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Film Review: ‘Tap World’

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

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

African American Vintners Showcased in Black Vines Event

Black Vines: A Toast to Black Wineries, Black Art and Black Culture held their 12th anniversary event on Saturday, Feb. 25 at The Bridgeyard, near the Judge John Sutter Regional Shoreline in Oakland. It is the longest-running African American winemaker showcase.

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Winemakers and vintners at Black Vines included Free Range Flower Winery, Wachira Wines, She Wines, Vintnoir, P. Harrell, and Bass Note Sangria, among others.
Winemakers and vintners at Black Vines included Free Range Flower Winery, Wachira Wines, She Wines, Vintnoir, P. Harrell, and Bass Note Sangria, among others.

By Carla Thomas

Black Vines: A Toast to Black Wineries, Black Art and Black Culture held their 12th anniversary event on Saturday, Feb. 25 at The Bridgeyard, near the Judge John Sutter Regional Shoreline in Oakland. It is the longest-running African American winemaker showcase.

Hundreds of guests gathered to celebrate and enjoy a live jazz band while sampling wines and buffets of gourmet bites throughout the venue.

The brainchild of founder Fern Stroud, the event is designed to both promote and support the Black wine experience along with good food and great music.

Stroud, a former Silicon Valley technology professional says, “Black Vines, is a way to bridge gaps and build lifelong ties between community, business and the arts while we celebrate Black excellence.”

Proceeds from the event supports the nonprofit think tank, BlackFemaleProject.org.

Stroud was also excited to announce a new partnership with Alaska Airlines. In the new “Wines Fly Free” program, guests were able to bring cases of wine on their flights back home for free. Also, the McBride Sisters wines are now a featured option on flights with Alaska Airlines.

A.T. Howe, founder of Bass Note Sangria at the Black Vines: A Toast to Black Wineries, Black Art and Black Culture 12th anniversary event. Photo By Carla Thomas

A.T. Howe, founder of Bass Note Sangria at the Black Vines: A Toast to Black Wineries, Black Art and Black Culture 12th anniversary event. Photo By Carla Thomas

Paula Harrell, left, owner of P. Harrell Wines with staff at the Black Vines: A Toast to Black Wineries, Black Art and Black Culture 12th anniversary event. Photo By Carla Thomas

Paula Harrell, left, owner of P. Harrell Wines with staff at the Black Vines: A Toast to Black Wineries, Black Art and Black Culture 12th anniversary event. Photo By Carla Thomas

Wachira Wines staff pour samples of wine at the Black Vines: A Toast to Black Wineries, Black Art and Black Culture 12th anniversary event. Photo By Carla Thomas

Wachira Wines staff pour samples of wine at the Black Vines: A Toast to Black Wineries, Black Art and Black Culture 12th anniversary event. Photo By Carla Thomas

Winemakers and vintners at Black Vines included Free Range Flower Winery, Wachira Wines, She Wines, Vintnoir, P. Harrell, and Bass Note Sangria, among others.

“We see this event as an extension of their collective and independent outreach efforts to increase awareness, visibility and market demand for these labels. Our core mission is to provide a tasting experience unlike any other. There has been a steady loyalty factor born out of our Black Vines annual event.”

Additional Black Vine partners include Wine Direct, an industry-leading direct-to-consumer platform; the NAACP x BeyGOOD Black-Owned Small Business Impact Fund for winery empowerment, and She Can, which provides grants and services via the McBride Sisters wine brand.

For Stroud, building economic pathways in the industry will strengthen the business of Black vintners, and ensure sustainability for their community.

“These strategic alliances further establish our desire to provide a consumer touchpoint for wineries to be introduced to a new consumer base. The future success of wineries, going forward, will be heavily dependent upon the experiences created for new potential customers.”

For every event, Stroud, says spreading love is key. “With all that we do for Black Vines, love is at the heart of it, and we want our guests and patrons to feel every bit of that.”

For more information visit: www.BlackVines.net

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Oakland Post: Week of March 15 – 21, 2023

The printed Weekly Edition of the Oakland Post: Week of March 15 – 21, 2023

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The printed Weekly Edition of the Oakland Post: Week of March 15 - 21, 2023

To enlarge your view of this issue, use the slider, magnifying glass icon or full page icon in the lower right corner of the browser window.

