Artist
Shannon Harris

USA

Shannon Harris has been playing his music for the masses in North America traveling to urban areas like Detroit, Atlanta, New Jersey, Toronto and several cities nationwide. Releasing Soul and Jazz on the 1998 Winter Music Conference CD, Shannon is steadily producing material fusing multiple genres and cultural instrumentation. Shannon also plays afrikan percussion behind poets and vocalist at Afrika West located in Chicago. He also frequents the legendary “Bongo Beach” drummer circle on 63rd and Hayes in Chicago. He has hosted his own radio show for 4 years (WIUS 88.3 FM) and has been featured in Thousand Words Magazine, the Western Courier, Chicago Tribune Metromix and Insite Magazine. You can find his in-famed mix compilations, MZIMU, Jazzical Moods, Soul and Jazz and others, posted on several websites from North America to Japan.

Shannon founded Urbanicity in 1999 to introduce to the world his multi-diverse talents through the arts, along with others, focusing on newly cultivated ancestral motivated ideas. The word Urbanicity is defined as, “a derived variable that categorizes a respondent as urban or rural.” The group consist of a kollektive of poets, musicians, graphic artist, writers, singers, producers, discjockey’s, remixers and culture preservationist who reside in large urban areas. He has released his first E.P. on the label in June 2001, Desperado/El Montuno and Black Asiatic Women. The two pieces represent an intellectual musical symphonic orchestration of stories in which Shannon wrote prior to their creation.

Performance
SHUT UP!

FADO presents Shut Up!, a series of ten outdoor performances dealing with the themes of incarceration and wrongful imprisonment—literally, the state of being “shut up.” This event is the second half of a performance art exchange between Chicago and Toronto that began in 1998. Shut Up! offers a unique opportunity for Toronto audiences to sample the styles and aesthetics operating in Chicago’s performance art community in relation to performances by some of Toronto’s hottest performance artists.

The evening will feature a range of styles, from tableaux to spoken word, from interactive, participatory works to spectacle and multimedia presentations. The theme of incarceration will be approached from a wide variety of perspectives, from the highly topical and political (e.g. the recent persecution of Falun Gong practitioners) to considerations of the philosophical, psychological and emotional aspects of incarceration.

CHICAGO ARTISTS
Andrea Polli & Chuck Varga
Jeff Callen
Julie Laffin & Andrew Cook
Louise McKissick
Marlon Billups & Shannon Harris

TORONTO ARTISTS
Ed Johnson
Louise Liliefeldt
Paul Couillard
Shannon Cochrane
Will Kwan

Untitled by Jeff Calan
Jeff Calan continues his work with storytelling using a series of intimately mechanized objects and a camera obscura, and will perform inside it. A frame in a false wall shows what appears to be a photograph, but upon closer inspection it seems to be a film or video, as it is moving, yet it is very sharp, sharper than a film. A hand is seen pulling a scrolling roll of paper, upon which is written a narrative that is full of various events, their causes and effects, and the desperation that comes from being unable to connect cause and effect. The image the audience sees is really from an old, large-format camera with a groundglass back which is behind the frame and it is pointed toward the performer who is moving a roll of paper that contains text from court transcripts of wrongly convicted people on death row. Small objects will be presented within the frame every few minutes. If an audience member walks behind the false wall, the performer takes a flash photograph of the audience member.

Eleven Cent Magic by Shannon Cochrane 
With Jennifer Rashleigh. Thanks to Andrew Pommier. For Kenneth because he invented and constructed the first ‘portable pitcher’s mound’ in 1952. Unfortunately, when it was filled with sand, it was too damn heavy to actually be transported anywhere. His father looked out the cottage window, laughed and went back to reading the paper. The research continues here. Eleven Cent Magic: an experiment to prove that time flies and birds really only float.

Blackstrap by Paul Couillard
In this tableau work, using the fitness trail apparatus, Paul’s body slowly shifts from light to dark.

Untitled by Edward Johnson
This solo tableau work (in the skating rink) considers the physical and psychological realm of confinement in all of its vastness and claustrophobia.

