The Reno International Dance Expo made its inaugural debut at the Grand Sierra Resort in Reno, Nevada, USA over May 10-12. The event was hosted by the world-famous Rodney "Rodchata" Acquino (http://www.rodchata.com/). This was primarily a bachata festival, though salsa, kizomba, and zouk were also featured. The weekend opened with a preparty on May 9. Early arrivals were able to mingle with each other and the instructors. From Friday to Sunday, there were daily workshops taught by 40+ instructors from four continents. Attendees of the preparty met the instructors early and could better navigate the multiple parallel workshop tracks. My favorite instructor was Marcela Cardenas of Sweden. Her Saturday class was about how to be a better leader in bachata. She likened the hand-hold connection between the leader and follower to a joystick in a video game; the position of the arm tells the follower what to do. This is useful for steering the follower forward or backward, as shown in the figure below. Marcela also emphasized the importance of the leader's firm connection with the follower's shoulder blade, such as in circular movements. One of the most popular classes was the Saturday bachata session by Alex and Desiree. Below is a photo from the class. The pool party happened on Saturday afternoon at the Grand Sierra's large outdoor pool. Below are some pool party photos. On Friday and Saturday night were performances by amateur and world-renowned professionals. Below are snapshots from my favorite performances.
Photo above: In clockwise order, the performers are Anthony & Carla of Spain(dancing bachata), Alex & Desiree of New York (dancing bachata), Alejandro & Erica of Los Angeles (dancing bachata), Marcela Cardenas of Sweden (dancing bachata), Alex & Kim of San Francisco (dancing salsa).
Finally, and most importantly, social dancing took place in
four separate rooms (salsa, bachata, kizomba, zouk) until 6am.
The guest instructors did a great job dancing and interacting
the social dancers throughout the night.
Photo above: A sample of the social dancing.
Bottom left: Alex and Desiree leading a late night line dance.
Bottom middle: Alejandro and Erica dancing.
Bottom right: Marcela Cardenas is dancing with a lucky guy.
Based on crowd reaction, this event was a huge success.
The party resumes next year, May 15-18, 2020.
Passes are already on sale at http://www.RenoDanceExpo.com.
Within 48 hours of passes for next year going on sale,
over 20% of the attendees rebooked for next year.
So I will not start from the beginning, why should I, after all, I will start from the point writing this blog post, became urgent. And that wasn’t until I got inspired.
So you know how much I love Camden Town, right? I suppose in many ways it’s the alternativeness I have come to love for decades, even if it is being polished gradually, the edginess is still here.
So what’s up Seattle?
Up University Way and I got blown away. Now this is a quiet Camden, clothes’ exchanges galore, vintage shops with vintage clothes you can actually wear i.e. check out Red Light Vintage http://www.redlightvintage.com/, Korean food that smells beyond tasting good, unintrusive cafes like Cafe Solstice https://www.cafesolsticeseattle.com/ and a second-hand multi-lingo book shop check out Magus Books https://www.magusbooksseattle.com/, all packed on and off a high street where people don’t need to prove they are cool – they kind of are and don’t know it. I loved the dress down punk 90s understated fashion on the street.
Elaborative discussions on how the homeless are better looked after in Seattle than in Portland are complimentary. 90’s vibes. A time before all that uber-conservative shit in politics took off. Where Blur and Bjork are cool to mix with all sorts and cafes don’t mind shitloads of unpretentious laptops.
Now rewind a few days.
The airport; you land in Seattle, you be sure to listen to grunge and rock on the airport speakers. Telling what the city is made off. Even the light rail is called ‘sound’.
Then off to Highline, you could call it a disgruntled neighborhood on the margins, one that will certainly change, because the people may be poorer than average, but have tolerance and are friendly. For Londoners, think of Hackney before the money moved in. In Highline, money is not here yet but I think it won’t show in the same ugly British ways, because the money in the US goes to more affluent areas, whereas money into poorer areas in Seattle means it came from poorer people yet. So you get the picture.
Next off; Gasworks Park, or rewind a few blocks up the hill behind down Sunnyside Avenue North. Probably one of the most beautiful areas in Seattle. Streets manicured pretty green and friendly unpretentious, just the houses are bigger on well thought designed picturesque bliss, but no grandeur here either please, just simply gorgeous. So back down the hill to the Gasworks park and by the Lake Union waterfront – oh my days. My waterways days chucked into the bin, deep deep into the trash bin. The chaos of sup paddleboarding, rowing, kayaking, commercial traffic, houseboats, sailing boats, and water airplanes all using the same water was like watching carnival for the first time. All it felt like, was kind of Greek chaos, only with the confidence. It was fun to watch – put a big smile on my face and gave me another good reason to add to the reasons why I am in this part of the world: it doesn’t make much sense, but it works fine.
