Annotations for Annotation: Comment

The protagonists of the ongoing collective community project the AfroGreeks are creating a musical performance dedicated to Afro-American writer, essayist, playwright, and activist James Baldwin, for the 101st anniversary of his birth. They are inspired by the records Baldwin loved to listen to. Hammer Museum curator Ikechúkwú Onyewuenyi compiled a list he called Chez Baldwin, which is a Spotify playlist of records Baldwin owned. It is a 478-track, 32-hour celebration of what the author enjoyed listening to, while living in St Paulde-Vence, France.

The streets of Athens

The Olympia Theater is one of the city’s most iconic cultural institutions. For decades, it was the home of the Greek National Opera and the center where major artistics productions were showcased. This theatre was renamed Olympian Theatre Maria Calls to honour the famous Greek American soprano's legacy.

Welcoming of the audience and artists who will be performing shortly. Performers are drumming in the entrance chanting traditional songs from Senegal and improvising.

The audience is getting comfortably seated while clips from various events implemented in the project the Afro-Greeks are playing in a loop.

Caught off-guard waiting for the event to begin on stage, the Pamoja Kanda Choir walks in from the back singing a traditional song from South Africa. The song is called Bao, meaning Father/Lord and it refers to the guidance someone seeks from the Lord in all the sorrows of today’s world and how thankful they are, being protected. The Pamoja Kanda Choir’s members are from all over Africa. In their performances, they sing chants in the form of call-and-response where members of the choir are invited to respond to each of the vocal calls. The call-and-response practice as a musical tradition used in several African countries and it is on most occasions accompanied with stomping clapping and dancing along. One thing to notice is the ululation which you will encounter several times in the following performances, as a practice used in all parts of Africa and among the African Diasporic community around the world. Ululation is used to express strong emotions. In this instance, it serves as a general sound of cheer, as joy is expressed, and it drastically invigorates the performers who start to either ululate as well or sing louder and livelier.

Døcumatism has been documenting and co-creating initiatives with members of the African Diaspora since 2009, but officially started to work on the project the AfroGreeks in 2015. This highlighted event was filmed in 2020 when Afro-Greeks represented Greece together with 44 other countries on Human Rights Day. This event stands out being the first official acquaintance the project and its protagonists had with the American writer and activist James Baldwin, as most of us had the chance to watch the movie I am not your Negro for the first time.

Opening performance

I know how it feels – Nina Simone

We welcome you. This is an original song written and produced by Esther Obediah

Song - Way Maker

The traditional Greek song – Κοιτα με γλυκια μου αγάπη (Look at me my sweet love, is merged with Deep in Love. Aggelos chose to create and Amane in this fusion. Amanes is a distinctive type of monodic, heavy, and drawn-out lamenting song, sung in the “eastern” manner which is rooted in Byzantine music. For a period of time during the Ottoman era Amanes was not sung. It took its name from the frequently repeated exclamation “aman” (meaning “mercy, pity”). From a musical perspective, amanes follow their own specific technique. To deliver a single distich, the performer may extend the song for as long as five whole minutes.

Notice the background clip projected. These clips are from an action organized by the AfroGreeks project, where students of African descent from the 26th primary school in Kypseli participated in a two-day painting workshop. The theme was the creative management of concepts such as origin and homeland. They were under the guidance of their arts teacher Irene Bazara who designed the workshop together with members of the project the AfroGreeks. Actor and model Vassilis Michas, shared with the children special knowledge about the pacing of the Evzones (a ceremonial unit of the Presidential Guard, dressed in iconic uniforms). Unfortunately, despite the special training he received, he did not eventually become an Evzone because of his Albanian origin. In the workshop the protagonists of the AfroGreeks Joshua Edoze and Tony Tsamouras were introduced to the special way the tsoliades (another common name for Evzones) dressed, and walked like Evzones, acting as models for the works painted by the students, who were inspired to paint an Evzone who looked like them.

Texts Read in English by Grace and translated by Xenia to Greek Martin Luther King said: We not only have the right to be free, we have a duty to be free. James Baldwin said: In fact, we were simply trapped in the same situation. James Baldwin said: You get a great shock when you discover that the country where you were born and to which you owe your life and your identity has not provided in its whole system of reality an inch of space for you.

At the core of this collective community project lays the passion to create live events in collaboration with members of the African communities in Greece who are co- producers and co-organizers of live actions that address crucial social issues and raise awareness. All the artists involved curated their performances and even wrote pieces they wanted to incorporate in their acts. Mikel wrote the following piece to express his lived experience of racism and exclusion as a young Black man growing up in Greece.

The practice of the collective community project—in progress—the AfroGreeks is based on the moving image as the starting point and end point of public actions that are filmed. Each member of the project participates in a filmed open-ended discussion which is unscripted. The conversation can vary beginning from introducing who they are, what they do and what their views are on topics they are interested in. These videos can be from an hour to 3 hours long depending on what the person wishes to share, and some members of the project have been filmed multiple times over the years. The work presented here is a 3-channel digital video composed from segments of these interview, carefully put together without compromising altering or influencing the perspectives and words of the protagonist.

