Arts and Culture

KOLA: An Afro Diasporic Remix of the Nutcracker

Published

4 years ago

December 19, 2019

In “KOLA: An Afro Diasporic Remix of the Nutcracker” — we meet Nzingha, an orphan, who lives with her grandparents. Actor Makeda Booker’s character doesn’t remember her mother and resents her abandonment. Though she knows her grandparents — actors Dame Drummer and Jennifer Jones, love her, the child feels a sense of isolation at the family holiday party and spends time playing games on her phone. While everyone mingles, then dances, Nzingha moves awkwardly when her Uncle Victor (James “Banks” Davis), whom she hasn’t seen in a while asks her to join him. The next day, he seeks his niece out as she does her chores, and shares with her stories of his sister, her mother.

And so begins the journey where Nzingha, guided by Uncle Victor, transformed into Esu (the Orisha of the Crossroads) takes her on a Sankofa journey so she can grasp her historic past to better understand her present.

Set to music by lead composer Kev Choice and others, KOLA is a wonderful opportunity to celebrate African resilience and fortitude. How many orphans like Nzingha were nurtured by adults in the journey across the water? How many were adopted when parents were killed or died or were sold off?

The cast is superb as the lead choreographer Rozz Nash sets work for this gifted ensemble. The battle between the Raccoon King and Capoeira King, is a highlight as the masked raccoons square off against the Capoiera posse. This dance is followed by the Resurrection where Nzingha meets tiny mythical snow angels, concluding in a grand finale: The Pantheon. End Act 1.

After a brief intermission where many in the audience go out to purchase KOLA bling, T-shirts and other swag, we see Nzingha on the shore where she meets fishermen and fisherwomen.

Crossing bridges made from bones, Nzingah dances through Bahia where she meets Yemanja—goddess of the salt waters, then into Cuba where she meets Oshun, goddess of love, and Ayiti where she dances Yanvolou, for Ogou and the ancestors known as Gede. It is a dance used to reinforce community and solidarity.

As Nzingha grows in self-confidence, she earns her elekes, or ritual beads, after she dances through each divine portal. The next stop is Southern Spain where Nzingha, also named for a warrior, meets Oya, the goddess of change and transformation. This stop is the beginning of the “great (re)turn,” this time accompanied by the deities Mamiwata, Obatala, and Esu. The child carries her nkisi, or charm, with her. She is wrapped in literal rainbows as she alights in New York at the African Burial Grounds (now Wall Street), dances into Congo Square in New Orleans then heads back to Oakland where the enchantment continues in Oscar Grant Plaza, where Nzingha meets her young grandparents. Home again, she meets her mother again in the mirror and embraces her as she embraces this episode of her journey, now complete.

For each leg of the literal journey master percussionists and other choreographers join lead choreographer, Rozz Nash and co-writer, theatre director, Ryan Nicole Austin – who was running the sound, opening night. 500+ students from more than a dozen Oakland and other East Bay schools are involved as performers, composers and costume/set designers, including OSA, Anna Yates, Northern Light, Pear Tree Community School, West Oakland Middle School, Envision Academy Middle Grades, Park Day, Head Royce, and Latitude High School.

Jennifer Johns is a co-writer and composer and also portrays both the grandmother and Mamiwata. Ultimately, it is through African divinity the orphaned Nzingha finds what she believes she lost. Once she steps into the chasm holding Esu’s hand or cane, it is trust that ultimately rewards Nzingha with the answers she seeks. Once she commits to the trip, she doesn’t let go until she reaches home, sweet home.

It is a beautiful story, one of hope and love. KOLA continues at Castlemont High School, Thursday, Dec. 19-22, 7 p.m. Sunday at 2 p.m. It is a family friendly production. For tickets visit www.thepeoplesconservatory.org

There is free parking on the side of the school campus by the fence near the childcare center signage. Keep driving all the way to the back.

Wanda Sabir

Posts by Wanda Sabir

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Richmond Preps for Full Weekend of Cinco de Mayo Festivities

Cinco de Mayo festivities in Richmond and San Pablo are some of the bests in Bay, and organizers say that tradition will be alive and well at this weekend’s annual parade and festival. The action kicks off Saturday, May 4, with the 16th Annual Cinco de Mayo Richmond/San Pablo Peace & Unity Parade. The parade of floats, performances, and community organizations starts at 10 a.m. at 24th Street and Barrett Avenue and Richmond and ends at 12:30 p.m. at St. Paul’s Church, 1845 Church Lane in San Pablo.

Published

3 days ago

May 4, 2024

Oakland Post

Scene from the 2023 Cinco de Mayo parade from Richmond to San Pablo. Photo courtesy The Richmond Standard.

