All posts by Opal Palmer Adisa

Opal Palmer Adisa is an exceptional writer/theatre director/photographer/gender advocate, nurtured on cane-sap and the oceanic breeze of Jamaica. Writer of poetry and professor, educator and cultural activist, Adisa has lectured and read her work throughout the United States, South Africa, Ghana, Nigeria, Germany, England and Prague, and has performed in Italy and Bosnia. An award-winning poet and prose writer Adisa has twenty four titles to her credit. Most recents are: Pretty Like Jamaica; The Storyteller's Return; Portia Dreams and 100 + Voices for Miss Lou. Other titles include the novel, It Begins With Tears (1997), which Rick Ayers proclaimed as one of the most motivational works for young adults. Love's Promise; 4-Headed Woman; Look a Moko Jumbie; Dance Quadrille and Play Quelbe; Painting Away Regrets; Until Judgement Comes;

Have You Had Your Mammogram?

You are led into a small room by a stranger.

DSC03050There is a large machine inside.

The woman hands you a paper top and says,

“Take everything off from waist up, make sure the opening in the front.”

This is a hospital so you do as you are told without asking why

or what is about to happen?

You think you know as you are scheduled for a mammogram.

You were told not to wear perfume or deodorant.

The woman steps out the room and you undress and put on the paper blouse as instructed.

The woman  knocks before reentering the room and directs you to move in front of the machine.

She guides your body so you are slightly angled facing the machine.

She then opens your top and takes one breast into her hand and pulls and places it on the cold metal top of the machine, like you would a book to xeroz a page.

Although you want to ask and be assured that she wiped and sterilized the area after the last woman, you don’t.

I mean really, a stranger is pulling your breast like it is a piece of meat she is getting ready to marinate.

She presses your breast  down on the machine, then release a plastic lever on top of your breast and squeezes, clamp like.

You are hurting. You want to scream at her that this is uncomfortable and painful. But you are a woman and everything

to do with checking for your health is uncomfortable and painful.(Coming next a Pap Smear)

She steps around you and says, “Hold your breath. Don’t breathe and don’t move.”

Through clenched teeth you want to say, you must be kidding, but you don’t.

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This is torture and you want it to be over. You are not even thinking now about lumps. You fear this procedure could really hurt you.

So you hold your breath, and hope this ends quickly, and hope the woman gets it right and don’t have to repeat the procedure.

“You can breathe now, “ the woman says.

You let out your breath, and prepare for the next breast to be photographed.

DSC03051But the woman isn’t done with the first breast.

She comes back around, turns you to the side, pulls your arms over the metal box, and tells you to hold your hand firmly there. The rectangular metal is digging into your underarm, scraping you. She then comes and grasps your breast again, pulling it more, placing it again on the slab, and acts as if she can flatten it.

You want to say to her, this is a breast, remember, it doesn’t flatten out like a pancake.

Hello you scream inside. These are breasts, like your breasts. They hurt. This is more than uncomfortable.

She acknowledges, “I know this is uncomfortable, but I need you to stand still and not move.” She moves away and commands, “Hold your breath and don’t move.”

If I were to move the machine would rip off my breast, you want to cry, but you are brave, and you want this to be over as soon as possible so you suck it in, hold your breath and keep holding it until the buzz of the machine stops and she says,

“You can breathe now.”

You want to collapse, you want to be comforted, but there is still the other breast that must be subjected to this abuse for its ultimate good.

So the same above procedure takes places.

Finally! It’s over.

The woman checks the x-rays to make sure they are good.

“They are good,” she says. “You can get dressed. Your doctor will contact you about the results.”

“Thank you, “ you say, minding your manners. And you mean it as the ordeal is over.

You pray that once again your breasts are healthy and you won’t have to suffer this exam until next year.

You are dressed.

You take a hard look at the sturdy, masculine machine. Tall, cold, impersonal.

You don’t know Patrick Panetta and Jack Wennet, who invented this machine in 1984 or before and were approved in 1986.

You know mammogram testing has saved the lives of many women as a result of early detection, so you thank them. You are truly grateful.

Three of your maternal great grand aunts (between the ages of 70-85) all died from breast cancer in rural Jamaica. None of them,  had a mammogram before being diagnosed

But you wonder, where are the women inventors to upgrade this machine and design a more breast friendly device?

