Black Horizons; 3809; Xmas Event

You Welcome to Black Horizons. I'm Chris Moore.

Tonight we're going to speak with members of a group that's holding an event that you probably don't want to miss. It's the Shawna Sharif, Dance, and Drum Ensemble, a unique presentation of the Black Nativity, and joining me now to talk about what you will see our artistic director, Oranda Sharif, and drummer, Lamont Chapman. Welcome to the program, General, and how are you? Pretty good. Thank you for that. All right, is keeping the dance ensemble going on? Amidst you pay to your mom? You know what? Yes, and no. The first part, yes, because yes, I want to keep her memory alive. At the same time, this is something that I do want to do. And a lot of people kind of miss that part. You know, when my mother started it, she got it from someone else. Well, I took over, then changed the name to the Shawna Sharif, African Dance, and Drum Ensemble. But each person who takes over, they have to make their own roads and take it a whole other step. So she took it to a certain point, now it's up to me to continue to a certain point. And hopefully, I'll have the strength and endurance to

build upon what she's done. And are you grooming someone now for when you reach that point where your knees don't do what they used to do? Yes, and no. Yes, and no. There are people that are out there, especially the kids. We've been working with children that have, you know, they've grown and going to college now. I know the feeling. Right. So, you know, they're there, and it's the thing of where they have to want it also. So, yes, in the fact that we are training people, but knowing the fact that, you know, it's up to them next. Did you ever think you'd be following literally in your mom's dance steps? You know what? What's that started dancing? I knew probably eventually later on in my life when I was maybe 45 or somewhere around there. I hope you're not approaching that, because I've known you've longed down. I got a long way from that. Eventually, I knew what that I would. It was just, you know, at such a young age when I took over, I wasn't

expecting it. A lifelong pursuit. Well, tell me about black activity. This is an annual event for you. Yeah, this is our 13th year in doing black activity. Wow. My mother first started doing it in, I think, 1988 with Wilkinsburg. And then she used to say, okay, let's do it ourselves in 1993. And we've been doing it and trying to do it very strong for the last few years. Well, that's that tradition that you're building upon and continuing to grow. And that's what makes institutions. Lamont, for you as a drummer being involved, what's the vibe? What's the spirit, especially that comes back from the audience? Because I know the infectious feeling of those drums. I mean, the drums alone. I mean, the spirit that the drums give is just touching. I did drum right now in whoever is in this building right now will start bobbing your head or something to do with a drum. The drum just captures the tension of individuals. That's just how they are as music. Now, the drum that you play sort of is the backbone for all

of what's going on, right? Did it establish the rhythm and all of that? The drums that I played are called junjans. It is the heartbeat and the foundation of the rhythm that we're playing. And also is what the dancers are dancing to, the beat of the junjans. You've got to be into it all the time. You've got to be into it all the time. Because if you start getting off the dances are going to get off the walls. The performance is going to be off, right? And also the drummer, the Jim Bay players, or get off too. We're playing off of each other, but they're mainly playing off that junjans. How do you start to put this together? You as artistic director, you as the lead drummer. How does the event build into what it is? And does it ever change like in church, you know, when you get called and response going? And everybody is feeling good and the audience is into it. Do you do another course or something? There's a lot of column response. During this process, there's a lot of column response. Even at the beginning of the

show, if you've seen the show before, we were open up with a drum call. One drummer may sound off with a call and another one will respond. And that's a form of communication. And that's how they communicate it, you know, back in the days and when the slaves couldn't speak or anything. You know, one of the things that really makes our black activity different from the other black activities, black activity is done throughout the whole country and even over in Europe and other places. But what makes us different is that we cross those boundaries. It's just not theater. It's that interaction. It's that community feeling that you would go beyond that imaginary wall that an audience comes beyond it with you, too. You know, we'll go down in the audience, pull people up and start dancing with us. You know, we may talk to people, sit on people's laps. I mean, we cross those boundaries because when in African traditions, there's no stage. Everybody is part of the whole event.

And that's probably one of the biggest reasons why people come back to see. Because it's going to be a little bit different. Even from performance to performance, let alone year to year. Exactly. But they feel a part of the show because they see themselves in it. Most of the people that have done black activity or in the cast now have watched it from the audience or their children. They took their children to see the children. When I was a kid, they had that feeling. And their children say, oh, can I do that? And they'll call about taking classes. So every year we get a whole group of new children who want to dance and perform. A whole bunch of new people who want to sing and act and dance. And we welcome it. Give us an idea of the difference in the theme this year from last year. Last year and the last couple of years, we tried to bring out issues that people may have in church. Not everybody that goes a church wants to be in church. Not everybody that goes a church. Mama made me come. Right.

