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.

 

 

 

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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.

“““““““““““““““““`

“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…

——————

*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…

Living the Legacy: Chicago Human Rhythm Project’s 23rd Annual Festival Taps Into Community & Beyond

Jazz lives deeply in Chicago, with a rich & powerful legacy… much like tap in Chicago, but for me it is one that feels somewhat invisible. perhaps it’s just me.  nonetheless this tap legacy is one that -after witnessing Chicago Human Rhythm Project‘s vibrant showcase- provokes the need for serious research and further excavation to understand the depth of its history….

this past Monday night, at the wonderfully intimate and warm  Jazz Showcase , Chicago Human Rhythm Project [CHRP] presented a brilliant showcase where “the ‘pros’ and ‘ams’ came together”. the impressive Lane Alexander, co-founder & director of CHRP, has brought together an incredible group of tap artists from around the world for this festival; in its 23rd year dubbed “Rhythm World”.  inside this world some will teach, others to learn, to perform…many will do ALL of the above.

Jazz Showcase
Jazz Showcase

tonight it’s a true mix of up & coming with masterful artists. walking into the entrance you can already feel the buzz and anticipation for what’s to come. and ambiance! the space: resonant  and low-lit with images of famous musician performers from the past. the present: a trio of musicians offering distinctive jazz  standards, medleys & mashups; complementing  the explosive tap percussive rhythms. and what better way to create ambiance for the tap to come than to have live music! especially with the stellar jazz trio led by Greg Spero on piano,  Junius Paul on bass and Makaya Mccraven on drums. inviting and compelling.

the stage is set…rather a floor has be set on top of the legendary stage of the Jazz Showcase – a staple for kool vibes and koolness all around since 1947. students, teachers and masters of tap have assembled with lovers of tap to witness, be part of and take part in this JAM.

 yes, the stage is about to be lit up! but FIRST:

Lane welcomes us then introduces our host for the evening, Stomp’s Lisa La Touche. she smartly articulates what’s about to happen,  who’s about to come up and offers up nicknames, tidbits and small anecdotes to give further insight into this expansive spectrum of artists & artistry.

with closed eyes listening, i wonder as it begins ‘to stomp or not to stomp’: how will each tap artist share their unique sensibility?

#1 Toronto (Christian) lanky, stomping, fresh eyed, eager

#2 Chicago (Mark/Chicago Tap Theatre) light touches, finely detailed execution, tickling the stage with his foot,  Ali-like, riffs, finesse

#3 NYC  based (Samara & Christina female duo) ‘flava’, communicative to musicians & each other, at points contrapuntal, awakened improvisatory sensation that continues to reverberate throughout the evening.

#4 Texas/NYC (Nicholas Young) spoke to musicians as if he was “conductor’, a conduit, groove, channeling the legacy of tap, put a smile on the pianist’s face, stomp, put his foot down! the strength of his dynamics

the way they communicated to the musicians…a creative symbiosis

#5 N. Carolina (Adriana) seeking to rise to above a challenge. setting the tone for the musicians, began sans music, a sweetness arose, in phrasing in expression, exudes the freeness of free jazz.

#6 Chicago/Boston (Ian/M.A.D.D Rhythms) relentless, confident, syncopated, TALL.

it’s about how they lay into the beat or against the beat, the dynamics, textures, phrasing

#7 Vegas & Australian international duet (Winston & Victoria) him from Melbourne, she living in Vegas. dressed in slacks & collard shirt, all black with dreads, he lays the foundation, hips slightly swaying curving inside the contours of the steps. she of comfort leggings & t shirt, much taller but light and smiling, pounces on top of his smoothness. they finish each others sentences. ends in a layered dense satisfying simultaneity of his and her feet coming together.

#8 Chicago/N. Carolina  ‘national duet’ (Luke & Donnetta) he white, she black both young and vibrant. bass begins, snaps ensue, they go! catch where one ends and take it somewhere else, dazzling footwork (hers),how he lays into a step.  summertime  and the livin is easy floats inside the musical renderings…she of footworKINGz he the “Justin Beiber of tap”.

