Monday, January 12, 2015

Book Review: Owen Blakka Ellis - RIDDIM & RIDDLES

RIDDIM & RIDDLES - A reminder of youth. A reminder of Jamaica.

Owen 'Blakka' Ellis' writing... Takes me home.

I can hear voices from my childhood singing, "There's a brown girl in da ring, tra-lala-la-la! There's a brown girl in da ring, traaaaaaaaa-lala-lala!" A group of us standing in a circle, swaying from side to side, clapping our hands while one of our classmates skips around the circle "She looks like a sugar in a plum-plum-plum!"

I may not remember the words to a tee, but I remember the memories, the anticipation of wanting to be chosen by the cutest girl in the class. The fear of being chosen by the least cute girl in the class. It all comes back after turning page after page of RIDDIM & RIDDLES.

Owen 'Blakka' Ellis is an accomplished comedian, professor, actor and writer. In this body of work, he challenges your idea of what Jamaica is. You can only miss what he's saying if you have your eyes wide shut.

To the average North American the extent of Jamaican culture begins with Bob Marley, goes to beautiful beaches on the north coast, and ends with smoking some of the best herb you probably will ever experience. But the culture of Jamaica runs so much deeper than that. Ellis starts 'Just so', an expression that cannot really be translated, the closest iteration would be "take it or leave it", but that is also the first poem. Short, sweet, and brimming with Culture.

On a side-note, I actually don't like writing this review. Why you ask? I am glad you did! There are so many gems in this gargantuan yet small tome of a mere 69 pages, I feel like I won't do it justice by attempting to select just a few for reference. I began putting tabs to be able to go back to the poems and look what happened (see picture at right.) The only reason there's not more is because I forced myself to stop marking the poems.

I took on the challenge.

So here goes...

As you delve into the selection of page turning poetry, you will arrive at 'ANANSI STORIES', a character in our history that I am particularly fond of. Ellis begins the piece "i actor, am contractor, translator, narrator, keeper of di clan, spirit from akan." This is an amazing line to me and stood out, because he is introducing you to the Anansi mythos, and in a metaphorical way he introduces himself to you.

Not one to shy away from the 'conventional' rhyming couplet, if you listen deeply enough to the writing Ellis places on the page, you can hear the kette drum beating in the background. He takes you through a journey of revelation and revolution, growth and self-enlightenment. Finishing with the age-old adage "Jack Mandora, we noh choose none." A nod to the Honorable Louise Bennett, whom many Jamaicans who grew up in the 60's, 70's and 80's would watch during her story-time hour on JBC television.

In the poem 'MEN' Ellis explores issues with the images of Black males, specifically Jamaican Black males have with themselves. This need to dominate and conquer which was engrained in the culture is critiqued, poetically. The damning of the over-sexualization of women is graphic, yet not. Face slapping, yet polite in the poem 'OBJECTIFIED' "Reduced to pleasures [...] she becomes nothing but breasts, bottom, vagina, vandalized by violent verbs..." This is an unexpected, but extremely gratifying surprise.

Jamaica is also known for it's misogyny and homophobia, many people argue it is not as widespread in Jamaica as the media would have us outside of the country believe. Yet in the dancehall music that comes out, various videos of random acts of violence recorded then broadcast on the internet, and on occasion articles in the Gleaner or Observer, is a reminder that we as Jamaicans, still have a ways to evolve. With his book, Ellis adds another couple of titles to his already extensive list: feminist and humanitarian.

Owen 'Blakka' Ellis touches on so many things we all either do think or should think about on a regular basis: our place in society, death, childbirth and family, slut shaming, bullying and fighting for yourself. And memories. Memories of your childhood. Several pieces are dedicated to those moments when you're in your school uniform, shoes scuffed up from running in the dirt, laughing and sweating, singing and skipping.

I don't want to give away too much of the book, you really need to pick up a copy. I will finish with an excerpt from: 'SMALL'

don't call me that

that shackling
strangling
squeezed-up frame
is a suffocating 
shaming 
suppressive name

don't try to belittle me 
with words
you nuh have
anything small?

don't label big man
with your small talk




Owen 'Blakka' Ellis
Contact BluMoon Publishing for a copy of RIDDIM & RIDDLES


I hope you appreciated the read.
I appreciate you reading.

Warmest Regards
See you on the other side
--
Kym Dominique-Ferguson
The Jamhaitianadian

Sunday, January 4, 2015

Album Review: Jonathan Emile - SONGS OF FREEDOM

SONGS OF FREEDOM - Is it reggae? Is it Hip-Hop? Is it RnB? It doesn't matter.

