Every day’s a holiday
When I come around
I’ma change your discord
To a sweet sound
Ecstasy flows abundantly through me
Open up the tight place
Welcome me inside
Let this storm of pleasure
Take you on a ride
You won’t be the same, once you come my way
Got my eye on you
No matter what you do
Got my eye on you
I am ever true
Got my eye on you
Love you through and through
Got my eye on you
I’ll break the chains that bind you
My body will remind you
Leave you amplified
Then just call my name, I’ll be back your way
Just look into the night sky
And call my name
Got my eye on you
No matter what you do
Got my eye on you
I am ever true
Got my eye on you
Love you through and through
Got my eye on you
Jupiter. Magnanimous. Way maker. The eye.
Dad used to always say, “keep a good pair of eyes.”
I always felt that he, and my Uncle Gussie &
the other Black men of my upbringing “had their eye on me”.
So many gone.
And with them a particular way of seeing and being.
I rarely see their exact power, and grace, and wisdom,
& yes, tomfoolery represented in full dimensional form.
I love them.
And I love my brothers now who carry their essence.
When it came time for this song, they set my tone of
voice & stance.
Uncle Gussie had a disco he named after my cousin.
I reimagined “Ursula’s” and invited my brilliant friend
the legendary scholar/artist Dr. Omi Osun Joni L. Jones
to drop by and have a little fun. We did. Hope you do, too.
Jupiter’s eye. Blessings. Abundance. Ways made in spades.
Dr. Omi Osun Joni L. Jones is an artist/scholar whose work focuses on performance ethnography, theatrical jazz, Yoruba-based aesthetics, Black Feminisms, and activist theatre. Her performances include sista docta—a critique of the academy, and Searching for Osun—a performance ethnography around Yoruba-based spirituality and identity. She has conducted theatre for social change workshops for the Forum on Governance and Democracy in Ile-Ife, Nigeria, for Educafro in Sao Paulo, Brazil, and for the Austin Project which she founded as a collaboration of women of color artists, scholars, activists and allies who use art for re-imagining society. The work of the Austin Project is documented in Experiments in a Jazz Aesthetic: Art, Activism, Academia and the Austin Project, co-edited by Jones, Sharon Bridgforth and Lisa Moore (University of Texas Press, 2010). Jones’s scholarship can be found in TDR, TPQ, Theatre Journal and Theatre Topics. She is a member of the Urban Futures Network Think Tank and the Body Politic Think Tank at the Yerba Buena Center for the Arts in San Francisco, and has begun a series of improvised explorations with 3 Jazz Collective in Austin, Texas. Her collaborative ethnography, Theatrical Jazz: Performance, Ase, and the Power of the Present Moment, is now available through the Ohio State University
ALTAREDSTATES is made possible with generous support from the New England Foundation for the Arts’ National Theater Project, with lead funding from The Andrew W. Mellon Foundation and additional support from the Doris Duke Charitable Foundation. Additional support provided by the Sundance Institute Theatre Lab.
Produced by CalArts Center for New Performance.
ALTAR NO. 1 is commissioned by The Public Theater, and created with support from CalArts Center for New Performance and New York Live Arts’ Live Feed Residency, with funding from Rockefeller Brothers Fund, National Endowment for the Arts, New York City Department of Cultural Affairs, Stavros Niarchos Foundation, and the Partners for New Performance.