I sometimes catch Juma dancing in the garden. He is the caretaker of the Umoja grounds and considering the seriousness with which he goes about his work, the only explanation for such moments of inhibition is that there's something in the air. And it is this something which causes children, upon entering this place, to shed their protective skin and with it any label of economic status or race and run around like they own the place (which they do), and causes the bigger people to rediscover such freedom from care and discrimination.
"Things are happening" is the saying used around Arusha, especially when one gets a flat tire (again) or the water main bursts (again) or an old man falls from his bike in the middle of the highway (hopefully never again). But here, at Umoja, such a phrase takes on the meaning usually associated with it - that of the inevitable excitement of things once seemingly to be going nowhere, now finally moving and quickly gaining momentum. And the energy generated by such motion swirls both inside Umoja's walls and outside on the stage and rushes out the gate into the awaiting community. Just under two months ago I landed right in the middle of the action and have come out spinning onto the grassy lawn of Christmas break with stars circling my head. However, once the stillness of the earth convinced me I could reopen my eyes I found that the stars had also slowed and shown bright as if against a deep and knowing night sky. They were stars of inspiration and have illuminated what will and can happen during my stay here at Umoja. But first here's a look at all that is and has happened.....
Inside Umoja:
EVERY WEEK: children and adults alike come with guitars, violins, cellos, their singing voices, dancing feet and searching hands.....some searching for what they hear in their heart to find a voice and still others to make sense of color and line. Come any Saturday, for example, and there will be children leaping across the stage while a group of violins plays follow the leader in a classroom, the cellos improvise in the guesthouse and children paint music notes in primary colors across the walls.
I find myself, of course, in the middle of the cello commotion, but in order to give a proper introduction of all my students I will wait till a bit more of the dust has cleared and the full details of teaching such a diverse group can be discussed at length. Check out the Umoja Highlights link to the right to view pictures of all seven of my musketeers.
When I unleashed a handful from this group armed with paint brushes and a watergun full of yellow paint, I quickly ran for cover and returned to find a VERY expressive redecorating of the cello studio, complete with foot prints in places other than on the floor. The idea to let the kids do the paint job was actually sparked by the ongoing Saturday afternoon "Let's Beautify Umoja" workshop, where local children come in and, guided by Spanish designer Rothio, add color to what were once white washed walls.
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For better or for worse, I just happened to give my kids complete creative license, wishing later only that I hadn't mixed a green that came so close to resembling cow dung. However, once the blue accents were added and a large cello made of carpet (serving as both a sound absorber and an exercise in recycled art) took its place over the most concentrated areas of "green", other students looked in through the windows and exclaimed, "Cool! Wish Liza would let us do that in the violin studio!"
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STUDENT RECITALS: Besides weekly lessons, students also have the opportunity to perform every two weeks for a warm audience of friends, parents and community members. As stated by Liza, "We believe that in order for artistic development to be holistic, students must expose their work to the public as part of the learning process." Need anything more be said?
OPUS 1: Less than two weeks after I arrived I made my debut as a performer in the first of Umoja's "Opus" concert series. Designed to expose the surrounding community to innovative and world-class performances, the series brings together the artist-faculty of Umoja with guest artists from all and any genre, culture and stylistic background. "Opus 1" had everything from Mozart cello and violin duets to a rasta infused jazz trio of guitar, bass and sax; from a contemporary violin and dance duet to my solo cello rendition of the ancient Japanese koto work, Rokudan (which was so well received that we plan to perform my transcription of it for cello, guitar and voice in an upcoming Opus concert). And in the middle of the program we had an improvisation that involved everyone, including all the musicians, the dancer and the audience, as well as pieces of white paper and a dozen roses. Any explanation wouldn't come close to what actually happened. Let's just say "Opus 2" is awaited by all with growing anticipation....
FUNDRAISER PARTY Take Two: For the second time this year, the first being the Grand Opening Party last spring, Umoja became
the place to be in all of Arusha. Imagine if you will, an art opening featuring the female sculptor Mwandale from Dar es Salaam, whose work has been shown world-wide (see the Mwandale link on the right), a full bar lit by lanterns on the lawn and or`dourves to match.
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But that's not it, the evening bursts into technicolor when a fashion show featuring Rothio's Spanish influenced designs, using traditional Tanzanian textiles, takes to the stage (check out the Umande Kangas link on the right). And following the show, a line up of jazz bands appear from behind the curtain and play into the night until the last stragglers are left dancing alone amongst empty chairs and forgotten wine glasses.
