Banbòch Gede! Gede Bash! Celebrate the Day of the Dead, Haitian Style

Makandal invites you to dance with the dead and rise again!
Saturday, November 19, 8 pm – 1:30 am
Tafari Tribe Globe Trade, 593 Flatbush Avenue, Brooklyn (map)

For the third year in a row, we present our Banbòch Gede, this time in collaboration with Bohio Music (vocalist Riva Nyri Précil and guitarist Monvelyno Alexis) and Makini Sacred Arts (Makini Armand).

And how will the night look?

  • Live music with Bohio Music
  • More live music with The Makandal Drummers
  • Hot Gede dancing with Agathina Ginoue
  • Food, drink, and offerings by Makini Sacred Arts
  • Jewelry and accessories by Gamonde
  • Tribal organic face painting by Fruiggie
  • Gede costume contest

Transportation to the venue:
B, Q to Prospect Park
2, 5 to Sterling Place

buttonTickets $15
Purchase on Paypal
(tap the skull to the left, and see how she swallows your money)
or
Buy at the door

Featured image by Kesler Pierre

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Tales from the Archive: Tangled Roots

The spotlight caught him in one of his star moments: seated at a conga in a red Kesler Pierre t-shirt for the Vodou spirit of love (her dazzling heart crowned with the word “Makandal”); a cluster of New Orleans-style carnival beads around his neck; a white kufi on his head; and fingers poised to embroider venerable sonic memories into a new groove. The audience ceased its shuffling, and his solo started, rhapsodic at first and then settling into a gentle yanvalou. He reached into his bag of musical tricks and wrapped his hands around ibo and then zaryen (with a little Carnival detour along the way). Now he was ready for the kill—an ever so cool transition to mayi that drew sighs of pleasure and applause from the audience, and a pitch-bending motif executed with elbow and chin. Frisner Augustin returned to mayi for a razor-sharp cadence, and a stage-left gesture of invitation to the celebrated jazz drummer Andrew Cyrille. Vodou and jazz were ready to dig deep into their tangled roots. Continue reading

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Tales from the Archive: Remembering Jocelyne

Frisner popped the audiocassette into his car’s player, and the music started. “Le voix là, le voix les anges, le voix là, le voix les cieux, nous prions qui sous la terre, sous la terre comme dans les cieux, le voix là, le voix les anges.” That was Frisner himself singing lead in the opening phrases of Makandal’s first album, A Trip to Voodoo. Makandal had recorded in Queens on a frosty day in January 1982. Summer was now closing, and ayibobo! We finally had a copy, and A Trip would be released any day now. The track continued, now in Kreyòl. “Nou tout se zany o, zany anbarase mwen…” “We are all angels, oh, angels surround me…” As if on cue, at 2 min 4 sec, the voice of an angel flew in. But what an angel! Her sound carried a curious and original blend of nasal resonance and ringing solidity. “Who’s that?” I asked Frisner. “Jocelyne.” I scolded myself for noticing Jocelyne’s special talent only now, then sat back to indulge in more. Continue reading

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Tales from the Archive: My Diploma Is the Drum

In the summer of 1999 the cat was out of the bag that Frisner Augustin had won the National Heritage Fellowship from the National Endowment for the Arts (NEA). Frisner’s (and Haiti’s) coup inspired Jocelyn McCalla—most of us call him Johnny—to invite Frisner to his weekly TGIT. And what was TGIT? Every Thursday night during the summer the National Coalition for Haitian Rights (NCHR), which McCalla directed, held an evening gathering in its capacious Manhattan headquarters. TGIT (Thank Goodness It’s Thursday) celebrated the end of the week, albeit it a shade early. Those who attended enjoyed drinks and appetizers, banter ranging from light to challenging, the pleasure of company new and old, and a most splendid balcony view of Mr. Sun bedding down for the night over the Hudson River. Enter Frisner, diploma in hand… Continue reading

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Call the Drum Spirit Community Forum

Friday, June 24, 7 pm
The Great Room (2nd floor) of South Oxford Space
138 South Oxford Street, Fort Greene, Brooklyn (map)

Makandal presents a community brase lide (brah-say lee-day, Haitian Kreyòl for brainstorming session) led by writers, scholars, cultural activists, and artists. What is the current state of documentation of Haitian Vodou drumming? Do you feel this cultural treasure merits more attention? Given Vodou’s status as a historically persecuted spiritual tradition, what, if any, are the limits of documentation? Who should be conducting it? Where and how? What is the role of the community? What is your role? Continue reading

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Call the Drum Spirit! Rele Ountò!

The Third Annual Frisner Augustin Memorial Drum Concert

Saturday, June 25, 8 PM
Roulette, 509 Atlantic Avenue at Third Avenue, Downtown Brooklyn (map)

Bonga
Who’s Playing?
Bonga and Tiga
Makandal Drummers with Taïna Ligondé
Brother High Dreamteam Fulltempo

What’s Screening?
Video documentary on pioneering Haitian drummer Louis Celestin, by Zaka

TICKETS: Advance
$18 general  BUY
$15 students/seniors  BUY
Note: Advance sales end June 24

TICKETS: At the door
$20 general, $18 students/seniors
Age 12 and under FREE

Photo by Dawn Leikness: Bonga Jean-Baptiste, Haiti, 2009

Call the Drum Spirit Concert 2016 is funded, in part, by the National Endowment for the Arts, public funds from the New York State Council on the Arts, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Featured image (visible within post) by Chantal Regnault: Frisner Augustin drumming in Battery Park, Manhattan, July 5, 1986.

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Wednesday Wonder: The Intimate Touch

From The Intimate Touch album notes:

“We can continue hearing pulses grouped in fours….Or, we can hear a shift from pulses grouped in fours to pulses grouped in threes: beginning on the second pulse of the third beat in measure 1 we hear four identical groups of three (bass-rim-rim, bass-rim-rim, bass-rim-rim, bass-rim-rim). The contrast between a heavy bass stroke and a feathery rim shot—on the pitch G4, the illusive G-spot, no doubt—reinforces the accent on every third pulse….

So which way did Frisner experience what he played? I can’t presume to know the answer, but I suspect he experienced both, and desired to use both as he plied his intimate touch in the privacy of his recording booth. After all, who knows what’s going to seduce a new listener?” Continue reading

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