It's Jonathan Emile.

It's SONGS OF FREEDOM.

Have you ever felt truly connected and touched by an artist's work? For example "It was all a dream, I used to read word-up magazine..." How many of us can actually relate to Biggie's words? Have you ever had a dream, then turned it into reality? Or had a dream, but didn't?

Emile is relatable.

Knowing some of what has happened to this cancer survivor does not hurt as the first eight words are a proclamation to his parents "Mama I made it! Papa I made it!" Knowing that his music was his salvation, metaphorically as well as literally. "Radiation hardest five weeks of my life..." anyone who has had a moment when you believe you couldn't pull through, can empathize the pain, struggle and strength in his words.

Sitting and listening intently, to the music just of that first track 'I made it', tells you everything. Perhaps if you're a highly emotional person like myself you intensely feel it in your throat, like that lump right before your eyes begin getting full of dust. Know what I mean?

A geek like myself couldn't help but enjoy the second track about "Heroes". He never calls any specific hero of the past's name, but I can imagine he's actually talking about those martyrs and figure heads of Black history, such as Bob Marley, Malcolm X, Patrice Lumumba, Steve Biko, Martin Luther King Jr, Marcus Garvey, Dutty Boukman and the plethora of those in the pantheon of the struggle throughout our history.

But one line syncretizes the real and the fictitious heroes many of us know and love with a sample from the 1960's Adam West Batman theme song. It made the inner geek in me jump with glee, and the revolution in my soul put his fist up in the air. This is his Hip Hop speaking, loudly.

A couple of songs later, you can (if such is your thing) light a nice spliff, sit under a big mango tree enjoy the 96 degrees in the shade, and bob your head to a Jamaican pulsation. He brings out his roots, singing in the patois of the country of his origin: Jamaica. "Deh pon di journey, all I wanna wish you, is Endless Light." The echoing ripples of his in the background,  the track is asking, no, beseeching you to take your journey, to fulfill your dreams and not let anything or anyone stop you.

Emile's music slips and intertwines between Reggae cool runnings, Hip Hop revolutionary movements and smooth RnB vibrations. He speaks about life, the travesties of today's world, and he makes it personal telling you what he has been through.

I can't help but bob my head over and over to the music.

I think you will too.

"If we don't look inside ourselves, we will never ever find our wealth... LIBERATION!"

Photo by: Etienne Cappachione
Jonathan Emile
For bookings and more information: www.mindpeacelove.com

I hope you appreciated the read.
I appreciate you reading.

Warmest Regards
See you on the other side
--
Kym Dominique-Ferguson
The Jamhaitianadian

Monday, December 15, 2014

Album Review: Samantha "Samiam Montolla" Hinds - MADE HER

MADE HER - I want you to look at the image carefully. She MADE HER.

I feel like most independent artists can relate to this, especially the ones that refuse the "popular" route of going through big label companies. Self-made songstress and Montreal dancer Samantha "Samiam" Hinds is a self-made artist.

As I listen to the first track 'WHERE IS THE TOP' images of the recording studio flash in my mind. The playful banter over the track begins as she improvises ad-libs of some of her own vocals on the track.

I can almost see the smile on her face as the music moves and inspires her one beat at a time. Then you hear her... "Where is the top?"

This is as appropriate a beginning as any. People who belong to the artistic community constantly face this dichotomy of knowing where the top is. The 'top' can be defined as success. It can also be defined as that point at which you will arrive and can go no further. But listen closely, "inter-galactic funk we so high!"

There is no top. Not the message being sent from this songstress. The galaxy as we know it has no limits, and therefore neither do you as an artist. The beat gets me too. It has this synchronicity of being both very 21st century modern, and sounding like a 1980's funky beat that reminds me of the psychedelic colours of TV shows and music videos at the time.

That's only the first track!

Hinds has a unique and diverse voice, she is her own voice, but I can't help but wonder how much of an influence Lauryn Hill, Aretha Franklin and Patti Labelle had on her style? This Funk flavour mixed with  RnB, throwing in a dash of Jazz and Blues. A melting pot of music for all ages. Her music brings me back to Jamaica. My dad would probably play this on his Bose on repeat for a few days over the weekend.

'THE FABRIC', "Why the caged bird sings" pelts through the speakers... You hear her political side coming out. "Picking cotton is the fabric of our lives!" Sends chills down my spine. Her choice of words. The way she enunciates them. Hinds becomes a surgeon dissecting your mind and inserting truth.