Not everybody who goes a church is saved. And a lot of times when you see church shows or church productions, everybody that's in it is into church. And they're giving that feeling that they want to be there. And over the last couple of years, we want to show that it's not like that. People do go through their issues. People have bad days. People are going through breakups and dealing with those issues. This year, what plaster glaze preached about? I ain't thinking. Right. Or even somebody who, you know, their love one has got to kill or not in a car crash. And they're going through that term. So people in church every day with that, but you don't see it. This year, we want to go away from that and just have a joyous occasion. Have fun. Just have fun. Just let the spirit, let the love come and breathe and relax and just enjoy and just take a nap. Lamont, when you put this together is the drummer and is that heartbeat drummer. What happens? Is there a certain feeling that you go off on a tangent?

And does that work one time? And not this time? I mean, you got to work with the dancers and the audience as well. I bet they lead sometimes. And Rodney could back me up on this with him dancing. Same thing with drumming. You're going to play with your feeling. Yeah. I mean, and... But the dancers have to be feeling you, too, as the young... Yeah, they have to feel it, too. But, you know, with the drummers, with the dancers dancing to the drumming. We go up, the dancers got to go up. And we break it down, the dancers got to break it down. But I say 99 .9 % of the time. It's like, I'm ready. How many years have you been performing with them? This is my seventh season, but my eighth show. I did two shows in 2000. So, we did two shows in 2000? Has there ever been an instance or something where something totally unexpected happened? And you had to go with it? Oh, yeah. At all times. At all times. And that's the fun thing about it. That's the fun thing about performing and being an artist. You know,

just being into the art. You mess up, too. You know, you mess up and things happen. The drummers doesn't know. No, they don't know. We know. We know. You can see his crack of smile on the stage. I tell the dancers in a heartbeat, don't follow me, because I mess up. You know, so when I'm going the wrong way, don't follow. Really, because I'm just up into my own little... What is that improvising that makes up jazz and rapping and blues and almost everything that we do when it comes to an art form, isn't it? And even what... You know, small things happen. The drums, the skin can break on the drums. No matter what, we still have to keep going. We keep going. So, what are you going to do if that happens? It happens. We're in the middle of a performance and we're in the skins, busts on a drum. Just reach for another drum. Flip it over. Oh, flip it over. Because with the Joon Joons, they're skins on both sides. Okay. So just flip it over. But I bet the sound is different on the other side. No, it's still the same. It's kind of tight. Okay. Yeah. Oh, we just hope that somebody has an extra one on the side. On the side.

What's the biggest thing audiences can look for this time in terms of differences or just more enjoyment or... More enjoyment? Or are you just trying to create a holiday tradition? I guess. Trying to create a holiday tradition, trying to just encourage people to just come out and have fun and join in with us. You know, bring your children, bring your grandparents, bring your loved one, and enjoy the moment with us. Now, by the time this airs, they'll only have one more day. They're watching this right now. We'll give them a phone number to set up some reservations or some tickets. But you do want people to come out and see it even if it's the last day. You're probably really throwing down on the last day. It is. Every night. Definitely. Every night you come out. We're going to bring it. Okay. And try to have fun each night. All right. It's called Black Nativity. And we wish you the best with it. And I'm glad to really see that you're in some ways emulating and building on what your mom made you. She was a great woman, a great dancer. And she helped build a great institution here in Pittsburgh. Thank you very much. And we're seeing you gentlemen keeping it going. Okay. Thank you. All right. For more information about

the Black Nativity, call the Shona Sharif Dance and Drum Ensemble at 412 -648 -2276. That number again is 412 -648 -2276. Only one more night to get out and see Black Nativity. This area has many talented artists and Black Horizons enjoys showcasing them. Now let's take a look back at one group's performance in tonight's Flashback. Thank you. Thank

you. Thank you. Thank you. Thank you.

Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you.

Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Go ahead, go ahead,

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on, come on, come on, come, come on, come on, come on, come on, come on, come on, come on any night ?ぐумmy müh I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about you're talking about, I don't know what they're talking about,

You know what they're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you are talking about, I don't know what teaching you are talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, I don't know what you're talking about, The Buffalo Soldiers have a storied history steeped in bravery and loyalty. Harold Hayes introduces us to a local man who was a Buffalo soldier who's very proud of his service. Albert Kimber wears his military uniform in the key sport with pride, knowing that his military service made history in more ways than one. He was part of a unit which a generation before his was established by Congress as the first all black military

unit in the 1860s. They were called the Buffalo Soldiers and the reason that they became known as Buffalo Soldiers because the Indians gave them credit for fighting fiercely like the Buffalo and the other significant thing was is that they compared the black man to the Buffalo because of the main and the texture of his skin but this was done in a good fashion. It wasn't meant to be derogatory anything like that. Among the black units established by Congress, the 24th infantry regiment, the unit Albert Kimber joined a unit rich in history but still all black by law. I was a sharecropper. My folks were former's down in North Carolina and I just refused to be in crafting that situation so my only out was a join the military and when I graduated from high school in May of 1948 in November that

same year I joined the military. Not long after he joined the unit the president of the United States with a stroke of a pen attempted to end segregation in the military but it wasn't immediate. He had signed the executive order to integrate to services. You see what I could not ever understand in my life even after I got older and was promoted and so forth. How the government could spend money on two separate entities. They had all the white soldiers on one part of the base. They had all the black soldiers. We could not segregate. I mean we could not integrate. We could not fraternize with them whatsoever and everything was true. We had two in sealed cars. We had two missiles. We had two infirmary dispensaries and all that time. And what a waste of money that was. So Truman saw the reason and the need to integrate

to bring this on the one. It would be a long time after Harry Truman's order before Albert Kimber would see a United U .S. military even during the Korean War. We landed at Pusan Korea. We had to fight our way inland with those weapons that we had. And they were in such a bad shape and everything. We really got into a fierce battle. My weapon for example just exploded. Well here I'm left out there facing their enemy. Now we suppose to be equipped. We suppose to have been committed to come back with everything that we needed to support us and sustain us in this fight. Would you believe that I don't know about this income line? We wound up throwing rocks. This is in the Korean War. We ran out of ammunition. Our weapons would not work for us. They never saying they accused us of running from the enemy which we never did. We

ran to them. But we wound up to survive. We wound up throwing rocks in the railroad station. They protected our borders. The unit that made so much history did not have it easy. The first major battle that we were in. I was an eye company. The 24th and 2rd Battalion. We had 106 men and listed men and officers. Our first battle we did ours. 65 % of our troops. And mainly it was because we were not prepared. We didn't have the weapons and things that we needed. And they accused us of running from the enemy. It's funny to me. Well you can see my ribbons there that I've got two purple hearts and a monster and everything else. And they don't give you those for running from the enemy. They give you that because you just tie to them and you go forward. One of the biggest missions that we had at that time being

stationed in Japan with the occupation forces was an ever forces July. They had a big parade at Jones headquarters in Tokyo, Japan. We were sent up by train to participate in those parades. We won every award that can be imagined, you know, our actions and everything and the way we demonstrated ourselves during these parades. But we always wondered why we were the last one to pass and review. Now the good general MacArthur was never in his viewing stand when we got there. All the white troops went first when we got there. The viewing stand was empty. And MacArthur was gone. MacArthur was gone. Kimber looks back at all that and could easily become bitter. Now some of my might look at this and say well this man is full of hatred and the prejudice. I'm going to tell you the way that it was.

I was about to tell you the difficulties that we had sustained. And together what we are now, there was a terrible situation that we had endured. He chooses instead to funnel his energies toward his community and his church and has a message for a younger generation that concerns him. I just want to know that there is a future for him. In this country you can do anything and be the thing that you want to be. Albert Kimber proved that decades ago and hopes the generation following his will learn from it. For on cue, this is Harold Hayes reporting. That story first aired on on cue in May of 2005. The calendar says winter begins today and Christmas is two days away. We here at Black Horizons would like to wish everyone Merry Christmas and a happy quenches. That about do it for today's edition of Black Horizons. Be sure to join us next week. And

every Friday and most Sundays right here on WQDTV 13 for more interesting tits yet. I'm Chris Moore for all of us here at Black Horizons. Have a good evening. Bye. Set pieces provided by the history store Craig Street in Oakland and Chris Moore's wardrobe provided by Larry Morris of Pittsburgh. . .

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