Kamau Amu Patton

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	<title>Kamau Amu Patton</title>
	<link>https://kamauamupatton2.cargo.site</link>
	<description>Kamau Amu Patton</description>
	<pubDate>Sat, 07 Sep 2024 19:24:52 +0000</pubDate>
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		<title>Afterlife Geographies 1: African Burial Ground 1</title>
				
		<link>https://kamauamupatton2.cargo.site/Afterlife-Geographies-1-African-Burial-Ground-1</link>

		<pubDate>Sat, 07 Sep 2024 03:44:37 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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	AFTERLIFE GEOGRAPHIES &#124; INTERSECTING COSMOLOGIES IN THE SURROUND


AFRICAN BURIAL GROUNDKAMAU AMU PATTON&#38;nbsp; &#38;amp; ZAINAB LASCANDRINEW YORK, NEW YORKAUGUST 28, 2024
LINK TO VIDEO WITH SOUND:SEQUENCE 1
LINK TO PROJECT TEXTS:  INTERSECTING COSMOLOGIES

AFTERLIFE GEOGRAPHIES

In so&#38;nbsp;far as the afterlife is accessed through the imagination,&#38;nbsp;the afterlife situates&#38;nbsp;what a future world might entail,&#38;nbsp;and rearranges&#38;nbsp;the&#38;nbsp;pieces of the world,&#38;nbsp;as we knew it,&#38;nbsp;into a vision of the future.&#38;nbsp;Afterlife Geographies&#38;nbsp;considers sacred sites, sites of restoration, sites of reclamation, and sites of liberation. The project&#38;nbsp;charts&#38;nbsp;language, movement, thought, speech, and action to develop structures that archive histories of community building.&#38;nbsp;Afterlife Geographies&#38;nbsp;documents “way-of-life” practices,&#38;nbsp;in relation to processes of settlement,&#38;nbsp;by&#38;nbsp;which communities&#38;nbsp;articulate world&#38;nbsp;view, synthesize experience, and establish infrastructures of empowerment and remembrance.


Informed by Pan-African syncretized political, spiritual and aesthetic practices, the project proposes an investigation of diaspora conceptual structures and design approach through a charting of language, movement, thought, speech and action. The project aims to archive histories of community building through documenting stories, strategies, and sites. Afterlife Geographies is concerned with archiving histories of place making and village planning, the documentation of processes of settlement and witnessing the development of sites through which communities&#38;nbsp; provide space for contemplation, reflection, meditation and prayer.


Afterlife Geographies views the histories of African Diaspora spiritual, social and political design practices as linked by the practice of syncretizing. That is, the African Diaspora relationship to social practice can be viewed as a relationship not to a singular, social practice but as a dynamic relationship to a multiplicity of practices which incorporates a multiplicity of histories and beliefs. This ﬂuid model of assimilation is common to the principle religious systems of the Caribbean such as Palo Monte, Santeria, Arara, Voudoun and Abakuya. Afterlife Geographies considers this sensibility as it has been articulated through Diaspora practices of landscape design and urban planning.


AFRICAN BURIAL GROUND
NEW YORK, NEW YORK
AUGUST 28, 2024LINK TO VIDEO WITH SOUND:
SEQUENCE 1
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		<title>Afterlife Geographies 2: African Burial Ground</title>
				
		<link>https://kamauamupatton2.cargo.site/Afterlife-Geographies-2-African-Burial-Ground</link>

		<pubDate>Sat, 07 Sep 2024 04:10:13 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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	AFTERLIFE GEOGRAPHIES &#124; INTERSECTING COSMOLOGIES IN THE SURROUND
AFRICAN BURIAL GROUNDKAMAU AMU PATTON&#38;nbsp; &#38;amp; ZAINAB LASCANDRI
NEW YORK, NEW YORKAUGUST 28, 2024LINK TO VIDEO WITH SOUND:SEQUENCE 2


AFTERLIFE GEOGRAPHIES


African Burial Ground National Monument. August 28, 2024


intersecting cosmologies in the surround


flowers for the dead


A conversation: Kamau Amu Patton&#38;nbsp; (K) &#38;amp; Zainab Lascandri (Z)
LINK TO PROJECT TEXTS:  INTERSECTING COSMOLOGIES


(K)… the idea of, what... why... this piece as a document of our experience… of us meeting each other, coming together, and deciding to go and have this experience together as a kind of resolution. As a thing that we share and to return to that space with intention and trust to follow this action… flowers for the dead. 


…to do this together and say, okay, we're going to engage in this space… and engage in this performance, to explore our relationship and our relationship to these people. 