The album wraps up nicely with 'SHOW YA LIGHT' Which has that traditional feel with all the vocals, kind of scatting in the background grooving with that baseline. If I was to direct the video, it would be a gritty basement party set in the 1970's afros and bright colours with lovers slow dancing to the new revolution.

Hips swinging left to right.

Mischievous smiles.

All around good times.

"Keep it burning y'all..."

Photo by: Mariel Rosenblüth
Samantha "Samiam Monotolla" Hinds
For more information and bookings, contact her on facebook.

I hope you appreciated the read.
I appreciate you reading.

Warmest Regards
See you on the other side
--
Kym Dominique-Ferguson
The Jamhaitianadian

Sunday, December 7, 2014

Album Review: Lillian Allen - ANXIETY

This is a review I did for Litlive.ca in 2013.


ANXIETY – expresses the Anxiety of the population of Earth, from 2012 – 2013

Lilliann Allen is the godmother of dub lyricism, with an ability to transport minds through portals created with the aid of looping effects, onomatopoeia and her voice. I am of Jamaican and Haitian origin, and have experienced my cultural roots up front and personal. Ms Allen takes me right back to them.

The album’s title track took me on a journey to the end of my childhood back to the Kumina* circle, where drums and rhythmic voices could hypnotize practitioners into trances.  Then my heart starts pounding, the world seems that much smaller, and I experience vividly the anxiety she speaks of.

Between the student strike that lasted the better part of a year, the shootings in movie cinemas, elementary schools, she irrevocably captures the feelings many have had about the last and the upcoming year. Stating “We’re all anxious for a change, transformation…” she connects the dots between continents, islands, miles of land and seawater. It’s as if she speaks in the voice of our world.

Then with the track BLACK VOICE, she jumps into an eighty-five Delorean and journeys back to music I used to hear as a child: Third World, Bob Marley when he was still with the Wailers, and many other artists that I have naively forgotten. The music has your head bobbing, feeling like you’re on a natural high induced only by voices.

The strongest tracks are those which feature looping effects more prominently. I am not sure Allen is making us of the same particular gadget, but I have seen the likes of poet Moe Clark using a looping pedal to make her performances pop. The layering and repetition of sound and voice mimics the myriad repetitious voices of mass media, but also warms my soul— and terrifies me to my core.

I keep hearing her interlude saying “We anxious for redressed equality and opportunities…” and it makes me wonder, am I equal? Do I have opportunities? And then I listen some more…



Photo courtesy of: Marva Jackson Lord
Lillian Allen
Bookings and more information: www.lillianallen.ca

I hope you appreciated the read.
I appreciate you reading.

Warmest Regards
See you on the other side
--
Kym Dominique-Ferguson
The Jamhaitianadian

 *Kumina is an Afro-Jamaican religion influenced mainly by the Bantu peoples from the Congo-Angola area. Kumina refers to both a religion and dance. 

Sunday, November 16, 2014

I was bullied as a kid too...

Yeah... I feel like sharing a part of my story.

I don't want you to feel sorry for me, that's not what this is about. I have grown into the man I am today because of the sum of my experiences, but I am not a victim of my experiences.

When I was a kid, I moved around a lot. My parents were from Jamaica (Dad) and Haiti (Mom) as I mentioned in my previous blog. Born in Montreal, I bounced between Jamaica, Montreal and Haiti quite a few times.

I remember when the actual bullying started in my life. I was fortunate to have not been among those who suffered through bullying from the moment I entered school like many other people out there. But that all started changing when I was rounding up to my tenth year on this planet.

It was my final year in school at Hopefield Preparatory (a.k.a. Elementary) School, and a kid that had repeated his final year sat behind me in class. He would put his feet on the back of the legs of my chair and shake his feet against them. I wouldn't be able to concentrate on whatever I was doing. Over and over I would ask him, tell him, snarl at him to stop, but he kept on coming back with it. One day, it would seem like he was the coolest kid and I would be part of the group he would talk to, the next he was tyrannically annoying the living crap out of me.

One day when I couldn't stand his crap anymore, and my anger got the better of me during lunch break I saw him in the area we would have our school plays in and I jumped him. I ended up with a busted chin for that, since he just flipped me off his back, but I am pretty sure he stopped bugging me.

