Tuesday

May 12, 1998

Paul Kiesow/State Hornet Redmond

Through the eyes of a poet

Few would question the reputation of the 1960s as a time of great ideological and cultural ferment and transformation. Name nearly any facet of 1990s society, and one is hard-pressed to find some aspect of change which cannot be ascribed to the 1960s period of disquiet, reformation and revision.

The Black Power movement of the late '60s wrought tremendous influence in the dialectical change of that decade. Eugene Redmond, returning poet-in-residence from 1970 to 1984, maintains that this movement, and other radical efforts of that time were "paradigm breakers." They were central to the upheaval of the all-too-comfortable society we see in the '90s.

According to Redmond, Black consciousness led to the Civil Rights movement and probably helped the movement toward multicultural, ethnic and women's studies. According to Redmond, it encompassed the globe, because it picked up on the so-called Third World culture within the United States, and the newer awareness and celebration of diversity.

Concomitant with his 14-year tenure at CSUS, Redmond also served as professor of English in CSUS' ethnic studies department. Now a member of the graduate faculty at Southern Illinois University at Edwardsville, Redmond teaches English composition, with an emphasis on creative writing and African-American and multicultural literature. He is also the editor of "Drumvoices," a literary journal of poetry and artistic prose.

While Redmond's week-long reappearance as a CSUS poet-in-residence ended May 1, he plans to document the legacy of this most recent visit in his upcoming book compilation which is his sabbatical year project. It focuses on the 1960s' contribution to prevailing cultural arrangements within our society.

Redmond's sojourn here culminated in his hosting a scholarly conclave of artists and teachers as well as students, and marks but one stop on a lengthy itinerary of 25 venues, which includes Atlanta, Detroit, Chicago, New York, Los Angeles, Philadelphia and Washington, D.C.

The subjects he will examine during his tour are challenging and diverse: black culture and the Black Power movement; ethnic studies, women's studies; the campus community paradigm; the world of arts; education training; Afrocentrism; Eurocentrism; Postmodernism; the Third World and multiculturalism; hip-hop; and "nation time" activists (i.e., black separatists/nationalists).

"We (poets) are journey people in a vineyard of excavation, reclamation, restoration and celebration," says Redmond.

"We are retrieving and rescuing lost words, traditions, languages, signs, mores and axioms; bringing them together and reconstructing the bones of ancient life. When you feel mature, among the first thing to do is make sure the generation behind you understands the best of what produced you so they don't emulate the bad things that deterred you and slowed you down. That's what a poet does."

Furthermore, as an African-American poet, he finds himself functioning in such manifold capacities as a conservator of black literature, "keeper of the flame," aesthete and, of course, activist. As for the latter, Redmond regards the idea of a placid black poet as a contradiction in terms.

Now a confirmed academician, Redmond points out that he originally may not have been headed in that direction, calling himself an "an accidental academic. ... My life has involved a lot of activism, but I wasn't headed for becoming a teacher," says Redmond.

Along the way, he was named the literary executor of the late, noted author and poet Henry Dumas, who was murdered 30 years ago under questionable circumstances. The scholarly exigencies of compiling and editing Dumas' works -- portions of which lay lost or unfinished -- served formally to draw Redmond back to teaching.

The municipality of East Saint Louis, Illinois, holds significance for Redmond, because he perceives it as a modern nexus of American black culture, much in the same way that Africa and the Caribbean might be at the base or roots of contemporary dance.

East Saint Louis is also homebase and the meeting point for numerous black celebrities and intellectuals including renowed national poet Maya Angelou, and Redmond ultimately seeks reciprocity between it and his established turf in Sacramento.

If Redmond casts the drumbeat as a primal, archetypal building block for African-derived rhetoric, he is nothing if not prodigiously eclectic regarding the breadth of poetic modes through which he draws inspiration and expression: "Mythology, iambic pentameter, Anglo-Saxon metrics, the ballad, triptychs, haiku, blues, open verse, sermonical style, rap, and experimental/cross-fertilized forms" -- these in either the written literary form, or as oral, or performance, delivery.

