Rumpled mintz recipe


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  • Recipes
  • Dish type
  • Drink

This alcoholic drink is strong and minty. Enjoy in one go.

2 people made this

IngredientsServes: 1

  • 2 tablespoons Jagermeister liqueur
  • 2 tablespoons peppermint schnapps

MethodPrep:5min ›Ready in:5min

  1. Pour the Jagermeister and schnapps into a shot glass. Bottoms up!

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Reviews & ratingsAverage global rating:(3)

Reviews in English (3)

by TheBritishBaker

I thought this was just ok. Tasted too much like cough syrup. I was looking for shot recipes for a party I am hosting next week. I don't think is is what I am looking for.-04 Aug 2012

by Kevin

This is actually a pretty tasty shot - similar to Liquid Cocaine (half Jager, half Goldschlager), but with a cooler afterbite (rather than a hotter one from the cinnamon)...It only gets 4 stars though - as the above mentioned shot is far superior.-15 Jul 2008

by Arizona Desert Flower

I didn't like it at all, but someone else who is a jager fan loved it, so we met in the middle for a rating.-23 Nov 2015

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Rumplesnuggler

Après-ski, which literally translates to “after-ski,” is a time-honored tradition, as essential to skiing as dodging moguls on a double black diamond run. At ski resorts around the world, powder hounds, ski bums and park rats can be found socializing and celebrating their success on the mountain with a round or two in classic après fashion.

This late-afternoon activity is so popular that many snow bunnies skip the lifts altogether and simply appear for the après part of the day, creating a winter drinking culture unto itself. One popular place to ski and drink: Lake Tahoe.

“The après scene in Tahoe is different all around the lake,” says Grace Rainwater, a bartender at Caliente in Lake Tahoe’s Kings Beach in California. The North Shore, where Rainwater bartends, is known for having a more local, less corporate feel. “As a local, coming down off the mountain has a mellow feel to the day, compared to summer when the sun stays out later and people are usually more in a party mode.”

Nothing can compare to a warm, boozy cocktail to reheat your frozen bones après-ski. The Rumplesnuggler is made with hot chocolate, Baileys and Rumple Minze peppermint schnapps, plus whipped cream on top, if you want it. “It tastes like winter in your mouth,” says Rainwater. “And it definitely screams Lake Tahoe. Rumple Minze is one of the top sellers in the area, as is Baileys for coffee in the morning.”

You don’t have to ski to enjoy the Rumplesnuggler. Maybe you’ve been shoveling snow for the past hour. Or maybe you’ve spent all day lying on the couch under a cozy blanket. It tastes great no matter your level of activity, so break out this fun drink any time your body requires the warming influence of minty, creamy, spiked hot chocolate.


Rumple Minze Holiday Cocktails

We're back with another installment of our holiday cocktail series! This time featuring the peppermint liquor Rumple Minze, per the suggestion of one of my favorite area bartenders. After all, there’s little better than a boozy beverage to get you through the long, cold winter nights, right?! This week's cocktail inspiration comes from the fantastic John L Mayer (not to be confused with the singer) from Local 149 in South Boston. He’s the bar manager at the popular neighborhood spot, and is seriously one of the most genuine, enthusiastic, and awesome guys I’ve ever encountered behind the bar. When we had the idea for this cocktail series, I knew I had to get his input.

He immediately suggested a series of super-simple cocktail “recipes” using the Rumple Minze - his "guilty pleasure." The boozy peppermint liquor is the perfect addition to any minty holiday cocktail recipes. As John put it, Rumple Minze is "Peppermint and boozy enough to help deal with family!" All 3 variations used an even mix of Rumple Minze with other spirits - bourbon, anejo tequila, and Fernet Branca.

For John's first cocktail, the “Snowshoe,” you mix 1.5oz each of bourbon (he recommends Eagle Rare) and Rumple Minze. He recommends this drink be served over crushed ice with a big mint sprig and straw. Pictured above and to the right, we served it in a new Alessi Orseggi Whiskey glass.

