https://www.ashantiharris.com/work daily 0.75 2019-01-11 https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545379514075-GWZ7XPNYLZ4OCT9Q9MW8/IMG_20180318_152223.jpg Work - Kobi Onyame and Ashanti Harris talk, music, movement and collaboration As part of Kobi Onyame Versus The Artist currently in exhibition at The Gallow Gate at Many Studios, we’re hosting a series of conversations with musicians and artists around the themes within Kobi Onyame's latest album GOLD. On Sunday 18 March, we invited artist Ashanti Harris to join Kobi Onyame to talk about Track 11. Kill The Body, the track that Harris responded to for the exhibition. You can hear this session back now: Podcast 2: Kobi Onyame Versus Ashanti Harris https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545144505453-GJIZWZ3JXT0X8Y1TYG6O/Emancipations+Acts.jpg Work - Cast: Gatwa, Ross Mann, Martin McBride, Lou Prendergast and Paksie Vernon, Ashanti Harris and Joy Maria Onotu. The locations almost picked themselves based on locations in It Wisnae Us and the tour; Merchants Steeple at the Briggait, Ramshorn Kirk, City Halls, Virginia Court and the Cunninghame Mansion (GOMA). To tell such a story we also needed a diversity of historical characters; an abolitionist, a pro-slavery voice (merchant or planter) and of course, the enslaved peoples themselves. Some of the characters and locations were naturally connected- the City Halls and the abolition movement, Virginia Court and the merchants. Alan was ingeniously creative with other locations, transforming the graveyard of the Ramshorn Kirk into Bance Island, a slave trading fort off the coast of Sierra Leone, and the plantations of the Caribbean. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545144735876-CYGGKGB5MZC0NH05N3MA/DSC_0352.JPG Work - A ..... work... with .... 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Project X host conversations, workshops and performances. Project X is a collaboration and we celebrate the cross-pollination of identities, ideas and forms. Co-founded by Ashanti Harris, Mele Broomes and Rhea Lewis. Previous partners and collaborators: Creative Scotland, Claricia Parinussa Kruithof, Thulani Rachia, NTS, African Art Centre, European Championships, Tramway, The Work Room, FST, Once Dance UK, Glasgow Women’s Library. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545146425704-FZDV7EJMMGQWNB39EUHO/30171066_10156943333943797_1699128832880342754_o.jpg Work https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545143641305-0D1G5IAXKLOWBSZ6N75G/DSCF5586.JPG Work - Presenting Les Ballets Negres: A Contiguous Archive, 2018 Video, Sound, Sculpture, Live Performance Roshini Kempadoo coined the concept of “the contiguous archive”, referring to a dynamic, expanded archive of contiguous formations that are apparent in multiple locations. The contiguous archive is an imaginative, transgressive, hybrid and dynamic archive which cannot be considered stable and retroactive but is instead a generative practice using forms which are participatory and performative.Utilising the conceptual framework of the contiguous archive as a form of creative research, this installation concurrently records, re-imagines and re-presents the dances of the historical company Les Ballets Negres within a contemporary context; allowing further translations and transformations through participation. The work in the installation is the culmination of a research project exploring the position of the dances of the African and Caribbean Diaspora in Scotland, and includes material developed as part of an ongoing collaboration with Erick Mauricia Valentin (choreographer) and Paul Shofolahan (musician). The materials within the installation are presented contiguously, as a “proposal to make meaning and knowledge through a connected process.” (Roshini Kempadoo, 2016) https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545154981485-667XDNKY8V8S696HX5VP/16.jpg Work - Emi Ori Cse, 2018 Performance and Installation Emi Ori Cse refers to the three selves in Yoruba thought. Emi is the breath imported by the supreme being. It's the part of self that is alive and has the automatic will to continuing being alive. Ori is the inner head or the inner deity. Its the part of you which considers things and it's where your particular morals and ethics come into play. Cse is your individual strife or struggle. It's the part that drives you forward and the part which actualises the will of the Ori. In Yoruba theory, the three selves are connected but exist separately within one being. This performance and installation draws upon Yoruba theory and builds parallels between Ochun and the journey that Orichá culture has taken to the Caribbean, bringing in references of masquerade and concept of a mask. Developed in collaboration with musician Paul Shofolahan. