arts tech magazine: may 18, 2014
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On The Cover: A scene from In the Beginning There
Was the Word – Photography & Graphics by Shamar
Prescod. Photography Assistant: Ramona Gradison
Table of Contents
Recipes
o Quiche Lorraine
o Muffins
Play Review: In the Beginning There
Was the Word
Gina’s Dance: From Barbados to New
York
The Desk: All Revved Up
The Team
Shamar Prescod – Chief Editor/Photographer Tobenna Wells – Food Editor Van Nyx – Comic Writer & Copy Editor Special Note: Kamilah Cadogan & Nicholas Small
Editor's Notes Alas, another magazine is being put out on a
Sunday instead of a Friday. However, it’s very
hard to write about your feature on a Friday,
if it doesn’t happen till the Saturday, lol. I
wanted to make sure I got a review of
Empress Zingha’s play. After all, we did
mention it in an earlier issue. Plus our very
own Van Nyx was cast in a supporting role.
This week’s issue is very short, it was a very
busy week for most of the team
professionally, but we still wanted to make
sure we got you a good read. In addition to
the play review, our very first review I might
add, I also got a chance to speak with dancer,
Gina Mayers.
There are two nice recipes and of course,
Shawn James is back. Btw, in case you didn’t
know, Shawn James is a Parody of local news
presenter Shawn Green.
*NB: This is the second version of this week’s
magazine. There was a slight error on the
cover and in the Play Review
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Quiche Lorraine
Photo by: http://www.dairygoodness.ca/var/ezflow_site/storage/images/dairy-goodness/home/recipes/quiche-lorraine/10334517-1-eng-CA/quiche-lorraine.jpg
16 servings, 304 calories per serving.
Although this recipe is widely favored by
many people. It's an excellent dish and is
versatile in the ways it may be served, either as
an appetizer or as smaller versions for cocktail
parties and so on. The base pastry for this
dish is shortcrust pastry. It may be served
either hot or cold, and has many versions, but
specifically any Quiche with "Lorraine" in the
name must contain BACON!.
Ingredients
Short Crust pastry:
1 lb. flour
8 oz. fat (butter, butter+ shortening)
4 oz. Ice cold water
1 tsp. salt
Filling:
1 1/2 cups milk
2 oz. Cheddar cheese
3 eggs
6 oz. bacon
1 small onion
salt and pepper
Method:
Preheat oven to 350 degrees
Fahrenheit, grease baking ring and line
baking tray with parchment paper.
Combine all dry ingredients for
shortcrust pastry and rub the fat into
the flour.
Dip your fingertips into ice cold water
and make a well in the center of the
flour and add the cold water into the
flour.
Combine the water and flour together
well with your fingertips, adding a bit
of water at a time until a dough is
formed.
Place dough into fridge and relax for
15-30 minutes.
Take dough out of fridge and roll it
out into a circular shape until it's 1
1/2 times the size of the baking ring
(be careful not to roll the dough too
thin).
Place baking ring onto the baking tray
lined with parchment paper.
Lift the dough and place it into the
baking ring, press dough onto the
sides of the ring and cut off all excess
dough which hangs over the ring.
Bake blind (place dry rice and / or
beans onto parchment paper and into
the pie shell, and bake it into the
oven) until the ends become slightly
brown.
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While the pastry is baking sauté finely
diced onion and bacon in, no need for
oil (bacon would make it's own). Sauté
until the bacon is cooked, but not
hard.
Whisk eggs with milk until light.
Season with salt and pepper.
When the pastry shell becomes slightly
brown place sautéed onion and bacon,
then the egg mixture into it.
Top off with grated cheese and place
it back into the oven until the cheese
turns slightly brown in color.
Muffins
Photo by: http://tiny-kitchen-blog.com/wp-content/uploads/2012/08/Vanilla-muffin1.jpg
12 muffins, 97 calories per muffin
This is a basic recipe for mildly flavored
vanilla muffins. They are categorized as a
quick-bread and may be prepared for
breakfast or to be snacked on throughout the
day. You could eat them with your favorite
jam, or even ice cream for a simple yet fun
snack.
