In May 2013, I answered “The Call” for applicants and applied for the Afrigeneas.com sponsored scholarship to attend the Midwestern African American Genealogy Institute [MAAGI]. (smile) July 2013 marked my first intensive experience at a genealogy institute of any kind. My experience at MAAGI will always be an organic compass in my life guiding my works as an emerging Genealogist and Family Historian.
Cultural Heritage, Ancestor traditions and Family History have always been a running thread in my creative works, scholarly area of focus and through Family Gatherings. Inspired through a Family HIstory book initiative by way of my paternal Grandfather Claude Waters, Jr in the early 90’s, motivated me further to unearth more information about our stories. My Ancestral quest resonates in shared vision with the pioneering Afrigeneas.com – I encourage all adjoined on this trek to learn more, visit the site or join a chat forum exchange amongst experts.
Afrigeneas.com VISION: ” To find and document the last slaveholder and the first African in each family.”
Give praise to the Life of our Ancestors imbued with infinite wisdom to UPlift our own. Honor breath -speak their names for the vitality of yOUR existence for they are with you, GIVE light towards their ascension for the healing.
Adjoin in Familial – Communal kinship increasing the power of these riteful works making what we do powerFULL. Egun iba’se Egun ire’o *a dupe Baba Yagbe Awolowo Onilu for the added fuel of inspiration.
Daddy Star Shine! This commemorative day I honor my Father’s transition in the post-launch of a lunar eclipse and in the midst of a swift Harvest Season of Ancestral rites, celebrations and atonement.
It’d be awhile returning to this particular blog as I’ve been in field studies working tenaciously and “in the Lab” so to speak, forwarding works with a rapidly paced #Dancestory2014 – see more here: #Dancestory2013 – A Project of nzo.califa Dance Works[click link]
What an amazing journey thus far having gathered so many amazing stories to be retold and archived, as well as capture the stories of Our living, vital threads of information to keep weaving our DNA codes into truth. Those codes remain vital links transcending time, generations giving deeper insight into mysteries of innerstanding. As much as we are immersed into a highly socio-techno world — breath, blood, and water are powerful conduits for transmitting Spirit and information and for African Ancestored Genealogists, WE know that this is the ammunition that slays so-called “brick walls”. Ancestral propitiation remains a life line extending deep wisdoms and truth to help us to live long, and live well ensuring our wealth into the next generation.
I’ve listened to and have observed countless testimonies from the voluminous works of African Ancestored Genealogy Societies daily throughout this country. I’ve experienced the re-awakenings of Spirit, the strengthening of Family ties towards Communal betterment. For this, I “stay on the potter’s wheel” utilizing this powerful vehicle for healing and transformation. And I can attest to my own personal development and thank my Ancestral stars for it… R. Waters Calloway
I am moved and grounded by reading a good book. As much as I love to surf the web, research online or build social media formats, I love the adventuresome qualities of of collecting books of interests and find that buying or gifting books is an invaluable investment. In my Genealogy works before there was internet, I frequented libraries, museums and institutions for information in researching my Family History, while learning about historical elements associated with my heritage. With the introduction of Technology and subsequent passages of the Freedom of Information Acts, [FOIA] Genealogy has become a billion dollar business captivating our attention, our minds and in some cases eclipsing invaluable connections like face-to-face contact, while shortening the attention spans of some presuming that they “don’t have time for reading.”Libraries, Museums and Historical Institutions are the great halls of information equally valuable as our online technological cohorts.
Most recently, I was an organic conduit for bridging a trio of these components:
REEEEE-MIIIIX – Genealogists serve in a multitude of professional arenas. In the capacity as Curatorial Director, I was privy to participate in the stellar artistic works and exchange of Muisi-kongo Malonga’s“Kimpa Vita” creation. Daunting, yet always guided we prayed, researched and gathered oral narratives from Congo to California, combed scholarly works and built compelling stories focused upon 3 iconic travesties of justice involving African American Women. The particular stories chosen, we felt resonated with the movement and demise of our central figure Kongolese Matriarch and Warrioress – Mama #KimpaVita of old Kongo Kingdom.
