Category Archives: Events

Upcoming events: #BPTGembertheeSessies with José Montoya and Djuwa Mroivili

Before Bijlmer Parktheater closes its doors for a much needed Summer break, I’m organizing two editions of my beloved #BPTGembertheeSessies . It’s my absolute pleasure to turn our stage into a tea spot and to interview two artists who I deeply appreciate: actor and visual artist José Montoya & classical pianist Djuwa Mroivili. The #BPTGembertheeSessies (ginger tea sessions) is our new series where we have conversations with choreographers, directors, actors and literary geniuses. We talk about what inspires them, what brings them joy, how they continue to study their craft and where they see themselves in the artistic genealogies that they’re part of.

With their dedication to plus their understanding and study of their craft, Montoya and Mroivili are deeply inspiring to me. Thinking of what Mroivili can play and compose? Imagining Montoya embodying the characters that are an answer to our imagination? All this, makes me want to write better and more. If you’re in or can come to Amsterdam Bijlmer on Sunday June 26 and/or Wednesday July 6, be sure to meet us at Bijlmer Parktheater.

Sunday June 26 – José Montoya
Time: 15.00h-16.30h. Food will be served from 17:00h-17:45h.
Bio: Montoya is an actor and visual artists who, on his website, describes himself as an adopted Colombian and an import-Amsterdammer who always felt different. He played MLK in Urban Myth’s Martin Luther King, won over youngsters in Het Laatste Koekje (The Last Cookie) and starred in various plays by MAAS Podium, Urban Myth, MC and many others.

As a visual artist, he creates colorful paintings with paper that he folds and tears. He uses accessible techniques such as folding, cutting and pasting to work as intuitively as possible. His work, of which you can see an example in this picture, is about light and space. It’s characterized by monochromy, repetition, seriality and the immediacy of the materials he uses.

To buy tickets for the event, please visit this page on the Bijlmer Parktheater website. On every 2nd ticket Bijlmer Parktheater offers a 50% discount. If after the interview with José Montoya you’d like to enjoy the vegan, Caribbean soup and snacks we’re serving that day, be sure to buy the ticket that says “kaartje + catering”.
Please note: The conversations during the #BPTGembertheeSessies with José Montoya will be in Dutch.

Wednesday July 6 – Djuwa Mroivili
Time:
20:00h-21:30h. Food will be served from 18:30h-19:15h.
Bio: Mroivili is a classical pianist and teacher who’s one of the co-founders of Hungry, Angry, Late & Tired (HALT), a governing body that works ArtEZ-wide for inclusion. Currently, Mroivili is engaged in researching Black composers, and the role communities can play in designing inclusive art education and art practice.

For her edition of the #BPTGembertheeSessies Mroivili opens the session with a set combining the Comorian melodies/music that they and their father love & work by the Florence Price and Margaret Bonds. Mroivili states: “The common denominators between this music can best be described as ‘Black mentorship’ and ‘comfort music’.” Check the video below for an impression of Mroivili’s awe-mazingness.

To buy tickets for the event, please visit this page on the Bijlmer Parktheater website. On every 2nd ticket Bijlmer Parktheater offers a 50% discount. If you’d like to enjoy the delicious food we’re serving that day, be sure to buy the ticket that says “kaartje + catering”. Since we’re celebrating the Decolonization Day of the Comores, dinner will, of course, include a variation of samosa’s. The entire menu will be announced in the 3rd week of June.
The #BPTGembertheeSessies with Djuwa Mroivili will be in English.

Candyman-event: screening and panel in Rotterdam

Nia DaCosta, who directed and co-wrote Candyman

Nia DaCosta (pictured here): “Throughout the making of the film, the thing that I always came back to was the truth that was at the center of the story of Candyman. In the real world, we create monsters of men all the time. People are murdered, they become either saints or they’re vilified. Throughout the last year and a half, it was always coming back to that truth. Horror is a very effective tool when it comes to telling stories about things that impact us on a social level. The very function of it is to make you uncomfortable and I think if that discomfort is attached to explorations of race or gender, you have to then reconcile your feelings about race and gender.”

The basics
Date and time: Sunday September 19, 16:00h-18:45h.
Moderator: Tracian Meikle.
Panelists: Lyse Ishimwe Nsengiyumva, Adison dos Reis, Cye Wong-Loi-Sing and myself.
Ticket link: https://www.cineramabios.nl/film/3318 . Our event is the 16:00h screening (and not the 16:45h screening).

Please note: This conversation will be in English. You don’t need proof of vaccination or a negative COVID-test to attend.
Organized by: Lyse Ishimwe Nsengiyumva (Recognition, Bruxelles), Aruna Vermeulen (HipHopHuis) and myself (as a programmer for Amsterdam-Bijlmer’s Bijlmer Parktheater).

About the event
26 years after the original was released, Jordan Peele signs on as a producer for the remake of one of the Blackest horror classics Hollywood gave us: Candyman. In November of that same year, 2018, it was confirmed that Nia DaCosta would direct the film. When that first trailer with the haunting remix of Destiny’s Child’s “Say My Name” was spread all over our timelines, it was clear that this film would rightfully demand our full attention and excitement. And then… the pandemic hit.

Fast forward to now. Sunday September 19 in Rotterdam, to be exact. Lyse Ishimwe Nsengiyumva (Recognition), Aruna Vermeulen (HipHopHuis) and I (as a programmer for Bijlmer Parktheater) teamed up to co-host a Candyman-event in Rotterdam. We rented a space at Cinerama, the Rotterdam based cinema where the event will take place. After the screening there will be an hour long panel about the film. During this talk, we’ll focus on the artistic brilliance of the film, its pro-Black imagination, the social commentary-references that stood out to us and the place it holds within the genre of pro-Black horror. The conversation will be in English.

Son of Baldwin: “It’s like author Brit Bennet said, a lot of these films being made in the wake and spirit of Get Out fail to do the transformative work of making this situations something other than trauma porn. If you’re going to use a racially traumatic paradigm as the basis of horror cinema, I believe you have to do something artistic to transform it into a considered, thoughtful morality play or cautionary tale that goes beyond simply torturing the Black characters for kicks, sh*ts, giggles and the white gaze. And you have to do that artistic work because the racially traumatic paradigm is ALREADY HORROR IN REAL LIFE.”