For his tequila variation, “Snow Falling on Jalisco,” you simply substitute añejo tequila for bourbon (pictured below, to the left). And last but not least, for the favorite Local 149 variation - "Black Santa" - you use equal parts Rumple Minze and Fernet Branca (not pictured here).

We gladly whipped these up for our photo shoot - and made sure to give them a try, as well. I hadn't previously tried Rumple Minze, but I can safely say is is extremely minty and deceivingly strong. It's slightly syrupy and very sweet, which masks the boozyness of these cocktails, making them a rather potent libation. But, if you're a mint fan, I encourage you to give them a try!


Home Distiller

ok.. yes. yes.. tequila has to be made in mexico.. has to be from blah blah blah.. has to be certain percentages of blah blah blah.. Don't really care about their legal definitions.. if it walks like a duck.. quacks like a duck.. swims like a duck and looks like a duck.. must be a duck.

So with that in mind.. here is what I came up with for a cheap Duck that tastes, smells and acts like tequilla. Basically it is a sugar wash that tastes like tequilla. and yes.. again.. it might be mezcal.. it might be none of the above.. but don't really care because it came out tasting good, smelling good, and was pretty cheap.

Ingredients for 5 gallon wash:
Honey Trees organic agave nectar 24.7 oz from the local walmart.. about $5 (it added very little to the sugar content by its self)
white sugar
bread yeast

Heated 4 gallons of water up to 200 degrees.
Stirred in the agave
added sugar to where the wash contained 10% potential alcohol

Added 1 gallon of cold water and let it cool to 80 degrees. Adjusted the sugar content back to just under 10%.

added my yeast and let it ferment for 5 days until the potential alcohol was down to about zero. I could have let it go another day because the yeast was still slightly active but wanted to test it out to see what it would come out like. After 2 days I did pitch in an additional packet of yeast and stirred it because it had appeared to slow down. Noticed with this batch it did not bubble through my air lock but it did continue to ferment fully so let it take its time and finish out. Had very small bubbles being released through most of the process.

Cooked it out, bypassing the thumper with a head temp starting about 180 degrees and kept cooking it out until the output in the catcher was a little over 80 proof. Wanted the flavoring from the wash to get into the batch.

I do not like or drink tequilla.. but the Mrs claims it has great flavor smells good and does the job quite well!


From Wikipedia [ edit | edit source ]

Rumple Minze is a German-style liqueur brand, best known for their peppermint schnapps. The brand is owned by the alcoholic beverage holding company Diageo, based in London.

The peppermint liqueur is made by the Scharlachberg Distillery in Bingen, Germany. It has a strong candy-cane taste, and it has a high alcohol content at 50% alcohol by volume, (100 proof), compared to the 40% (or 80 proof) of most liquors. It is commonly served chilled, straight up, without a lime (in some cases as a digestif) or it can also be mixed to form various cocktails.

Rumple Minze was rated a 95 (out of a possible 100) by the Beverage Tasting Institute. The top market for this product is the United States. The success of their peppermint schnapps has led Rumple Minze to release two new flavors which include a berry flavored liqueur and a lime flavored liqueur, both of which are 100 proof.

The logo on the front of the bottle is a picture of a double-headed golden eagle. This symbol is a reference to the German coat of arms.


Recipe 4:

This one is one of my favorites. Creamy texture with quite “good for health” Jagermeister perfectly combines this open grave drink with fabulous flavor. Simply saying, I’m so in love with this drink. I would suggest you try it as a must item. You will fall in love with it’s creamy but tangy non-sweet texture.

Ingredients:

Directions:

Step 1:Fill the shaker up with ice cubes.

Step 2:Now, pour all ingredients as per the amount. Shake them forcefully until the mixture gets frigid cold.

Step 3: Take a Rocks glass and with a mesh strainer, strain the drink into the glass.

Do a favor, give yourself a treat with an open grave shot, and feel the taste.


Welcome

We are proud to partner with a distillery that is eco-conscious and converts the tequila by-products into clean water and compost. Over 40 percent of the energy used in the distillery comes from solar power.