It is way past time that women physicians and designers make testing easier so when my daughters reach the age when testing is required for them they will not be subjected to such a fate.

But even more importantly, let’s work to eliminate breast and all other types of cancers for good.

 

 

 


 

Standing in the Truth

IMG_3817You know you are blessed

when

after a physical and emotional

truamatic experience

your body rocks with tears

you have the urge and

follow through calling

love ones and telling

them how much

they are loved

what they mean to you

being apart of your life

you know you’re

on the path

to healing and forgiveness

when on your way

to the doctor

or work

or walking to clear your head

you spot the ducks

and pause to marvel

and acknowledge

their simple beauty

and formation

in that moment

with every thing

that comprises your being

you know

yes you know

the world is alright

you are alright

harmony and peace

are everywhere

we just have to decide

to see and embrace it

and really that’s our job

to be the peace

we want for ourselves

and the world

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CARIBBEAN YOUTH THE NEW GOLFERS: NO LONGER JUST A “GENTLEMAN’S” GAME

vigolfteamYou missed the opportunity to cheer these dedicated youth golfers from nine Caribbean islands this summer when The Virgin Islands Golf Federation hosted the Caribbean Golf Association Junior Championships at Carambola Golf & country club, where five of VI’s own team members competed.

Under the guidance of coach, Cletis Clendinen, and team manager, LaVerne Slack, golfers, Keshawn Peets, Cosmo Williams, Annamarie Morales, LaVonte’ Blyden, Ricky James and Beresford “BJ” Lynch, three from St Thomas and two from St Croix, demonstrated proficiency and determination. Their love and commitment to the game was evident for the three-day tournament, held July 7-9.

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This was St Croix’s second time hosting the Caribbean Golf Association Junior Championships, with participants from the Bahamas, Barbados, Cayman Islands, Dominican Republic, Jamaica, Puerto Rico, Trinidad and Tobago and the US Virgin Islands.

Cosmo Williams was once again the Tournament Director, assisted by Nevins Phillips, Golf Director and President of the Association, based in St Thomas. Williams says he was in charge of only the golfing aspect of the tournament, but he knows from previous experience the tremendous logistic required to host/house ten teams, with players, coaches and parents and even some siblings, and provide transportation, food as well as to pool volunteers to transport golfers on the course.

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While golf has been donned a “gentleman’s” game, these Caribbean youth are revamping that notion to be more inclusive and diverse, and are demonstrating that they have what it takes. Annamarie Morales, the only girl on the team, attends the St Croix Educational Complex, has been playing since she was seven years old, and has participated in four such tournaments. She says, “I love the mental and physical challenge of golf.” Her favorite player is Murray McLlroy, and she urges her fellow age-mates Crucians to check out the game, “as it is fun and interesting.”

Keshawn Peets, also from St Croix, was introduced to golf by his father Ken, also a golfer, and has been playing since he was five years old, and plans to continue playing all the way to college and beyond. This confident sixteen year-old golfer attends Central High.

Beresford “BJ” Lynch, sixteen years old, from St Thomas, was also introduced to golf by his father, but credits a family friend, Buddy Smith for taking him under his wing and giving him the guidance he needed to develop his skills. He loves golf, and is confident he will play in college before deciding if he will go professional. Ricky James, somewhat shy, likes the game and being out on the green. LaVonte Blyden who has been playing for ten years, has participated in seven tournaments, states, “What I like about golf is that you never play the same way twice.” His best score thus far is 79 and he thanks his mentors, Art and Conrad.

Although the Puerto Rico team won the championship, and the VI placed seventh, the notion that golf is simply a leisurely sport, is not quite accurate; it is also arduous, requiring concentration and a keen focus. These youths were out on the green from about 8 a.m. and until approximately 2:30 pm., under the hot sun, often carrying their own golf bag, which weighs an average of 10-15 pounds, and having to maintain their own scorecards.

