Volume 136, Issue 6
By Asiana
Ponciano
Guardsman
Staff Writer
It's two in the afternoon and Kwaku Daddy is in Ram Plaza surrounded by a crowd of students who are drumming, rattling and tapping to a single melodic rhythm.
Photo
by Patrick Stewart |
As the symphonic circle gains momentum, the beat quickens and beads of sweat glisten on each musician's forehead. Some participants have their eyes closed, focusing on their instruments, while others share smiles as if engaged in a musical conversation.
Then Daddy, dressed in black slacks and an African-print shirt, steps in to the middle of the circle and raises his hand. As he begins to count "1, 2, 3," the melody rhythmically sheds each of its components one-by-one, until only a drum with a thunderous boom is left pounding out a single beat. Finally, Daddy drops his hand and the beat is silenced.
A master drummer and folklorist, Daddy usually conducts his City College African Drumming class in a lively manner. When weather permits, Daddy moves his class outside giving his students a chance to share their music with others while gaining energy from within the circle.
"(Playing outside) has a different energy, it just feels right," said Billy Murphy, a first-time African Drumming student.
In class students not only learn how to drum, but with each beat, Daddy describes the history and philosophy behind it as well.
"He not only teaches how to play but he says you need to feel it too," said Diana Suarez, who has taken the class for two semesters.
Daddy stresses the connection one must have with each rhythm and beat that is learned. A student must be so familiar with a rhythm that he or she would be able to play it anytime.
"You have to wear the rhythm," said Daddy. "You have to play it if someone wakes you up (at) four o'clock in the morning."
Most of all Daddy teaches the importance of sharing rhythm and the positivity each rhythm conveys.
Besides teaching, Daddy has produced and recorded all seven of his albums.
His latest, "The Journey," emphasizes the importance of sharing, learning and being positive.
"The most inspiring thing about it is how to learn and to share," Daddy said.
Daddy uses his life as a template for his album. Each song was inspired by Daddy's own personal journey in life, but hopes others can relate it to their own experiences, too.
"The Journey" depicts Daddy's life journey through what he referred to specifically as "African Jazz."
According to Daddy, jazz involves a call and response pattern, which originated in African music.
Composed mainly of instrumentals and Daddy's narration, "The Journey" was recorded live at Scalas Restaurant in Graton and Mesa Recording in Sebastopol. Daddy's bandmates, Charles McCarthy and David Hardiman, also music instructors at City College, are veteran musicians who have been playing with him for years.
Daddy has collaborated with musical legends Dizzy Gillespie, Quincy Jones and Johnny Otis.
He is also a member of the Recording Academy, and participates in voting at the legendary Grammy Awards.
Daddy is himself the recipient of many honors such as the Sonoma County Arts Council Traditional Folk Artist Award for his album "Hedzoleh," and an award from the American Society of Composers, Authors and Publishers in recognition of his work as a composer.
But of all the awards Daddy has received, he admits he is most proud of the ones that aren't dipped in gold. "The important awards are drawings that kids draw of me when I'm playing," said Daddy.
Every year, Daddy serves more than 70 California schools, from elementary to university level as a consultant on african and world music and to share his knowledge of african folklore, music and dance.
Daddy attributes his ability to make this music and culture accessible to a diversity of people to his morals. He said that it's an African tradition to welcome others and make them feel welcome.
Daddy feels his music is timeless and hasn't any cultural or age boundaries. He describes it as "Music of yesterday and today and tomorrow."
By Asiana
Ponciano
Guardsman
Staff Writer
Works by artist and City College drawing instructor James Torlakson, are on display in the City Arts Gallery until November 14.
 Photo by Carol DiBenedetto Artist James Torklason stands in front of his favorite mixed media piece. |
The exhibit titled "James Torlakson: Realism," is composed of works made with watercolors, oils and aquatint etchings, and features scenes inclusive of coastal landscapes, drive-in theaters, and firework booths.
The artist's website states that he focuses on "everyday" America and defines his art as a combination of "realistic image" and "abstract composition."