Untitled by Will Kwan
This performance draws links between the “silent” gestures of mime performance and “silent” displays of state power as exhibited through a popular form of punishment known as community service, in this case, maintenance work. The performance addresses the issue of the function of the artist in society: as performer, worker, criminal and clown.

255 by Julie Laffin & Andrew Cook
255 is not a performance. It is an actual memorial to the practitioners of Falun Gong who have lost their lives since July of 1999 when Jiang Zemin branded Falun Gong an “evil cult” and launched his campaign to erase all the Falun Gong practitioners in China by any means necessary. Falun Gong is an ancient moving meditation (Qi Gong) that was once supported by the Chinese governvment for it’s great abilities to improve health. It was banned partly because of the sheer numbers of practitioners, which before the crackdown began, far out-numbered communist party membership in the PRC. The number 255 attempts to quantify the number of human lives that have been taken (that we know of) by means of unspeakable brutality by the Chinese authorities during the deadly campaign against Falun Gong. Practitioners who would not renounce their faith were and are at this moment being tortured to death. When we began this project in May of this year, only two months ago, the number of documented deaths was 196. The number 255 does not begin to speak about the tens of thousands of Falun Gong practitioners now illegally detained in prisons, psychiatric facilities and labor camps. It does not speak of the rapes, torture, beatings, threats, intimidations, indignities, humiliations, unfair trials, force-feedings, forced druggings, “re-education” efforts, psychological abuses, and countless other inhumane acts against a group of people for simply asserting their right to their spiritual beliefs and peaceful practices. The number also can never represent the suffering of the families and loved ones of the practitioners that have been murdered or have had atrocities perpetrated upon them. The dress you see documents with photos and written names those Falun Gong practitioners who have been killed in police custody since the merciless crackdown began in China exactly two years ago yesterday. It is a companion dress to one that is currently in Washington, D.C. at a rally held there to bring global attention to end the crackdown in China. As citizens of the free world, we urge you to refuse to tolerate the policies of the Chinese government against Falun Gong practitioners in whatever large or small ways you can.

DEVI by Louise Liliefeldt
Devi, also known as the “Bandit Queen,” was born into a poor lower-caste rural family in the northern Indian state of Bihar. She became the subject of great fame and notoriety throughout India as the leader of a violent gang of dacoits (bandits) who terrorized authority for years until their surrender in 1983. Phoolan Devi became a popular cult figure, a vigilante liberator and a symbol of empowerment for the lower-castes of Bihar. This work is a homage to her journey and the strength for which she stands.

I Will Cut Your Grass by Louise McKissick
Digital Video, 1:26:13, 2001
At one time, Dorothy Gaines “loved the wrong man” and ended up in prison. She was put away by purely circumstantial evidence—her ex-lover, a convicted crack dealer, accused her of dealing drugs in order to obtain a reduced sentence for himself. The prosecutors found no evidence of cocaine or any other illegal drugs in her home. She was given a nineteen-year sentence. “I will cut your grass” is based on a letter written to the judge by Dorothy’s son, Phillip Gaines, age 11, at the time of her sentencing. A fluidly moving camera tracks youthful exuberance at the Washington Park waterslide on a Sunday afternoon, providing a counterpoint to Phillip’s words.

Untitled by Andrea Polli & Chuck Varga
Andrea and Chuck are interested in the use of sound in the establishment of power in government and the military. Their piece involves a “Speaker’s Corner”-style open mic, but those who try to use the forum will discover that the words broadcast are not those spoken in the microphone.

PLUS: The Ghetto by Marlon Billups & Shannon Harris

© Louise Liliefeldt, DEVI, 2001. Photo courtesy of the artist.

Performance Yellow

This fragrance opens us to the question, has the show started? It's winter, the theatre is colder than the street and the room is filled with people and all their winter smells: wet faux leather, down, too much shampoo, and beer breath. The atmosphere is a trickster. Am I late, am I early?

Top Notes

yellow mandarin, mimosa

Middle Notes

honey, chamomile, salt

Base Notes

narcissus, guaiac wood, piss, beer