A little later, into Fremont, oh my days you have to go, it is so cool and pretty, like an understated really green lightly academic bohemian neighborhood that reminds me of somewhere I would have loved to go before.
So yeah, go Pike Street Market, Alki Beach, the Space Needle (if you must), Westlake Shopping, check out the Fremont Troll and the gum wall (I didn’t – couldn’t bear the thought), look out the wheel from the seafront and maybe jump on the ferry to Bremerton for more really cool views. Pop in at the University of Washington grounds – huge trees bigger spaces to feel academically inspired ;-p and if you are a Harry Potter fan the Library Suzzalo and Allen Libraries is the kind of grandeur that Oxbridge would love to have (I thought my School of Oriental and African Studies university library was big haha). Out of the library look out to the incredible view of the snow-capped Mount Rainier. Whatever you do though, if you are my sort of gang, go up University Way, go down Sunnyside Avenue.
The sequel to Stephen King’s It, remade two years ago, will be hitting the cinemas this September.
Here’s the promo trailer:
In the trailer, Pennywise’s daughter, an old woman now, appears to be sweating excessively. Many fans expected Pennywise to burst out of her chest.
Old family photos of Pennywise and his children have his sunny disposition of undertones in his character.
This time, he is not hooking into fears. The adults mastered how to manage them.
He is after broken hearts, going much deeper into the psychological impact of trauma in adults.
Even if the movie was released in the middle of the summer, I would still surely escape to the darkness for a couple of hours for what appears will be an indescribable dark viewing.
It all begun late at night walking the streets of Rome.
Me and a bunch of Italians, in our 20s where walking to a place I can’t quite remember now.
I can recall the excitement of the new experience ahead, a new thing to discover, having fun, drifting from one place onto another.
Coming back to art school, developing the photos, I realised having taken a photo of our feet, walking. This small and unimportant detail became the point of recall of what the hang out felt like at that point in time.
The style, became a thing over the years.
Photos of shoes on feet in places. They were taken when there was time to absorb the moment. When life paused. A documentary without the documentation, yet a personal moment of just being.
The following photos follow the trail of moments over the past twelve months or so, from early 2018.
This is something I wanted to do for awhile. There may be more from the past in blog posts to come, or of moments from further back into the past.
Take a walk with me…
This presentation was produced by Athina Fokidou for the MSc Security class (combined) at the School of Oriental and African Studies, University of London, 2018.
The Case study is the destruction of the Dawlish seafront railway in the South West coast of the United Kingdom by climatic events and the consequent political battlefield of unmet promises.
The objective of the presentation is to raise awareness of the players in responses to climate, their intentions and unknown coercive strategies in the nexus of the state and individual contractual exchange.
The past few weeks have seen historical levels of political unwill in the US and UK.
Despite the repetitive votes in the parliament on Brexit options, across the pond, considerations over at which level the business interests of the President are conflicting with responsibilities in the public office, have been held back by senior Democrats.
Not very unlike the Labour leader’s opposition to the EU, and dislike the Tories are in the driving seat of the negotiations, with Theresa May being traditionally pro-EU – a clarity of parliamentarian’s will, is anything but a clear cut between for and anti-Brexit voices.
The confusion in UK and US is the re-divergence of the drivers behind people’s voting preferences. Traditional politics, that of the left and the right, have hegemonized to the extent of other areas of connectivity between political preferences has emerged.
Some may think the opinion Brexit will never happen and that Trump will not see through a second term, is premature today. Rightly the politics are still shedding old skin and testing new voices. Traditional far rightism may see some rise or tv coverage however in temporality, people seek new ideas, often held by the young.
Unquestionably it is a unique time in history to live and experience the shifts, twists, and stretches. Yet the presence of Extinction Rebellion and Young People’s Climate Strikes over the past few weeks have an 80’s tone, the global problems are ours and they are ignored by politicians continuing the pursuit of fast results and short term solutions. In the background, seals are dropping off to their death from cliffs in the Arctic they have not had to climb before when the ice area was 40% larger than it is today.
The tide is certainly changing, and we are running out of those in ye olde politics – inevitably will need to work together, for their own survival.
