Ordway Center for the Performing Arts and the Cedar Cultural Center
Win $50,000 Joyce Awards
Grants Awarded by the Joyce Foundation Will Support New Works Focusing on Diverse Cultures by Musician Aar Maanta and Performer Rosy Simas
CHICAGO, Jan. 17, 2018 — The Joyce Foundation announced today that two art collaborations – the Ordway Center for the Performing Arts and Rosy Simas Danse, as well as the Cedar Cultural Center and Aar Maanta – have each been awarded a 2018 Joyce Award to activate their respective community engagement artworks in the Twin Cities.
The Cedar Cultural Center will partner with Somali musician, Aar Maanta, to produce what is believed to be the first bilingual album of children’s songs tentatively entitled,Children’s Songs from the Somali Diaspora.
The Ordway Center for the Performing Arts will commission Rosy Simas (Seneca, Heron Clan) to create “Weave,” an intersectional Native dance project that examines the interwoven and interdependent nature of our world.
The 2018 Joyce Awards marks the Joyce Foundation’s 15th year offering the prize. Started in 2003, the Joyce Awards is the only regional program dedicated to supporting artists of color in major Great Lakes cities with the goal of elevating their visibility and recognition in their craft. A distinctive feature of the Joyce Awards is the call for commissioned artists and their host institutions to include a robust community engagement plan as a main component of their projects. Maanta and Simas will engage in community forums, workshops, panel discussions, and one-on-one conversations to create their productions.
“These new works will provide storytelling in fascinating mediums for those young and old,” said Ellen Alberding, President of the Joyce Foundation. “It is so important to support these Twin Cities artists and organizations so they can bring to life the diverse stories of the communities their work highlights.”
The competition has awarded nearly $3.25 million to commission 59 new works and collaborations between artists and cultural organizations in Chicago, Cleveland, Detroit, Indianapolis, Milwaukee and Minneapolis/St. Paul. The $50,000 award is used towards supporting an artist in the creation and production of a new work and providing the commissioning organization with the resources needed to engage potential audiences, new partners, and their surrounding communities at large.
Minnesota has seen the most Joyce Awards winners with 20 of the 59 total awards to date, delivering $1 million in artistic funding.
“The Twin Cities consistently bring forward impressive projects that position artists as community illuminators and problem solvers,” said Tracie D. Hall, Culture Program Director at the Joyce Foundation. “We are not only excited for the work that Aar Maanta and Rosy Simas will produce but also for the impact these projects have the potential to leave behind.”
The Ordway Center for the Performing Arts & Rosy Simas Danse
Rosy Simas is a designer and director of dance, a solo and collaborative performer, and a multidisciplinary teacher, curator and mentor of diverse artists. A Native feminist, Simas critically centers Native cultural/political persistence while engaging a range of political, social, cultural and personal subjects.
In “Weave,” individual histories will be woven into a performance that envelops the audience in an immersive experience of story, dance, moving image, and sound. It will be presented in January 2019 as part of the Ordway’s Music & Movement Series.
“Receiving the Joyce Award not only makes possible the Ordway’s commission of ‘Weave,’ but will also support engagements that draw people deeply into both Rosy’s creative process, and the artwork that she and her collaborators create,” said Jamie Grant, President & CEO of the Ordway. “We couldn’t be more excited to be a part of the project, and we are very grateful to the Joyce Foundation.”
“My work furthers an ancestral model of dialogic, peaceful and cross-community-centered direction in my creative process,” said performer Rosy Simas. “Weave will begin in, and return to, community as a way of giving back and remaining engaged with Native people.”
“Weave” collaborating organizations include the O’Shaughnessy Auditorium at St. Catherine’s University.
