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ACTA'S 2nd BIENNIAL ARTIST GATHERING
In the Fall of 2003, we hosted 55 artists from ACTA 's Apprenticeship Program in Los Angeles for ACTA 's 2nd Biennial Artist Gathering. The Japanese American National Museum in Little Tokyo provided an inspiring venue for the performances, panels, and discussions on October 25 and 26. Please visit the photo gallery to see some of the highlights. Both Saturday and Sunday featured powerful performances and sharing sessions from each of the artists. With nineteen different art forms ranging from Mexican American altar making to Native American basketweaving, and from Afro-Peruvian Zapateo Dance to Hmong Kwv Txhiaj (traditional sung poetry), the sessions were a demonstration of the vibrancy and diversity of living cultures in California . The sharing sessions allowed each artist an opportunity to not only demonstrate their art, but express the meaning and significance, and in many cases urgency, in ensuring its continuance. In addition to the more formal learning and sharing offered through the panels, forums, and sharing sessions, participants also had the chance to connect and network with each other. Over meals and during a special Divali ritual to mark the Indian Festival of Lights on October 25, hosted by Ramaa Bharadvaj and Ramya Harishankar and their respective apprentices Shivali Panchal and Trisha Banerjee , new connections were formed. The collective experience over the two days reinforced the value of coming together and the powerful inter-relationships shared as artists, as culture bearers, as Californians, and as humans. Many thanks to the California Arts Council, National Endowment for the Arts and the Fund for Folk Culture in partnership with the James Irvine Foundation for the funding that made the event possible. The event opened with inspirational words from Joel Jacinto, Executive Director of Search to Involve Pilipino Americans and ACTA Board Member, who spoke on Magkaugnay or the concept of inter-relatedness of the many cultures and traditional arts in California. His thoughts set the tone for an openness of expression that continued through the gathering, allowing the participants to not only share their traditions, but to recognize the inter-relationships of their cultural practices and explore the common experience of commitment to the perpetuation of traditional culture and pursuit of artistic excellence. The “Passing it On” Forum focused on the participants successes and challenges in teaching and learning traditional arts. Moderated by Mary MacGregor-Villarreal, the panel featured testimonies from Naomi Gedo Diouf, Master Artist, W. African Liberian Dance; Ramya Harishankar, Master Artist, South Indian Bharata Natyam Dance; Ajumu Smith, Apprentice, Afro-Cuban Batà Drumming; and Melody Takata, Apprentice, Japanese Shamisen Music. Some of the issues raised included: the role of the family in setting high standards for the practice of traditional arts; the challenge of harnessing youth's interest in traditional arts in the face of mass popular culture; and the role of traditional arts in deepening connections to heritage and ancestry that may be reconstructed after several generations of dislocation. The funding panel moderated by Amy Kitchener, ACTA Exective Director, featured Felicia Kelley, Ph.D., Senior Programs Manager, California Council for the Humanities; Laura Marcus, Ph.D., Program Associate, Fund for Folk Culture; Lisa Richardson, Traditional Arts Program Director, Los Angeles Craft & Folk Art Museum; and Josie Talamantez, Assistant Chief of Grant Programs, California Arts Council. Each presenter introduced their funding programs in relation to the folk and traditional art field. The harsh reality of the widespread affects on artists in California due to the draconian cut of the California Arts Council budget was made tangible during this time. Event participants were expressing a need for financial support, while CAC representative Josie Talamantez reported that the agency had suspended all its granting programs, including the Traditional Folk Arts Program. Josie also expressed deep gratitude on behalf of the CAC for the advocacy efforts made by artists and arts organizations during the budget process. However, it is clear that the work is not over and continued support for the arts in California must be rallied and demonstrated to the new leadership in Sacramento.
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