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545141162923-J72QT19J672N8RN4V48G/DSC_0142.JPG Work - Work An installation on … https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545145022073-XOTU6M3D0KUPBN2YN9E8/_MG_9741.jpg Work - I was; I am; I will be, 2013 Solo Performance This solo dance work explores cultural appropriation and representation, combining elements of contemporary dances performed in Barbados and traditional Amerindian dance from Guyana with longsword dancing practiced in Yorkshire, England. I was; I am; I will bewas performed as part of The Glasgow Weekend, The Volksbuhne Theatre, Berlin, 2013;and The Ecclectica Experiment,The Caves, Edinburgh, 2017. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545146018925-RHD1ODJD4QDXBM9TWYMW/handstilll.jpg Work - Re-Imagining, 2018 Video and Performance Working with a performance paradigm, a post-colonial methodology and a focus on performance practices developed between the continents of Africa, the Caribbean and Europe; this research investigates the position of African and Caribbean diasporic dance practices within Scotland’s diverse cultural heritage. Developed in collaboration with Choreographer Erick Mauricia Valentin, this research employed practical methods of embodied knowledge such as re-imagining, re-presentation and performance, working with both traditional and contemporary African and Caribbean diasporic dance techniques to articulate the diasporic experience and its transformational circumstance within contemporary Scottish culture. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1546536865221-YM3OESDTAVRXI6SJLOC7/secnd+sightIMG_2636.jpg Work - Second Sight Second Sight was developed for a group show in Transmission Gallery in 2013 called Second Sight, occupying the basement space of the gallery. The piece was participatory, working with a small group of “performers” who all had varying experiences of performing, from no experience at all to professional dancers. The participants/performers worked together over a few weeks exploring movement without sight in workshops. The final performances took place every day with 3 to 5 performers. It began with a warm up, which was developed during the workshops and was read from a script by the “watcher” (the person with sight in the space, who was responsible for the safety of the performers). Throughout the performance, the performers explore the space with their eyes closed, responding to objects in the installation and responding to movement scores in certain situations (i.e. if they meet another performer in the space they must navigate themselves into a connected position. It’s hard to describe the impact of this performance in writing. The movement is slow, timid and fragile and simultaneously bold and tentative as the performers must remain confidently vulnerable. As an audience coming into the space there is an interesting moment of navigation when they realise that the other bodies in the space cannot see them. This creates a position of power for the audience which is quickly turned on its head as the performers move freely, dominating the space with their unintimidated movement, forcing the audience to make space for them and navigate themselves around the movement of the performance. In Second Sight, the performers are considered as the primary experiencers of/audience to the work. The work was a process of developing an alternative relationship to a space andto each other. The workshops prior to the performance, were a crucial section and process within the work. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545141978746-TH3D1SMQSWKGNBW0ETMP/DSCF6046.JPG Work - Shields, 2018 Durational Performance Shieldsis a durational work performed at a multi-disciplinary exhibition by the Glasgow School of Art People of Colour Society. Simultaneously an act of self-care and an act of defiance, this exhibition created space for vital conversations while challenging the lack of visibility for artists and students of colour within the city of Glasgow. Shieldswas later developed and performed at Project X Presents Project O, a night of immersive dance and performance curated by Project X for Buzzcut Double Thrills. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1545474029028-HQEFH2MWPLLS8MU3W5LI/AshantiHarris%3Bsparkle%2Bface%2B2nd%2Bvisit%2Bwith%2Beffects_19.jpg Work - Kill The Body: A Response Piece, 2018 Digital Video Developed as part of the Exhibition Kobi Onyame Versus The Artist, Kill The Body was created in response to the music track of the same title by Glasgow based Ghanaian musician Kobi Onyame. Kill The Body: A Response Piece, takes the form of a digital video which explores themes present within Kobi Onyame’s music including globalisation, hope, identity, privilege, and post-colonialism. MANY Studio The Skinny - Premiering Kill The Body The Skinny - Interview https://www.ashantiharris.com/test daily 0.75 2019-01-03 https://www.ashantiharris.com/fashion daily 0.75 2019-12-02 https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1475023145319-SSNYQMOHF2SL17R85ULU/20150720-032A9634-Edit-color.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1475037473528-9ZDPPO9C8Y38GOXLNCUP/20150720-032A9634-Edit-color.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1475038112628-DZDBCM2WXJ9IIT7RQ93X/20150620-20150620-032A3307-Edit.jpg Fashion - This is the image caption Title This is the image caption Description lorem ipsum dolor sit amet. https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470440966579-FAIWXX4BOO8I6V4FBE3U/20150620-20150620-032A2069-Edit.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470870268501-DQSDCDXHVQBQEQK8MEP7/20150615-20150615-20150615-032A9525-Edit-Edit.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470440962652-R9LPDTL6OZI7QZQI9TG0/20150317-3I5C9059-Edit.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470440946367-AJHCHNJBVOPAPX6FUVQP/cuero-and-mor-editorial-Lookbook+3-FINAL.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470439958967-PFCYLA1QL8QMJ0HGL59K/ABASI+ROSBOROUGH+REDEMPTION+12.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470440373358-Z65VJ4H388OE2ZO8D0B0/ABASI-ROSBOROUGH-SHADOW-11-crop.jpg Fashion - This is the image caption Title This is the image caption Description lorem ipsum dolor sit amet. https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470439959844-MTVTL0O0CUOTQP5VEJIQ/ABASI+ROSBOROUGH+SHADOW+19.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1470439964309-WTFKZFHUXK3IECDUQ55A/ABASI+ROSBOROUGH+SHADOW+22.jpg Fashion https://images.squarespace-cdn.com/content/v1/572a77704d088e15d92ee8f5/1475037757231-QZ2EH6BC1SV5ZRPYQMIS/ABASI+ROSBOROUGH+LANDFALL+5.jpg Fashion https://www.ashantiharris.com/works daily 1.0 2024-09-09 https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585312263676-H2UYOPVSTYYYL147IFTC/MHeiderich_ReflexionenZwei-05-2500x1875.jpg Works - PRESENTING LES BALLETS NEGRES: A CONTIGUOUS ARCHIVE, 2018 Video, Sound, Sculpture, Live Performance The movement narratives of colonialism and post-colonialism have led to the evolution of hybrid dance and movement practices which, through the transformational aspects embedded in the movement as well as the embodiment of cultural/inter-cultural identities, function as a living archive of these diasporic narratives, re-contextualised within the present, live body performing them. This work explores the presence of these movement narratives within the work of Les Ballets Negres (1946-1952), also known as the first black British dance company. Roshini Kempadoo coined the concept of “the contiguous archive”, referring to a dynamic, expanded archive of contiguous formations that are apparent in multiple locations. The contiguous archive is an imaginative, transgressive, hybrid and dynamic archive which cannot be considered stable and retroactive but is instead a generative practice using forms which are participatory and performative. Utilising the conceptual framework of the contiguous archive as a form of creative research, this installation concurrently records, re-imagines and re-presents the dances of Les Ballets Negres within a contemporary context; allowing further translations and transformations through participation. The work in the installation is the culmination of a research project exploring the position of the dances of the African and Caribbean Diaspora in Scotland, and includes material developed as part of an ongoing collaboration with Erick Mauricia Valentin (choreographer) and Paul Shofolahan (musician). The materials within the installation are presented contiguously, as a “proposal to make meaning and knowledge through a connected process.” (Roshini Kempadoo, 2016) image credit: Jura McKay https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585656200504-24KLEPKC29569R48M2V0/MatthiasHeiderich-081.jpg Works - JUMBIES Performance, first presented as part of Eastern Promises in Platform, Glasgow, 2018 JUMBIES is an exploration of Derrida’s concept of Hauntology (haunting and ontology) in the form of an Afrofuturist masquerade presented by ASHANTI HARRIS in collaboration with ZEPHYR LIDDELL and PAUL SHOFOLAHAN. Working with dance, sculpture, sound and printed fabrics JUMBIES creates a layered fictional dimension, a