by Larnies Bowen

“¿Vieron el desfile?” (”Did you see the parade?) asked Olga as she combed the white alisado cream through the roots of Vanessa’s deep ruby-red hair. “Sí, era puro reggae” (”Yeah, it was pure reggae.”) chimed la asistente in a way that let me know that this was not a good thing. To be honest, I hadn’t been paying much attention to the beauty salon chatter (I was busy re-reading The Devil Behind the Miror by Stephen Gregory) until the topic of conversation switched to reggae and the weekend’s desfile, a parade honoring the nation.

Vanessa, a friend of my aunt’s, was kind enough to let me spend a few days at her home in Paraiso (a small town outside of the city primarily inhabited by the descendents of West Indian Canal Zone workers) while I was looking for an apartment. The Friday night before the parades, Vanessa and I went to the Figali Convention center to hear bands play dianas, a traditional Panamanian music form that was very popular during the month of independence. To my surprise, one of the most popular songs played there at the convention center and throughout the entire month was “Pasalo otra vez,” a song by leading Spanish Reggae artist Jr. Ranks. In between sets, a DJ played all of the hottest Dancehall music from JA and PTY.

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by James Collins

After spending so much time with Sello and Boy at their homes, I figured it was time to invite them to my place for a few days. They have been kind enough to let me into their lives, so why not let them into mine? They eagerly accepted my invitation and were excited to see my apartment and watch some videos I had been telling them about. They also asked if they could bring their friend Happy, another drummer from the band, with them and I, of course, accepted, bringing our drum party to four.

They stayed for two nights and we had an amazing time. We did a lot of drumming (on pads and shoes and magazines and whatever else we could find), wrote a new drum feature for their band and watched plenty of videos. They seemed to enjoy everything and I’m sure they learned a lot from the experience. They were also some of the best house guests I’ve ever had. I couldn’t believe it when they started mopping the floors and thoroughly cleaning the bathroom. They were respectful and just a lot of fun to have around. However, I did make the mistake of telling them they could eat as much as they wanted. I have never seen sandwiches stacked so high!

I also learned a lot from them. I regard Sello and Boy as friends and I don’t really associate terms like “disadvantaged” or “impoverished” with them. Those words seem so cold to me. I view them simply as capable young men who perhaps haven’t had many opportunities. But, some of the things they said really gave me pause.

At one point, Boy asked me how many meals I eat a day. I answered (at least three) and asked him the same question, only to find out that he can generally only afford to eat once a day. I also found out that Sello’s family can’t afford to get him a passport for the upcoming Field Band tour to Norway. The cost is around $25. They live on next to nothing, yet they don’t seem at all like “poor African children” or whatever other term might apply. They carry themselves with pride and that is something I really respect.

There were also plenty of funny “cultural” moments during their stay. For instance, they thought it was hilarious that I would want to drink my tea cold (iced tea). They also asked me if we have Coca Cola in America and were fascinated by Listerine. I also had this silly idea that they probably didn’t shower that much (a terrible stereotype based on the conditions of where they live). But, it seemed like they spent half their time showering and bathing!. They even asked me at one point why I didn’t shower so much.

I could go on, but perhaps it’s best to let a video do the talking. I turned my camera on just before they left and they decided to give a little Cribs-style tour of my apartment. I’ve also included some of our drumming and a very nice message they had for me at the end.

Click here to email James with your questions or comments

The views and information presented are the Fulbright grantee’s own and do not represent the Fulbright Program or the U.S. Department of State.

by Aaron Shneyer

There is so much to say. Frustrations, amazements, hopes, confusions.
A lot has happened since I posted the last two videos, almost too much to even think of putting into a blog entry. Thankfully, all in all, things are great. The band continues to come up with some beautiful original music and keeps getting closer and closer to actually playing and thinking like a band. Still it seems there is never enough time to do everything. Music, politics, fixing the world…it’s a long process.