- No Brexit more likely than a disorderly one, say economists
- Landmark moment for Trump as Mueller report on Russia looms
- UK should ‘cool down’, drop Brexit – Socialist candidate to head EU Commission
From the Contemporary Art in the Global (MSc School of Oriental and African Studies)
Artists: Derek Walcott, Mark Rothko, Frank Bowling, Atsuho Tanaka, Sammi Baloji
The project visits the theme of darkness as it is approached by the selected artists through painting, poetry, installation art and photography. Dark times have for centuries been associated with the Dark Ages, the victorian times, the plague, III Reich, and the Crusades. Is darkness created in the name of God to entice a journey in reflection?
Darkness in this exhibition will be visited through the artists’ own periods and reflections of darkness. Starting with the more recent Baloji’s photographs have a strong post-environmental sentiment, yet all artists reflect on humanity’s over-consuming framework of aimless societal misappropriations maintained by irrelevance.
The artworks date from post-war period, aligned with the more recent works of Baloji’s diptych, for the provision of a bridging point on perpetual concerns about the loss of communities, citizenship and human rights that have been exaggerated, yet feel less visual, for the absence of blood.
The art on show reflects as much today, as they did at the time of making, that we are entering an autumn of social conscience exasperated by the informality and misappropriation of technology coercing the psyches onto a temporal loss and inaction.
Yet there must be resistance. Art is also a mirror up to the society, ourselves, in hope each individual visiting this exhibition will reflect a little and make a small step of resistance that translates into a big change.
When we don’t speak, we maintain darkness. Northwest indigenous communities have talked of ‘silence’ as a skill. ‘Silence’ used in diplomacy can present a show of arrogance or absence as in demonstration against what I’d said. Against that theory, words presented hide the things that happen in silence, including their potential to tell a different story.
Bringing artworks made by Rothko, Bowling, Tanaka, Walcott, and Baloji together distinctively plays to the audience responses, being of equal therapeutic importance as they were to the artists at the time of making. The five artworks have incredible ‘enlightening’ power’, offering a quiet introspective space for soul searching.
We would like visitors to individual notice which one artwork they are drawn to on their individual experiential pattern route, free from want and free from fear.
- Rothko. M, ‘Orange and Yellow’, 1956:
Rothko “Silence is so accurate.”
Yellow and orange make green; green the colour signifying life, renewal, growth, fertility, harmony, nature, freshness, energy, and safety. Rothko never wanted association with any art movement however he was pigeonholed as an abstract expressionist. The simplicity of Orange and Yellow cannot go without noting the technical challenge of keeping the colours separate so they don’t produce green. Is the artist pointing out that we are in the process of exploring our spirituality, and have not reached a harmonious existence yet?
A quest for ascension, Orange and Yellow has a ritualistic quality to the universe framed within the shuttle golden Buddhist orange outline. His work has often been described for its meditative qualities whilst remaining large, and non representational.
Barney Newman, the man inspired title of Frank Bowling’s work in the exhibition, saw himself as a political artist who has also shown his work outside Rothko’s Chapel in Houston, Texas.
- Bowling. F, ‘Who’s afraid of Barney Newman’, 1968
The painting is another major African flag colour representation Bowling is known for. Bowling is of Guyanese descent, a descendant of a slave, still surrounded by racism and race assumptions with participation in the First World Festival of Negro Arts, whilst being the first black artist elected in the Royal Academy of Arts with the artist recently receiving an OBE, continuing the colonial mode of tradition. His work was also shown at Afro Modern exhibition at Tate Liverpool in 2010’s, for significance the port of Liverpool having hosted the largest number of slave trade shipments in England.
The question is does Bowling rebel or commercialise further the idea of Africa in a place of exoticism and colonial frames? ‘Who’s afraid of Barney Newman’ was made in 1968, placed two years after the Guyanese independence from the British. Was Bowling raising awareness at a time when slave trade destinations were gaining independence from colonial rule?
- Tanaka, A. ‘Electric dress’ 1956
Atsuko Tanaka had one said “I wanted to shatter stable beauty with my work,” highlighting how domestic objects are but beautiful and disruptive from the lack of presence, yet plethora of being.
Tanaka’s silence covered by the bulbs in the original artwork, from a position of an emerging arts movement, could have represented silence as an imposition for a projection of power. In international relations frameworks, silence is mostly imposed by psychological violence, affecting the corporal of the most vulnerable, women, people of colour and those not integrated in the functionality of post Colonialism, and neoliberalism in the global and constitute political discourses and practice. (Dingli, Bhambra and Shilliam, 2009)
- Walcott, D. ‘Love after Love’, 1948–1984
Undoubtedly there is a pause in Walcott’s ‘Love after Love’ poem. Who inspired the poet to write this? Is it advice, or as I have always read this, as a love poem to oneself?
Derek Walcott passed away two years ago and his sea breeze of poetry is a timeless reminder to leave the insecurities we all carry, behind, and just be.