space of alternate realities, apparitions and re-presentation. image credit: Jen Martin https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585660065724-VFPS52MV72CU0O0T4R15/Sparkle+Face+video+still+2018.jpg Works - Emi Ori Cse Sculptural Installation and Performance First exhibited as part of Kobi Onyame vs The Artist, The Gallowgate at Many Studios, Glasgow 2018 Referencing Yoruba philosophy, Emi Ori Cse refers to the three selves. Emi - the breath imported by the supreme being and the part of yourself that is alive and has the will to continuing being alive; Ori - the inner head or the inner deity and the part of you which considers things and acts upon your particular morals and ethics; and Cse - your individual strife or struggle and the part that drives you forward, actualising the will of the Ori. The installation and performance of Emi Ori Cse combines both the material and the corporeal to perform a process of articulating the individual, the collective, the historical, and the spiritual as a path to self-discovery. performed by Ashanti Harris and Paul Shofolahan image credit: Ashanti Harris https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585838054941-6NBLK7YOZ3BPABH24NB3/3.jpg Works - An Exercise in Exorcism part 1 Performed as part of Pre-Ramble, David Dale Gallery, Glasgow, 2020 An Exorcise is Exorcism is a performance in three parts executed whilst listening to three episodes of Veritas Maat sees thru the veil podcasts about Guyanese Jumbies. The series of performances end with a reading of this poem The Jumbie is a dark shadow A haunting history’s ancestral ghost Dancing a peripheral quadrille Inhabiting the air waiting to possess us in many way it can from a momentary glance that lasts a little too long to a full blanketing of darkness the warm, chilling memories of a cold caress that you never had but always felt hunted we try to ignore and forget but it never totally leaves us implanted they shape shift take many forms can be seen through different lenses as Sethe’s rememory as a willed forgetfulness new dimensions beyond the mind, now residing in repeated actions preserved in institutions practiced daily a framework of unpredictable terror ancestors and demons remembrance versus forgetfulness When there are no words for a haunting The spectre finds form in something visibly invisible This presence, never seen, always present This way of knowing grief and unrest in a prophetic vision of the past An exercise in exorcism rememory’s haunted manners A transformative recognition By Ashanti Harris 2020 Image credit: Isobel Lutz Smith https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585839085291-NCFJODAUV514NNRB886V/EXPORT+VIS%2BSOUND.00_02_25_13.Still001.jpg Works - A Seance: A Call and Response A Séance: A Call and Response collaborative film by Ashanti Harris & Jen Martin commissioned by V/DA for Sonic Seance: The Gathering exhibition at the Centre For Contemporary Arts, Glasgow, 2019 A séance. A call and response. A meeting at which people attempt to make contact with the departed, with the ancestors, with the spirits, with those who came before, with the presence felt in the present. Séances grew popular with the founding of the religion of spiritualism in the mid 19th century. Understanding the spirit world not as a static place but a space of continuous evolution, progression and advancement, spirits are believed to be more advanced than living humans, holding deeper knowledge and understanding of both the harmonies and discordant nature of being. Communication with the spirits through seances is thought to provide enlightenment. Channelling the voices of others became popular among women who, in the mid 19th Century, were rendered voiceless in society. The practice encouraged believers to look inward and listen and speak. Through seances, women were un-silenced. No longer solely dependent on men, domestic work, or backbreaking shifts in the factories, women gained mobility as mediums, capable of possessing the power of foresight, oration and political influence. Armed with the authority of their “gifts” women were empowered to express anger and outrage at the civil and social injustices they experienced and observed. Practicing a new form of political resistance, seances became a revelation of experience, creating a platform for women to shape their own lives and the lives of those around them. * In Dr Satan’s Echo Chamber, Chude-Sokai’s history of the universe identifies that Western Science has provided us with a myth of origins in the ‘Big Bang’ theory. The West’s obsession with cause and effect focuses on the process of contraction and expansion in the universe, mirroring its colonial