I hope you enjoy this video of Dana’s song, “Dance on a River.” The clip is from the first time the band played the song together, so you can see we’re working out quite a lot as we go along. Hopefully you’ll pick up on the atmosphere in the room. For me its some mixture of excitement, nervousness, tension, joy, hope and complete calm. I wonder what it’ll be like for you. A big thanks to Lola Kalman for the great film work; capturing the energy of the whole room with one camera isn’t easy.

Thanks once again for tuning in. We’ve got a lot of great material on the way, as always.And thanks to everyone who’s written. Your comments, feedback, suggestions, questions and shout outs are always appreciated.

With Love,
Aaron

Click here to email Aaron with your questions or comments

The views and information presented are the Fulbright grantee’s own and do not represent the Fulbright Program or the U.S. Department of State.

by Larnies Bowen

“Well the way how them have Colón, it’s the Cinderella of the whole country. That’s how they have Colón…The Cinderella of the whole country. The reason why that happened is because there was too much black in that area. Yes, that’s how they have Colón. The Cinderella of the whole country. So they never cared to do nothing for Colón. The government, they don’t care.”

–DJ Carlos Winthrop

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by James Collins

Before I came to South Africa, I sent a very naïve email to the CEO of the Field Band Foundation enquiring about the nature of their “facilities” in the townships. The reply I got back simply said, “Hi Jimmy…We have no facilities in the townships. Field Bands = fields I’m afraid.” Though this fact became clear to me when I began working with the bands in September, I suppose it never really hit home until a few days ago…

I was teaching in Cullinan and had just finished my usual warm-ups with the drummers. We started working on a new drum solo, but after a few minutes, I heard something hit the ground next to me. I looked briefly at what seemed like a small piece of glass lying there and turned back to continue my lesson, only to find a cluster of very shocked faces staring at me. Boy then screamed “ICE ROCK!!” and within seconds they were all gone.

I stood there for a moment trying to make sense of what had just happened. Where did they go? Had there been some sort of cultural misunderstanding? Or perhaps there was some danger I wasn’t seeing? Then another piece of “glass” hit the ground. Then a few more fell and it finally hit me that “ice rock” = hail!

I looked back at the field band truck and saw some kids frantically trying to get the instruments packed away. Only a few brave souls had stayed behind to save the instruments; the rest had fled for shelter. I listened for a moment to the surreal sound of hail beating against the drums and then ran to help.

I managed to find a hat and a plastic bag to put on my head. Others found umbrellas and most notably, Sello and Boy were shielding themselves with a set of plastic chairs they had found by the truck. Meanwhile, four kids had formed a pseudo assembly line inside the truck, trying to get everything in before it was too late. Then all hell broke loose outside as heavy rain and some very serious lightening began to mix with the hail.

The “assembly line” didn’t prove to be very effective and those of us standing outside of the truck wound up getting completely soaked as we waited to pass the instruments inside. It was a total mess. But, somehow, the initial shock and panic gradually turned to laughter and smiles as we stopped caring about the weather and began to enjoy this very strange experience we were having together. The hail had mostly given way to torrential rain by that point and everyone had already gotten so wet that it seemed pointless to worry about it. The instruments would have to wait until the assembly line was ready for them. And finally, after a few more soggy minutes, everything was safely inside the truck.

With our mission accomplished, a bunch of kids jumped into my car and I turned on the heater at full blast to the delight of more than a few shivering bodies. Then I drove them home and made the hour-long journey back to my apartment in Johannesburg feeling like I had just stepped out of a swimming pool. Yes, Field Bands most definitely = fields.

image 1

The hail begins and a few remain to save the instruments.

image 2
The assembly line forms inside the truck.

image 3
A very wet marimba makes its way into the truck.

image4
Sello and Boy shield themselves with plastic chairs.

image5
Panic gives way to laughter.

image 6
How did my camera survive all this?

Click here to email James with your questions or comments

The views and information presented are the Fulbright grantee’s own and do not represent the Fulbright Program or the U.S. Department of State.

by Phally Chroy

The Grace of the Apsara dance is everywhere, most especially in the hearts and minds of the Cambodia people. This is dedicated to them– to all the Apsara dancers around the world, near or far.

This entry is going to be a poem that I wrote, because this is my blog? Right? Enjoy.

