Entertainment

Film Review: ‘Tap World’

Published

9 years ago

July 9, 2015

Oakland Post

Chloe Arnold and friends in the dance documentary “Tap World.”

By Dwight Brown
NNPA Film Critic

At one point in this sweet gem of a documentary, two tap dancers from different parts of the world define the joy and philosophy of tap dancing: “Dance to express, not to impress,” says Chloe Arnold of the U.S. “I dance, therefore I am,” states Arthur Benhamou of Paris. Those basic acknowledgments are probably why tap dancing, which one might assume is strictly an American phenomenon, is so loved around the world and a thriving, inspiring performing art.

The roots of tap dancing can be traced to Irish dancing and Juba dance. The latter was originally from West Africa and transformed into a plantation dance, which used the tap sounds as codes. Strains of the dance came from the Caribbean and the Southern United States, eventually evolving into the traditional Broadway tap, seen in musicals, and the more improvised Rhythm (Jazz) tap, which like jazz music is more fluid.

We often think of sports as a vehicle for young people who need a focus that will propel them forward. This highly enlightening film showcases dancers from nine to 91, who use tap as a means of expression, a driving force, and are welcomed into a nurturing community. In New York’s Hell’s Kitchen, long before it became gentrified, Jason Samuels Smith lived with his single mom in a five-floor walkup apartment with two rooms that were always filled with more than two people. He had no father figure, until he gravitated to some older men in the neighborhood who taught him how to tap dance and be a man.

Joshua Johnson grew up in the projects in Harlem and witnessed a peer getting shot and dying. He moved out of his broken home when he finished high school. Then, he couch-surfed, kept his possessions in a storage locker and relied on tap dancing as a source of income. He tap danced in subway cars for loose change, and his courage and determination landed him a piece in the New York Times, an appearance on The Ellen DeGeneres Show and tuition for Penn State University.

Vickie Riordan, a single mother, started a tap dance class in Harrisburg, Pa., which attracted a lot of women who were dealing with domestic issues. Her son helped her market her class, which turned into the America’s largest adults-only tap group with 500 women and men, students who she calls Tap Pups.

Tap dancing kids from fevelas in Brazil, a tapping troupe in Taiwan, a soloist who performs on the streets in Paris, urban tappers in Tokyo – they all follow the same pattern. Tap dancing, self-discovery, determination and exhilaration.

Executive producer/director Dean Hargrove started with a short film called Tap Heat, which paralleled two tap dancers, one traditional and one a street stylist, who melded the two styles to enhance the art form. Tap World, an extension of that effort, uses footage from all over the globe, which focuses on the community of tap dancers. Interviews with dance historian Constance Valis Hill add gravitas. The technical aspects – editing, cinematography – are fine and don’t block the spirit of the artists who lift this film up with their performances and anecdotes. Though it is great to see these unknown disciples of tap, it seems odd that the legacy bearer of Rhythm tap, Savion Glover, who passes on a tradition that goes back a generation to Gregory Hines and further back than him, is not present or even the narrator.

It’s hard not to smile when a young tap dancer, who loses a leg to cancer, gets a peg leg and continues doing what he loves because he can follow in the footsteps of physically challenged dancers such as the legendary Peg Leg Bates. And it’s touching when African American dancer Chloe Arnold heads to Japan to perform with dancers in Tokyo; there is not culture clash, it’s a mesh of cultures.

You wouldn’t have known that tap dancing is as international as Coca Cola, until you saw this thoroughly heartwarming film.

Visit NNPA Film Critic Dwight Brown at DwightBrownInk.com.

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Arts and Culture

In ‘Affrilachia: Testimonies,’ Puts Blacks in Appalacia on the Map

Published

6 hours ago

December 22, 2024

Oakland Post

Author Chris Aluka. Photo courtesy of Chris Aluka.

By Terri Schlichenmeyer
The Bookworm Sez

An average oak tree is bigger around than two people together can reach.

That mighty tree starts out with an acorn the size of a nickel, ultimately growing to some 80 feet tall, with a canopy of a hundred feet or more across.

And like the new book, “Affrilachia” by Chris Aluka Berry (with Kelly Elaine Navies and Maia A. Surdam), its roots spread wide and wider.

Affriclachia is a term a Kentucky poet coined in the 1990s referring to the Black communities in Appalachia who are similarly referred to as Affrilachians.

In 2016, “on a foggy Sunday morning in March,” Berry visited Affrilachia for the first time by going the Mount Zion AME Zion Church in Cullowhee, North Carolina. The congregation was tiny; just a handful of people were there that day, but a pair of siblings stood out to him.

According to Berry, Ann Rogers and Mae Louise Allen lived on opposite sides of town, and neither had a driver’s license. He surmised that church was the only time the elderly sisters were together then, but their devotion to one another was clear.

As the service ended, he asked Allen if he could visit her. Was she willing to talk about her life in the Appalachians, her parents, her town?

She was, and arrangements were made, but before Barry could get back to Cullowhee, he learned that Allen had died. Saddened, he wondered how many stories are lost each day in mountain communities where African Americans have lived for more than a century.

“I couldn’t make photographs of the past,” he says, “but I could document the people and places living now.”

In doing so he also offers photographs that he collected from people he met in ‘Affrilachia,’ in North Carolina, Georgia, Kentucky, and Tennessee, at a rustic “camp” that was likely created by enslaved people, at churches, and in modest houses along highways.

The people he interviewed recalled family tales and community stories of support, hardship, and home.

Says coauthor Navies, “These images shout without making a sound.”

If it’s true what they say about a picture being worth 1,000 words, then “Affrilachia,” as packed with photos as it is, is worth a million.

With that in mind, there’s not a lot of narrative inside this book, just a few poems, a small number of very brief interviews, a handful of memories passed down, and some background stories from author Berry and his co-authors. The tales are interesting but scant.

For most readers, though, that lack of narrative isn’t going to matter much. The photographs are the reason why you’d have this book.

Here are pictures of life as it was 50 years or a century ago: group photos, pictures taken of proud moments, worn pews, and happy children. Some of the modern pictures may make you wonder why they’re included, but they set a tone and tell a tale.

This is the kind of book you’ll take off the shelf, and notice something different every time you do. “Affrilachia” doesn’t contain a lot of words, but it’s a good choice when it’s time to branch out in your reading.

“Affrilachia: Testimonies,” by Chris Aluka Berry with Kelly Elaine Navies and Maia A. Surdam

c.2024, University of Kentucky Press, $50.00.

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Oakland Post: Week of December 18 – 24, 2024

The printed Weekly Edition of the Oakland Post: Week of December 18 – 24, 2024

Published

2 days ago

December 20, 2024

Oakland Post

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Arts and Culture

Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

Published

5 days ago

December 18, 2024

Oakland Post

Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com