The Cedar Cultural Center & Aar Maanta
Aar Maanta is a Somali musician whose activism, work and creativity led him to become a goodwill ambassador for the United Nations Refugee Council (UNHCR), while leading one of the only active live bands in the world that plays Somali music. His work includes the recent UNHCR campaign about irregular youth migration in the Horn of Africa, Dangerous Crossings, for which his song “Tahriib” was reproduced and performed in collaboration with leading artists from Africa.
Working with his band and other musicians from Minnesota, Aar Maanta will collaborate with Somali youth in Minneapolis’s Cedar Riverside neighborhood to write and record the first-ever bilingual Somali children’s album, which will be released and performed live at the Cedar in 2019.
“This project was inspired by the creativity and passion of the young people I worked with during my previous Cedar residencies, and more recently in refugee camps of Horn of Africa,” said musician Aar Maanta. “I am very excited to get to work more closely with Minneapolis youth and children on this project. It will be a groundbreaking collaboration because it will channel their own experiences into a beautiful album that can speak to young Somalis and children in the United States and throughout the diaspora.”
With millions of young Somalis growing up in diaspora communities around the world, the album aims to provide affirmation and connection to the Somali American youth experience.
“The Cedar has been building a cherished relationship with Aar Maanta for many years,” said Jessica Rau, Program & Artistic Director at the Cedar. “Our past residencies with him have been significant and meaningful for all of the people he has reached through his time in Minneapolis. The Joyce Award will deepen this impact by allowing Aar Maanta to collaborate with youth in our neighborhood to produce a tangible album of new work that will reach people around the world and last for generations to come.”
Additional 2018 Award Winners
The Charles H. Wright Museum of African American History in Detroit will commission a new theatrical work entitled Salt City by poet and playwright jessica Care moore, reflecting on themes of gentrification and cultural erasure, a much-debated effect of the Motor City’s economic revitalization.
To view the Joyce Awards’ 15th Anniversary video, please click here.
For more information on the foundation and the Joyce Awards, please visitwww.JoyceFdn.org.
About The Joyce Foundation
The Joyce Foundation invests in policies, informed by evidence, to improve quality of life, promote safe and healthy communities, and build a just society for the people of the Great Lakes region. The Chicago-based foundation pursues those goals through grants to help prepare the region’s young people to thrive in education, career, and community, and to advance racial equity and economic mobility. The private, nonpartisan foundation centers its grant making in Illinois, Indiana, Michigan, Minnesota, Ohio, and Wisconsin, and seeks opportunities to collaborate on promising policies in other states or at the federal level. It pursues policy and systems reform in five program areas: Education & Economic Mobility, the Environment, Gun Violence Prevention & Justice Reform, Democracy, and Culture. Joyce was established in 1948 by Beatrice Joyce Kean, sole heir to the Joyce family of Clinton, Iowa, which accumulated its wealth in the lumber and related industries. Joyce has budgeted charitable disbursements of $50 million in 2018, on assets of approximately $1 billion. For more information, please visit www.JoyceFdn.org, or follow us on Twitter (@JoyceFdn) or Facebook (/JoyceFdn).
Lame Jokes by RK Twins
Somali-British poet Momtaza Mehri named young people’s laureate for London
THE GUARDIAN — The 24-year-old Somali-British poet Momtaza Mehri, who has been chosen as the new young people’s laureate for London, is hoping to spend her year in the role convincing young people “to see poetry as part of their every day, rather than in some dusty tome, or academic niche interest”.
Mehri, who has a background in biochemical science and wrote the poetry chapbook sugah. lump. prayer, has been shortlisted for this year’s Brunel African poetry prize and won last year’s Out-Spoken Page poetry prize. As laureate, Mehri hopes to encourage young people to voice their concerns and experiences through poetry.
The poet, from Kilburn in north-west London, was selected for the role by a panel of arts organisations and poets, and is, according to Spread the Word’s chair of trustees Rishi Dastidar, “an inspired choice” and a “poet to watch”.
