what the body knows…what unfolds

it’s been a couple of months since i’ve posted on here. most presently, i’ve been creating new dance…

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it’s been incredibly rewarding. and humbling..

recently  Jerron Herman, Francine Sheffield came from New York and Phanuel Antwi traveled from Canada, to join me in a 10 day intensive development process for the emerging choreographic project what the body knows a suite of solos and a duet focused on the complex intersection and intertwining legacies of disability and race.

within this creative period i was also joined by local artists Sadie Woods, Nikki Bruce to respectively document the process and collaborate on the sound design. the focus was on a duet to build with Jerron as my co-performer and Francine holding space for us to delve into the conversation between our bodies. both  black. both men. both disabled. self-identifying with those aspects of ourselves. shared experiences yet distinct ways of navigating the ways those identities impact our lives. we’ve never dance together before. this was our introduction to understanding how we might do that. and, from this exploration and rigorous process, carry emerges. and the process continued…

consultants in audio description and American Sign Language joined us, as a means to explore how these noted ways of offering access could be integrated within my evolving creative aesthetic. we grew to better understand how and why we would carry each other. the many forms of carry, carrying legacies we don’t want to hold onto. carrying memories we will keep close to us through the cycle of our lives. the passing of information between two men existing in the intergenerational continuum. the symbolism and metaphors of being carriers of the systemic perceptions and oppression of black men. and the power harnessed from the union of our disabled bodies in solidarity and thoughtful exchange. inside this deeply embodied exchange, being in conversation with Jerron opened up discoveries that could only be shared through the beauty of dancing together.

and then we shared this process with others. intimately drawing folks into the folds of what we discovered while in residence at Rebuild Foundation’s Dorchester Art + Housing Collaborative studio…and they watched us in duet, carry each other and be carried. and they shared with us what that meant to them. and we listened….

i’m still taking in all that was shared, exchanged, discussed. and i’m learning more and more what it means to collaborate. to be open. to be vulnerable. to hold space for others. to allowing myself to be held…

this is what the body knows. this is an ongoing process of discovering what the body does know.

i learned  immediately that this project’s vision is larger than one person. it takes a community.

so thankful for what each one of these artists brought to the space, to the many folk who contributed to ensuring there was an opportunity to engage profoundly in the development phase of what the body knows…and to the folk who witnessed the intimate showing this past May 3rd at DAHC.

and it will take the larger community’s support in order to most deeply engage in the producing of this project’s culminating phase… which is why i’ve launched a campaign!

with this support –

soon will come the premiere of what the body knows  at Stony Island Arts Bank.  October 2016, with my collaborators and new additions to the project (costuming, lighting), the project will be shared with Chicagoans and those visiting the city; bearing  witness and engaging with us in this continuing and evolving conversation on race & disability, through dance.

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what the body knows campaign is LIVE. $3000 to be raised by 11:59pm June 9th.

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*above image of Jerron (left) and Barak by EyeAmNikkiB

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an Open Dances honoring legendary Women: Nina Simone

Honoring  Women’s History Month, we will be creating dance as part of the Open Dances series; drawing upon the iconic imagery within legendary artist Nina Simone’s  acclaimed song Four Women.

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My skin is black
My arms are long
My hair is woolly
My back is strong
Strong enough to take the pain
inflicted again and again
What do they call me
My name is AUNT SARAH
My name is Aunt Sarah

My skin is yellow
My hair is long
Between two worlds
I do belong
My father was rich and white
He forced my mother late one night
What do they call me
My name is SAFFRONIA
My name is Saffronia

My skin is tan
My hair is fine
My hips invite you
my mouth like wine
Whose little girl am I?
Anyone who has money to buy
What do they call me
My name is SWEET THING
My name is Sweet Thing

My skin is brown
my manner is tough
I’ll kill the first mother I see
my life has been too rough
I’m awfully bitter these days
because my parents were slaves
What do they call me
My name is PEACHES

 

Open Dances will occur on the south side at Rebuild Foundation’s Dorchester Art + Housing Collaborative studio

Saturday, March 26th from 1pm – 3pm.

Open Dances is free and open to the public.  This event will be videotaped.

Dorchester Art + Housing Collaborative is wheelchair accessible. With respect to other participants, please refrain from wearing scented products. Real time Captioning (CART) will be provided.

This particular Open Dances is supported in part through Bodies of Work, 3Arts  and University of Illinois Chicago’s Department of Disability and Human Development Institute on Disability and Human Development.