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I myself walked down the catwalk (which is why I have no pictures) shaking my hips to the Latin soundtrack that filled the air and came away with a fabulous dress of deep purple passion fruit. The event, which actually did bring in people from every corner of Arusha, raised enough money for Umoja to begin phase one of their Local Schools Outreach Initiative starting early next year (more details in an upcoming post) and deepened the roots of Umoja in the Arusha community.
CANDLE WORKSHOP: Just before I left Japan, Yapi, the producer of the multi-disciplinary and cross cultural performing group in which I had been involved, told me that he just so happened be going in mid-November to Nairobi, Kenya, which is just a mere six hours away from Arusha (very close considering the scope of the continent). He said he would be doing a candle making workshop for street kids and orphans. So, soon after my arrival in Arusha I set out to organize a free event which turned out to be a collaboration with the Africa Ensemble from Makumira University, a local batik artist, a Catholic nun, St. Thadeus, a local school that boards orphans for free, and Yapi.
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That day there were two simultaneous workshops: one lead by the Makumira musicians on the stage, demonstrating and teaching about Tanzanian traditional instruments and dance; and the other lead by Yappi under the trees in the gardens, showing how to make cold wax candles. Exhibited in the main building were traditional batiks and the artwork of children from the St. Thadeus. When the sun was setting, everyone gathered on the stage for an evening performance featuring a candle design set up by the children, Makumira showing off their best, a cello, litungu (traditional lyre) and marimba jam session and a final dance and song, which was learned by everyone during the previous workshop. Those who came varied from orphans from the outskirts of Arusha to wealthy ex-pats with a love of music. But the magic of Umoja is that such differences soon melt away so that only the true self is exposed. The orphans had come in their Sunday best, albeit recycled with holes and tares, and were seemingly shy and quiet. But no sooner had they spotted the drums did they forget themselves and exhibit the unreserved energy of all who are young. When they left, smiles beaming, they were begging to come back and waved at me through the window as they drove away, stuffed in my collegues land rover.
I cannot finish without expressing my sincere gratitude for Yapi making the journey to Arusha, volunteering his time and donating all the materials, including 52 of his own candles. As if that weren't enough he also came with a brand new 1/2 size cello which, much to his delight, was lent to Francis, my 8 year-old Tanzanian student who was badly in need of an uprgade. Asante Sana, Yapi!
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Outside Umoja:
Christmas Fair: Umoja has also extended its presence in the community by participating in events like
the Christmas Fair, which is a huge two-day event bringing together artists, artisans and business from all over Tanzania and Kenya. Umoja had a tent right in the middle and entertained the crowds with a talent show, a performance given by all our students and an art competition.
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Carols By Candlelight: Umoja was also the featured NPO for a this holiday charity event. Again, there were performances by our students as well as a carol sing-a-long lead by the Umoja adult choir. And as the name suggests, it was done by candlelight with everyone sitting on the grass under the limitless Tanzanian sky.
****For all that has been described above there are pictures you can view by clicking on the Umoja Highlights 2008 link to the right and I HIGHLY recommend that you take a look. Words are never enough and the images will help fill in the blanks where words have failed.
However, what pictures are not there, are those which show the behind the scenes of everything that goes into making all this happen. I have already expressed my deep respect for Liza's initial outreach which solidified the relationships on which Umoja was built. And it was deepened even further with my firsthand experience in organizing the Candle Making Workshop.
Here are some details just to give you an idea. To begin with, here in Tanzania, communicating by phone or email is not enough. You must meet with people face to face, not once, not twice, but many times to discuss and check and recheck agreements and plans. I met with the Catholic nun Sister Rosy three times, once to meet her orphans, the batik artist half a dozen times, and those at St. Thadues four or five times. And I went through several channels of permission and planning to get the Africa Ensemble from Makumira be able to come out.
Then there was the constant emailing with Yapi, the setting up of his accommodations and meals, the preparation of the exhibition, the buying and cooking of food for all the artists and orphans involved and meetings with all the directors of Umoja to delegate who was going to do what to make it all happen. I ran around none stop for a week and was up at six on the day of, peeling onions, doing last minute touch ups on the exhibition, escorting Yapi and the children, and managing the time and flow of the workshops, performance and food. Needless to say, I could never have done it alone, and it was a success only due to the fact that so many people were right there with me lending a hand whenever possible.
It was a sharp learning curve and many things I learned the hard way: the batik artist only produced four pieces worth showing (at the last minute) and a whole bus load of children never showed up, despite the fact I had met with all the appropriate people coutless of times. However, I now have that experience to stand on when I take on the challenges which lie ahead, as well as a growing network of contacts and a better understanding of how to keep it growing. Do stay tuned for a post in the near future about all the new possibilities and inspirations of where I will direct my energies next. Believe me, they will be part of the Umoja's momemtum that is barrreling full speed ahead.