In another instance, for some reason the North American holiday "Halloween" made it's way to Jamaica and I was taking part, I remember it clearly my dad took time to pain my face, I had decided to go as "Two-Face" the criminal from Batman. Yep! I was a big geek even back then, and there was this kid a couple years behind me who just had nothing better to do than to target me whenever I was around. I was in a "costume contest" and when my name was called and I went onstage, he laughed. It was one of those laughs that has nothing to do with happiness, just laughing to put the person down.

I moved to Haiti and attended high school there. My first year I was in a school that I didn't get into any trouble really, not in the bullying sense. There were always tussles here and there, but nothing serious. It's when I went into another high school in Haiti that things got rough. My first year for a reason I still do not remember, a kid from a higher class had me pinned on the ground with his thumb digging into my throat. Threatening to burst my neck. Needless to say I was in tears, angry and frustrated because I was much smaller in size and couldn't do anything. Worst part was, I thought this guy and I were friends...

The teasing happened on a regular basis, but I mostly didn't care about what people would say, it's what they would do that would set me off. I was called "Froggy" and "Frog eye", apparently my big eyes made them feel a certain type of way. But people stopped messing with me directly, the cowards would mostly attack from behind.

After one more year in that school, I moved back to Jamaica. In retrospect I wonder if it was because I wanted to get away from the experience of bullying in Haiti. Maybe it did have something to do with that.

When I went back to Jamaica, out of the three schools I applied for Campion College, Wolmer's Boys School and St. George's College for Boys, for some reason I decided to go to St. George's. As a matter of fact, I knew why. When we got onto the campus of the school it was so big and beautifully kept, that I wanted to be at this school. My previous high school experiences were small schools, with barely anywhere to hang out, or play without getting into somebody's way. This place was huge in comparison! Campion and Wolmer's just didn't cut it in my opinion at the time.

I want to remind you, my first name is Kym (deemed a female name) and I was about to go into highschool, full of boys whose testosterone levels are kicking into overtime. Having just come from Haiti and the Coup d'État still being in full effect, there were lots of Haitian refugees fleeing to Jamaica, Cuba, the US and anywhere else they could go.

As soon as they (my classmates) found out I was from Haiti, the razing started. "Did you come over on a banana boat?" If I didn't loan someone a pen, or 'lend' them some money, I became a battybway (homosexual) and a refugee. My dad always told me to walk away, so I did. Telling myself they were just words. Sometimes I would cuss them out, the best way to get a boy in Jamaica riled up was to tell them to go "suck yuh mada". Needless to say I would shout that one a lot!

I had met a kid from the states during orientation, him and I ended up in the same class together and we sort of struck up an uneasy friendship. During this time he had boasted about getting into fights and how he allegedly won those fights. Seeing as how I never won any fights of my own, I kind of evaluated in my head, "if somethin' goes down with him, it's going to be either him or me, and it won't be me."

Eventually, he and I drifted apart. No falling out, he started hanging out with people I didn't like and so I was already used to not developing any attachments to people in school since I was never there for more than a couple of years. I befriend other geeks kind of like myself. Typical story, but hey, that's what happened.

The kid from the States and I eventually got into a scuffle. I think I made a smart-ass comment to a friend of mine about one of the members of his new "gang" and he decided to start kicking me in the butt asking me to say whatever I said again. I refused and told him to stop kicking me and leave me alone. The kicks came repeatedly, and after several times of telling him to stop kicking and leave me alone, I snapped, I got him in a headlock and screamed in his ear to leave me alone. He started flailing his hands at me and raking at my face so I bit down: HARD.

I remember exactly what he said about stomping a kid into the ground and I was ready to kill him if I had to. 13/14 years old. My mind was made up. He started huffing and puffing and screaming "YUH DEAD NOW!" I stood there watching him, ready for whatever he was going to do. A bunch of my classmates came in and held him back. I walked away, and went to the school Chaplin. I knew he wouldn't attack me in there, but I knew he would have backative. That was how school bullies worked. If you wounded or embarrassed them, they would find a way to get back at you.

He came and found me in there, but I looked him in the eye, and he just walked away. Me and him never exchanged words again. But another person would set their sights on me soon after. A tall boy would decide that my head was a mosquito and he would constantly sway the back of my head. Days and days of this in between when the teachers would get to class. One day I had had enough, I am pretty sure I cussed him out and took up my stuff to report him to the teacher.