ideologies. Chude-Sokai suggests it is the role of another kind of “science” to interrogate the metaphor in the term “Big Bang.” Re-interpreting the “Big Bang” as a sonic phenomenon, creation becomes an echo of that primordial sound, a product of its sonic waves. Working from this re-interpretation we can regenerate one of the most crucial dialectics in human knowledge: Sound and Silence. “What bridges the two elements is echo, the traces of creation. If sound is birth and silence death, the echo trailing into infinity can only be the experience of life, the source of narrative and a pattern for history.” In the Caribbean vernacular, “science” is another term for “bush magic” or the occult, which brings us back to the séance and its embodiment of dualities. Séances bridge the gap between the past and the present and the known and the unknown. Sonic Séance is an embodiment of the dialogic between sound and silence. Between the silencing of women and the sonority of their contrapuntal voices. Performing the intersection between voice, selfhood and power, Sonic Séance: The Gathering is a collective and collaborative interrogation of the “echo”; the experience of life as a tumultuous cacophony of polyphonic noise, speaking, screaming, crying, laughing, whispering, singing, explaining and articulating. Audre Lorde famously said, “your silence will not protect you.” Sonic Séance: The Gathering is a conjuring of voices. Creating a space for people to come together and listen and speak. Channelling the voices of those who speak to us, through poetry, music, lectures and performances, Sonic Séance: The Gathering amplifies the things which resonate; giving the voices echoes reaching far. It is a tool of empowerment for the female voice and an invoking of consciousness. Your silence will not protect you. So, we speak We séance Ashanti Harris, 2019 https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585903530115-2UCBHPEC6LQDCMN69DF4/An+Archive+The+Rehearsal+.00_18_24_20.Still008.jpg Works - An Archive: The Rehearsal Digital Video, 2018 The movement narratives of colonialism and post-colonialism have led to the evolution of hybrid dance and movement practices which, through the transformational aspects embedded in the movement as well as the embodiment of cultural/inter-cultural identities, function as a living archive of these diasporic narratives, re-contextualised within the present, live body performing them. An Archive: The Rehearsal explores the moving dancing body as a repository of incorporated histories; A transformative archive which can only be shared through the physical teaching and sharing from body to body. This work was made in collaboration with choreographer, Erick Mauricia Valentin. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585317236743-N7T4M3C35N723WR3U791/2019-Transmission-Ashanti-Harris-016Image+credit+Matthew+Arthur+Williams.JPG Works - The Skeleton of a Name Exhibited in Transmission Gallery, Glasgow 21 September– 26 October 2019 Exhibition text I’m writing this coming back to my hotel from a seminar about “otherness” and how to discontinue the “us / them” narrative in contemporary theatre making. My hands are still trembling, my heart is racing and I’m trying to figure out how to articulate these physical feelings in words. Trying to articulate these feelings have become a part of my creative practice. When there are no words for these experiences, I find the need to turn to something else. The words of others often help. More and more, poetry and stories seem to give me the relief I seek. These revelations of experience from others who have struggled find the words but have conjured them through visceral, sensorial, abstract, material and physical ways. The words of others that I can read and speak and write and sing and perform and feel in my body; performing the act of research. I’m a sculptor by training and a performer by practice. In all senses, I ‘make’ as a practice of discovering and understanding. This exhibition is a process feeling my way to understanding my/our contemporary or present condition and thinking about the ways in which history is present in this. I am a black, British, Guyanese woman living in Scotland and this is a process of trying to figure out what that means through making connections and reading between things. A year ago I came across the research of a Scottish historian which elaborated on the historical relationship between Guyana and Scotland and I learnt about a number of Caribbean women who came to have a presence in Scotland in varying ways over 200 years ago. Taking these women as my starting point, I have been thinking about how speculating on their existence can