Torlakson
is known for his photo-based realism, which is vibrantly illustrated
in his show. He has exhibited at the San Francisco Museum of Modern
Art and the Brooklyn Museum. He has taught at City College for four
years
.
JFK
Spells Drama
Amending history: What happens when a playwright puts
a political figure on stage to ask, "What if?"
By
Jonathan Geilhufe
Guest Writer
CBS may have cancelled its controversial mini-series "The Reagans," but City College is moving forward with a daring theatrical an-alysis of another of the most influential leaders of the 20th century.
|
Photos
by Lana Citowsky |
"The Memoirs of JFK," by playwright Leonard Gross, brings to the stage a speculative look at John F. Ke-nnedy's presidency and personal life if he had survived the 1963 assassination.
Friday's debut of the play came only days after CBS cancelled its upcoming television docudrama in response to Republican criticism that Nancy and Ronald Reagan were being depicted in a negative, unbalanced light.
Many have viewed CBS's decision as an exercise in ce-nsorship and a grave inf-ringement on artistic license.
Conversely, Gross's ambitious drama presents a comprehensive effort to maintain historical accuracy through the convincing portrayal of a presidential, yet very human, John F. Kennedy.
RE-CREATING EVENTS
Director Susan Jackson helped bring this alternate history to life. After working extensively with the actors and the playwright she said, "I believed that this had happened, that this was the history of our country."
Extensive interviews and Gross's capacious research has created a realistic world where Kennedy has led the United States through the Cold War and Vietnam, and now seeks to chronicle his life with the aid of a ghostwriter.
The intensity that exists between Kennedy and his ghostwriter helps convince the audience that this is a believable history. Gross's obsession with historical accuracy further sets "The Memoirs" apart from what many expect from the "The Reagans" biopic.
When Republican National Committee Chairman Ed Gillespie requested that CBS include a disclaimer stating, "This is not a film that is supposed to be historically accurate," the network decided to pull the mini-series because it did not "represent a balanced portrayal of the Reagans."
This lack of credibility coupled by a partisan agenda only further promotes "The Memoirs" as an intelligent option for those looking for an inspiring political re-creation.
The play does not cast Kennedy in an unfavorable light, but neither does it pander to the audience, nor take advantage of the charisma and idealism that set Kennedy apart as a president.
CONVINCING CHARACTER
Richard Conti and Ken Newman turn in inspired performances as President Kennedy and his ghostwriter, Asher Daniel.
The role of JFK is played convincingly by Conti. He portrays a cold, rational politician, but maintains the Kennedy mystique beautifully.
It is not often that the playwright, director and cast can be so intimately involved in the evolution of a play that took 18 years from conception to curtain call.
Gross, an accomplished writer with 21 books and four plays to his credit, was present throughout the reh-earsals and worked with the cast and crew to adjust dialogue and stage direction.
Paying tribute to Gross's cooperation in this process, Newman described the aw-ard-winning playwright as "devoid of ego."
Jackson, who had three brief roles in the production, in addition to directing the voluminous work, spoke for Gross when she said, "He's extremely pleased with the result."
LASTING ACT
Nov. 22 marks a special performance to coincide with the 40th anniversary of the Kennedy assassination.
This final presentation will be held at the Diego Rivera Theatre at City Co-llege's Ocean campus at 6:15 p.m. and offers the opportunity to meet the playwright before the 8 p.m. show. Tickets for the evening's performance are $100 per couple and $60 per individual.
The proceeds benefit City College students, who have been selected to participate in the American College Th-eatre Festival at the Kennedy Center in Washington, D.C.
"Every penny we make above expenses goes towards scholarships to the students selected," Jackson said.
Remaining scheduled performances are Nov. 14, 15 and 21 at 8 p.m. and Nov. 16 at 2 p.m. Tickets are $20 for general admission, $15 for seniors, and $10 for students.
Renegade Voices of the 60's
"Renegade Voices of the 60's," a play co-nceived and di-rected by Gloria Weinstock and performed by students in the Theatre Arts De-partment, ran from Oct. 24 - Nov. 2.
The production provided a view into the 1960's, a decade remembered for its progressive leaders and their crusades for political awareness, reform and cultural change.