The teacher was nowhere in sight and I had calmed down and was bringing my stuff back to the class, he was talking to the class Beadle (class president) who would issue demerit points for bad behaviour and telling him that I told him about his mother, which I didn't, and I lost it. I lunged at him and unfortunately ended up underneath him. He fed me knuckle sandwiches, but most of them landed on my forehead because I deliberately kept my head tucked into my chest. Technically I started the fight, out of frustration, yes, but I did start the fight, but he got suspended because of the damage he inflicted on me.

I'll never forget our Dean of Discipline came into the class the next day, I was actually fully healed because I toughed it out and put tiger balm all over my face, and the kid came back to class. The Dean said that he was a threat and that he was to leave the compound immediately. I had never been so happy to be on the "losing" side of that physical altercation in my life. People in my class stopped messing with me, but there was six classes for every grade.

Remember the guy from the states? His "gang"? Well they were part of a group we knew as the "Dutty Cup Crew" -- uptown gangsters so to speak. One of their biggest mouths was in another grade. He started ragging on me every once in a while, but since we were in different classes it didn't happen very often. If at all.

When I moved up to my fourth year of high school, that was my third, he and I ended up in the same class. By that time I had made a solid group of friends but the teasing still came. Because of my name variants of Kym were spewed in my direction: Kymmesha, Kymberly, not very original but whatever, I didn't really care. Fourth form (as we called it) was pretty uneventful. Not much happened aside from the regular name calling. My friends and I would adopt our "bully" names. I had one friend who was called Shoeshead because well, his head was kind of shaped like a shoe. Another friend of mine, he has a very fast metabolism and so he was extremely skinny and they called him Antz.

Me, after a brush with Nair on my head (yes, we did some stupid shit as kids) I got the nickname: Kojack. Ironically, from the same big mouth. While in Fifth form, that's when the kettle started becoming steaming and cracking with pressure. The big mouth would run off his mouth a lot. Then I would just cuss him out and be on my way. One day, the fifth formers were allowed to buy food just outside our school gate, Patty and Grotto bread, as I came out of the front entrance of the 5th Form building, I saw him and his crew sitting on the wall, I made my way to the school entrance and a stone just shot it's way past my leg. I don't remember if I looked back, or even stopped, but I knew it was him. Since the stone hadn't hit me I did nothing.

When I went back to the 5th form block, I stopped and looked at him. I considered casually walking over there, throwing my drink in his face, then kicking him off the wall he was sitting on and stomping him into the ground. I remembered my father's voice "just walk away". I did.

Fights were common, especially in an all boys' school. We had some very simple rules:

  • Let the two guys fight it out. 
  • Don't interfere unless/until a teacher comes in. 
  • No third party was allowed to join the fight. It had to be a fair fight come on now!
  • Once a fight has been stopped, it will not resume for a second round.
So a kid from the "Dutty Cup Crew" and one of my classmates, a very awkward, nerd, but extremely solid asian kid got into a fight in the class. The Dutty Cup kid was getting his ass whupped but good! My classmate may have been an awkward kid, but he knew what the f--- he was doing! I have no idea why they started fighting but big mouth somehow got behind my classmate and started smacking him in the head. So right there rule number three is violated. We broke off the fight.

The kid from the crew came back again and slapped my classmate in the face, true to rule number four we pushed him off and stopped that fight. When I was returning to my seat, I noticed big mouth and another classmate of mine, a much shorter guy, squaring off. The short guy was reprimanding big mouth and telling him that he should let the guys fight it out. 

Pause for a second. In an all boys' school, many of us carried weapons to school. You name it we probably had it. I personally carried a bowie knife and at one point a ratchet (pocket knife with a big blade) to school.

Big mouth was reaching into his back pocket, and I knew he was going to be pulling out a knife. It was like a scene from a movie. I ran between them and shoved big mouth back, he fell against the table and before I knew it he was swarmed by a bunch of my classmates slapping the living daylights out of him. I turned to my friends and someone jumped from behind me and chucked me in my chest. The member of the crew, we'll call him shrimp, that was actually behind me and the american kid falling out.  He was met with a barrage of slaps and fists before being shoved right out of the classroom, all before he even hit the ground. I started charging, I was cursing in creole and everything! My crew: Antz, Shoeshead, and our gentle giant who joined us in 4th Form: Yeti (because he was just so damn big!) stopped me from joining the fracas outside.