 

 

 

the black | body : Dana Michel

this week:

the black | body featuring Montreal choreographer and performer Dana Michel in Yellow Towel

 

promo pic 3 by Maxyme G. Delisle
Image of Dana Michel by Maxyme G. Delisle

 

the black | body, a 2015-16 series of progressive art by black artists from across the diaspora, is the culmination of a trilogy of curatorial projects, beginning with Black and Beyond [2001], which featured the work of three contemporary black dance artists pushing the boundaries and limitations of the ‘black bodies’ as legacy and form. Next was  Studies N Black [2007-8], a progressive series of mini-festivals and events in Minneapolis, Brooklyn NY and Chicago that offered a multidisciplinary offering of black artists who delved into the problematic, stereotypical, emotional or cosmological dimensions of black culture. 

the black | body series was initiated in Evanston with my exhibition of archived performance art works, TRIPTYCH: CYCLE this past fall. It now continues in downtown Chicago with innovative artist Dana Michel’s performances of  Yellow Towel at Storefront Theatre this Friday & Saturday February 26 – 27th; part of DCASE/On Edge programming.

As a child, Dana Michel would drape a yellow towel on her head in an attempt to emulate the blonde girls at school. As an adult, she now revisits the imaginary world of her alter-ego in a performative ritual free of cover-ups or censorship. Blending austerity and absurdity, she digs into black culture stereotypes, turning them inside out to see whether or not she can relate. Strongly influenced by the aesthetics of fashion, music videos, queer culture and comedy,  Dana quickly stood out as an emerging dance artist. With Yellow Towel, she explores new creation territories and most decidedly asserts herself as an artist to watch.

Dana will also engage with the public in dialog as part of  Open Dances at Dorchester Art + Housing Collaborative studio [1456 e 70th St] on Saturday, February 27th from 1 – 3pm. She will lead a workshop, An Activator Class in Choreography, as part of Illinois Humanities Art School series on Sunday, February 28th.

Dana Michel is a choreographer and performer based in Montreal, Canada.  Before entering the BFA in Contemporary Dance program at Concordia University in her late twenties, she was a marketing executive, competitive runner and football player. In 2011, She had the honour of being a danceWEB scholar, allowing her to deepen her research process at ImPulsTanz in Vienna, Austria.

Her practice is rooted in exploring the multiplicity of identity using intuitive improvisation.  She works with notions of performative alchemy & post-cultural bricolage; using live moments, object appropriation, personal history, future desires and current preoccupations to create an empathetic centrifuge of experience between herself and witnesses.  Today, her work can perhaps best be described by its influences: lucid cinematography, living sculpture, physical comedy, psychological excavation, deconstructed social commentary, the bulimic logic of Hip Hop and child-like naïveté.  Her work has been presented in North America (Montreal, Quebec, Toronto, Ottawa, Boston, Salt Lake City and New York City) and in Europe (Austria, Belgium, Serbia & Switzerland).  Inhabiting both traditional & non-traditional spaces is a key component in the creation of her work. 

Over the past nine years, her work has been awarded the Montreal Fringe Festival “Best Dance Production” in 2005, the Globe and Mail’s “Best Emerging Choreographer” in 2006, and a “Top Ten Choreographers” listing by the Montreal Mirror newspaper in 2007, 2008 and 2009.  The film version of her solo the greater the weight won the jury prize for the “Best Female Performance” at the 2009 In Shadow International Festival of Video, Performance and Technologies in Lisbon. 

 

 

 

One of Three For the New Year: #Collaboration

Striving to deepen each word into my conscience:

#Collaboration – honing the space for more truthful mutual exchange.

ShepparddeS: Baraka de Soleil and Alice Sheppard

this year, noted disabled dance artist, Alice Sheppard and i have committed to be in thoughtful collaboration.  A collaboration upholding truthful exchange. One that calls us to have respect and dignity for the body in the work and the process. Allowing each other to be fully present and empowered. We don’t call each other out; we call each other closer to the mission. A collaboration that builds community beyond ourselves and the work.