The meditative quality in the thought of spending time with oneself is not unlike Rothko’s iconographical ‘Orange and Yellow’.
Does it really matter who’s heart is broken or who broke whose heart? If anything, the world would become a better place if each and everyone reflected on the poem a little every day. After all, through love there’s light and the light lost in things that don’t work, is light lost.
- Baloji, S. ‘Kumbuka’, 2003
Stylistically ethnographical, the photographer has removed the orientalism and exoticism of indigenous communities, removed the smiles and colours and yellow grey toned the landscape, to represent Congolese as the Congolese see themselves. In this diptych he has interestingly kept women seperate to men. He plays with the Primitivist Theory of the artist as an ethnographer, whilst placing it in a contemporary context.
Image from eu.art.com
Rothko’s goal was “the elimination of all obstacles between the painter and the idea, and between the idea and the observer.” Rothko was known to suffer depression, reflected by the frame as a limit to happiness. Rothko was Latvian and Russian who went to primary and high school in Portland, Oregon – the ‘weird’ US city because of its rebel inquisitive population. His work invites the viewer to explore ‘metaphysical realities of their own consciousness’. The red a reflection emotional forces fighting nature a sea of blood at sunset, framed in limitation, stopping time, a photograph. The mesmerising quality of this work, is attracting attention even for non believers. The quality of light and Rothko’s interest in creating light reflects his religious iconographic approach to his frames.
Image from https://www.wikiart.org/en/frank-bowling/who-s-afraid-of-barney-newman-1968
Bowling has expressed his frustration in an interview with Laura Barnett for the Guardian: “It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion. For a while I fell for it.”
The Rastafarian flag of green yellow and orange, signifying the displaced africans living in exile as a result of the slave trade. Unlike Rothko’s clearly defined frames, Bowling’s use of colours is blending into one, another around the edges and without affecting or altering the core of the three colours. Could the merging of colours also point to different ethnicities merging into one in the Caribbean and South America, as a result of colonial rule. Think of the children of Chinese, Indian, Syrian and Spanish immigrants on post-colonial lands, the ‘dougla’, the ‘koolie’, the ‘red skin spanish’.
Or did he attempt to define frayed around the edges, maybe from wear and tear?
The impact of slavery remains as unaddressed as it was in 1968 as it is today. Microaggressions are all apparent. The artist, a slave descendant, opposed the idea of representing Caribbean art.
Image from youtube https://www.youtube.com/watch?v=wUV-v3xI7Lw
Atsuho Tanaka’s electric dress, still lighting gallery spaces and discussions across the world, even after the artist’s death, in a timeless manner, originally the bulbs laid to cover her body, now exhibited without it.
In the West, a Christmas tree is something beautiful, pretty and a tacky representation of a happy time.
Tanaka was one of the more influential Gutai art movement artists, believed by many to deserve the leadership position within the rebellious post-war Japanese artist group, a but hindered from it due to her being a woman.
Tanaka’s work is symbolic to false light, untruth, prettiness by misrepresentation, a wonderful objectification of many beliefs changing and evolving in the years the work was created.
When the artist wore the artwork, around 200 light bulbs flickered every two and half minutes, like a pulsating body, inviting the viewer to view it a ‘living’ being without consideration of the being inside. Gutai translates as ‘concreteness’ born from a society that advocated for the loss of individualism.
Image from https://www.christystich.com/blog/2016/2/4/my-most-treasured-poem
Derek Walcott passed away less than two years ago, a Caribbean child of a slave, lived most of his life in Trinidad and St Lucia, and was awarded with the Nobel Prize in 1990’s.
Walcott’s poem is a reminder of being one with ourselves, salvaging ourselves with acts of faith ‘Give wine. Give Bread’ playacting Jesus proclamation of memory in the act of sharing love towards a progression towards oneself to a place where our reflection in the mirror doesn’t feel ugly or drained anymore, but celebratory.
Walcott’s exploration of European and African cultural adaptations within the Caribbean, and the multiculturality of the West Indies is reflected throughout his work. Walcott’s poem has a nostalgia about the mistake of trying to fit in other people’s shoes, and when ‘The time will come’ as in the time we will be ready or will be forced upon us to reflect in being at peace with oneself reminding us it is entirely achievable as ‘Sit. Feast on your life.’ is one of the few things in life left we have entire freedom to do on our own.
Images from #sammybaloji instagram page
Sammy Baloji is a Democratic Republic of Congo born photographer working internationally, with photographs represented in a wide range high profile african art fairs and collective exhibitions.