…to perform a ritual of remembrance. Not as a claiming of space, but as an activation of space… 


…to encourage activation, to maybe give ourselves permission to engage in a particular way with ancestors, and also to encourage that through this example.


(Z) …to encourage other people... to interact also.


(K)Yes, to interact.


(Z)I love this idea of activating something through an engagement in the space. I think it's the main thing.


(K)…and as performance, what is it to claim a space or activate a space in this way? Because this performance is not novel… as certain performance works can be very specific and individual… not to be repeated as such, but to be performed… that is, to be repeated as ritual. 


And ritual has certain protocols, and it's for all of us to engage in this as a potential ritual practice, which is community. 


And this is what these types of sites offer. They offer the opportunity to be in solidarity, to be in communion, to do this together. To acknowledge our histories, to acknowledge what our people went through. 


…and for us to be here together, is a really important thing… I just to have share that with you… I want to witness to that. I think it's important to register this as something that is to be expanded upon, something that can be...


(Z)… I think we can also see it as exploring a method to... This could be the question. I think about what is this method for, and what is the reaction out of this method? Like a ritual? It's a similar thing, but like ritual, method, it's...


(K)…a methodology… so rituals and methodology.


(Z)Maybe also those terms. What is it, then, to think about that?


(K)So the methodology for what, right? Is it a methodology for connecting? 


It is a part of it, I think it's building a relationship too, and so the dead are not dead, and that you're continually refining your relationship to these ancestral energies, and that's refining your relationship to yourself.


(Z)I couldn't say better… that’s the point. For me personally, I think it's absolutely that.


(K) So I think that part of what it means to go into that particular space and allow yourself to feel the energies or explore those energies. That site in particular, the way it's a well that holds sound in a particular way, holds light in a particular way, it is a whirlpool.


(Z)I had a question that came into my mind and I was wondering is there specific behaviors we are conditioned to have in memorials? 


I'm more in the context of memorials from the Second World War. This is how I’ve culturally been raised. So I don't know what's your experience with memorials… do you have different... 


How do you move through these memorials? Do you think you change your behavior because you learned... You know, like being in a graveyard, or being more silent or… I don't know.


(K)…to know how you are supposed to be.


(Z)Your situated knowledge.


(K)Well, I think that where I grew up, a lot of memorials in the neighborhood were improvised… they were communal memorials for people who had passed away. 


There are protocols, there are libations, there are candles… there is an accumulation that happens that registers the site for what it is, a site of remembrance. And there's an aesthetic of this, there are codes, there are ways that I understand this to be a site of remembrance.


…so, on the level of this memorial space for... people that I feel connected to in this kind of way…


 …we have to remember this suffering… and consider new codes of remembering and well, what is it?


 A memorial for the journey… remembering this passage, of movement, of transit, of crossing water…


 …and that this journey isn’t over… a diasporic mythology.


What is this journey about? Who are the heroes within this journey?


 And so with these memorials… this particular memorial, it feels like it offers an opportunity for a kind of active exploration… a journey. It’s a walking&#38;nbsp; pathway.… a meditation on a very particular set of circumstances. So I think it's instructive in that way. 


As a mass of the experience… 


As being in the presence…


Of ground markings that that activate.


…that have their own codes. One is surrounded by a set of mappings… 


Intersecting cosmologies in the surround


…an important aspect of the experience. 


And maybe you can say… what is the difference… being in this kind of site versus what Memorial looks like in the European context?


(Z)Absolutely… yes, that's a new experience to reconnect, especially with this part of history, memorials, which we just don't have. So there is nothing to explore. So you find your own ways to reconnect with ancestors, a known practice, or looking for practices you can appreciate, or explore through your arts, which has kind of become also a similar thing, to try to reconnect with your ancestors through your artistic practice. So you change your practice, that you come closer to your ancestors. Or in my case, it's very strongly connected with that… when I realized I want to reconnect more… or, to open up.


And to let them in.


(K)So I think that this is, to me… it's a moment on a personal journey for me to sift through ways to remember, but also thinking about what it means to build an infrastructure of remembrance and ritual within...&#38;nbsp; and offer to engage… here we are... looking for these places… in this area… where many generations have been.
…how do we register our presence in a time where there's been a lot of erasure? In a time when an entire burial ground full of people could be erased?


(Z)I was very surprised when I came to New York for my first time it's a kind of very violent dynamic, right?


(K)…so this feels like a way to engage that… to register a presence, and register the significance 


of such sites as active… dynamic …you coming here… us meeting…


…what do we share on a creative level, a social level…? 


…we share a journey that then brings us here and we explore through coming to this place… which is something that I don't share with every artist, traveler. 


