DJ Huey Calhoun.  The show then played another critically-acclaimed, successful engagement at Seattle's 5th Avenue Theater from January 27 - February 15, 2009.

MEMPHIS' story of a white DJ who fights for black music to be heard explores the undercurrent, the cultural changes that were emerging as forerunners of the Civil Rights Movement.

The standing ovation from the audience at the Shubert Theatre on Broadway says this show will have a long run.  I wouldn't mind seeing it again myself.

www.memphisthemusical.com