.: "The Polished Hoe"

Wednesday, February 28, 2007

"The Polished Hoe"

A few months ago I had the fortune to meet Austin Clark, an author of extrema note, this past weekend a stage adaptation of his Giller Prize winning novel "the Polished Hoe" was launched. At the same time a new blog from my friends Abdi and Rinaldo ran its first post on the opening night gala! I regrettably missed the big night but Check out their review of "The Polished Hoe"

Toronto's Obsidian Theatre Company and Barbados-based Frank Collymore Hall present the world premiere of the West Indies-set The Polished Hoe, Feb. 18-March 4 in Canada. Following its run in Toronto, the production will play Barbados in April, representing Canada's cultural contribution to the World Cup of Cricket Championships, held for the first time in the West Indies. The work is drawn from the award-winning novel by Austin Clarke. It's adapted for the stage by Colin Taylor in collaboration with Alison Sealy-Smith. The production features Sealy-Smith and Tony Thompson. Taylor directs.

"When an elderly West Indian woman calls the police to confess to murder, the call results in a shattering all-night vigil that brings together every element of the African Diaspora in one epic sweep," according to production notes. "Set on the post-colonial West Indian island of Bimshire in 1952, The Polished Hoe unravels over one evening, but spans the lifetime of one woman and unearths the collective experience of a society informed by slavery. The man she claims to have murdered is Mr. Bellfeels, the village plantation owner for whom she has worked for more than 30 years. Mary has also been Mr. Bellfeels' mistress for most of that time and is the mother of his only son, Wilberforce, a successful doctor. What transpires through Mary's words and recollections is a deep meditation on the power of memory and the indomitable strength of the human spirit."

Author Austin Clark won the ninth annual Giller Prize for his 10th novel, "The Polished Hoe," released in Canada and the Caribbean in the fall of 2002. The book went on to win Ontario's Trillium Prize for the best book by an Ontario author, the regional Commonwealth Prize for Best Book, and the overall Commonwealth Prize for the Best Book in the British Commonwealth.

"The Polished Hoe" remained on Canadian bestseller lists for over 18 weeks and was nominated for the International IMPAC Dublin Literary Award in 2004.

Text is from the Playbill website, images are from various sources.

Note: All images and text (not specified) is copyrighted by Christopher Cushman. This site does not specify or denote the sexual orientation of any model and as such please post your comments accordingly.

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The Dance Through Life Project

Photograph project dedicated to capture the Art of Dance within the parameters of everyday life. The project hopes to capture the innate relationships between dance and everyday life. Images of dance performed in non-traditional locales hopefully demystifying dance as being inaccessible and drawing the obvious metaphor that while all can not express life with such movement and physicality, we all love with our own signature grace. Therefore we all dance.

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Through New Eyes: The Photography of Christopher Cushman by Rinaldo Walcott

The Black male body remains an enigma despite its over representation in the public sphere. The dominance of hip hop culture globally, driven in part, but not exclusively by the innovative sounds of rap music have made Black men a standard by which Black men and other men judge themselves in contemporary culture. However, there is a paradox, because despite the prevalence of hip-hop’s popular global impact, Black men are also still some of the most despised men in Western culture. Stereotypes of criminality, disease and danger still abound and organize Black men’s lives, even within hip hop culture. Thus representations of Black men tend to be much more restricted, than open-ended. The struggle to bring Black men into complex open-ended representations has been an on-going historical struggle. One of the most potent forms of representation in the last one hundred and fifty years has been the photograph. Photography has offered the promise to represent the real in a manner that has both seduce its viewers and baffled them with its artifice. Black male photographic representations in the last half of the twentieth century and into the twenty-first have promised to rescue Black men from the confines of mis-representation and stereotype. One of the most difficult and complicated circumstances of Black male representations has been in the realm of representing their sexuality. Black men’s sexuality is still over-burdened by a perceived threat and danger, especially now in the hyped-up era of the downlow. Then along comes Cushman. I first hear of Christopher Cushman’s photography from my boyfriend. He told me of a guy who was taking photographs of black nudes based upon how they wanted themselves to be seen, not how he posed them as his models. When I met Cushman he confirmed that he did indeed work from the models’ suggested posed and not impose his own. The idea is a great one because it allows the models agency in choosing what they believe to be an adequate representation of who they are. While it is now true that in contemporary culture subjects have learned to play for the camera, offering us artifice on command, this artifice can be understood as exposing inner senses of self and being. Cushman’s photography captures and reveals those inner desires. Look at me, many of the models seems to say. But look at me anew, is also what they seem to project and insist on. Cushman’s eye lavishes these Black male bodies with glimmers of light revealing their nuance personalities. While most of the men are naked their individuality comes clearly through. And yet, their eyes too reveal that they belong to a community, a family and possess desires, fantasies and needs. In these photographs, as viewers we are given new eyes to see beyond our inner voyeur. Cushman channels, Robert Mapplethorpe, Rotimi Fani-Kayode and many other artists, commercial and amateur photographers who seek to rescue the Black male body from the disastrous depths of mis-representation, and who almost always fall short. The conversations that his models create between his work and others whether unconscious or not reveal the profound influence of the image in our time. However, in Cushman’s eyes the Black male body is not being rescued, instead it stands on a self-made pedestal, not arrogantly announcing its existence but coolly (its signature) singing its own praisesong as swathes of light and behind the camera love washes over it. In each moment a small but significant revelation is made. Each revelation offers us the opportunity of an Epiphany – to think a thought about a Black man that we have not thought before. Professor Rinaldo Walcott is a cultural critic and Canada Research Chair of Social Justice and Cultural Studies at the University of Toronto. He lives and writes in Toronto.

FIERCE! Being Black, Being Gay in America

"What Chris has done with this important collection of images, Fierce: Being Black, Being Gay in America, A Photographic Essay, is to seek, lift, and affirm the identity and visibility of men-who love-men and express it in many ways. His photographs display Midwest American men from the outlandish and flamboyant, to the subdued and subtle. You’d think these were “ladies who lunch;” muscular men dressed for the “Park” in lace, and floppy hats to give effect for all to see. Brothers connecting in places we know are safe, such as our nightclubs, the discos, and special events targeting our interests.

The importance of Fierce is paramount: all men are created equal, and share a space on earth. These portraits of men have to be recognized as God’s beauty and not His damnation. Time will thank those who were strong and dared enough to express themselves for all to see and appreciate in a manner that’s loving and creative. Time will also thank us for not living in a paranoid state of mind, and afraid of our own shadows. Remember, this cluster of work isn’t Robert Mappelthope’s approach to black imagery, but the approach of documenting men as they wanted to be seen: with and without sexual stimulation, for shock value."

Curtis A. Lipscomb
Executive Director Kick – The Agency for L-G-B-T African-Americans
Detroit Michigan / 2005
www.e-kick.com