Steven comments on a major issue most AfroGreeks face being in between two worlds. Not considered Greek due to the skin colour and not considered African either (in his case Nigerian. He explains the paradox of being treated as a foreigner in the only country you have known and have thought that you belong in. It is a feeling that has haunted the majority of Black Greeks throughout their upbringing in Athens, and having to deal with microagressive and ignorant questions during their interaction with their white counterparts has always been a challenge. Steven, much older and mature now -compared to 5 years ago when the first interview was done- leaves the worries behind and finds comfort, strength and purpose through his art.

I was born in the church he says. Just like Baldwin in a metaphorical sense mentions in his writings that he was born in the church, as the church shaped his life. Steven explains how the way he was brought up by a dad who was a pastor shaped his life and relationship with music. He expresses how he does not play just one genre of music, but he effortlessly experiments with a variety of elements and creates, knowing that people he meets are prejudiced and expect him to play a certain kind of music due to his upbringing and the colour of his skin.

Rebetiko music, or Rebetiko, is the Greek urban folk music that appeared in the late 19th century and acquired its familiar form roughly by the third decade of the 20th century. This music developed mainly in the ports of Greek cities where the working class lived (Piraeus, Thessaloniki, Volos) and later spread to other urban centers. Today, it officially belongs to UNESCO’s list of Intangible Cultural Heritage. The themes of rebetiko songs reflect the experiences and struggles of urban society at the time and originating as a subcultural expression and often associated with marginality, it evolved into a vehicle for anti-establishment sentiment and social critique. It is far more than just a musical genre. It is a cultural imprint, a living testimony of the people who created it and kept it alive. Even today, it is known as ‘’Greek Blues’’ and nearly a century later it continues to move, inspire, and remain a point of reference in contemporary Greek musical creativity.

Song - Mercy Mercy Me

Song - Down by the River

Steven is a true performer and always interacts with the crowd clap and response is always the best way to start that interaction.

Song - A change is going to come

James Baldwin’s words from his conversation with Dr. Kenneth Clark (1963).

Interaction with the audience, which is also a form of support, encouraging the artist

Mc Yinka one of the most famous and influential artists in Greek rap. Tracing back who coined the term Afro-Greek, the term is found in Greek in his song to Kerma, released back in 2009.

Mc Yinka’s story truly encapsulates the lived reality of Black young boys in Greece in the 1990s and early 2000s. During that period, the legal gap in the Greek migration system left many children of migrants—those born and raised in the country—without citizenship at birth. They were literally left without any form of legal identification that could justify their presence in the country. All they possessed was a birth certificate, which did not count as a valid identification document. While the first generation of migrants was eventually required to obtain residence permits to prove their entry and employment status in Greece, there was no corresponding legal provision for their children. This “second generation” was left in a state of bureaucratic limbo. For Black boys in particular, this gap had severe consequences: they were frequently racially profiled and stopped by police as early as age 15 or 17. During such encounters, their birth certificates were dismissed as insufficient proof of identity, leading to prolonged interrogations and detentions that could last for hours while authorities attempted to determine their legal status.

Mc Yinka narrates this story in a strikingly creative way – through rhyme, rhythm and singing- but the choice of words is intentional and deeply political. Through his music he has always brought attention to injustices embedded in our everyday lives and his memories and experiences are transformed in his work into powerful social critique

This is the song where I traced the earliest mentioned of the word Afro-Greek documented in Greek.

Mc Yinka gives a brief explanation of the word Afro -Greek, Mc Yinka

The first thing that he does as soon as he gets on stage is check with the audience if they are having fun – something he does several times during his performances - and immediately interacts with, once again the clap and response is used to elevate the energy in the auditorium.

Song - Work Song, Nina Simone

This song acknowledges the struggle of immigrants and their children, who carry stories of violence, uprooting, and injustice. It denounces institutional failures, xenophobia, and state indifference, highlighting their resilience and strength, fighting with dignity against racism.

The gumboot dance originated in South Africa during apartheid. The migrant labourers who worked in the gold mines were given gumboots (rubber boots) and overalls. The miners were very poorly treated and forbidden from speaking to each other. However, they developed a new way to communicate - sending messages to each other by slapping their gumboots and rattling their ankle chains. This would eventually turn into a form of dance resistance against their oppressors. Soon after, the miners evolved their percussive sounds and movements into a unique dance form and used it to entertain each other during their free time. The gumboot dance has since developed into a South African art form with a universal appeal. The dancers expand upon traditional steps, with the addition of theatrical movement and singing.

Song - They don’t really care about us. Original song by Adedeji.

The song begins with a quote James once said, “History is not the past. It is the present. We carry our history with us. We are our history. If we pretend otherwise, we are literally criminals. The quote is split in parts and read in different languages, first in Greek, then in Igbo language and then English

Song - Oruku. Original song by Adedeji. Adedeji is a prolific singer, guitarist and composer, whose music is an infusion of the Traditional Yoruba music with Jazz, Soul & Funk, in most of his songs he sings in Yoruba) -Oruku means darkness or cold in Yoruba.