“For young people to have an artist who is an ambassador for them, who brings their concerns, struggles and joys to those in authority, and the wider world, is vital,” Dastidar said. “Her poetry is precise and powerful, and rich with images that are haunting. She is not afraid to tackle the biggest of subjects, which, combined with her talent, is going to give the role a renewed sense of purpose and visibility.”
Mehri said she was exposed to oral forms of poetry by her family when growing up, but only began writing for publication around four years ago. “Over time I honed, or found, my voice, and that allowed me to feel comfortable, finding the poetic voice I felt was most suited to me. Obviously at the beginning you’re very much inspired by your influences,” she said. “I think the poetry I write is interested in questions or ideas around disruption or movement, whether it’s movement of people or places, movement between different ideas, between how things change over different generations, and in themes of migration and urban spaces.”
During her time in the role, Mehri will be looking to amplify the voices of Londoners aged between 13 and 25, “to let them lead conversations, to be as inspired by them as hopefully they can be inspired by me”. She will work with writer-development agency Spread the Word on youth-focused residencies across London, head a tour to six outer London boroughs, and co-host a special project for young London poets called The Young People’s Poetry Lab.
According to research from the National Literacy Trust, 84% of teachers who participated in a poetry programme for disadvantaged children in London schools over a five-year period said their writing skills had improved.
Outgoing young people’s laureate for London, Caleb Femi, said that “poetry has the potential to play a vital part in self-expression and artistic enjoyment in the lives of young people”.
“We need a dedicated person who can assist in integrating the joys of poetry into the everydayness of young Londoners,” he added. “We are extremely lucky to have a talented and dedicated poet such as Momtaza Mehri appointed as the new young people’s laureate for London. Her tenure is sure to be an extraordinary one.”
Mehri said that she wanted to: “Reach everybody, to allow people to see poetry as part of everyday living in London, and all the different poetry traditions that people bring to London.”
“I am very much aware of the fact that I came out of a very different poetic tradition, and what that’s brought to my writing of the English language. So I want to be aware of the fact that people are carrying different poetic influences, whether they consider themselves poets or not,” she said.
‘I grew up in a refugee camp, now I’m on the cover of Vogue’
BELFAST TELEGRAPH — Halima Aden is used to firsts. She was St Cloud, Minnesota’s first Muslim homecoming queen, and St Cloud State University’s first hijab-wearing student senator. She was the first hijab-wearing contestant to compete in Miss Minnesota USA — she wore a burkini in the swimsuit round — and the first to be signed to a major agency, IMG, the industry colossus that also represents Miranda Kerr, Karlie Kloss and Cara Delevingne.
And last week the 20-year-old became the first hijab-wearing model to appear on the cover of British Vogue. “It’s taken 102 years for there to be a hijabi model on the cover,” Aden says. “People are very proud of this moment.” Indeed, by the time the issue appeared on news stands last Friday, the cover had already gone viral.
Alongside Aden, a Somali model born in a Kenyan refugee camp, appeared other faces rarely seen on the cover of a mainstream, European fashion magazine — the mainstream European fashion magazine — including South Sudanese Adut Akech, Indian Radhika Nair, Korean Yoon Young Bae and mixed-race, plus-size Paloma Elsesser. “I think the cover really was true diversity,” Aden says. “Not a matter of ticking boxes but really people from different religions, different ethnic backgrounds, all thriving in an industry that has brought us together.”
Officially she works in this industry: she has walked Milan Fashion Week catwalks for MaxMara and Alberta Ferretti, and for Yeezy, Kanye West’s fashion line, in New York. She has appeared on the front cover of Vogue Arabia.
Unofficially she is also a full-time ambassador for her faith, and for the hijab. This is inevitable, as Aden observes, matter-of-factly. “I’m the first high-fashion hijab-wearing model. Automatically, I know there are a lot of girls looking at me. I need to be a good role model, a good representative of my faith, a good ambassador to my community.”