The cultural matrix of Redmond's background is the more colloquial model of the passed-on word: "Hearsay, rumor, gossip, the spiritual, gospel, blues, jazz, verbal jive, hand jive, hambone, doo-wop and the kinds of rhythms that come from athletic contests, prison, the military, Pullman car porters, railroad gangs, packinghouse workers and what we call industrial folklore."

Asked whether he felt social change was coming at too slow a pace, or if people were too impatient or unappreciative of the gains made, Redmond views it both ways. Change, he says, has come erratically, but perhaps far more and fundamentally pervasive than many realize. Still, from all the things learned in the '60s, Redmond senses a definite jog in the paradigm, that encompasses everything from the first Earth Day held in 1970 to today's ubiquitous wheelchair ramps. Perhaps the PC movement harkens to the '60s in terms of the ethos of that era's other movements. That political correctness for example, may be primarily an issue of common courtesy; if one treats others with respect, tolerance and consideration, the "macro-picture" of society might take care of itself.

Redmond feels that the role of poetry is assuming a greater and wider public awareness, and he points to the thousands of new venues for poetry and poetry readings in the United States: tea rooms, coffee houses, cafes, clubs, bars, churches, community centers, hospitals, libraries and the more customary bookstore venues. More people appear to be using poetry as an interactive language, folding it into their daily vernacular, and Eugene Redmond is positively encouraged about the possibilities.

Persons or groups seeking more information about Redmond, his journals, his symposia or the works of Henry Dumas should write or phone: Eugene Redmond, Department. of English, Box 1431, SUIE, Edwardsville, IL 62026-1431; (618) 692-2060.

Crest Theatre presents foreign film festival

Movies from eight different countries were exceptionally portrayed on the silver screen last week at the annual foreign film festival. Wednesday marked the last day interested moviegoers could have their imaginations sparked by the exotic, and sometimes erotic, Middle Eastern and Asian films.

People of Middle Eastern ancestry gathered to greet one another in front of the Crest Theatre just prior to the festival's opening with the documentary "Umm Kulthum (A Voice Like Egypt.)"

This movie was an interesting account of an Arab woman who rose to prominence by the magic engendered in everyone through her musical voice.

"At the time of her death, four million Egyptians walked at her funeral. It's the second largest funeral ever experienced in the history of modern Egypt," said CSUS Professor Al-Qazzaz.

There was a five-to-10 minute briefing of each movie's origin prior to its screening. "These are really quality foreign films," said one Crest Theatre employee. The Crest Theatre at 10th and K street Sacramento's blast from the past, lived up to its reputation by allowing everyone to revel in its nostalgic cinema surroundings.

The audience could gaze up at the gold-leaf floral cascades and maroon-colored fabric hanging from the theater's lofty dimly lit ceiling as they sat in the thick cushioned turquoise seats. The eight international movies were filmed in the countries of Egypt, Japan, Thailand, Singapore, Korea, India and the Philippines.

Each movie managed to touch the familiar emotions that most American movies seek to portray to their audience.

Some directors sought to deliver their various sides of the human experience and virtues. Innocence was the theme portrayed by a young blind man in the movie "Milagros from the Philippines." The plot focused on the relationship between the adopted sibling as affectionate and respectful, despite the sister's occupation as a stripper.

The movie "Deep River" showed how an old wartime friendship could endure the test of time.

In this story, a soldier who is carrying one friend to safety is forced to consume the remains of a fallen comrade in order to have enough strength to escape the enemy's wrath.

Considered a vile and sinful act in most Asian societies, the soldier lives with the extreme guilt of having consumed a friend to save his own life.

Poor and ugly qualities, found in people from around the globe, were also portrayed by the various films.