I feel like that's part of why you're here. 


(Z)…we don't know so exactly why, but yeah, it had to be said.


(K)…experience… same, same.


(Z)…still processing I think this experience, this particular experience. I love... actually it's kind of a part also of a research journey, a reconnection journey. It's spiritual but also gathering different layers in it. I would love to also experience more this practice of,&#38;nbsp; this together practice of these kind of spaces. Which are open or public.


Which is a different challenge also to connect. Or for me personally, I felt like, oh, okay, wow. It's like, okay, to really let it go, to come in a state to connect, or honestly try to connect. Or come to this point where I feel like, ah, I open up a door, which things can happen through vibration.

(K)…and to trust that.


(Z)Yes, but I think also that it needs kind of… practice.


A practice, is necessary to maybe also reach and learn the stage. It's also a little bit like Kung Fu, that you need body knowledge, so you have to really practice. 


…I think I don't have this practice yet.


(K)So this is… looking at the space… being in that space… what does it now offer? 


Or what did it offer? 


To be in that moment? 


Is there something to the site that you were listening to?


Were you saying that you were listening to something?


 I felt like that's what I was hearing… that there was something about the site and the possibilities of the site that were maybe… an antidote to the publicness.…or, what is it about the public nature of the site that becomes more challenging than if it were enclosed?


(Z)…you know what I mean? I think that was the challenge… because it was not closed. 


And, I think also geographically in the city, where it is, like in this center of Manhattan, like very vibrant and business, and… it's also kind of special place for a memorial. 


…especially this memorial. Or, for my experience, personal experience, I would say so. Yeah, I think that it's also about that. I'm not used to... I think the memorials I experienced were more in a nature kind of environment, or kind of closed.


(K)…which for me is kind of an issue, when you go to memorials… whose memory is centered? 


…you grew up in a family… your father is African… your mom is European. 


Okay, so what was at the center of memory? 


(Z)…like institutional wise like through school?


…it’s very Eurocentric, so I think a lot of Second World War to be honest. The rest kind of erased or came later. And I think from family sides, yeah too. 


I think my mother tried her best to find as much as possible stories by different writers… so that we can grow up with some narrations. 


And already in these narrations you have a lot about the idea of life, death and ancestors. 


And yes that's why I like the texts in your performance, which were immediately familiar to me, which I was like…oh, that's maybe a fairy tale, an African fairy tale. Yeah. I think it's Nigerian, right?


…yeah, I think those kind of also morbid sequences… but it has also the sci-fi aspects somehow. 


I think this is my connection. I grew up with a lot of books. 


 I think that's maybe my... And there are some layers, I think, of maybe also how to think about death, life…


AFRICAN BURIAL GROUND
NEW YORK, NEW YORK
AUGUST 28, 2024LINK TO VIDEO WITH SOUND:
SEQUENCE 2
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		<title>Afterlife Geographies 3: African Burial Ground</title>
				
		<link>https://kamauamupatton2.cargo.site/Afterlife-Geographies-3-African-Burial-Ground</link>

		<pubDate>Sat, 07 Sep 2024 04:10:15 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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		<description>
	AFTERLIFE GEOGRAPHIES &#124; INTERSECTING COSMOLOGIES IN THE SURROUND 


AFRICAN BURIAL GROUNDNEW YORK, NEW YORKAUGUST 28, 2024LINK TO VIDEO WITH SOUND:SEQUENCE 3LINK TO PROJECT TEXTS:  INTERSECTING COSMOLOGIES


In so&#38;nbsp;far as the afterlife is accessed through the imagination,&#38;nbsp;the afterlife situates&#38;nbsp;what a future world might entail,&#38;nbsp;and rearranges&#38;nbsp;the&#38;nbsp;pieces of the world,&#38;nbsp;as we knew it,&#38;nbsp;into a vision of the future.&#38;nbsp;Afterlife Geographies&#38;nbsp;considers sacred sites, sites of restoration, sites of reclamation, and sites of liberation. The project&#38;nbsp;charts&#38;nbsp;language, movement, thought, speech, and action to develop structures that archive histories of community building.&#38;nbsp;Afterlife Geographies&#38;nbsp;documents “way-of-life” practices,&#38;nbsp;in relation to processes of settlement,&#38;nbsp;by&#38;nbsp;which communities&#38;nbsp;articulate world&#38;nbsp;view, synthesize experience, and establish infrastructures of empowerment and remembrance.