offer understanding of my present one. When researching these women, again I find that the words are barely there. Names, dates and events appear in letters, on census’ in legal documents and travel records but between these words there are only empty spaces; a mumble of “the skeleton of a name” . An insight from the philosopher Guyatri Chakravorty Spivak in her essay The Politics of Translation has guided me in developing a process of speculation. Spivak refers to the process of translation as “the most intimate act of reading” , recognising it is not just words from which meaning is made, rhetoric is also present in the silence between and around the words. Therefore, “[t]he history of the language, the history of the authors moment, the history of the language-in-and-as-translation must figure in the weaving as well.” Spivak goes on to describe this process as an intimate and committed relationship. When there are so little words available, the translation becomes focused on the silences in between them and the process of speculation becomes more and more complex. With a commitment to this research my processes have been both intimate and distant, drawing from a far-reaching multitude of sources which find their way into the exhibition in varying gestures and forms in an attempt to articulate what is haunting the present. In The Skeleton of a Name, silence is made material and is presented as an “archive” in varying forms which are seemingly disparate but have potential for infinite routes of speculation. As an audience you are required to be active and ‘perform’ within the archive drawing your own connections between the materials from your own individual perspective. There are no answers but many possibilities. Works directly referenced in the exhibition: The Politics of Translation by Guyatri Shakravorty Spivak (essay); Signposts of the Jumbie by Faustin Charles (novel); To a Dead Slave by Martin Carter (poem) Toward a Global Idea of Race by Denise Ferreira da Silva (critical theory) All images by Matthew Arthur Williams https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1595953599755-58BXOFTBKOYU187V21EM/image-asset.jpeg Works - Second Site Presented in Civic Room, Glasgow 12th July - 18th August 2019 as part of the year-long curated programme Of Lovely Tyrants and Invisible Women Of Lovely Tyrants and Invisible Women investigates themes of spatial politics, gender and racial hierarchies within imperial architecture. In response to these themes Ashanti Harris developed Second Site - a site specific installation and participatory performance re-imagining the female, African and Caribbean diasporic history which haunts the Mercantile era of architecture in Scotland. Taking the historical colonial relationship between Scotland and the Caribbean as a starting point, the work dissected the ways in which these histories are present in the day-to-day experiences of women of the African and Caribbean diaspora in Scotland. The performance was developed in collaboration with Scotland-based women of African or Caribbean heritage, Libby Odai, Nabu White, Titana Muthui, Adebusola Ramsay, Sekai Machache and Naomi Shoba and Natasha Ruwona. The performance was very much a process of re-configuring historical narratives and taking ownership of them from both an individual, collective and community perspective. Second Site was presented as an installation which embedded the performance within a wider body of artwork responding to the legacy of four historical Caribbean women, Doll Thomas, Elizabeth Junor, Elizabeth Swain Bannister and Susanne Kerr. Fabric sculptures, bronze plaques and a series of short stories sat amongst the wider growing narrative. In between the performances a sound-work of stories being read aloud alongside collected recordings from the different places in Scotland that these women had been, played into the Civic Room building. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1725899301342-6BK873SBVWDKXKORBMOL/WWTA_ASHANTI_HARRIS-09.jpg Works - Under Construction https://www.ashantiharris.com/project-x-1 daily 0.75 2020-04-04 https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946574811-MLDHEY41GCN03203F7MM/web-banner-home.png Project X - Project X www.projectxplatform.co.uk @project_x_dance Project X is a dance company which celebrates and champions dance and performance from the African Caribbean Diaspora in Scotland. Through workshops, performances, artistic opportunities, discussions, screenings, a symposium and more, Project X platforms these contemporary and traditional dance forms, broadening perceptions and representation. Co-founded and run by Mele Broomes, Ashanti Harris and Rhea Lewis, Project