#BlackIsBold   #ThreeWordChallenge

Into The Known Unknown: Initial Reflections on upcoming Moving Dialog “Crossover”

this is a “re-post” of a reflection i wrote, as curator of Audience Architects‘ 2013 Moving Dialogs series…

This Monday, September 16th, the first fall Moving Dialog kicks off at Hyde Park Art Center[HPAC] at 6pm –Crossover.  It is a unique union with HPAC’s ArtBar event. Within this evening experience, there will be a discussion with participating artists:  Tony Orrico,  Susan Marshall and Anthony Romero. The intent of this dialog is to cultivate consciousness surrounding what may be deemed unknown to us, “different” ; inviting opportunities for new discoveries, ways we can talk about art forms that may be unfamiliar or seemingly simple.   We’ll seek to create meaningful connections among disparate, unequal and unexpected partners.  we’ll do that by exploring practices that are hybrid, non-linear, intercultural and interdisciplinary. ++

What is hybrid? Intercultural? Interdisciplinary?  Why explore these terms, these practices? We’ll further excavate what those terms mean to US inside this dialog. Yes “US”.  i have an idea and you have a thought…and what we come up with together will be exciting.  New.  Maybe this means we’ll be crafting a ‘hybrid‘; composed of intercultural discussions which reflect witnessing interdisciplinary practices? We’ll see. And that’s the fun part, the unknown as well… it all plays into our contemporary reality. The contemporary world is moving away from a largely static and passive experience to a more dynamic participatory interrelationship with art, media and technology. ++Our views are shifting from what we have become accustomed to and this can ignite some anxiety.  How can we craft ‘bridges” that will aid in this shift?

When artists experiment, they open up a space or potential bridge for exploring this shift.  This space challenges how we relate and identify with the created work, each other and our individual selves. While we may try to categorize the work, naming it can be difficult and elusive; especially within an intercultural phenomena or new setting.  The beauty of this practice is that unknown space; it allows room for us to discover language to describe it.  This language is evolving…as the art evolves. 

With these three artists, it has been about the body, and its movement in relation to other disciplines, elements and materials. The relationship continues to shift and evolve dependent on the artist & their aesthetic. In speaking in terms of “dance”, each artist has found his/her correlation in intriguing ways.

– For some, their relationship to dance has inspired the other disciplines they have crossed over into: how physical impulses manifest into visible forms.

– Or perhaps a relationship to other disciplines has further inspired the dancethinking about what got them into dance in the first place.

– And then there is the simultaneous relationship with dance & other disciplines or forms that serve the overall creative work: allowing them to settle into a practice that embraces collaboration, activity or movement. 

Which artist has which correlation? i have my thoughts, what are yours?  Anthony, Susan and Tony will be present on Monday to share what they feel are their relationships to dance, to other disciplines or forms. Their “practices” will be on display throughout various spaces within Hyde Park Art Center; alongside other visual works and participatory activities.   please join us for Crossover to explore and discuss.

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++these phrases were drawn from article/abstract “Hybrid Aesthetics: Art As Dynamic Signification” {2002} by Carlos Rosas & Simone Osthoff, both professors at the School of Visual Arts at Penn State University. 

The Necessity of Reflection: A Conversation with National Artist Camille A. Brown Performing at 2013 Chicago Dancing Festival

Camille A. Brown.  photo by Grant Halverson
Camille A. Brown. photo by Grant Halverson

“Is art enough?”

Camille A. Brown, one of the national artists performing a solo for Chicago Dancing Festival‘s Solitaire event at Museum of Contemporary Art Chicago [MCA], raises this question inside our conversation.  it’s a rhetorical question Camille deeply considers when developing work such as Mr. TOL E. RAncE or “TOL”;  from which she shared an excerpt* on Wednesday and Friday, August 21st and 23rd to varied Chicago audiences. TOL is a large scale dance theatre piece that explores unsettling & provocative legacies of ‘African-Americana’.  with this work, she intentionally engages her audiences in dialogue  that goes beyond just the dance of it…for her it’s about what moves us to action.  “Can it be enough to just create art around Trayvon? we’ve got to take it further.” the cultural implications  of  Trayvon Martin’s tragedy resonate a contemporary reflection of the continued devaluation of brown and black bodies. Inside TOL, Camille fluidly reflects haunting past images of blackness; reminding us of how far we have gone, and where we may need to go, in order to craft authentic intercultural discussions on race, equity and social stereotyping.

with striking pose

a black body flows

she wears the gloves

and dons the gestures

the face that bares

receives the stares

the music plays

a shifting gaze

in this spotlit

she is a reflexive lens

for those who may also wear the mask

referring back to her mention of Trayvon, Camille cautions “we can get caught up in the sensationalism”,  but there is a necessity to go deeper.  she is willing to go deeper.  that “necessity” is a guiding force in her current creative practice. TOL allows her to examine “these masks we wear”  and, in revealing them, invite those who witness into an opportunity for meaningful dialogue.

distinguished Poet Paul Laurence Dunbar eloquently articulates the metaphor of the mask:

“WE wear the mask that grins and lies, 
    It hides our cheeks and shades our eyes,— 
    This debt we pay to human guile; 
    With torn and bleeding hearts we smile, 
    And mouth with myriad subtleties.