Roger clyne & the peacemakers

Inducted into the Arizona Music & Entertainment Hall of Fame in 2019, Roger Clyne & The Peacemakers have been releasing albums and touring across the US and UK for many years. Their fans call themselves Peacemakers and refer to the band as RCPM. They started with the moniker, The Refreshments, in the late 1990s and had commercial success with songs on MTV and penning the theme song for the cartoon series, “King of the Hill.” As RCPM, they wrote and recorded the victory song for the MLB team the Arizona Diamondbacks. Their music can be found and enjoyed on all streaming services around the globe. They reside in AZ and CO and all members share ownership of Canción Tequila.


Drink Recipes

Many know an Astro Pop as a tasty, layered candy that was once produced by the Spangler Candy Company. When others hear the name, the first thing that probably comes to mind is the layered, frozen treat that was messy to eat, but pretty darned good on a hot summer day.
But here, you won’t find either of those confections. Instead, you’ll find a more adult version of the layered treat that will remind you of your childhood while helping you work on a buzz.
The Astro Pop is a shooter that is created using the layering technique so that the end result looks and tastes much like the pop you might have had when you were a child. There are several recipes for creating an Astro Pop, and each has its own set of ingredients and instructions.
This drink is absolutely our most challenging to make. Begin by layering the ingredients in a cocktail glass. Because of the shape of the glass, you will have to continue to slide your bar spoon up the side of the cocktail glass and pour extremely slowly. Once you have poured all five alcohols, light the top of the drink with a long match – again the shape of the glass poses certain problems. Allow the flame to extinguish, and drink this complex cocktail as a shot.
1 oz. Grenadine
1 oz. Créme de Banana
1 oz. Melon Liqueur
1 oz. Vodka 1 oz.
151 Proof Rum
Variation #2
1 oz Absolut® Raspberri vodka
1 oz sweet and sour mix
1/2 oz grenadine syrup
1/2 oz Blue Curacao liqueur
Add vodka and sour mix to a tumbler with ice to chill. Shake ingredients and pour in a large shot glass. Use Grenadine and allow to sink to the bottom of the glass (pour slowly down the inside of the glass. then allow blue curacao to sink to the middle of the glass (it will sit on top of the grenadine if poured slowly down the inside of the glass). The finished product be red, blue, then white from bottom to top.
Variation #3
1/3 oz grenadine syrup
1/3 oz amaretto almond liqueur
1/3 oz Rumple Minze® peppermint liqueur
Layer all three liqours into shot glass.
Variation #4
1/4 oz. Curacao, blue
3/4 oz. Vodka, orange
3/4 oz. Vodka, raspberry
1/4 oz. Grenadine
1 splash Sour Mix
Shake vodkas and sour mix in a cocktail shaker with ice. Strain into glass. Layer in Grenadine until red is evident at bottom. Layer in Blue Curacao until blue completely separates red from white. Should look and taste like Astropop from the ice cream man!
Variation #5 Astro Pop Shooters
1 oz raspberry vodka
1 oz sweet and sour mix
1/2 oz grenadine
1/2 oz blue curacao
ice
Put vodka and sweet and sour in shaker filled with ice. Shake and pour into large shot glass. Slowly pour grenadine over spoon onto side of glass letting it sink to bottom glass. Do the same with the Curacao to sit atop grenadine. Should be layered red, blue and white.
Variation #6
1/4 oz Amaretto
1/4 oz Rumple Minze
1/4 oz Grenadine
Best served in a Shot Glass.
Variation #7
1 shot Banana Liqueur
1 shot Blue Curacao
1 splash Grenadine
1 shot Melon liqueur
1 shot Vodka
Variation #8
Astro Pop® Martini

Four parts vodka
One part Midori Melon Liquor
One part Chambord Raspberry Liquor
Two drops dry vermouth
Variation #9
Astro Pop® Slammers