X is about changing the conversations and perceptions around dance of the African and Caribbean Diaspora in Scotland. Through profiling practitioners and platforming the diverse styles, we celebrate our heritage and broaden the mainstream consciousness. Embedded through all of our programme is education through creative learning. We encourage all those who take part, to be empowered with the historical knowledge and its contemporary impact in every context they move in. Project X is collaboration and we celebrate the cross-pollination of identities, ideas and forms. https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946574811-MLDHEY41GCN03203F7MM/web-banner-home.png Project X - Project X www.projectxplatform.co.uk @project_x_dance Project X is a dance company which celebrates and champions dance and performance from the African Caribbean Diaspora in Scotland. Through workshops, performances, artistic opportunities, discussions, screenings, a symposium and more, Project X platforms these contemporary and traditional dance forms, broadening perceptions and representation. Co-founded and run by Mele Broomes, Ashanti Harris and Rhea Lewis, Project X is about changing the conversations and perceptions around dance of the African and Caribbean Diaspora in Scotland. Through profiling practitioners and platforming the diverse styles, we celebrate our heritage and broaden the mainstream consciousness. Embedded through all of our programme is education through creative learning. We encourage all those who take part, to be empowered with the historical knowledge and its contemporary impact in every context they move in. Project X is collaboration and we celebrate the cross-pollination of identities, ideas and forms. https://static1.squarespace.com/static/5c18e59996d45589e7a59e6b/5e83796e34a2ac24b94989ec/5e877ec2569e5d6e8898c7f7/1585938114255/ Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946055116-UGIPKQUH563YSNDPGKU3/Ghost%2BDimensions%2BLogos_smaller.jpg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946066818-N67OW3SKQABXSFH6OJ01/IMG_1370.jpg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946103257-A8EFQ8ID9HCRXG4A2OV5/PX%2BWorkshops.jpg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946137040-5IL25I61CMDE5LTQA2S9/XChange%2BPoster.png Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946153894-Z2OP7MANHRBO2AIIII7D/Project%2BX%2Bposter_FINAL.png Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946166111-W85K2BS0MN6PQZ1NWGBB/Double%2BThrills%2BPoster%2BMarch%2B2-01%2Blow%2Bres.png Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946181553-UXMMSLOQI721ONDXODHG/PROJECT%2BX%2BIMAGE%2BJULY%2B.jpeg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946201373-CHDZRFYW0SSJWCLOPFTR/Double%2BThrills%2BMarch-01.jpg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946270688-75V5W495BZ81AC3G2DJJ/Project_X_scratch_night_web-3.jpg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946312905-I5CZ0JP8ZDYIQLR55P50/Project-X_workshops_poster_for_web.jpg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946315020-1NDW0X21T2SW9ZUBGIGN/Project-X_LDC_poster_web%2B%281%29.jpg Project X https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585946320271-TKHVAY76KJQ02E8JKE1I/Project_X_SS_flyer.jpg Project X https://www.ashantiharris.com/gods daily 0.75 2020-04-04 https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585938157143-3GPGV1JBAU9OSSPEISJM/GODS+LOGO+square.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585938157143-3GPGV1JBAU9OSSPEISJM/GODS+LOGO+square.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585943685386-QAPO61WMGZ30GNWEKDMT/GODS+LOGO.jpg G.O.D.S - Glasgow Open Dance School Glasgow Open Dance School (G.O.D.S) was founded in 2011 by artists Romany Dear, Letitia Pleiades and Ashanti Harris. G.O.D.S is a not for profit, community organisation, which facilitates free dance and movement, focused activities in different locations in Glasgow. G.O.D.S is a members organisation that is open to everyone and aims to provide workshops for people of all abilities. We believe that everyone is a dancer! And everyone is a teacher! And we create spaces that are supportive for people trying new things and exploring movement. Recent projects include: School for Civic Imagination, CCA, Glasgow, 2019; Movement Choir as part of Festival of the Not, Newcastle, 2019; Workshop / Movement Scores with G.O.D.S, The Common Guild, Glasgow; G.O.D.S Weekend as part of Glasgow International 2018; Collective Action As part of Lunarnova Campout, Jupiter Artland, Edinburgh, 2017; Embodied Place Workshop – as part of World Is Sudden: Summer Lab, Circa Projects, Newcastle, 2017; With Straight Face, LEGROOM, Manchester, 2017; The Curious Incident of the DIG in the Night-Time – as part of Dance International Glasgow, The Poetry Club at SWG3, Glasgow, 2017; [B]reach: The Fugitive Chronicles – as part of Arika Episode 8: Refuse Powers Grasp, Tramway, Glasgow, 2016; Techno Witch Ballet Workshops with Elizabeth Ward, Tramway, Glasgow. 