The solo chore-opera first debuted as an excerpt, at San Francisco Counter Pulse Performing Diaspora 2nd 4-day weekend showing, witnessed by 3 sold-out audiences. Wearing the “Directorial” hat was like balancing a 50lb laundry basket upon my head. Yet through stealth training and mentorship, I focused on balance determined to obtain evidence unearthing associated documents. To my surprise, my discovery included rare graphic depictions concerning these African American Women dating back to as early as 1865 for one, an actual audio recording of American Folk singer Woody Guthrie, and a state sponsored historical marker citing the lynching rampage of the times in 1918.
Born 14 months after the Laura and L.D. Nelson lynching, Woody Guthrie’s own father, then a local politician was actually associated with the lynching and the heinous crime of these times, ultimately chronicled into a postcard. Guthrie wrote a song called “Don’t Kill My Baby & My Son” and gives his crackling retell of story along with the accounts leading to the Nelson lynchings. The song wails in agony…
Not content to believe that Ms Laura’s story starts with lynching and ends with death, I further discover a blog dedicated to her aptly named “The Nelson Lynching of 1911 @Okemah, Oklahoma” also bearing genealogy research for Laura’s husband, giving some idea as to how the two came to be united and ultimately divided. [see link below]
I remember thinking the whole time, “Who are the descendants of these matriarchs and what are the surviving legacies arising from their marked death?” Equally thrilling was to discover active initiatives and commemorative efforts that raise awareness and bring to the forefront these injustices, engaging ongoing activism that combat violence against Women. The #KimpaVita project speaks veneration, and is a powerfully artistic offering to elevate these Spirits through Muisi-kongo’s dynamic mediumship for birthing the stories. Regarding the reveal of these historical accounts concerning the African American Women, it exposed such an inherit ignorance about an abominable era of American History and at the same time de-mystified Mama Kimpa Vita, provoking more people to want to know herstory deserving to be known through her own rites – WAH!
And my #DANCESTORY2013? Its been a fast track, as I’m currently preparing my case scenarios for further research and engagement with genealogy kinship. About the next leg of travel, I’ve added #AK to the #MSY sojourn! I invite You to join the sojourn and support the project that invokes more stories deserving to be preserved, starting with my own. Updates right here: http://bit.ly/1e56YML
~Regina Califa Calloway nzo.califa Dance Works
“Working Da Lines: Dancestory2013″
On an amazing journey, making tracks to build lasting legacies. Just finished co-producing a blogtalk radio show segment I spoke about last post. This was a “Blogtalk” class project was commissioned to Track 4 participants “Genealogy as a Profession” by one our Teachers Ms. Bernice Bennett, granting us the opportunity to broadcast a show on her popular program “Ancestors Footprints”. Launched LIVE July 10, 2013, from #MAAGI at the Historical Harris-Stowe State University, St. Louis, MO, listen in as Institute classmate Callie Flournoy-Riser shares her #genealogy journey to Cameroon with our class host Gary Franklin. Here’s the broadcast link: http://bit.ly/134oWEp and below is my Track 4 classmates.
Part of my #Dancestory2013 mission is to participate in cultural exchange with kinship organizations of the African Dance and Drum Community to invoke dialogue about our Family Histories, while exploring cultural connections. Through Kreative Pandemonium, I was invited to teach a Afro-Cuban Diaspora Dance/lec at the historic Better Family and Life Center led by DeBorah and Malik Ahmed. To be greeted warmly by students of the Community and to encounter the powerful artistry of Mardi Gras Indian traditions was a wonderful welcome; I along with many have have sewn a few of the pieces of this very suit by the Zulu Family of New Orleans, worn by Chief Shaka Zulu of Yellow Pocahontas, memberof 200 year legacy founded by the legendaryBig Chief Allison “Tootie” Montana. Mind you, every stitch counts for such a monumental task taking about a year to complete. God Bless the Mardi Gras Indian tradition.
My“KP” kinship began with long time Brethren Weedie Braimah, leading to meeting his life-partner Andrea Peoples a whirlwind of familiar hospitality and a creative force, both imbued with long-standing music traditions in their own heritage stemming from New Orleans and the infamous Temptations, respectively. Their Organization/ Band/ Family Kreative Pandemonium, so aptly named breeds a powerful movement of sound filled with deep soulful grooves, intricately woven with West African Ancestral calls, historical Jazz runs, flipped with #STL swagg all day and them some. I was privy to some of the rehearsals and was compelled to do a jig on the spot in my little corner, because this was NOT sit down music – AND, the musicality is on HIT!