Born in a country known for the inherent political fragility, threat to human life, animal habitat and near extinction of species. His work is very much representing a colour code for how DRC is seen abroad and how it feels to Congolese people from within the country.
Baloji having participated in Venice Bienalle in an exhibition on Belgium’s colonial rule, he notes sharing and learning about a specific time period “To talk about our reality, and also to dream.”
- Mark Rothko, (b. 1903, Daugavpils, Latvia), Orange and Yellow, 1956, 231.1 x 180.3 cm, Albright-Knox Art Gallery, Buffalo, NY, US
- Frank Bowling, (b. 1934 , Bartica, Guyana), Who’s Afraid of Barney Newman, 1968, acrylic paint on canvas, 236.4 x 129.5 cm, Tate
- Atsuho Tanaka, (b. 1932, Osaka, Osaka Prefecture, Japan), Electric Dress, 1956, 165 X 80 X 80 cm, courtesy of Museum of Contemporary Art, Tokyo
- Derek Walcott (b. 1930, Castries, Saint Lucia), Love After Love, Collected Poems, 1948–1984
- Sammy Baloji (b.1978, Lumumbashi, Democratic Republic of Congo), Kumbuka!, 2006, Photo collage, various venues)
- Foster, H., Marcus, G. and Myers, F. (1995). The Traffic in Culture. California: University of California Press, pp.302-309.
- Bishop, C. (2006). The Social Turn; Collaboration and its Discontents. Artforum International.
- Project, S., Bourn, J. and Bourn, J. (2019). Meaning of The Color Green |. [online] Bourn Creative. Available at: https://www.bourncreative.com/meaning-of-the-color-green/ [Accessed 9 Jan. 2019].
- New.diaspora-artists.net. (2019). Diaspora-artists: View details. [online] Available at: http://new.diaspora-artists.net/display_item.php?id=928&table=artefacts [Accessed 9 Jan. 2019].
- En.m.wikipedia.org. (2019). Frank Bowling. [online] Available at: https://en.m.wikipedia.org/wiki/Frank_Bowling [Accessed 9 Jan. 2019].
- Artnet.com. (2019). Atsuko Tanaka | artnet. [online] Available at: http://www.artnet.com/artists/atsuko-tanaka/ [Accessed 9 Jan. 2019].
- Dingli, S. (2015). We need to talk about silence: Re-examining silence in International Relations theory. European Journal of International Relations, 21(4), pp.721-742.
- Haus Der Kunst. (2019). Electric Dress. [online] Available at: https://postwar.hausderkunst.de/en/artworks-artists/artworks/electric-dress [Accessed 9 Jan. 2019].
- Liverpoolmuseums.org.uk. (2019). Ports of the Transatlantic slave trade – International Slavery Museum, Liverpool museums. [online] Available at: http://www.liverpoolmuseums.org.uk/ism/resources/slave_trade_ports.aspx [Accessed 9 Jan. 2019].
- visibleproject. (2019). Kumbuka!. [online] Available at: https://www.visibleproject.org/blog/project/kumbuka/ [Accessed 9 Jan. 2019].
- Barcio, P. (2018). Achieving Luminescence – Mark Rothko’s Orange and Yellow. [online] IdeelArt.com. Available at: https://www.ideelart.com/magazine/mark-rothko-orange-and-yellow [Accessed 9 Jan. 2019].
The Queen Elizabeth II Academy for Leadership in International Affairs is now inviting applications for Robert Bosch Stiftung Academy Fellowships (Russia and Eurasia). The fellowships are designed for future thought leaders from Armenia, Azerbaijan, Belarus, Georgia, Moldova, Russia and Ukraine. They will run from September 2019 to July 2020.
The Academy is seeking candidates who would like to contribute to Chatham House’s work on the promise and challenge of global governance in the 21st century.
The Fellowships have three main elements:
Each candidate’s research proposal should consider how their country or region has been affected – positively or negatively – by aspects of global governance.
For more information visit the Academy webpages.
The application window closes on 29 April 2019 at 9:00am UK time.
Please forward this email to anyone you believe may be a suitable candidate.
The Fellowship is made possible thanks to the generous support of the Robert Bosch Stiftung.
In autumn 2018, I made an in-class presentation at the SOAS, University of London Faculty of Law & Social Sciences Department of Development Studies for the GLOBALISATION AND DEVELOPMENT module on the topic of the informalisation of Labour in Developing Countries.
Contrary to expectations, informal labour relations have not disappeared but have been reproduced and incorporated into globalised production circuits.
The presentation covered the main theories on the topic with a focus on the case of Sierra Leonian mining work.