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Interview with David Pleasant.

Pleasant, David, Nyong'o, Tavia, Ghartey-Tago, Amma, Hemispheric Institute of Performance and Politics, Universidade Federal de Minas Gerais, Hemispheric Institute Encuentro (5th : 2005 : Belo Horizonte, Brazil)
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https://hdl.handle.net/2333.1/hmgqnkjr
Title
Interview with David Pleasant.
Other title
David Pleasant
Author/Creator
Pleasant, David, Nyong'o, Tavia, Ghartey-Tago, Amma, Hemispheric Institute of Performance and Politics, Universidade Federal de Minas Gerais, Hemispheric Institute Encuentro (5th : 2005 : Belo Horizonte, Brazil)
Restrictions/Permissions
Access is open to all web users, Copyright holder: Hemispheric Institute of Performance and Politics, Contact information: 20 Cooper Square, Fifth Floor, New York, NY 10003, U.S.A., +1-212-998-1631 (business), +1-212-995-4423 (fax), hemi@nyu.edu, http://www.hemisphericinstitute.org
Language
English
Date
©2005
Format
1 online resource (1 video file of 1 (digital Betacam) (18 min.)) : sound, color.
Credits
David Pleasant, interviewee ; Tavia Nyong'o, interviewer. Hemispheric Institute of Performance and Politics, producer ; Universidade Federal de Minas Gerais (UFMG), producer ; Amma Ghartey-Tago, videographer.
Notes

David Pleasant is a musical stylist who was raised in the Gullah/Geechee culture of Georgia (Sapelo Island, Darien/McIntosh County and Savannah). His work is driven by the wealth of African retention in Gullah culture, particularly juba, hand jive, pattin', rhappin' and shout, which have played a major role in the development of David's RiddimAthon!®, a performance and teaching method developed from a synthesis of African, Caribbean and African American musical traditions. As a Fulbright Senior Specialist, he presents international programs and lectures on the subject. His work has been featured in theater, dance and television, and he was featured in the award winning musical 'Crowns' by Regina Taylor. In this interview, conducted by Tavia Nyong'o at the Hemispheric Institute's 5th Encuentro (Belo Horizonte, Brazil, 2005), David talks about how he began playing percussion, demonstrates the rhythms he uses in his work, and how these shape daily Gullah life. These African-American beats include polyrhythm, call & response, pitched hand claps, syncopation, improvisation, concurrent percussion, and others that exist in much of American popular music. He also discusses 'Language of the Soul, ' the show he had performed at the Encuentro a few days before the interview. Hemispheric Institute of Performance and Politics

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