Informed by Pan-African syncretized political, spiritual and aesthetic practices, the project proposes an investigation of diaspora conceptual structures and design approach through a charting of language, movement, thought, speech and action. The project aims to archive histories of community building through documenting stories, strategies, and sites. Afterlife Geographies is concerned with archiving histories of place making and village planning, the documentation of processes of settlement and witnessing the development of sites through which communities&#38;nbsp; provide space for contemplation, reflection, meditation and prayer.


Afterlife Geographies views the histories of African Diaspora spiritual, social and political design practices as linked by the practice of syncretizing. That is, the African Diaspora relationship to social practice can be viewed as a relationship not to a singular, social practice but as a dynamic relationship to a multiplicity of practices which incorporates a multiplicity of histories and beliefs. This ﬂuid model of assimilation is common to the principle religious systems of the Caribbean such as Palo Monte, Santeria, Arara, Voudoun and Abakuya. Afterlife Geographies considers this sensibility as it has been articulated through Diaspora practices of landscape design and urban planning.
AFRICAN BURIAL GROUND
NEW YORK, NEW YORK
AUGUST 28, 2024LINK TO VIDEO WITH SOUND:
SEQUENCE 3
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		<title>Afterlife Geographies 4: Weeksville Heritage Center</title>
				
		<link>https://kamauamupatton2.cargo.site/Afterlife-Geographies-4-Weeksville-Heritage-Center</link>

		<pubDate>Sat, 07 Sep 2024 19:24:52 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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		<description>
	AFTERLIFE GEOGRAPHIES &#124; A CELESTIAL BODY WHICH REVOLVES AROUND THE SUN&#38;nbsp;


A Celestial Body Which Revolves About The Sun.&#38;nbsp;
 A&#38;nbsp;work composed of sounds recorded from nature, fused with live electronic sounds, percussion and voice.&#38;nbsp;


Location: Weeksville Heritage Center, Brooklyn, NY. 
Date: Thursday, June 20, 2024

Performed as part of Cosmologyscape, commissioned by Creative Time. Set on the auspicious day of summer solstice, the Day of Dreaming is an all day dream festival on June 20 from 10am-9pm at Weeksville Heritage Center in Brooklyn.

Cosmologyscape is an invitation for the public to dream both as individuals and as a community. In a city with a rooted history of criminalized rest and inequities of who actually gets to sleep and dream, Cosmologyscape is a public artwork anchored by a digital dream guide that centers Black and Indigenous methodologies for dreaming and acts as a safe portal for people to share their dreams. As part of Cosmologyscape, the Day of Dreaming is a collective call for New York City residents to come together in fellowship to rest and dream, guided by live music and meditation. The program is free and open to the public.LINK TO VIDEO WITH SOUND:&#38;nbsp;CELESTIAL


AFTERLIFE GEOGRAPHIES

In so&#38;nbsp;far as the afterlife is accessed through the imagination,&#38;nbsp;the afterlife situates&#38;nbsp;what a future world might entail,&#38;nbsp;and rearranges&#38;nbsp;the&#38;nbsp;pieces of the world,&#38;nbsp;as we knew it,&#38;nbsp;into a vision of the future.&#38;nbsp;Afterlife Geographies&#38;nbsp;considers sacred sites, sites of restoration, sites of reclamation, and sites of liberation. The project&#38;nbsp;charts&#38;nbsp;language, movement, thought, speech, and action to develop structures that archive histories of community building.&#38;nbsp;Afterlife Geographies&#38;nbsp;documents “way-of-life” practices,&#38;nbsp;in relation to processes of settlement,&#38;nbsp;by&#38;nbsp;which communities&#38;nbsp;articulate world&#38;nbsp;view, synthesize experience, and establish infrastructures of empowerment and remembrance.


LINK TO VIDEO WITH SOUND: CELESTIAL
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		<title>LACMA COPY</title>
				
		<link>https://kamauamupatton2.cargo.site/LACMA-COPY</link>

		<pubDate>Fri, 09 Jul 2021 18:49:01 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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	KAMAU AMU PATTON


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		<title>HOME</title>
				
		<link>https://kamauamupatton2.cargo.site/HOME</link>

		<pubDate>Mon, 24 Jun 2024 00:33:21 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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	Kamau Amu Patton

	Intermedia&#38;nbsp;

	2007-2024
Performance Projects (*under construction)


Mutatis Mutandis 33, Los Angeles County Museum of Art,&#38;nbsp; Saturday, November 29, 2008

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		<title>Project Archive</title>
				
		<link>https://kamauamupatton2.cargo.site/Project-Archive</link>

		<pubDate>Fri, 09 Jul 2021 18:49:01 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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		<description>Kamau Amu PattonIntermedia&#38;nbsp;contact: kamaupatton@gmail.com