One character displayed anger, lust and hatred as he tried to rape his sister, while other villians simply took pleasure in killing others.

The eight films screened were "Umm Kulthum (A Voice Like Egypt)," "A Taste of Cherry," "Deep River," "Fun, Bar, Karaoke," "A Single Spark," "12 Storeys," "Milagros," and "Lal Darja (Red Door)."

"The foreign film festival is great for Sacramento and CSUS students. We plan to continue this event each year," said CSUS professor Jay Crane.

Smells like team spirit

By MELISSA JONES
EDITOR IN CHIEF

Ever identify with the caged rat, the kind that runs endlessly on one of those little wheels but never gets anywhere?

To understand that rat is to understand "The Roar Of The Greasepaint -- The Smell Of The Crowd," a musical based on "The Game," the struggle to escape the shackles of corporate America.

There are two players in this game: Sir -- a well-dressed, well-fed businessman -- and Cocky -- the underfed, underpaid underling.

The rules of the game are simple: use any means necessary to keep Cocky playing -- even if it means using the most demented forms of brutality -- and never, ever let Cocky make any progress.

Of course, Sir makes and breaks the rules, and his idea of fair play is to help Cocky up the ladder of success before knocking it out from under him.

"God knows I'm not perfect," admits Sir, while denying Cocky everything he wants from life.

It's Cocky's own fault, implies Sir, for having such high expectations. Thus the name Cocky. "Gluttony is a terrible sin, Cocky," recites Sir. "Thou shalt not Glut." It's your basic David versus Goliath type plot, except this musical is not basic in any sense of the word.

The musical, written by Leslie Bricusse and Anthony Newley, is supposed to make the audience think about its lot in life. But with a plot so thick with surrealism it barely moves at all, it can also make one wonder, "Why all the fuss?"

This attempt to represent an urban America results only in trite dialogue and an easily anticipated plot -- leaving this musical to stumble under the weight of its own pretentiousness.

Luckily, this production has strong lead performances to drive the show.

Rod Loomis -- appearing as Sir -- plays the cold-hearted manipulator with panache and a sterling voice. Audience members might be impressed with Loomis' previous role of Sigmund Freud in "Bill and Ted's Excellent Adventure." He has also appeared in a Broadway production of "Sunset Boulevard."

But it was stage veteran Ezra Buzzington's demented portrayal of Cocky that lit the stage. His comedic and acrobatic talents infused energy into an otherwise slow plot.

"There has always been a joker ... and the joker is me," sings Cocky.

Poor Cocky, if only the audience were laughing.

"The Roar Of The Greasepaint -- The Smell Of The Crowd" receives two out of a possible five stars and is playing through May 31 at the Sacramento Theatre Company. Ticket prices range from $13 to $32. For more information, please call 443-6722.

15 seconds of fame

Name: Jessica Sanford

Major: Communications

What's the best course you've ever taken at CSUS?
Journalism 50 with Professor Dorman.

Why did you decide to attend CSUS?
I used to be a government major and I wanted to be near the capital.

Do you belong to a sorority?
Yes, Alpha Phi.

What's your guilty pleasure?
Chocolate.

What would it take to make you cry?
A very sad movie.

What's the best advice anyone ever gave you?
Do unto others as you would have done to you.

What's the best book you've ever read?
"The Ranch," by Danielle Steele.

Which celebrity do you most resemble?
Well, people say I look like Mrs. John Kennedy Jr.

If you were trying to impress someone with your culinary skills, what would you cook?
Cordon Bleu.

What's your pet peeve?
When students who aren't handicapped take the elevator for just one floor.

Do you believe in a higher power?
Yes, God.

Tell us three words that describe you.
Motivated, happy, giving.

What's your worst bad habit?
Saying "just kidding" too much.

What's the most embarrassing name anyone ever called you?
My brother calls me, "fat ass."

If you could create a new law, what would it be?
Students at CSUS will no longer struggle with parking on campus.

Poet's Corner