3/4 oz. Yukon Jack
3/4 oz. Goldschlager
1/4 oz. Midori
1/4 oz. Grenadine
Shake with ice and strain into a shot glass.
Variation #10
1/4 oz. Blue Curacao
1/4 oz. Cinnamon Schnapps
1/4 oz. Goldschlager
1/4 oz. Jagermeister
1/4 oz. Midori
1/4 oz. Rumple Minze
Layer in the order given above. It should look like an Astro Pop®.
Variation #11
1 Part grenadine
1 Part Blueberry Passion Schnapps
1 Part melon liqueur
1 Part Ciroc Berry Vodka
1 Part banana liqueur
1 Part Navan cognac
1 Part Red Bull
Chill ingredients individually, then carefully layer into a martini glass in order listed. Garnish with Astro Pop® when available
Variation #12
1 shot Banana Liqueur
1 shot Blue Curacao
1 splash Grenadine
1 shot Melon liqueur
1 shot Vodka


Apple Sujeonggwa (Korean Cinnamon-Ginger Punch) Recipe

Sunny Lee is a Brooklyn-based chef who has worked at Blue Hill, Eleven Madison Park, Estela, Battersby, and Insa. When she isn't contributing to Serious Eats, she moonlights as a freelance private chef. Sunny attended the Culinary Institute of America.

Why It Works

  • Lightly charring the cinnamon sticks lends them a pleasant, warm bitterness that balances the sweetness of the punch.
  • Steeping the apple chips in the punch off heat prevents them from breaking down and muddying the punch's ginger aroma.

There comes a point toward the end of every great meal when the table is covered with dirty plates, rumpled napkins, and the tablecloth has turned into a Rorschach inkblot of wine and sauce stains. When belts are loosened and eyelids begin to droop, it’s time for sujeonggwa. Sujeonggwa is a non-alcoholic Korean digestif made by simmering ginger, cinnamon, sugar, and water to make a warm, spiced, aromatic cross between a tea and punch. Traditionally, it's finished with dried persimmons and pine nuts for peak fall vibes. The restorative, warm heat of fresh ginger balanced by the molasses sweetness of brown sugar makes the perfect pre-dessert pick-me-up after a big meal.

For this version, dried apple chips replace hard-to-find dried persimmons, which gives this sujeonggwa a mulled apple cider feel, and to compensate for the loss of the gingerbread and dried apricot notes persimmons typically provide, cinnamon sticks are lightly charred over an open flame and then combined with water, brown sugar, sliced ginger, cloves, and star anise to form the base for the drink. The mixture is simmered until intensely aromatic, removed from the heat, and a heaping handful of dried apple chips are added to the pot. The sujeonggwa is then set aside to steep for twenty minutes, strained, gently reheated, and served in mugs with a sprinkling of pine nuts—it's like an apple pie in tea form.


“Everything you do . . .”: Recipes from Ntozake Shange’s Art/Work by Jennifer DeVere Brody (PAGE 2 of 2)

My brother, who is doing a doctorate in American studies with a focus on food, taught me to read recipes in just this way. Then, Shange, with the publication of her novel, solidified this embodied practice that whets one’s appetite. In an interview in The New York Times in 1993, Shange commented on the recipes in Sassafrass, Cypress and Indigo, saying that they “became part of the plot, which describes the lives of three sisters.” She admonishes her audiences by reminding them that “You have to read the entire recipes—ingredients and procedures—because if you don’t, you don’t really know what’s going on with those girls.” [27] The recipes in the text vary considerably and change via the transmission of letters and times. They have a direct address and geographically specific addresses. These details, like the details in all recipes matter. As Shange said: “I didn’t want readers to skip over the recipes, or they would lose that sense…I wanted those recipes to create a place to be.” [28] Shange’s characters cook for a variety of reasons: to celebrate, to comfort, to mourn, to seduce. [29] Moreover, since the recipes also interpellate the audience, they, too, are invited to empathize and even replicate the recipes for their own needs and desires.