By Mike Kinney

The Richmond Standard

Cinco de Mayo festivities in Richmond and San Pablo are some of the bests in Bay, and organizers say that tradition will be alive and well at this weekend’s annual parade and festival.

The action kicks off Saturday, May 4, with the 16th Annual Cinco de Mayo Richmond/San Pablo Peace & Unity Parade. The parade of floats, performances, and community organizations starts at 10 a.m. at 24th Street and Barrett Avenue and Richmond and ends at 12:30 p.m. at St. Paul’s Church, 1845 Church Lane in San Pablo.

The parade’s Grand Marshall this year will be community organizer Diego Garcia, owner of Leftside Printing.

The festivities continue Sunday with the Cinco de Mayo Festival along 23rd Street, which last year drew over 100,000 people, according to the 23rd Street Merchants Association. This year’s festival will again run from 10 a.m. to 5 p.m. between the intersections of Rheem Avenue and Clinton Avenue. It will feature two entertainment stages, one sponsored by La Raza 93.3 FM at 23rd and Rheem, and another sponsored by Radio Lazer FM at 23rd and Clinton.

Both events are important for the city and the region’s Latino community.

San Pablo Mayor Genoveva Calloway, who co-chairs the parade alongside John Marquez, president of the Contra Costa Community College District Board of Trustees, says Saturday’s festivities are about bringing the Richmond and San Pablo communities together in unity.

“This truly connects the spectators and people in the parade as one,” Calloway said. “The parade showcases the real communities of Richmond and San Pablo – our nonprofits, schools, horse riders, classic cars and trucks, our local businesses. All of these people represent the heartbeat of our community.”

Rigo Mendoza, vice president of the 23rd Street Merchants Association, said that at its heart, Richmond’s Cinco de Mayo Festival celebrates the date the Mexican army’s victory over France at the Battle of Puebla on May 5, 1862.

But John Marquez started up the popular festival to bring the community together and also to exhibit the community’s businesses and culture to visitors, Mendoza said. The gathering was also a way to promote peace in the community.

Oakland Post

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Art

Mario Van Peebles’ ‘Outlaw Posse’ Screened at Oakland’s Grand Lake Theatre

Published

3 days ago

May 4, 2024

Oakland Post

Film director Mario Van Peebles, who also stars in “Outlaw Posse,” appeared at a press conference held at RBA Creative on MacArthur Boulevard hosted by the Oakland International Film Festival. Photo By Carla Thomas.

By Carla Thomas

The Oakland International Film Festival hosted a screening of “Outlaw Posse” at the Grand Lake Theatre on Monday. Special guests included director/actor Mario Van Peebles and his co-star, Oakland native Scytorya Rhodes. The film is Peebles’ second western, the first being ‘Posse,’ 13 years ago. Filmmaker Van Peebles shared his passion for independent artistry and producing projects with his son, Mandela, who also starred in the film, along with Whoopi Goldberg and Cedric the Entertainer. Next week, The Post will publish an in-depth interview featuring Peebles’ reflections on his work, future projects, and continuing his father’s legacy and Rhodes on her grandfather, a real-life cowboy.

Oakland Post

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Arts and Culture

Kedrick Armstrong: New Music Director for the Oakland Symphony

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director. In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Published

2 weeks ago

April 20, 2024

Oakland Post

Kedrick Armstrong is the new music director for the Oakland Symphony. Photo credit Scott Chernis.

By Post Staff

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director.
In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Armstrong is the successor to previous music director and Conductor Michael Morgan, who passed away in 2021 after a 30-year tenure at the Symphony.

Armstrong will open the Oakland Symphony 2024-2025 season on October 18.

Armstrong, who is 29 and hails from Georgetown, South Carolina, is currently the creative partner and principal conductor of the Knox-Galesburg Symphony.

The Chicago Tribune has praised Armstrong for his ability to “simply let the score speak for itself.” He enjoys a wide range of repertoire, spanning early music to premiering new works, using his joy and curiosity for all music to cultivate understanding and collaboration within diverse communities.
“I am deeply honored and grateful for the opportunity to serve as the new music director of the Oakland Symphony,” Armstrong said. “As a Black conductor, I find it humbling to stand on the shoulders of both Michael Morgan and Calvin Simmons,” the most recent and the first African American music directors of the Symphony, respectively.

Armstrong led three programs at the Symphony between 2022 and early 2024, which showcased his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.
On his Oakland Symphony subscription debut on Feb. 16, Armstrong led the world premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

Armstrong was selected unanimously by the Oakland Symphony’s board of directors and musicians after an extensive two-year search. “The search committee was overwhelmed by Kedrick’s scholarship and curiosity about all kinds of music, from classical and jazz to gospel and hip-hop,” said. Dr. Mieko Hatano, executive director of the Oakland Symphony. “We are thrilled to have him join us at the Oakland Symphony.”