    Why should the world be over-wise, 
    In counting all our tears and sighs? 
    Nay, let them only see us, while 
            We wear the mask.

    We smile, but, O great Christ, our cries 
    To thee from tortured souls arise. 
    We sing, but oh the clay is vile 
    Beneath our feet, and long the mile; 
    But let the world dream otherwise, 
            We wear the mask!” 

Wednesday’s performance at MCA was a gala; drawing in a predominately white audience. an attendee comes up to her: “i don’t mean to be offensive but what was it about”.  it’s not the first time a black artist has been asked that by a white audience member.  this person genuinely –  in Camille’s recanting – searches for more than a simple answer; and this becomes one of those “opportunities”.  throughout the evolution of TOL, its development and performances nationally, she has become accustomed to “not always preaching to the choir” . new audiences open up new possibilities for fostering educational and enlightening exchanges between artists and those who bear witness. “There’s a vulnerability that comes with that newness for both audience & artist.  We bring up race, black history and we can shut down. But everyone wears a mask. Mask is universal”  Finding that mask cannot occur from the outside, we must go within.  it’s challenging when we do so…and when artists make choices to do so in front of others.  for Camille and her company of artists, that kind of challenge is not only present when there are majority white attendees; it can been even more challenging when they perform for black audiences.  “they see themselves reflected. it’s not necessarily something they want to see…” she recalls a performance where the audience was so close the dancers could see their faces change when certain images were recognized. the “putting on of the white gloves” recalls past historical moments of minstrel and servitude that Americans still grapple with today.  interestingly in sync, The Butler – Lee Daniel’s film loosely based on true-life story of Eugene Allen‘s tenure serving eight USA presidents – is currently out in theatres nationwide.

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“A woman like me”

i ask “what does diversity mean to you?” what SHE shares reminds me of comments a female associate made regarding the opening Chicago Dancing Festival concert on Tuesday, August 20th.  inside a male-centered choreographic world, Camille brings a woman’s history…a storyteller not to be pidgeon-holed. this kind of representation inspires me to suggest how exciting it maybe for a young girl to come to this festival and see Camille.  it’s potentially empowering for her – the young girl – to create, to feel affirmed.  Camille shares a story; one of being a young woman, 16 & the first time seeing “a woman like me…with bodies that celebrated full curves, hips…oh and natural hair.” it was a profound personal epiphany. well, while here in Chicago, she went to a class led by members of Deeply Rooted Dance Theater, then witnessed their rehearsal  AND THERE SHE SAW HER++  – the SAME woman dancer Camille had seen perform when she was 16!

as a self-identified black female choreographer, this necessity of reflection radiates. as well it permeates: the dance world when “seeing Judith Jamison on stage” ; within the academic institutions system looking at “how we teach people about the history of dance with educators like Brenda Dixon[Gotschild]“; and within the context of black representation – ” president Barack Obama“.

“Glimpses are not enough”, Camille states. she’s right.  we need to embed the legacy of diversity within the academy. “we do that and it will ripple throughout the larger society”

in speaking on the ‘company of Solitaire soloists‘, Camille relishes the convergence of all these diverse bodies & forms: “We are in our own worlds so the performers are having this experience as well, experiencing the diversity of who’s in the room…the pleasure of getting outside our separate dance worlds…seeing the men of Hubbard Street, connecting to the east Indian dancer’s footwork & rhythm… the ‘arch’ of how this all fits in…how we compliment each other inside the Solitaire performances…connecting to the sameness, celebrating the difference”  i sense her joy and enjoy her vibrant enthusiasm. it is a perfect testament to her enterprising character. “i can sit here all day and talk about diversity”  indeed. the more ways we can explore diversity…the many many more expansive conversations unfolding…

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*the excerpt Camille presented at the festival, was a solo that is performed at the very end of the full length TOL.

++the “HER” who inspired Camille at 16 is the lovely Elana Anderson.

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Camille A. Brown performed a solo from MR. TOL E. RAncE for 2013 Chicago Dancing Festival’s Solitaire performances on Wednesday and Friday, August 21st and 23rd at Museum of Contemporary Art Chicago .

more to come on the actual Solitaire performance…