For example, should a reader wish to cook “Rice Casserole #36,” a recipe of the title character, Sassafrass, or her “Favorite Spinach,” that reader “can be right in her kitchen, right in the book,” as Shange said. The idea of being “right in the book” is akin to having the audience participate in the performance of the choreopoem—which is, in fact, what happened when the show for colored girls was first performed in the bars in Oakland. Shange’s work narrowed the distance between audiences and performers, whether on the stage of the page or in the bar.

Sassafrass is the sister who takes her time finding her art. She lives with her misogynistic jazz musician boyfriend, Mitch. In the novel, Mitch convinces Sassafrass that “…everything was an art, so nothing in life could be approached lightly. Creation was inherent in everything anybody ever did that was one of the mottos of the house.” [30] Sassafrass then made an “appliquéd banner” that said this, and it hung over the stove:

CREATION IS
EVERYTHING YOU DO
MAKE SOMETHING [31]

And she does. Sassafrass’s Rice Casserole #36 is numbered like one of Whistler’s paintings, an opus for a symphony, or a love potion or spell. Although this is Mitch’s injunction, Sassafrass makes the motto her own by appliqueing it on a banner. She and her sisters, Cypress and Indigo, are proud that “Mama had a craft that all women in her family could make something besides babies.” [32] We should remember that the tradition is change, as Mama says when she adapts the Christmas recipe to fit new dietary restrictions, devises a recipe for duck at Kwanzaa, or switches pork to tofu in a recipe for greens. [33] All these variations reveal how Shange’s aesthetic focuses on “bringing what you need, approaching difficult concepts with ourselves.” These are ways to both have and resist power. All of this work should make us marvel, and attests to Shange’s deep and abiding interest in (black) embodied pleasure. She almost always eschews two-dimensional versions of anyone—especially of heroic freedom fighters, such as Toussaint L’Overture. [34] Rather than seeing them as mythic figures, she wants to know, “what do you eat to celebrate a revolution?” She brings the body back…and forth. It is significant that Shange shows these historical heroes as sensate beings who needed nutrients to survive, food to relish the dreams of revolutionary action.

Shange is a performance artist concerned with the materiality of culture. Her novels feature recipes as a collective call to improvisational response. She produces choreopoems that, like everything she does, “envelope an entire social milieu including those audiences that happened to show up as the piece evolved [and who should be seen as] another source of the performance that develops through ritualized combinations of commentary, contribution and endorsement. The open, on-going structure credits adaptation as a factor in artistic creation.” [35] We should understand that:

Play production thus becomes a model in itself for a vision of revolutionary blackness as collective revision: openly acknowledging its establishment within a network of material, philosophical and discursive relations, it distributes the authority normally reserved to the author across a field of competing and cooperative positions…it bears witness …to collaboration within the vibrantly interdisciplinary arena of African American expressive culture…. [36]

Calling Sassafrass, Cypress and Indigo an epistolary novel would flatten it like the two-dimensional heroes Shange did so much to round out. Like Shange’s choreopoems, this “book” works on and through us. It is a conjuring book, dream book, recipe book, and “talking book” whose pages are performative. Its content is accessed through use, or perhaps through an embodied engagement that puts to shame the concept of the “active reader” or even of reader response. It captures and compels lived experience and black women’s contingent, cultural performances. The characters (in both senses of the word) conjure, weave, cook, dance, sing, and write. Indigo’s cures for cultural wounds function, like the book as a whole, as recipes for ridding oneself of the scent of evil (again, a feature reminiscent of Hurston’s recipes about how to win at court). Each page of the novel is festooned with different fonts, icons, inserts, and other performative features. It beckons us to read it in novel ways (pun intended).