The rhythm is contagious; the audience is beginning to stand up from their seat and dance with each other.

Song - Morenike. Original Song by Adedeji.

Audience Dancing

Audience Dancing

Audience Dancing

Introducing the band

Projection

Negros Tou Moria – or “Black Morris” – is one of the most influential Greek rappers to have emerged in recent years, he mixes trap beats with traditional Greek folk-music (rebetika) and has developed his own Greek-language genre called the trabetiko. Black Morris is the approximate translation of Negros Tou Moria, which in its original Greek is an adroit play on words with Geros tou Moria, a legendary general of the 1821 Greek revolution against the Turkish occupation – this twist on a symbol of classic “Greekness” goes a long way in describing the artist’s ethos, creativity, and cultural background both Greek and Ghanian. His newest album is called Mavri Ellada (Black Greece). Translation : Hello, this is your white friend Negros toy Moria. I would like to be with you but unfortunately, we have rehearsals and preparations to do the upcoming presentation of the Black Greece album. However, I'm waiting for you to join us, so we can show the AfroGreeks project not just only to you but to the other guests who will be here. So, they all know that I’s an experience and I would add and say it’s also a promise that there are also a Black Greece. There are also Black Greeks. I hope you're having a great time and again, I'm sorry I'm not there with you. I'll be waiting for you on the 31st of May.

The majority of the members of the choir were around the ages 16-19 who due to the difficulties and the limited opportunities in Greece sought scholarships to advance their education or looked for better jobs abroad.

Song - Wade in the Water

Medley of songs

Here we witness a fusion of Nigerian praise-and-worship traditions with gospel. This is a reflection of the long, intertwined history of West African musical spirituality and African American Christian expression. Polyrithms, call and response, mixture of Yoruba and Igbo dances as well as gospel harmonies and improvisation.

Song - Oh, Happy Day

Sunday 21/03/2021, by its very nature, affirmed equality in practice as day and night were of equal length. It became the starting point for a dialogue on the ways one can manage the difficulties of the pandemic; whether as an artist or a spectator. That same day was the International Day for the Elimination of Racial Discrimination and the World Poetry Day. These three elements were enough to empower the members of the project the AfroGreeks to transform the empty city of Athens into a stage that would host a day-long action honouring the important messages of the day, taking into consideration the protective measures for Covid-19. The protagonists of the AfroGreeks project performed in multiple locations, each with its own significance. The actions were all recorded and broadcasted live for Athenians to watch from the comfort of their homes and practice social distancing during the covid pandemic. This event is an example of how art always finds a way and can be used in innovative ways to restore closeness.

This live action was a theatrical workshop in form of a game, put together by director Eleni Mavridou, actor Samuel Akinola and musician Giorgos Mavridis. 6 children from the 26th primary school of Kypseli with the help of their art teacher Eirini Bazara participated in the workshop in which poetry was merged with Greek folk songs and West African songs and drumming.

Steven Aderinto performs soul and gospel songs on the rooftop of the City Hall of Athens. One of the songs he sings is: Sam Cooke’s A Change is Going to Come.

Street dance by dancers Mikel Ergar and Kofi Yadom. The recitation was done by Grace Nwoke. Poem "Where I Am" by Marcelino DosSantos.

The Zappeion is one of the city's most renowned modern landmarks, as it was one of the first buildings constructed specifically for the revival of the Olympic Games in the late 19th century. Zappeion has a strong symbolic charge as it symbolizes Greece’s place within Europe, and it is associated with the country’s national identity, public visibility and modernity.

This performance was put together by four dancers and performers (Jessica Anosike, Grace Nwoke, Demelza Okoji and Maria Sackey) guided by the instructions of dance anthropologist Natasha Martin. It was a fusion of body percussion, singing and afro dance

This performance took place in the neighbourhood of Kypseli, on the terrace of a local bookstore called: Literature House. Mc Yinka was inspired by poetry and improvised using rap. He also performed two of his original songs.

The Benaki museum is one of the most significant cultural institutions of the country, as it preserves and exhibits Greek art and artifacts from prehistoric times to the modern era. Its collection includes artifact from ancient, Byzantine, Ottoman, and modern Greek culture, making it a comprehensive chronicle of Greek history and identity, while it also reflects the contributions of the Greek diaspora.

The final live action of the all day event was a musical encounter of Greek folk music with, soul, R&B and rap. Eleni Nzanga, Grace Nwoke, Steven Aderinto, and Mc Yinka performed blending seamlessly their distinct musical styles.

At the end of that day, the restrictive curfew measures in the city, started to take effect. An online discussion on zoom was created, where the artists who participate in the events during the day could discuss online with the participation of viewers who tuned in. Many questions were asked and a lot of them were people who have lived in Athens for several years and had no idea about the effects of racism on the Black community, neither were they aware that the Black community is strong enough and big enough to co-create such artistic interventions. The artists on the call all agreed they aspire to work together more and they will continue to fight stereotypes and prejudices through art.