Apsara dancer color

Sovanna Phum, in Phomn Penh on march 23, 2008

The Grace of the Apsara

Is it beautiful? The grace of the Apsara,
celestial dancer, in the hearts of many.
Her smiles, sadden by years of dance for love,
her eyes from life that is born from the heavens

Apsara dancer b/w

Sovanna Phum, in Phomn Penh on march 23, 2008

Dancing with grace and elegance
from centuries and history rooted in memories.
Lost at times in dance and direction,
but never forgotten by those who had seen.
For the seen, it is a daze from the direction from her eyes and smile.

The celestial ballet that has captured hearts and
bestowed punishment to those who has seen her sadness from the heavens.
To steal smiles from mere simple beings like myself.
This is the punishment to dance with an Apsara.
With pain rooted in her dance.

Apsara dancers b/w

Sovanna Phum, in Phomn Penh on march 23, 2008

Phally

Click here to email Phally with your questions or comments

The views and information presented are the Fulbright grantee’s own and do not represent the Fulbright Program or the U.S. Department of State.

by Phally Chroy

Untitled Apsara kids

Sovanna Phum, in Phomn Penh on march 23, 2008

At times, I find my Fulbright experience in Cambodia so bleak. All the problems that Cambodians face: corruption, oppression, fear, and poverty, strike me at a personal level, perhaps because I too, encounter them daily. But, it is the same everywhere, right? Sometimes, I am not so sure, although the problems in Cambodia do not seem so different from the problems in America, aside from being Cambodian in nature, shape, and form. It was my choice to do research here, but sometimes I think, was it really worth it? To come to a country that I call “mother” in heart, although never truly being accepted by her children?

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by Larnies Bowen

Wondering what I’m listening to down here in PTY? Well today’s post is a collection of some of the most popular dancehall/Reggae-Soca songs that you’ll hear on the radio and in the discotecas. This entry’s entitled “Plena Playlist” because Panamanians often refer to Spanish Reggae as “plena.” The term literally means “hit song,” but perhaps due to Spanish Reggae’s overwhelming popularity, the genre has come to be popularly referred to Plena as well. Plena has a number of sub-genres such as Romantic Reggae, Roots & Culture (think Bob Marley), Dancehall (think Beenie Man), and Reggae-Soca.

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by James Collins

*Additional footage by Shani Van Straaten

I met Sello and Boy when I first visited the Cullinan field band a little over a month ago. I was excited to see the band because I had heard they had some talented drummers. As much as I love working with beginners, my favorite lessons are always with the more advanced players. They tend to pick things up very quickly and really appreciate what I have to offer.

Cullinan is a small rural town outside of Pretoria. It has much less crime than the urban townships and is actually quite peaceful and clean, though, like most of South Africa, is not without its problems. For example, drug abuse is major issue in the schools.

It took me almost an hour and a half to get to Cullinan from Johannesburg on my first visit. When I arrived in town, a guy named Peter greeted me and led me to the school where the band rehearses. As we were pulling up to the field, he casually mentioned that the band’s truck driver had recently quit and that they didn’t have any instruments for rehearsal. I almost jumped out of my seat, thinking to myself, “I drove all the way up here to teach these kids and no one cared to mention that they don’t even have instruments!” But, I kept my cool and asked if there were some way to get the instrument truck to the school. Peter told me they were trying to find a new driver, but until then they would have to rehearse without instruments…

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by Aaron Shneyer

YES! We have videos online! These clips are from our 3rd and 4th meetings. The first shows the band playing and improvising over a classical Arabic song called Lama Bada Yata Sanna. Wissam Murad taught the song to the group to give them a taste of the Arabic scales and rhythms and to get them improvising. Clearly he succeeded on both accounts. The song is in 10/8, which for all you non-musicians means that it’s not an easy rhythm, especially for any student of Western music. The students in the band picked it up with no problem. I especially love how you can hear the jazz backgrounds of a few of our players coming through their solos and fitting in perfectly, bringing the song to new places. I’m sure this song has never sounded like this before!

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