	Projects:


	Flight into Egypt&#38;nbsp;
The Metropolitan Museum of Art
New York, New York
2024
Performance: Sekhet Hetepu
Afterlife Geographies
New York, New York2020- 2024
Cosmologyscape
Creative Time
New York, NY
2024

Dromeostasis
Museum of Modern Art
NY, NYSun, Jun 25, 2023
Video


 Stan VanDerBeek: See Saw Seems
Kamau Patton and Cash Ragona

Magenta Plains
NY. NYPanel Discussion 
Unmarked Car
Triple Canopy
New York, NY
April 1, 2023
Crowd ControlTriple CanopyNew York, NYApril 1, 2023

Temple of Sound
Basilica Hudson
Hudson NY
April 2023Mixology 2022: Kamau Patton // Speaker Music
Roulette Intermedium
NY, NY, 2022
Future Variations (V)&#38;nbsp;Soft Network, Showroom, New York, 2022
TOMBSThe Natalie and James Thompson Art Gallery
San Jose State University
October 18- December 9, 2022
Black Arts Movement School ModalitySESSION 2: East CoastAugust 1-12, 2022
Mon- Fri, 9am–12pm CDT
Virtual
Second Mind &#124; Alto Age
 Puliter Arts Foundation
St. Louis, MO&#38;nbsp;February, 2021
The Long Dream
MCA Chicago
Chicago, IL
Nov 7, 2020- May 2, 2021

The Past &#38;amp; Other Dreams
Experimental Sound Studio&#38;nbsp;
Chicago IL
2020
Bowman Montessori&#38;nbsp;Act/ Interact/ Transform'
Palo Alto, CAAugust, 2019
 Video

Opener 32: Tel_
The Frances Young Tang Teaching Museum&#38;nbsp;
Skidmore CollegeSaratoga Springs, NY 
Oct 21, 2017 - Sep 8, 2019


Projects 107: Lone Wolf Recital Corps
Museum of Modern Art, NY, NYAug 19–Oct&#38;nbsp;9, 2017
Brochure
Press Release
Modern MondaysThe Shape Of Co- To ComeSeptember 8–21, 2016Symposium: September 8–10, Katasalen, 2nd floorABF house Sveagalleriet, -1 floorSveavägen 41111 83 StockholmSweden

Open Archive
Perfect Strangers: 
Machine Project and the Hamiltonians&#38;nbsp;
Colgate University &#38;nbsp;
Hamilton NY
November 10, 2015
Video&#38;nbsp;
Open Sessions 4
The Drawing Center
New York, NYAug 5–Aug 30, 2015
Elevator Music 27
The Frances Young Tang Teaching Museum Skidmore CollegeSaratoga Springs, NY
Jul 5, 2014 - Jan 4, 2015
Dissident Futures
Yerba Buena Center for the Arts
San Francisco CAOctober 18, 2013–February 2, 2014


Proof of Concept&#38;nbsp;
Pomona CollegeClaremont, CA
February 20, 2014
VideoAmun: The Unseen Legends
Arts Incubator in Washington ParkUniversity of Chicago
March 3, 2013
The Sky AboveThe Machine Project Field Guide to L.A. Architecture
Los Angeles, CA, 2013
Press
Video&#38;nbsp;Eric's Trip
Lisa Cooley
New York, NYJun 28, 2014 - Aug 01, 2014An Evening of Durational Sounds
Memory and Data Storage: The Ampex CorporationPacific Standard Time
Los Angeles, CA
October, 2011
Video&#38;nbsp;

SECA Art Award Exhibition&#38;nbsp;
San Francisco Museum of Modern Art
San Franciso, CA
2010
Moving Out Of The Way Of An Empty SpaceHessel Museum of ArtBard College, 
Annandale-on-HudsonMay 3, 2010– August 30, 2010
Evidence of Accumulation&#38;nbsp;
Studio Museum in Harlem&#38;nbsp;
NY, NY 2010
Studio SoundVideo 
Icons of AttentionPAUSE: Practice and Exchange
Yerba Buena Center for the ArtsSan Francisco CA

2010Mutatis Mutandis 33LACMA, LA, CASaturday, November 29, 2008
VideoRichmond Museum of History
Richmond, CA
2007
Video


&#38;nbsp;
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		<title>Running on Cargo</title>
				
		<link>https://kamauamupatton2.cargo.site/Running-on-Cargo</link>

		<pubDate>Fri, 09 Jul 2021 18:49:02 +0000</pubDate>

		<dc:creator>Kamau Amu Patton</dc:creator>

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