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Traveling in Others’ Shoes: Performing “Someone Else’s” Music

Join early Carolina Chocolate Drop Sule Greg Wilson for this rich discussion. $5 suggested donation.

You know: there’s “sharing”; and there’s the “borrowing” of music and techniques we hear so much about. There’s also “homage” and “imitation” and “appropriation”. There’s “learning”; there’s “loving”; and there is “stealing”; yes? In this partially-guided discussion, we’ll examine our own and historical relationship to African American music repertoire, review some legal and moral precedents, and talk about the yearnings of our souls.

American griot Sule Greg Wilson digs for deep, strong roots. Steeped in both African and Post-African cultures, Sule built his base as a researcher and performer for the International Afrikan-American Ballet (1977-1982) and the African-American Index Project (1991-1994); as an archivist at the Schomburg Center for Research in Black Culture (1986-1989) and at the National African-American Museum Project (1994-1995). As a performer, he has carried this focus into collaborations with a diverse group of artists: Taj Mahal, Mike Seeger, Reginald R. Robinson, Sankofa Strings/Carolina Chocolate Drops, Tony Trishka, Ruthie Foster, Babatunde Olatunji, Peter Rowan, and Joe Thomson to name a few. Percussion, banjo, dance and storytelling are Sule’s chosen tools for cultural archeology and you are invited to dig with him.

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