Spring Break
AASU Takes Burden By Storm with Sankofa!
Benjamin Kennedy (ND), Contributing Writer
Issue date: 12/10/07 Section: News
The stage-acts kicked off with an energetic display of three types of Dance: Afro-Brazilian, African, and Hip-Hop. The routines, Choreographed by Lily Liang (OI), Linda Dempah (NH), and Akilah Rogers (ND), exemplified the grace, power, and sensuality traditionally associated with African movement. However, each dance act also displayed a hint of whimsy, reminding us that throughout the diaspora, movement is a communal and fun experience. The dancers themselves showed skill and versatility with more than one performer showing adeptness across multiple styles. The hip-hop act brought the audience to its feet, particularly Section D, which had been eagerly anticipating the stage-debut of Fred Smith (ND).
The next act took us back in time to the Savoy ballroom circa 1944, where Kirkie Maswoswe (OA) was channeling Billie Holiday, right down to the flower in her hair. Backed by the trio of Nalia Stephens (NC) on piano, Nii Dodoo (NA) on bass, and Luciano Codino (NE) on Drums, Maswoswe crooned Holiday's classic "Dem Dar Eyes." The next act had its roots in the Harlem Renaissance, but carried us forward sixty years to a present day spoken word venue. The performing poets illustrated the rhythmic lyricism of contemporary African-American spoken word. Moving easily between poetry and rap in his performance, Matthew Brewer highlighted the similarities between the two.
After a further visit with our family of guides, the show transitioned to one of its most educational acts. Eight barrier breaking African-Americans were portrayed through monologues presented by Garry Thaniel (NH), Johnita Mizelle (OF), Michon Pinnix (OA), Tres Watson (OG), Earl Gordon (OH), Deidre-Ann Harper (NF), Jeanine Barnett (NB), and Jonathan Wilkins. Each monologue gave specific insight into the lives and accomplishments of prominent but lesser-known African-Americans. Of particular interest were notable businesswomen, Madame CJ Walker and Maggie Lena Walker, both of whom should be duly noted for the contributions they made to the advancement of women in business as well as African-Americans in business.
The next act took us back in time to the Savoy ballroom circa 1944, where Kirkie Maswoswe (OA) was channeling Billie Holiday, right down to the flower in her hair. Backed by the trio of Nalia Stephens (NC) on piano, Nii Dodoo (NA) on bass, and Luciano Codino (NE) on Drums, Maswoswe crooned Holiday's classic "Dem Dar Eyes." The next act had its roots in the Harlem Renaissance, but carried us forward sixty years to a present day spoken word venue. The performing poets illustrated the rhythmic lyricism of contemporary African-American spoken word. Moving easily between poetry and rap in his performance, Matthew Brewer highlighted the similarities between the two.
After a further visit with our family of guides, the show transitioned to one of its most educational acts. Eight barrier breaking African-Americans were portrayed through monologues presented by Garry Thaniel (NH), Johnita Mizelle (OF), Michon Pinnix (OA), Tres Watson (OG), Earl Gordon (OH), Deidre-Ann Harper (NF), Jeanine Barnett (NB), and Jonathan Wilkins. Each monologue gave specific insight into the lives and accomplishments of prominent but lesser-known African-Americans. Of particular interest were notable businesswomen, Madame CJ Walker and Maggie Lena Walker, both of whom should be duly noted for the contributions they made to the advancement of women in business as well as African-Americans in business.
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