Drawing on the traditions recorded by Hurston and others, the receipts or recipes in the text are also poultices. Hurston includes recipes in Mules and Men for things like “how to rent a house” and “how to make a man come home and for dealing with court scrapes.” For the latter, you need whiskey and John the Conqueror Root that has been soaked for thirty-eight hours (they need to have been gathered before September 21), and after soaking and draining, they need to be mixed with white rose or Jockey Club perfume. Although the mix of healing and nourishment was a feature of cookbooks from the ancient era through Mrs. Beeton’s 1861 Book of Household Management, Shange emphasizes the efficacy of such written “spells” for her new world black characters, the “slaves who were ourselves.” [37] Like early cookbooks, which date back to the late medieval period and were written in vulgar Latin rather than liturgical Latin, Shange’s books underscore folkways—ways of the everyday. If I can cook and Sassafrass, Cypress and Indigo work as performative prose poems whose interdisciplinary style simultaneously makes them suited for different kinds of activities. Although most recipes are written in the imperative, only some of those in Shange’s novel are others compel the imagined users to improvise. The recipes are prescriptive, sequential, guided, and inherently “shared”—collected and collective. Nevertheless, they are also a form of “orature” (to use Ngugi Wa Thiong’o’s term) that mediates speech and writing such that they are understood to be mutually constitutive. [38] Here we recall the attention to orality and black mouths making the most of world they encounter and reconstruct. The recipe is performative: like “twice behaved behavior,” it can be rehearsed, repeated, recreated. The recipes can also be improvised according to what ingredients are available in the moment and/or on different shores.

If cookbooks are meant to engender and inspire creativity even when they include precise measurements—of both time and ingredients—then certainly Shange’s Sassafrass, Cypress and Indigo is such a book. Like notes to be played, scripts to be performed, or blueprints to be built, cookbooks have been fictionalized, memorialized. In Alimentary Tracts: Appetites, Aversions and The Postcolonial, Parama Roy comments on the “psychopharmacopeia of empire,” noting that “soul making and body shaping, physiology and epistemology were intimately conjugated [such that] the body was both a figurative reservoir, generating tropes of encounter . . . with abandon and the materialist locus of transformation.” [39] It seems to me that Shange, ever aware of the socius the civilizing mission colonization and the reparative, soul-making properties of new-world black culture—poultices for healing the effects of rape, food for thought that nourishes, words that one ingests—continually stages on the pages the questions of encounter and rule, proximity, cathexis, consumption, incorporation (or, again, what Kyla Tomkins calls racial indigestion), carnality, and transmutation, or perhaps just “vibration.” [40]

In the invented tradition of black vernacular production, one can see Shange’s work as related to that of her friend, Vertamae Smart-Grovesnor. Smart-Grosvesnor’s Vibration Cooking (1976) models the multifaceted genre taken up by Shange in her later work. [41] For example, Vibration Cooking, subtitled “Travel Notes of a Geechee Girl,” includes a letter from a friend telling us that for his last meal, the revolutionary “Nat Turner had roast pork and apple brandy.” The letter is followed by a recipe for the meal. Vertamae Smart-Grovesnor (who worked as an NPR correspondent and an actress) wrote the forward for Shange’s If I can Cook/You Know God Can (1998). Both women produced multiform epistolary-recipe-history-memoirs.

In the forward to If I Can Cook/You know God Can, Smart-Grovesnor writes, “Zaki, in the tradition of Dumas, Colette, Amado and other writers understands the importance and connections of food and culture and how they are entwined in our everyday lives and manifest on our tables.” [42] Ntozake Shange, as an exemplary food writer, clearly belongs in this literary canon, especially with the publication of If I Can Cook, which shares much of its interdisciplinary format with Sassafrass, Cypress and Indigo. It is “a creative culinary celebration that compels us to hear the words, taste the spice and feel the rhythms of Africa in the new world . . . from Brooklyn to Brixton and beyond.” [43] It is also much more than that it asks us to rethink what is crucial, historical, world-making. If we continue the move toward the molecule, the nano, to ever-smaller “grains of sand” that found our significance, Shange’s project is part of a much larger world-historical event. We can see her connections with the radical historians of the Annales School who showed how everyday “culture” could be raised to the level of art and how memories of “great heroes” could be memorialized in minor modes, such that what and how they ate becomes part of their heroic status. In this, she would, I think, concur with Adrian Miller, who conceives of his work on soul food as “a love letter to past, present and future African American cooks. [He believes] the time has come for soul food cooks to take their rightful place in the pantheon of African American cultural performers.” [44] Certainly in Sassafrass, Cypress and Indigo and much of Shange’s other work, what is “ordinary is made extraordinary” through adaption, showing the artist’s hand as laboring to elevate the everyday. [45]