Ingredients
2 cups flour
2 tbsp. baking powder
1/2 tsp salt
3/4 cup white sugar
1 egg
1 cup milk
1/4 cup vegetable oil
2 1/2 tsp vanilla essence
Method
* Preheat oven to 350 degrees
Fahrenheit.
* Stir together flour, baking powder, salt
and sugar in a large bowl.
* Make well in the center of the bowl.
* In a small bowl, beat the egg with a
fork and stir in the milk and oil, being
sure to mix properly.
* Pour the egg mixture into the well of
the flour and mix quickly but lightly
with a fork until the mixture is
moistened, but do not beat.
* Pour the mixture into paper lined
muffin cups and bake for 25 minutes
or until golden brown.
By Tobenna Wells
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Play Review: In the Beginning There Was
the Word
Asase Yaa, “In the Beginning There Was the
Word.”
The Stream, “..and the Word Was Root.”
I must say…I am extremely disappointed this
was only on for one night. Empress Zingha has
written and directed an excellent show that
deserves a full run.
I went in to the play with an open mind.
Though we promoted it in the magazine during
Empress Zingha’s feature, I still for all intents
and purposes, was planning to be very harsh
with the production tonight.
Alas I am to be denied the chance to be a brutal
reviewer, because except for the misguided use
of red stage lighting at a couple points and
three slip ups by the actors that were barely
noticeable, the play was excellent. The cast and
crew put together a fantastic production of a
well written piece. Empress Zingha wrote and
directed an enthralling piece of art for her MFA
thesis. I am anxious to see if the graders have
seen the same production as I.
The use of Bajan folklore, characters, songs
and parables, to tell a tale of fighting through
struggle and depression and fighting for your
dreams, definitely played a huge role in drawing
patrons in. Everyone could relate.
Though all the actors were fantastic, the stand
out role were the leads, (and rightly so) of
Ann’Droid and Mr. Harding. Charlene Haynes
gave a strong performance as Ann’Droid and I
look forward to seeing much more of her in the
future.
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Mr. Harding was an interesting villain. A well-
known character in Bajan folklore, it was easy
for the audience to identify with him as
someone worse than the devil. Deono James,
on stilts, provided an intimidating figure.
Meanwhile DJ Simmons, a veteran spoken
words artiste, gave a chilling performance as
his voice and human form. Undoubtedly, DJ
gave the most gripping delivery of the night.
Kerry-Ann Waithe got the crowd involved in
the play, making us the Stream of Humanity
which Ann’Droid must plug into. It was
reminiscent of being at the Phantom of the
Opera. Involving the crowd so early in the play
really helped us to better relate to the
characters from the very beginning.
I must also note Levi King as Oscar “Ossie”
Moore. His “Yah Muddah” dis to Mr. Harding
closed that ACT to thunderous applause.
Sabrina Ambrose got the crowd involved as
she played the role of Ossie Moore’s mother,
the Nut-seller Mehrill. “Comforts, toffees,
package of nuts, tell me what yah want young
fellah!” as she walked through the crowd
singing, incorporated the audience, continuing
to make us a part of the play.
Jovanna Ellis as Milly and the legendary Tony
Thompson as John Brown, gave a heart
pounding performance. Jovanna’s tear streaked
performance would have had even the most
toughened person grab for a tissue. The use of
a Bajan folklore to tell the tale of adultery,
murder, abuse and revenge was well executed.
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Empress Zingha should be proud of this if
nothing else.
I must also gave praise to Vanessa Nightengale
(our very own Van Nyx) as Dr. Lexicon
(Speech), Adrian Green as Dr. Pulse (Rhythm)
and Natoya Yarde as Dr. Decibella (Sound).
George Cox did a great job on set design while
makeup and special effects were provided by
Sherryanne Moore. Wesu Wallace was the
Sound Designer for Mr. Harding.
All in all, I think if you missed this production
you have only yourself to blame. Undoubtedly,
Empress Zingha will be writing and directing
more plays in the future. If this performance is
any indication of her talent, more great plays
are yet to come.
Story & Photography by Shamar Prescod.