LaVerne Slack, the team manager got her sons involved in golf ten years ago when she saw an advertisement in the newspaper offering free golf lessons to children 7-17 at Mahogany Run, St Thomas. Slack likes golf for her sons because she says, “It teaches them honesty, disciple and integrity. The comrade you find on a golf course, is not evident in any other sports. Golf is real classy; it is a sport you don’t have to worry about injuries, and you can play as long as you can swing a club.”

For those parents who are interested in getting their youth into golf, they should contact Nevin Phillips, Golf Director.  340-777-6006. Governor Mapp has pledged his commitment to expand this sport in the territory. Who knows, the VI probably has several future, Tiger Woods.

bahamiangirl Annmarie Morales, STX 16

Madly in Love with Improvisation: Aleksandra Markowska

DSC02563Aleksandra Markowska, Polish singer, 2 years ago fell madly in love, with of all things, Improv Theatre. Just how did this happen?  She saw a group perform in Warsaw, “and felt that is was something for me; I’ve always wanted to be creative on stage, so just like that I started to do improv.”  Prior to falling head-over-heals in love with this art form, Aleksandra was a singer, a puppeteer and mimed, and also, played the flute when she was younger.  But she emphasizes, “only when I’m improvising do I feel that I am full.”

Aleksandra loves working with groups, so in addition to singing, she has improv musical duo with Malgorzata Lipka, as Danusi Amarylis.  About this duet, she states, “Mag and I feel each other; we don’t have to rehearse.” Aleksandra believes the easy rapport that they ignite on stage resulted because they sang together for a long time. Continuing, she adds, “this is the best type of improvisation; you have to know your partner, be able to feel each other and be very empathetic.  This is my magical aura – I’m empathetic; I have very good intuition.”DSC02531

Loving being at Arte Studio Ginestrelle, Aleksandra credits “Maggie (Malgorzata); she found the residency; she wanted to be in Italy and invited me to join her and do the project. It’s crazy but I like it.” Aleksandra is pleased to have some time to spend working on the project, discovering as they work together, what it will be. Aleksandra chimes, “I’m very happy to be here; I’ve met great, powerful women from all over the world, and the place is magical, calm, full of inspiration. I saw scorpion, for the first time saw figs growing on the tree. I really like being here, breathing the air, and the water here is so great to drink and take a shower. I feel like I’m in paradise…nature is beautiful.”

Aleksandra hopes that their stay at the residency will propel their project further and make it fuller. Their goal this fall is to begin performing twice month in Warsaw. She remarks that whenever they performed in the past, “people loved it!” DSC02543

To learn more about Aleksandra Markowska, visit her on Facebook:

From Choir Directing to Improv: Małgorzata Lipka

DSC02564Małgorzata Lipka, Polish, choir conductor, has a MA in choir conducting and music arts.  She was a violist for 12 years, and still plays, although now she refers to herself as, “a singer and a choir conductor, a teacher, and sometimes an actress. I also play violin, but I don’t do it in a classical way anymore. I am soprano, and find it easy to get high notes; the color of my voice is bright…” An indeed not only is Małgorzata’s voice bright, but she beams and has a vivacious personality.”

Having lived in Italy in the past, Małgorzata is inspired by its culture, DSC02556and this was her driving motivation to be in resident at Arte Studio Ginestrelle, to develop a project with friend, Aleksandra Markowska. They are working on a music and theatrical improvisation piece, in which they plan to incorporate some of the local music of Assisi. Also, Małgorzata adds, “Coming here, I’m hoping to meet international people from all over the world who can influence my work, in some way.” While there is no pressure to create new work or even develop a project, Małgorzata is motivated and wants to make sure “I spend my time in Italy in a productive and creative way.”

Seven years ago Małgorzata and Aleksandra met in Warsaw, where they live, while participating in a jest choir, and from there they quickly developed a friendship. They became roommates and began doing projects together, including forming a vocal quartet, which led to improvisation about destroying art. Thereafter they began a duet at the Night of Museums, where “we started exploring different sounds, and discovered we were having fun; we agreed that music is not just about notes and rules, but also about freedom.”

Małgorzata said she missed this freedom she discovered working with Aleksandra, and realized that that aspect was missing from “the things I was doing in Warsaw. With us, there are no rules.  We know each other so well, we feel the vibrations as a result of talking for hours.” Resulting from the above mentioned show, they performed at Comedy Club, which they realized was “an important place to improvise, and the public liked us.”  The rest, so to speak, is history. They were ready to forge ahead and hone their craft. It was Małgorzata’s idea to do the residency and she asked Aleksandra, who readily agreed to join her.