2016. Bring a Score + Do a Score – As part of the exhibition The Only Way To do It Is To Do It, The Hunterian, Glasgow. 2015-16. Logo design by Jess Copsey https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585943717038-3TQX1L0T68367R9117DD/GODS+image+credit+Emilia+Muller+Ginorio.jpg G.O.D.S - First G.O.D.S Workshop image credit: Emilia Muller Ginorio https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585943791250-695MSCKKO2J3Z2IRXF9E/GODS+poster.jpg G.O.D.S - G.O.D.S Ethos Glasgow Open Dance School provides a space where people can learn, teach and partake in movement related workshops for free. For G.O.D.S’ movement begins with the body, to de intellectualise by listening acutely to the body; the collective body and your (my) individual body. (YES) Following feeling rather than style or technique and attempting to move from the gut, we learn together. Allowing our instinct to be our nose, leading us towards what is attractive to us and away from what is not. It is integral that GODS is physical and holistic; valuing shared learning and collective movement above individual excellence. We (you) move as a group in continual process without pressure to ever perform or finalise. (YES) Everyone (you) is equally welcome to contribute to the content of the workshops. All forms of movement and methods of teaching are encouraged. G.O.D.S is a non fixed group with an intentionally non thematic style. Our intention is to move. (YES) poster design by Simon Worthington https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944761447-X4SE6DX5P8M1GEJJY2NJ/4n.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944276979-HKWR3XWTSBZEJSG7PWDJ/IMG_0069.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585943999180-1L64OEMEZPYU918YWNYT/1.+%5Bb%5Dreach%2C+performance+2016%2C+Arika+Episode+8+Refuse+Powers+Grasp%2C+Glasgow.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944198771-84Q6MF73GGXB36P28HHN/arika-episode-8-refuse-powers-grasp-hi-360.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944258699-SS6DPJ954FBXP6N2YM03/arika-episode-8-refuse-powers-grasp-hi-371.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944438959-3XG9HGX99A69DK5NO8CT/IMG_9545.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944472717-KRORYS3Q855L1ERFYE9K/IMG_9535.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944566684-SNUCQQ2IPQC376UBG7BI/IMG_3124.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944573648-R4AYZ544C3WBGV95DIYD/IMG_3115.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944674289-LBF3MSQRFGTRRNFW4KIM/IMG_3018.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944690980-6X4L7MH3XKH7Z8J1AW6T/DSCF5695.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944643849-6GZRPSENZD88YAEFE3YM/IMG_3040.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944781203-XAH3PWNR11DD2YPHM80J/4z9.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944853499-XM1UH3NDJP1O0E3DORII/M160_630.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944872745-OJMBNGZRJ1BAOMRQ5415/M160_512.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944907910-DNWBFFPNVLL89GHB7FCZ/M160_071.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585944967213-PD69576LTC1HDMSEDELI/M160_506.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945062101-13HGJEDXKV086N8LENTU/arika_ep6_IMG_6141.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945110831-JFJZBYQHGJ1IRU9L6W4C/arika_ep6_IMG_6163.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945162378-KK0KMB8M5JB30PB9BUI0/arika_ep6_IMG_6231.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945250251-WB2O62IOECVKA0CJO2BI/GODS+resource+room+cca+2015.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945490027-IFZ8U83IW99S7W4A1QBH/embryology3.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945503524-4NAPO65EGHXOW9GSNFV6/lygia9.JPG G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945536946-XSI5VJEGXRTAYTJHTJL1/GODS_10.jpg G.O.D.S https://images.squarespace-cdn.com/content/v1/5c18e59996d45589e7a59e6b/1585945553347-Z12K0WV5IED3181U37KW/GODS_17.jpg G.O.D.S https://www.ashantiharris.com/calender daily 0.75 2020-04-04 https://www.ashantiharris.com/calender/2016/2/22/alveolar-glottis-9276k monthly 0.5 2016-02-22 https://images.squarespace-cdn.com/content/v1/56cb3e0bf85082a807c001fe/1456175561685-689P6R253SY7L7ZUGS8M/image-asset.jpeg Calender - 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