{"id":32471,"date":"2016-12-15T16:09:13","date_gmt":"2016-12-15T23:09:13","guid":{"rendered":"http:\/\/eltecolote.org\/content\/?p=32471"},"modified":"2016-12-15T16:09:13","modified_gmt":"2016-12-15T23:09:13","slug":"latino-curator-arts-educator-reflects-on-writing-identity-and-sf-jazz-diversity","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/latino-curator-arts-educator-reflects-on-writing-identity-and-sf-jazz-diversity\/","title":{"rendered":"Latino curator, arts educator reflects on writing, identity and SF Jazz diversity"},"content":{"rendered":"
\"Chucho<\/a>
Chucho Valdes and Joe Lovano. Courtesy: International Music Network<\/figcaption><\/figure>\n

I have been around music and jazz for as long as I can remember\u2014it was there on my mother\u2019s turntable, between the lines of \u201cWest Side Story,\u201d Tony Bennett, Frank Sinatra, Nancy Wilson and on and on. In college, I became steeped in jazz classics, as my housemate, an upright bass player, and his cohorts would come to our place to jam after supper club gigs.<\/p>\n

Later, a fellowship sent me to the Museum of Contemporary Art in Chicago to organize a symposium on contemporary issues in Latin American art, and subsequently to the King Arts Complex in Columbus, Ohio, where I organized a three-day jazz festival.<\/p>\n

The King Arts Complex (named for the Rev. Martin Luther King Jr.) had a large gallery, and so I curated a complementary exhibition on the history of jazz in Columbus, the home of jazz greats Rahsaan Roland Kirk, Harry \u201cSweets\u201d Edison and Nancy Wilson.<\/p>\n

Although I\u2019ve worked primarily as a curator, educator, and visual arts writer, when the San Francisco Redevelopment Agency created the Historic Fillmore Jazz Preservation District, I began writing about performances at Yoshi’s<\/a>, Rassella\u2019s, the Sheba Piano<\/p>\n

Lounge and players in and around that scene.<\/p>\n

So why is that significant? Well, because context is important. That said, a somewhat clich\u00e9 question that writers are often asked comes to mind: \u201cWho is your audience?\u201d<\/p>\n

An advisor in graduate school once asked me that question, and my response was: \u201cI see it like putting a note in a bottle and casting it out to sea. I\u2019m never really sure where it will go, or who will find or see it. Thus, the audiences are largely unknown, and I find myself writing for myself, as a tactical practice that is trying to relate a thought point, or share an insight that might resonate with others.\u201d<\/p>\n

\"Rokia<\/a>
Rokia Traore. Courtesy: rokiatraore.net<\/figcaption><\/figure>\n

These questions raise considerations related to the significance of ethnic identity, and what being a Chicano or Latino art writer means, and how that designation qualifies the writing.<\/p>\n

Writing about art, music, or culture as a Chicano is always problematic and complex, because that identification, and those designations, come with inherited baggage, based for the most part on assumptions about what those terms mean, which can distort and condition interpretations of the writing and the subjects addressed.<\/p>\n

Is a Latino art writer someone who writes solely about Latino art, artists, and music\u2014that is, someone who writes about a \u201ctype\u201d of art or music, or solely art created by Latinos? \u00a0Or is it someone who is Latino who writes about art and culture, regardless of artistic categories and areas?<\/p>\n

In my mind, it\u2019s never that simple. That is why I am attracted to the arts, because they challenge us to engage cultural phenomena as a complex amalgam of factors, constituted historically by cultural contact, conflict, and experience, and relate personal social existences as sources that inform our ideological world views and inspiration. It is because my Chicano experience is constituted from the world I live in, and therefore the world and everything in it is part of my Latino experience.<\/p>\n

That is why I feel wholly comfortable with giving SF Jazz a shout-out, and speaking about diversity in terms of the variety of shows I have seen there. Shows like that of Mike “Maz” Maher, trumpeter and composer for the multi-Grammy award-winning group Snarky Puppy, whose solo work encompasses jazz, rock, and soul. Maher\u2019s show included fellow Snarky Puppy members Bob Lanzetti on guitar and Justin Stanton on keyboards.<\/p>\n

I want El Tecolote\u2019s audience to learn of Rokia Traor\u00e9, who inflicts her native music of Mali with strains of rock, blues, jazz, and American roots music, since it is only natural that Traor\u00e9, who has travelled extensively, soaked up the cultural influences that informed her global approach to music.<\/p>\n

And I want them to know Chucho Valdes and Joe Lovano, the Grammy-winning tenor saxophonist and the reigning Cuban virtuoso piano genius and key figure in the evolution of Afro-Cuban jazz, who have collaborated and bridged musical and cultural borders. A vanguard player\/composer, who has qualitatively expanded the synthesis of Afro-Cuban folkloric rhythms and post-bop, Valdes is a seminal figure in the history of Cuban jazz and, together with Lovano and their air-tight band, has moved beyond categories of genre and style into an intergalactic realm of pure musical wizardry.<\/p>\n

While some of these performers are Latino by heritage, and\/or influenced by Latino musical sensibilities and traditions, they are essentially participants in the larger world\u2014as are we\u2014and thus the experience of their artistry, at least for me, is fundamentally integral to my Latino existence.<\/p>\n","protected":false},"excerpt":{"rendered":"

I have been around music and jazz for as long as I can remember\u2014it was there on my mother\u2019s turntable, between the lines of \u201cWest Side Story,\u201d Tony Bennett, Frank Sinatra, Nancy Wilson and on and on. In college, I became steeped in jazz classics, as my housemate, an upright bass player, and his cohorts […]<\/p>\n","protected":false},"author":35,"featured_media":32473,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"newspack_popups_has_disabled_popups":false,"newspack_featured_image_position":"","newspack_post_subtitle":"","newspack_article_summary_title":"Overview:","newspack_article_summary":"","newspack_hide_updated_date":false,"newspack_show_updated_date":false,"footnotes":""},"categories":[7],"tags":[12071,12067,12069,12079,12075,12077,12073],"coauthors":[],"class_list":["post-32471","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-bob-lanzetti","tag-chucho-valdes","tag-joe-lovano","tag-rahsaan-roland-kirk","tag-rassella","tag-sheba-piano","tag-t-yoshis","entry"],"yoast_head":"\nLatino curator, arts educator reflects on writing, identity and SF Jazz diversity - El Tecolote<\/title>\n<meta name=\"description\" content=\"I have been around music and jazz for as long as I can remember\u2014it was there on my mother\u2019s turntable, between the lines of \u201cWest Side Story,\u201d Tony\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/eltecolote.org\/content\/en\/latino-curator-arts-educator-reflects-on-writing-identity-and-sf-jazz-diversity\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Latino curator, arts educator reflects on writing, identity and SF Jazz diversity - 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