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After listening to them practice most of the morning, being lulled and carried by their harmony, I joined them to learn about their project.  They were in the middle of practicing “The Flower Duel” by French composer Leo Delibes, but were getting ready to switched gears. In Assisi, they bought a score by an unknown Italian composer, based on old Italian music, as they wanted to sing something in Italian and something religious “because we were inspired by the religious atmosphere here.  We are also practicing modal church sounds –the voice we are using is more serious, like opera singing, but when we perform we use our more natural voice or pop.” Although their root is classic, they met doing pop. Malgorzata enjoys, “many different vocal techniques,” and plans to develop an improve repertoire with Aleksandra.

To learn more visit Małgorzata Lipka on Facebook

Exploring the Violin: Harriet Wheeler

DSC02462Harriet Wheeler, British violinist, lives and works in Denmark, and was at Arte Studio Ginestrelle to work with Signe Lykke, Danish composer. Intense and committed to being a first class player, Harriet says, “I just aim to continue improving and evolving and bringing joy with the music I make.”

Harriet first became aware of Signe last year when she heard one of Signe’s compositions being played.  Although the piece was for the clarinet, she liked it so much, she contacted the composer, “and I asked her to write me a piece, and she did, “Blue Season,” which is a wonderful piece.” Harriet smiles at this memory, looking very much like a young Jacqueline Kennedy.DSC02552

As a result of listening to more of Signe’s compositions, and getting to know her personally, Harriet and Signe decided they wanted to collaborate, to explore how composer and musician can work together.  Once they arrived at this realization, they looked around for a space to begin this partnership, and learned about Arte Studio Ginestrelle, and were thrilled when they were accepted.

Practicing is fundamental to being a good violinist, and Harriet practices an average of 3-4 hours daily.  When practicing and playing, everything else ceases to exist, and she gets lost in a world of musical communications.  She is open and available to all.

“I don’t have a favorite composer; it changes too often and there are so many greats! I guess something about having a thirst for all styles of musical languages, especially classical?”

Although it is not usual for composers and musicians to work together on a piece, Harriet believes this should change.  Reflecting on an orchestra, Harriet says, “Contemporary music is created by composer, but Signe and I are combining the process, to explore what is possible with the violin, in a way that is natural for the violinist.”  Finding the possibilities and arriving at what is comfortable to violinists and other musicians is essential, Harriet states.  “It takes a lot of time, and we need freedom to experiment –try different sounds.  The process of us working on it together has been very rewarding. Signe would write something and give it to me, and she told me what she was thinking, and I was able to incorporate her ideas because she always asked me about things.”

Harriet and Signe will continue to work and develop this piece that will be performed -Spring 2016. “We will play with a young string ensemble in Denmark, work with young children to explore their instruments, and hopefully they will get more excited about playing.”

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To learn more about Harriet Wheeler, visit her Facebook page.


 

My Poem, Madness Disguises Sanity

This is the link to the video:
We hope you enjoy the production, as we could not of created it without you. Also you may like to know that we all achieved the highest grade possible and we thank you very much. As this mean four of us have got into university and the other two are following drama carers through different paths.
See the production by High School students in England, who dramatized my poem, and interview…

Create in the MT. Subasio: Arte Studio Ginestrelle Artist Residency

DSC02276 Nestled in the lush, verdant mountains of Subasio, Assisi, Italy, Arte Studio Ginestrelle, artist residency was established in 2007 by Marina Merli, the soft-spoken, gracious, director.  Located in the Regional Park, the environment is tranquil and inviting, and ideal to start or complete any project. I certainly accomplished more in three weeks there than I did in the previous four months.

Marina Merli says, “The idea to develop an artist-in-residency program germinated after I finished my degree in Economics of Tourism and worked in the field of management. My desire grew to plan a cultural program at Subasio, the ‘sacred mountain’ of Assisi, to connect old traditions and history to contemporary minds worldwide. One of my aims was to offer opportunities for people interested in learning about the heritage of Umbria.” Known as the green heart of Italy —il cuore verde d’Italia— a phrase, lifted from Giosuè Carducci’s poem, Umbria is bordered by Tuscany to the west, Marche to the east and Lazio to the south.