Following that, I was the target of their affection. After school that day while waiting for my dad to come pick me up, the kid from the crew, the one that fought with my asian classmate, came up to me and pointed in my face joined by a younger member of the crew I'll dub shrimp junior. It was an intimidation tactic. He came and pointed in my face, actually barely touching my nose, I slowly put up two fingers on my right hand and pushed his hand away. The kid flashed his hand away "Don't touch me!" while snickering shrimp junior called him off like a trainer would call back a dog.

We were pretty close to graduation by now, so there were a lot less classes. One day, Shrimp and another member of the crew actually were coming to find me in the bathroom. I had already returned and was halfway back to the road that runs through the school. They continued to walk and then Shrimp said "Battyman" I walked right up to him, and stepped on his Clark's (I remember because back in the day, stepping on a man's Clark's which were considered high fashion, but I never cared) and said "SHRIMP (I didn't actually say shrimp I said his name) DON'T F--- WITH ME." I was right in his face. Millimeters away from his face. His partner commented on how I looked like I wanted to kiss him, I just flashed him a look and walked away. 

During this time, classmates who never spoke to me before were asking me what was going on. Some guys who were doing over their fifth year would tell me that if I needed backative, just let them know. This was fascinating to me, because even my own nerd crew, I never considered them backative. I always was kind of in a "Me against the world" kind of mindset. The "Dutty Cup Crew" didn't really both me again. Except for big mouth... I kind of provoked him, but can you blame me? I don't remember what I did precisely, but during rehearsals for graduation I believe he caused some kind of disruption, and the teacher asked who did that. I pointed his ass out. I didn't give a shit. The teacher threatened to not let him graduate from school.

When we were exiting to line up to do the rehearsal again, I exited before him and he came at me with a retractable xacto knife... I don't recall flinching, though he might recall differently. By the end of the day I had at least one ratchet passed to me and people let me know that they had my back. I graduated from high school, and no one ever tried to get physical with me again. 

Sure the teasing happened every once in a while from different people of varying ages from kids to grown ups, mostly because of my name. But then I tell people, "I bet you'll think twice when your girlfriend says she's talking to Kym or Kymmie, or she's going out with Kymberly one day." 

A lot more things have happened to me over the years... I had to become an extortionist and a little bit of a bully myself once because a kid who refused to pay me my money for the books I had sold him. I in turn got told to leave him alone when his cousin pulled a knife on me. That's just one incident that I can remember. So I was not a perfectly good student, but I did my best. 

You know, it was only recently that I actually shared a fraction of what I am telling you all now with my dad, and he said something that I will never forget "You never know what your children are going through once you leave them." You may be reading this, and thinking, "That's not going on with my child..." but you may be surprised what happens, what secrets they have. 

Again, I do not care for your pity, or your "awwws" this is a small part of my story and I am much stronger for it. I didn't have it too bad compared to some people in life, but I certainly did not have it easy.

I hope you appreciated the read.
I appreciate you reading.

Warmest Regards
See you on the other side
--
Kym Dominique-Ferguson
The Jamhaitianadian




Monday, August 25, 2014

The Art of MC'ing/Hosting - The Do's & Don'ts of Seducing an Audience

Greetings!

Thank you for reading and sharing this with people you think may learn from it... I truly appreciate that! I have been a performer for the better part of 25 years. I am 33 years old today. In the past decade, I have been doing the other facet to performing, which is to host.

Over my time performing I have been a singer, dancer, stepper (wasn't very good at stepping, but I stepped hard), and a spoken word artist. The mantle of host or master of ceremonies (MC for short) was one I took up in more recent times. Having watched literally hundreds of spoken word shows (usually open mics) one of the things that have been absolutely critical to the success of the show has been the strength and tenacity of the host or MC.

I feel like the host is sometimes more important than the performers themselves. The host sets the tone, the mood for each performance that follows. A bad host can put the audience to sleep, even cause them to leave or totally ignore the upcoming performance. A good host brings the audience to the edge of their seats drooling for more. The host warms up the stage adequately so that the performer has the attention and energy of the audience without having to get it up.

Weddings have also become part of my MC'ing repertoire. Thus far, I have had nothing but complements from my clients... I am sincerely looking forward to the next one!

I have compiled a list of 7 Do's and 7 Don'ts I think are vital in being a good, if not an excellent host!

--

DO'S:

1) DO watch your audience. This is crucial. Why you may ask? You want to have the attention of the audience. You want to know that they are right there with you and holding on to your words. If you can get the attention of the two guys laughing loudly at the bar, and keep them with you. Wooh! You're good! But you want to use your charisma, your charm, your wit and energy to hold your audience's focus on the stage!