Photo Assistant: Ramona Gradison
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Gina's Dance: From Barbados to New
York
Gina Maria Mayers has been dancing from a
very young age. Born, raised and trained in
Barbados, she is now gracing the stages of New
York. She holds a Bachelors of Fine Arts from
The University of the West Indies, Cave Hill
Campus and has also studied at the Ailey
School in New York. Though she’s currently in
New York, I got the opportunity to ask her a
few questions. I just love the internet.
Q. When did you first begin dancing and what made
you realise this was the career for you?
I started dancing ballet when I was about 7
years old. I did it for about 2 years and at the
time it was more recreational, but I remember
feeling a sense of excitement and connect with
the physicality of dance. I would say I truly
connected with dance at 12 years old.
It was a year after my father died and my
mother was worried that I wasn’t grieving. She
enrolled me into a ballet class at The Dance
Place, and the first time I stepped into that
class it was like the world fell away. All I felt
was the music, my body and my emotion…raw
emotions, feelings of grief, pain and conversely
love for my father. I used the technique,
movement and freedom of dance as an outlet
for my emotions. Dance saved me in a way. I
knew then, (though I wasn’t brave enough to
admit it) that this was my life’s path.
Q. Name some of your biggest influences as a dancer?
I would have to say of one my biggest
influences would have to be firstly the
legendary, Pearl Primus. Following that it
would then be in no particular order: Tanya
Wideman,(Alonzo King Lines Ballet), Aesha
Ash (Alonzo King Lines ballet), Alicia Graf
Mack (Alvin Ailey American Dance theater),
Misty Copeland (American Ballet Theater) and
Ebony Williams (Cedar Lakes Ballet) I love
these women because they are all pioneers in
their own right. They are beautiful, graceful
black female dancers who have defied the
odds. I aspire to have both their artistry and
technical mastery.
Q. You are now in New York. Tell a little bit about
the dance company you are with now.
The beauty about New York is that I get the
opportunity to work with multiple companies
with different styles on various projects. I’m
currently working with Asha Dance Company,
a contemporary dance company. We just
completed our season of Dance at the Kumble
Theater in Brooklyn entitled “Season of the
Woman”. The movement there is very
grounded, very concerned with our feminine
roots.
I also worked with the New York Times
acclaimed children’s musical called “The Earth
and Me” with The Shadow Box Theater, where
I played as the lead soloist in the role of “The
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Earth”. In this beautiful, poignant story of a
child’s relationship with mother earth, the style
of this company is more ethereal and light
spirited.
Q. How do you utilize modern technology to help you
learn new techniques and generally improve your
dancing ability?
I definitely utilize videography more so than
any other form of technology to improve my
dancing. Dance is very visual it’s all about the
aesthetic quality. As a dancer we cannot always
see our bodies in space to adjust it to the
choreographers liking. It helps me to watch
myself so that I can see precisely what I’m
doing, how it looks, and how I can improve on
that work.
Also, as a choreographer, sometimes I just
want to move my body through space and let
the creativity flow. With videography I can
have more freedom to just explore movement,
without the worry of forgetting a particularly
inspired movement. It also helps me to watch
professionals at their best on stage, to study
and try to replicate the way in which they do
things.
Technology is totally incorporated into the
field of Dance now. It has become an entire
multimedia experience. I watched one
performance, ironically called Ram about
childhood memories in which all the dancers
had portable projectors on their heads while
they danced, that showed a re-enactment of
their childhood memories. Technology, more
and more is becoming a part of dance.
Q. What advice would you give to people about the
benefits of utilising technology in their particular art
forms?
I would say simply to recognize that the
technology is merely a tool for the actualization
of the art. Use the miracle of technology to
refine your art, and to add dimension in some
cases to your work.
The minute you lose track of the essence of
your art and start cramming in effects, tricks
and the latest gadget it will lose its impact.
Artists need to make sure the technology is
actually empowering your work and idea, and
not just “extra fluff”. Technology and art
should be in a symbiotic relationship, each
making every aspect more tactile and tangible.
Interview by Shamar Prescod
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The Desk by Van Nyx