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I have been asked why do I need to go some place far to do my work, and the answer is simple. I go where what I do matters, and where I am given the time and am in a community that is likewise engaged. Another important aspect is the exchange that often occurs at great residencies. Marina concurs, “I think one of the main aspects in a residency program should be to create an International, cultural network for artists worldwide.” While I was there, artists from USA, Denmark and Russia were in attendance, painters, musicians and writers, creating a richly diverse setting.

Marina notes, “artists who apply to Ginestrelle are attracted by the natural landscape and are interested in finding a quiet place to focus on their projects, as well as the possibility to meet international artists.” Mount Subasio of Assisi is a journey into the past. “We can still breath the authentic style of life, sustainable and in harmony with nature. The ancient forest and sanctuaries (one of these is Madonna dei Tre Fossi from X century) represent the richness of this secret side of Assisi.” Marina continues. At Ginestrelle, where memories are preserved, you will connect to one of the cultural goals of the program.

In keeping with the personal and economic family values of Italians, Marina began this residency in collaboration with her parents who serve as board members of the Cultural Association Ginestrelle. Marina is grateful for their support and says, “They have always been involved in the projects.” And indeed they are, much to the delight of residents for the amazing breakfast that is prepared daily, mainly by Adria, Marina’s mother. But throughout the day, both parents are busy tending the grounds and attending to other things on and around the site. Mrs. Adria Eugeni serves as CEO Chief Executive Officer, and Mr. Enzo Merli, as Treasurer.

Yearly, Ginestrelle host an international art exhibition of projects developed by resident artists throughout the year, under the auspices of the cultural association of which Ginestrelle is a registered member of Assisi’s associations. The Assisi’s Council provides a prestigious art gallery space for the exhibition that will take place in November, 2015. For more information about this residency go to: http://artestudioginestrelle.wordpress.com/

Signe Lykke: Contemporary Composer Collaborates.


DSC02320Signe Lykke , Denmark composer
, credits her desire to collaborate from her non-classical, jazz background. However, she has a MA in classical composition, but believes that process is important, and that contemporary composers, such as herself, need to be familiar with the musicians who will be playing their music.  This is one of the reasons why Signe is at Arte Studio Ginestrelle, with Harriet Wheeler, violinist, to compose a piece, and learn more about the range of the violin, and what sounds are possible with other string instruments.

Passionate, and deeply committed to this process, Signe is quite fascinated and eager to work closely with classical musicians because, she says, “As a composer, you need your musicians to be engaged in your music and to understand the deeper meaning of the music. You don’t want robots playing all the correct pitches; they have to put their own feelings/soul into the music.”  Signe wants musicians to be able to identify with the intention behind the composition.  She stresses:  “When it’s new music, and you are the composer, you need to talk to the musicians, come up with a language you can both relate to and understand. “

As a composer, Signe is curious, and listens keenly to the various instruments, so that when composing, her compositions are stamped with her identity. We (she and Harriet) are doing a portfolio, examining different ways of exploring the violin.” She adds that what she is doing is not innovative, nor does she think it will amaze the world, but she beams, “The process is amazing!  We have come up with all these sounds; to us they are innovative, and they are personal –we have been playing around, improvising, having lots of fun.”  Signe believes playing around, discovering, is quite important, as well as necessary if a composer wants to collaborate and find new modes.  Although, a long, tiresome process, Signe says they are almost there, but the hard work still remains, that being, to figure out how “to put these extend techniques on paper, to write them down so musicians know how to play them.”

”When you do new music, when you hand your final piece to your player, it should be readable and as accessible as possible.  The musicians should be able to see the story, understand the feelings or whatever you, the composer, were thinking when creating the piece. I am quite excited.”

“I am about collaboration. I want to know what kind of musicians are playing my music. They all have unique sounds, but I have to get to know them as musicians, as artists, so that when I write a piece that is beautiful, they know where I’m coming from, and can put their soul into the piece.”

To learn more about Signe, visit her website: www.signe-lykke.com