Being this in the hyper-visual, exposed and exposing world of fashion does, though, invite scrutiny — from within and outside her community.
Aden admits she recently cleansed her Instagram (where she has 577k followers). “I really wanted to explore a new look,” she explains.
“But I noticed that my younger followers were messaging me and saying, ‘Hey, this isn’t stuff I can wear. You’re the only person in fashion that I can look to, and you’re wearing stuff I can’t wear’. When I noticed that, I was like: ‘OK, it’s true’. I was still covered head to toe but I was trying out shorter dresses with knee-high boots. Those pictures got 60,000 likes but I wanted to stay true to my original followers. There are a million other models who can rock the same outfit but there’s not anyone besides me who can say, ‘I’m going to wear modest fashion’. I owe it to these little girls.”
Aden was born in Kakuma camp, in Kenya, in 1997. “I grew up in a refugee camp — there weren’t really many highlights,” she deadpans.
“I remember having malaria what felt like every other week. I remember scorpion bites and my mum having to apply Colgate toothpaste. It had a cooling effect.” She shrugs off any sense of victimhood. “I remember a lot of good things. When you don’t know ‘the other’, you tend to appreciate life.”
When she was seven her family went in pursuit of this ‘other’ life: Aden, her mother and younger brother were granted refuge in St Louis, Minnesota. “It was such a big deal,” she says. “A lot of Africans have the misconception that in America money grows on trees. But the neighbourhood we were in was very impoverished. You heard gunshots at night. The school I went to didn’t have an English language learners’ programme so I just went to school and listened and went home.”
After six months her mother moved the family to St Cloud on a word of mouth tip. There, teachers “would always help me, after school, during my lunch hour”. Her English is natural, her accent American.
“My mum made this quick call,” says Aden. “’I raised these kids, I went through hell and back for them, and I don’t want to risk them ending up in gangs, or in prison, or not getting a proper education’. It was really brave. African mums — I’m telling you,” she laughs.
Being crowned her school’s homecoming queen was “a big deal”.
“I’d never seen kids who are Muslim up for that, so I didn’t even think it was a possibility.”
And indeed, symbolically, it resonates: a prom is the gala event for the all-American teen experience, and she is a young Somali-American wearing a hijab.
She’s diplomatic about racial politics in contemporary, supercharged America. “Because Muslims are such a small number — one per cent in America — a lot of Americans never get to interact personally with a Muslim person.
“If you see horrible stories day in and day out on TV, you’re going to have this deep psychological fear of Muslims. It’s not right but that’s the hardest thing to show people — we’re not all the same. But fear is also human nature.”
She entered Miss Minnesota USA partly because there were scholarships up for grabs, but: “I also wanted to show other women in my home state that I didn’t conform in order to fit in. I wore a bathing suit — but it was a burkini.”
What happened next is one of those star-crossed fashion coincidences: Carine Roitfeld, former French Vogue editor, saw the pictures of her at Miss Minnesota USA and asked her to appear on the cover of CR Fashion Book, her new project and an influential countercultural industry tome. Roitfeld’s endorsement led to the IMG contract, which led to everything else.
Still, Aden was “shocked” to get the call from British Vogue editor Edward Enninful. “I met him at the British Fashion Awards in December. He was like: ‘I know we’re going to work together’. But I never imagined it being a cover story.”
For her portrait inside the magazine, Halima’s aesthetic is arch fashion: she slouches and pouts, staring down the camera in a mohair cape and woollen trousers — both Dior — and Altuzarra cowboy boots. She says it is “one of the biggest blessings that has come in my career” — though her favourite moment of the two-day shoot was off-set, shooting the breeze with fellow cover star Adut Akech.
It transpired the pair had been born in the same refugee camp. “We had a moment like The Parent Trap: ‘How old are you? What do your parents look like?’ And it was our first time meeting. Just imagine — these two girls from this camp, reunited for the first time on the cover of British Vogue. I can’t make that up.”