Today we’d like to introduce you to Yusef Crowder.
Hi Yusef, so excited to have you with us today. What can you tell us about your story?
YUSEF CROWDER Woodcarver, West African Percussionist, Artisan
Yusef Crowder, born and raised in Monroe, North Carolina, attended Winchester Avenue High School and became heavily involved in the Civil Rights Movement. In the late 50’s, Yusef joined the Black Guard under the leadership of Rob Williams (Negroes With Guns). Upon graduation, Yusef moved to New York City, found work and continued his political involvement. One day on a visit to Prospect Park, he heard a sound that would change his life forever… the African drumming of his future teacher, Chief Bey.
Yusef followed Chief Bey for two years, was instructed in lessons for a year and eventually sent on his way. After a move to Boston, Yusef’s soulful drumming caught the ear of new converts. He began drumming for a variety of dance classes and eventually founded and directed the African Arts Ensemble (one of the premier African dance ensembles in the country) from 1974-1976.
The realization of a lifelong goal occurred with his journey to West Africa in 1976. He traveled to Senegal, Gambia, Mali, Burkina Faso, Ivory Coast and Ghana. Due to an unfortunate set of circumstances, Yusef found himself without financial resources. Wanting to remain self-supportive, he sought the advice of a tailor who asked, “What can you do?” In Boston, he had carved a drum and the tailor directed him to wood-carvers on the road to Abidjan. After a two-week apprenticeship, he carved and sold a bowl, exclaiming to himself, “wood is wonderful!” Nine years were spent in Ivory Coast where various pieces that were crafted have gone all over the world. Upon his return to America in 1989, he found himself drumming again to survive. He drummed for eleven years with the Uhuru Dance Company and nine years with Barbara Sullivan’s African Dance Connection.
In the fall of 2003, Sandra Dickson, Co-Director, (University of Florida, College of Journalism and Communications) interviewed Yusef about his involvement as a young teen with the Black Guard in Monroe, NC. The documentary, Negroes With Guns: Rob Williams and Black Power, premiered at New York City’s Lincoln Center in February 2004.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Black History – Civil Rights Trail Marker – Monroe Wade-Ins
A Conversation with Yusef Crowder
“A Conversation with Yusef Crowder” is a documentary that delves into the life and legacy of Yusef Crowder, a civil rights leader from Monroe, North Carolina. Directed by Matt Amick, the film offers an intimate look at Crowder’s experiences with racism and his contributions to the civil rights movement. The documentary is a product of Amick’s research and passion for producing conscious media, aiming to illuminate stories that are often overlooked in history
A Conversation with Yusef Crowder – YouTube
Appreciate you sharing that. What else should we know about what you do?
Woodcarver, Artisan, West African Percussionist Yusef’s life has been an epic adventure filled with art, music, creativity, and
struggle. Co-founder of the first African-American dance company Bokande African Dance Company and African Arts
Ensemble in Boston, he carved his first Djembe. He left for Africa in 1976, living there for 13 years. Ghana, Senegal, Gambia,
Burkina Faso, Ivory Coast, Mali. While there, he studied and learned the craft of carving wood, A tailor asked, “What can you
do?” He had carved a drum in Boston and was directed to wood carvers in Grand Bassam. They took him on as an
apprentice. When he sold his first piece, he exclaimed, “Wood Is Wonderful” the rest is history.
Is there anything else you’d like to share with our readers?
Yusef Crowder and Boka N’deye
Investigative Arts & Entertainment, Features
Dances of Africa are energy-charged
December 9, 1974 11:39 pm by Daily Free Press Admin
By Karen Berman
Bodies, voices and drums blended and exploded with frenzied energy as the Boka N’deye Pan African Drum and Dance Company brought “Festival Africaine!” to Hayden Hall Saturday night.
Performing the traditional dances of Africa as found in the US, the Caribbean and the African continent, the company created an irresistible rhythm of drums and dancers. The audience pulsed to the driving beat of each dance, bursting into nearly frenetic applause as each came to an abrupt halt.
The theme of the program, sponsored by UMOJA, centered on everyday life in various African villages, put to movement by the constant force of the drums. Drums opened the program with “Drum Call” and remained the source of energy throughout, the dances seeming to be just an extension of their rhythm.
Dancers performed with incredible energy, in dances where there were no nuances or subtleties, where all meaning was blatant and vivid. But even in such total abandon, there was a definite technique and discipline visible, adding impact to the movements.
Sexuality was the message most powerfully conveyed by many of the dances, particularly the fertility dance, harvest dance and a dance honoring the strong men of the village. The human body was celebrated over and over again, and the tremendous pull of the drum rhythms brought the audience into the midst of the celebration.
Intermission offered some eloquent critiques of the program, as an elderly woman with a British accent lamented to a friend, “Don’t you sort of long to be an African,” while a nine-year old boy darted across the stage mimicking the bold exaggerated movements of the African villagers.
Chants and folk-songs complemented most dances, but were the weak points in others. Particularly flat against the background of the vibrant program was “Congomah,” a performance with the finger piano, in which two members of the company played instruments and chanted a song. The movement and rhythm of the other pieces were decidedly missing and the song that replaced them was monotonous and off-key.
Other songs, such as the “Shekere” (gourd-shaker) were performed well and with enough movement and color to keep up the momentum of the program.
In contrast to the great heat and vibration of the dancers, the mural used as background was stark and almost distracting, and the costumes often seemed a bit too theatrical to reflect the total unpretentiousness of the drumming and dancing. The women’s costumes, which resembled summer skirts and halters in “Ashieagbekor” (a war dance) seemed especially out of place.
Despite these few distractions, every part of the program added to the energy-charged atmosphere, and the dancers never failed in their expression of the deep, bare humanity of African dance.
Boka N’deye is a two-year old company with dancers and
drummers from all parts of African and the Caribbean as well as the US. Based in Mattapan, Mass., their goal has been to “create and share an artistic expression which would reflect … their African culture and heritage.”
Pricing:
- $5.00 – $1,500.00
Contact Info:
- Website: https://woodiswonderfulgallery.company.site/
- Instagram: @woodiswonderfulgallery
- Facebook: www.facebook.com/WoodisWonderfulGallery
- Youtube: https://www.youtube.com/@yusefcrowderwoodcarver6934
- Yelp: https://www.yelp.com/biz/wood-is-wonderful-gallery-east-point-2?osq=Home+Decor
- Other: https://woodiswonderful.etsy.com