2) DO prepare yourself before going onstage. Nothing is worse than being unprepared for a gig. You should know all the vital information about the event, before the event occurs. Even if you sit down for ten minutes before the doors open and go over a list of things to talk about while onstage, make sure you do that. Practice the 7 Ps rule: Proper Prior Preparation Prevents Piss Poor Performance.

2b) weddings - DO meet with your clients and find out about them. You should know a little about how they met, how they proposed to one another. I find that the best wedding hosts knows a little about the couple without talking too much. Plus, if they feel connected to you, they are more likely to have fun. Also, if you are working alongside the DJ, coordinate with them to ensure that the music that is to be played is the right one. If you have a personal relationship with them, know some of their likes and dislikes, you can have a really good time at the wedding!

3) DO watch your favourite comedians, preferably one that interacts with the audience. This type of performer is one of my favourites. Timing and interaction with your audience is crucial in winning them over and ensuring they are having a good time.

4) DO Involve your audience! When participating in open mics, I find that the shows are more interesting when your audience is involved. Here in Montreal, our audiences seem to be very respectful and quiet. In New York, I find that they tend to be more involved in the show. When I saw this in NY, I brought it back with me. I started my Open Mic Soirée Intimes back in 2011 and this was crucial to incorporate into the performances. We had a catch phrase to welcome each performer onto the stage. We gave the audience permission to be actively participatory in the show, hoot, holler, ouuu and aaahh as much as possible!

5) DO dress the part. You should represent yourself and the organization you are working with well. Look like you have a purpose. This doesn't necessarily mean dressing in a three piece suit, but it doesn't hurt. Know your event a coordinate efficiently and accordingly. If you're hosting a wedding, a suit is a very good idea, clean and sharp. An open mic can be more casual, but still carry yourself with class. No for your audience, but for yourself. Confidence is everything. Sometimes dressing right just exudes that confidence even more, and your audience senses it.

6) DO be up to date about current affairs, knowing what's going on in society today, so that if you're ad-libbing between performers and the platform allows you to send a message about a particular issue your audience might be interested in knowing, or you want to make a joke reference about someone, remaining current allows you to be on a wavelength the audience can ride on.

7) DO be clear on the rules of your event if they have any, some open mics are strict about their time limits, as are all Poetry Slams. Repeat the rules ever so often, and ensure that they are clear. Then, follow through with your rules. If you have a performer, especially in the case of Open Mics, that is going over time, and you're being nice so you're giving them the benefit of the doubt and 30 seconds over time, turns into a minute, turns into two minutes, you might want to either signal them off stage or go onstage and remove them. If that is what you're going to do, this has to be in your rules from jump. Otherwise the artist might get really pissed. The audience may also react negatively. (Or they might secretly be thanking you for it). I find that the audience's attention span for regular open mic is about 5-6 minutes. Any longer than that, and they start losing focus and wondering who is next. You can see it by the slow glossing over of their eyes. So always follow rule number 1 in this case.

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1) DON'T waste time onstage. The audience needs you to move the story forward, not make it into a cesspool. As an MC you are the pauses between the paragraphs which are the performances. You're supposed to make this dialogue between audience and performer smooth. You should actually take no more than 3-5 minutes to wrap up the previous act, and bring on the next one. If you are inspired to perform a piece between acts, don't do more than one piece at any one time,  and don't do more than 2-3 pieces with a 10 open mic'er set. One piece every 2-3 performers, is fine.

2) DON'T expect your audience to remember anything. If you have a particular catch phrase, don't expect the audience to remember it. They need time to get into your groove and understand what you're doing. Make fun, encourage them to repeat it again and again.

3) DON'T repeat the exact same words over and over. I am not talking about the catch phrase or call and response. I mean things like "Coming up next we have..." for every single performer. This is a pet peeve I have. It just sounds so redundant and uncreative. It's the MC equivalent to the valley talk of "Like, you know, ohhhhhh my gosssshhhh..." this makes my skin crawl. You can use coming up next for one or two of your performers, non-sequentially, but after that, come on, expand your vocabulary.

4) DON'T make fun of your performers' performance.  If it was bad, the audience will see it and will give an appropriate response. However, if your audience is booing a performer or any other form of negative feed back, you shouldn't let them. Unless it was a blatant misogynistic, racist, sexist, or otherwise insulting people for any reason, remind the audience how difficult it is to come up onstage in front of strangers and bare your soul.

