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Boyzie Cekwana
Mar. 11 — Mar. 12, 2010

Influx Controls: I wanna be wanna be / FNB Dance Umbrella
Johannesburg, South Africa
Omagbitse Omagbemi and Darrell Jones. Photo by Antoine Tempe.^2 Walter Carter in spacesuit. Photo by Ralph Lemon.^2 Gesel Mason and David Thomson. Photo by Antoine Tempe.^2 Gesel Mason and Omagbitse Omagbemi. Photo by Antoine Tempe.^2 Gesel Mason. Photo by Antoine Tempe.^2 Gesel Mason and David Thomson. Photo by Antoine Tempe.^2 (the efflorescence of) Walter at The Kitchen, New York City. Photo by Rashida Bumbray.^2

Cross Performance/Ralph Lemon

The Walter Project centers on the ongoing relationship between Ralph Lemon and Walter Carter, a 100-year-old black man who has lived his entire life in Bentonia, Mississippi. Carter has been a sharecropper, farming cotton, corn and potatoes; he has also been a gardener and a carpenter. The two were introduced in 2002 by Jimmy "Duck" Holmes, owner of the Blue Front Cafe, one of the few remaining juke joints in the Delta. Since then, Lemon and Carter have continued to meet twice a year to collaborate in Carter's house, in his backyard, along a country road or in a nearby juke joint. They discuss and act, and document and film their actions. If asked, Carter would likely describe it as strange "work" that he enjoys. Lemon has gotten to know Carter's wife, Edna, his extended family (nine children and twenty-one grandchildren), and neighbors, who have in turn become involved in the art-making.

Lemon intends to continue this collaboration until Carter becomes too fragile, or passes away, and through this process will periodically develop material for public presentation. The immediacy of their partnership, and the raw material of Carter's "ordinary" human existence, are the basis for new artistic work combining dance, theater, video, visual art and music. This ongoing and multi-dimensional project may be considered a "live novel" that is an epic story about how Carter's transcendence and its vehicle exist in the biased Mississippi landscape, in Carter's cluttered backyard built from the "debris" of his history, and in his valiant, ordinary life in a place where terrible things once happened. Recent public formats of the project include mixed-media installations called (the efflorescence of) Walter, multimedia lectures, and panel discussions. Lemon has also explored a translation of his work with Carter with a group of African American senior citizens living in Minneapolis' North Side.