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Arts and Culture

‘Put Ur Play On’ Productions Showcases Local Talent at Laney College

On Saturday, Feb. 26 at the Laney College Odell Johnson Theater, the Third Annual Black Centric Showcase celebrated Black History Month. The show depicted eras of Black history, while featuring talent showcases of monologues, skits, dance, rap and singing expressing the past, present and future.

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Actors in stage production “Unapologetically Black: Here to Facilitate Harm Reduction Services for Those in Need, Inc.” (l-r): Toni Rochelle, David Cesari, Ziare Whitelow, Christina Gluszaczak, Harley Ford, Cody Johnson, Shayna Howlett, Tyler Mae and Anthony Dixon. Photo by Carla Thomas.
Actors in stage production “Unapologetically Black: Here to Facilitate Harm Reduction Services for Those in Need, Inc.” (l-r): Toni Rochelle, David Cesari, Ziare Whitelow, Christina Gluszaczak, Harley Ford, Cody Johnson, Shayna Howlett, Tyler Mae and Anthony Dixon. Photo by Carla Thomas.

By Carla Thomas

On Saturday, Feb. 26 at the Laney College Odell Johnson Theater, the Third Annual Black Centric Showcase celebrated Black History Month. The show depicted eras of Black history, while featuring talent showcases of monologues, skits, dance, rap and singing expressing the past, present and future.

“The showcase was designed to feature talented members of the community performing all eras of Black history: Where we are from, where we have been, and where are we going,” said Saleemah Jones, production company founder-producer of “Put Ur Play On” with assistant director Angel Galloway.

Pamela Terry performed a monologue spun from August Wilson’s “Fences.” Terry responded to a casting call ad for the role. “Through my audition I learned about the production company, Saleemah Jones, and assistant director, Angel Galloway,” said Terry. “These two sisters are brilliant in their work to improve the quality of life in the community.” She said the experience was both inspiring and challenging.

AKIL of Oakland performed his original song “Gave Us 28,” referring to the number of days in February for Black History Month. “I like to produce positive rap,” said AKIL. “They gave us 28 but every day we make history.”

Other performances featured an original skit on love by Lauren Black and Erynne-Dnae of Cotati, California, and a poem by Oakland middle-schooler Talia Rochelle entitled “Go to the Back, Rosa Parks.” “Rosa Parks is an important, strong, brave woman in Black history,” she said.

Paris Jackson Jr. performed an original dance.

Gary Moore of San Francisco performed a monologue from August Wilson’s “Ma Rainey’s Black Bottom.” Shelly Broadnax performed an original poem entitled “MIBPOC,” about having to check the ‘other’ box when filling out surveys and applications.

IMAC FADICHI of Chicago performed an original rap, “The Good Show,” and Pierre Jones of Richmond performed an original monologue entitled, “Black Caesar.”

The second half of the show included the stage production “Unapologetically Black: Here to Facilitate Harm Reduction Services for Those in Need, Inc.,” written by Itoro Bassey, a Nigerian playwright.

“Itoro reached out to us, and we thought it was a great way to put this perspective on our platform to raise voices,” said Jones, play producer.

The production, satiric in nature, explored the seriousness of Black and white race relations including white privilege and white insensitivity toward African Americans in everyday situations.

In one scene a white male doctor talks to a Black female patient in a dismissive manner. At the height of their disagreement, the two actors are frozen in time. A third actor enters, “Dr. Find You an Ally,” performed by Anthony Dixon, who narrates the situation and offers to serve as a white ally for the Black woman for 24 hours at the price of $59.99.

The actors unfreeze and the Black woman joins the narrator, as he explains his services including a bootcamp provided to retrain white perpetrators and transform their behavior into one of respect, understanding and empathy toward Black people.

Actors in the production included Tyler Mae, David Cesari, Shayna Howlett, Toni Rochelle, Ziare Whitelow, Christina Gluszaczak, Harley Ford and Cody Johnson.

“It’s been great to combine a showcase featuring some of the best in Bay Area talent with a stage play production written by a Nigerian sister,” said Jones. “The month may have 28 days, but we are 365 days a year, 24-7 making history,” said Galloway.

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