Wearing my red Fogo 2004 “Kongo Ya Bakoko” shirt in tribute to the legacy of the Ancestors, the class opened up naturally to honor St. Louis’ infamous Cultural Ambassador and treasure Ms. Katherine Dunham. As I shared my own Dunham #Dancestory citing my Mother, Patricia Waters-Calloway whose teacher was Ms. Ruth Beckford, Dunham Biographer, toured with Ms. Dunham in 1943, celebrated 1st Lady of Oakland Dance and Professor Elendar Barnes, Founder of the Laney College Dance Department and Co-Founder of Dimensions Dance Theater, later to further ignite my own passion under the aegis of Mentor/High-school Dance teacherPaula Fleury-Mc Cullum, with a myriad of Dunham emissaries along the way. I reflect favorable upon an fortunate opportunity to meet Ms. Dunham at San Francisco’sFestival 2000 in 1990, where as a Marketing/PR associate I was privy to accommodate her general needs and to observe a class she instructed masterfully from here chair at Laney College. Later in 2006, I’d participate in a “Living Birthday Card” choreography, honoring her 97 years on earth, presented by the Dunham Legacy Project of Northern California at Laney College. For my first class in the #STL, we started in 1st position parallel, working plies, undulations, parallel flat back, rhythmic isolations, then onto progressions – warmed up to a sweat dancing for Palo, adding some heat with Ogun and hit a frenzy with a little Vodou-Arara ,all in dedication to them- here and beyond. I had a great time and love the energy of “da Lou” filled with generations of deep-soul Dance and Drum folks. #grateful
I am ushered to highlight the Bay Area’s African-Ancestored #Dancestory, so inspired by the tenacious Soul-searing ground works like that of my Sis-kin Amara Tabor Smith and the talented Dance mediums of “Ed Mock-manifestations” giving us signs that “We and They” want to be heard. In shared works and more, I too pose the question:
“How shall we preserve and archive vital information that transcends generations, and inform these times?”
To this, I relish these thoughts: My living Grandmother allowing me to perform data entry on her job computer at 14, being a Mac User since 1984 and my Grandfather [deceased] urging me to re-do his Family History documents on a newly purchased Mac to appease my Grandmother, knowing that I’d “hang around”. We produced our first Family history book – #Walston 1993, taking it next level in 1994 on the matrilineal side, lead by my Grandmother – #Coleman/Culverson.
Yet, when I think of my experience at Midwestern African-American Genealogy Institute this year in St. Louis, I think back that just a couple of months ago, my family buried my 1st cousin who was my age…Her beautiful transcendental Spirit of perseverance is my fast pass to live my life NOW, which lead to my Scholarship Award from Afrigeneas.commaking it possible to attend #MAAGI.
It shall always be an indelible print upon my memory, taking our inaugural class picture, my eyes welling up in quiet pride. I shook my head, because I could see my grandfather smiling and sense Ancestors applauding for this moment was truly historical and I was a part of it–for the record. #Dancestory2013-STL
**Special thank you to Institute Founders, Directors, Coordinators, Professors and Experts. A very special thanks to Charles Brown, Jr and Angela Walston-Raji along with the tenacious works and hospitality of the St. Louis African American Genealogy Institute. Pleased to be in the esteemed kinship of Kreative Pandemonium and Better Family Life Cultural, Educational and Business Center, and Community Dancers, Instructors and Drummers.
***Hail Up: Baba Bro. Rodney Lindor of Haiti, Bokulaka, Black Repertory Theatre, 14th Street Artist Community, Sabayet Inc., Dr. David Imhotep, Baba Kenya Ajanaku, and the New African Paradigm Study Group and my roomies from the Afro-American Genealogy Historical Society of Chicago.
JUL3rd- A twitter-call out to Dance-kinship and Ms Denae Hannah answers! – Denae Dance Theatre creates performances from the physical collision of pop culture with high art. Current project: FIVE STAR CHICK. 411: denaehannah.com #RiteOn