5) DON'T take yourself too seriously, you're only human. If you make a mistake, turn it into a joke. Let the audience make fun of you because of it. It will get them on your side. Everyone likes to poke fun at people they like, and they'll call you out on things that you do wrong or right. Go with the flow and always be lighthearted.

6) This said DON'T get overly emotional. By this I mean attacking your audience in a blatant way, this will turn your audience against you. If for example, someone in the audience is unduly heckling a performer don't get worked up about it. Get your security or someone else to ask the audience member to leave and then get back to the program.

7) DON'T forget to thank everyone. Publicly. It's a sign of humility and grace. Thank your audience for coming out. Thank your venue for allowing you to use their space (whether you are paying them or not). Thank your performers for stepping up to the mic. Thank your people working with you, the DJ, the door lady or gentleman, the caterer if you have one and the staff of your venue. It's a little accent that really makes people feel appreciated.

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Thank you very much for reading, if you have any questions or comments I look forward to reading and responding to them!

Warmest regards,
See you on the other side!
--
Kym Dominique-Ferguson
The Jamhaitianadian

Tuesday, August 19, 2014

Long hiatus... Finally over

Good afternoon, Good morning, Good evening or Good night...

Wherever you are, whoever you are, thank you for reading. It has been one month and eleven days since my last post. The day after my grandmother's life was celebrated. If one was to be honest with oneself, meaning me, this past month has been difficult... To say the least. I have been surrounded by friends and family that love and genuinely care for me. The blessings of their friendship has been unbound.

There have been some epiphanies... Some that caused a heavy heart, and some that reopened doors of friendship, long thought to be closed.

I haven't had the hardest life, to my knowledge, but it hasn't been the easiest either. Planting my roots in Jamaica, deep and firm, yet dancing on the edge of nomadic living, a life my mother had revealed to me in bits and pieces over the years we have known each other. "Known each other" those words hold a specific meaning for me.

As some of you may know, but some may not, I am a wordsmith, poet, spoken word artist, connoisseur of the oratory arts and so words speak just a little bit differently to me than to the average person. You can spend a lifetime living with someone, yet you do not know who they are. Have you ever had a situation happen with someone you've been around your whole life and you feel like you are looking at a complete stranger? Well, my parents are not strangers to me.

Every time they speak I know the purpose of their words, why they chose to speak them in such a cadence, the deepness of the baritone or the featherweight softness. In having lived in Montreal for a third of my life, words are the most common expression between my family and myself. I know them well.

My heart has been heavy, I thought I was doing well with my gramma's death. Even with all the drama that's swirling and been swirling since even before she passed, I thought I could be that pillar. The rock she told me I was. The centre of gravity that everyone could turn to. Yesterday that was shattered by a DVD and a 35mm film. Do you know Bucket List a film with Morgan Freeman and Jack Nicholson? It is about two mean coming to terms with their death, and what they decide to do in their final days.

I cried like a baby on my brown futon couch. It made me think of my grandmother. Deeply.Wishing I had a little more time with her. Wishing she had a bucket list we could go through for her. Wishing there was something more I could have done. For the first time, I realized that I shot past the first, second and third stages of grief and went straight to depression. This depression is the sadness and regret type.

Its been hard accepting that my Sundays are forever changed. No longer will I be going to her place after working on Sunday for a Chinese food dinner. No longer will I be receiving calls to reprimand me for not having called her in a while. No longer will I sit beside her on her couch and watch movies, tv shows, and such...  Or hold her hand, just because... Unlike in Bucket List, there was no warning. I expected it, but there was a certain level of apprehension and hope that "nah! not gonna happen for a good while now..."

The 35mm film I watched, The Hundred Foot Journey completely shattered the delicate mould I was attempting to protect myself with. It is a story about one of my passions, i.e. cooking. The main character, Hassan, was taught by his mother to cook. Not just to cook,  but to do it with heart. She said "To cook is to kill, you must be willing to serve ghosts..." I am paraphrasing. An amazing journey. It deals with issues of bigotry and racism. Struggle against all odds. Cultural tradition and adaptation. Love and fear. Competitiveness among friends. So much more than that as well.

Given what has been going on in the United States it was a refreshing view on how to make a stand with food. How to unite two different countries, by an exchange of dishes. Nothing brings people together the way food does. Anyway, I am not even sure I know what I am talking about.

I do thank you for reading, I shall be writing on a regular basis and do hope you will be revisiting soon.

Warmest regards,
See you on the other side
--
Kym Dominique-Ferguson
The Jamhaitianadian