It is significant that the recipes in this text almost always appear embedded in epistles, in some form of intimate exchange. Each recipe in Sassafrass, Cypress and Indigo has an author and is written for a specific date, person, and context. Such features help to extend and dramatize the emotional bonds between the women in the family, mark occasions, and keep connections. It also comments on the beginning of the novel in the eighteenth century, and, arguably, on the growth of particular literary forms pertaining to the personal and the individual, and to distance and its abridgement through the letter-form itself. It is the circulation of the recipes that matters most, and that gives them renewed (if not endlessly renewable) life. Shange tells us that “receipts” is Charlestonian for recipes. [46] This line, repeated in some of Shange’s other work (such as If God Can Cook) reminds us of the healing and conjuring that recipes evoke.

Shange puts it this way: “These perusals of history, literature, vernacular, culture and philosophy ‘long with absolutely fabulous receipts are meant to open our hearts and minds to what it means for black folks in the Western Hemisphere to be full.” [47] This is why the “restitution of Okra’s reputation” is one of Shange’s projects, as is reclaiming eating watermelon—from a history of denial comes a desire for “fullness.” While such projects could be read as comical, in fact, they reveal Shange’s dedication to revise stereotypes and rethink sustenance. Indeed, the word “sugar” in the black vernacular culture with which I am familiar was a synonym for kisses. My grandmother always was imploring me to “come give Granny some sugar.” Having now studied Shange’s work, I see how these invocations of sugar actually converted the term from a reference to a refined substance made from slave labor and black blood and forged in colonial factories for commodity culture to an action that was the essence of caritas, of love and community. [48] Of course, the other side of this is the use of “sugar” as a synonym for diabetes—a disease that can be the result of devouring too many carbohydrates that turn to sugar in the bloodstream.

Section 3: Letters, Home

My Oberlin-educated grandmother’s last letter to me was written in 1987, just months before she died. The hand-written note included a recipe for stewed tomatoes with “light bread, plenty onions, enough sugar.” It came with other recipes for “life” such as “be sweet, get your lessons.” Similar letters appear throughout Sassafrass, Cypress and Indigo and in Jamaica Kincaid’s short story, “Girl,” published in The New Yorker in 1978 Gloria Naylor’s novel of recipes hidden in a suburban basement, Linden Hills (1985) and Fran Ross’s under-read, brilliant novel, Oreo (1974), which features letters, dreams, recipes, menus, and more. [49] Shange urges and encourages us to take “A different approach to the force of gravity. To our bodies and what we produce…[she says] We are performers in the fields, in the kitchens, by kilns, and for one another.” [50] The idea of performing art as part of a daily practice and for one another is at the heart of Shange’s aesthetic philosophy.

In her essay, “Movement/Melody/Muscle/Meaning/McIntyre,” Shange explains that she sees the choreographer Dianne McIntyre’s work, “moving toward sculpted impulse and labyrinthine density . . . [with its] reliance on Afro American popular dance, respect for Afro-American music, and a sense of the conceptual realities available to us through these forms. It is not that McIntyre’s work rejects folklore, but her versions of what is folkloric are formed by the here and now. There are no accidental ethnic references. It is all on purpose.” [51] These lines pertain equally well to Shange’s own praxis. For me, her art/work succeeds at keeping memory alive, in the mix, moving among states and geographies (national, political, psychic, and racial), the individual and the collective. We can be grateful to Shange for teaching us that “we ourselves are high art.” We can credit her with providing us with the means and the meals to “Pull the so-called Personal outta the realm of non-art.” [52]


Watch the video: Tinsel Rumplemintz 2017 (May 2022).


Comments:

  1. Cocytus

    I am a very big fan of cognac. I love cognac so much that I allow myself to drink it no more than twice a year. What a fan I am! This should be a celebration!

  2. Benjamin

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  3. Chatuluka

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  4. Searle

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