#9 Chicago (Star) closes out first half.  young & beautifully hip with her tap boots & leggings, her multicolored long tresses.  a sincere koolness, she says hi to us sweetly and then works it out on the floor!  laughter, joy emanates, playfulness, with moments of complex and fast fast footwork.

BREAK. stage ‘cools off” room buzzing with what has been experienced. excitement for who’s to take the stage next….

Adriana Ogle at Jazz Showcase
Adriana Ogle at Jazz Showcase

AND WE’RE BACK!

as #10 Canada (Lisa), proudly proclaiming her “Canadianness” the hostess opens up the 2nd half, contributing her own flair to this richly diverse tapestry of tap. quite clean and graceful.

#11 Japan is in the house! (A trio) probably reppin the youngest tapper of the evening, she is quick and on point with her percussive footwork. two other older but still young men transmit and transcend moments of interplay between the three. snippets Route 66 drip inside the arrangement and they finish with a “bow” to the audience and musicians.

continuing the international flow…

#12 Switzerland (Daniel) head nodding, a far away look that as he searches the music for that precise moment(s) to land, hit, accent and punctuate…

Now for an all star line-up with faculty from CHRP’s festival workshops

#13 Ohio/NYC/Chicago (Sarah) fresh from working alongside Savion Glover,  gives the “go ahead” to the musicians..”I like that” she shares with us as the smile grows and the feet get to moving. sporting a “skull & crossbones” shirt, not at all symbolic of  her feet that are so alive! she shimmers her way to end and curtsies.

#14 Chicago/Riverdance (Tre) nonchalantly drops his keys on a nearby table and with his white patent leather shoes gives full on tap swagger.

diverting to numbers #16 – 18 ALL STARS CONTINUE

#16 Touring the world /Chicago (Nico) though i thought i heard “Rico” and with all intention he gives the best form of “suave” tap one can imagine. it is finessed.  it is smooth.

#17 NYC (Jason) New Jersey born he boldly takes the stage. stomps, commands.  ‘kicks up dust’. contends with the drum. tracks the beats, becomes the beat. an intensity of focus, an exquisite articulation and expression that inspires a mash up of music, an ’empire state of mind‘.

#18 Chicago (Jumaane)  Chi-town closes out the evening with the “bearded hoofer”, hip and elegant. skinny jeans. white shirt. jacket and gold shoes. yes golden. from southside he transports all of that and then some.  “yall know Dr. Jimmy Slyde?” he asks as if he is about to channel this beloved tap legend. indeed he carries forth that prowess as if he is channeling this man. but not just this man. it seems he is channeling the ancestors of Africa through the drums of his feet.  rhythms, at one point like murmurings that resonated throughout the intimate showcase space….ones that that feel ancient, yet he is truly a contemporary artist…

Jumaane Taylor's golden shoes
Jumaane’s golden shoes

and though they did not close out the evening they are the future

#15 Y-Tech (a crew of 10) members from CHRP’s annual Youth Tap Ensemble Conference, this group of young ardent students crowd  the small tap floor ready to jump in! it’s about the blues, a 12 bar moment for each one to show what they got. taking turns in sync with the shifts from chorus to phrase, individually offering a subtle or distinctive touch to how they choose to step, tap or slide. culminating in a full on jam of all 10 on the floor. yes they are students! we are reminded of this when Lisa challenges them by asking them to name the legendary artists displayed throughout The Jazz Showcase. they are still learning of this legacy but it is clear that they are absorbing the essence of tap and it lives deeply within their feet…

Tap Into the Night”,  in its third year at Jazz Showcase. Monday, July 29th, 2013

Jason Janas at Jazz Showcase
Jason Janas at Jazz Showcase

more to come on:

Chicago Human Rhythm Project’s 23rd annual Festival performances  at Museum of Contemporary Art Chicago, Wednesday, July 31st, August 1st and 3rd.

The communal Mambo: Chicago Dancing Festival partners with Chicago SummerDance

It’s been a little over a month since my mother has passed. One of the many things i miss is her dancing. Unafraid to release all inhibitions, she ‘cut many a rug’.  Of any event this week mom would have loved to attend, it would be “Dancing Under The Stars” : a special evening presented by Chicago Dancing Festival in partnership with Chicago SummerDance.  Partnership is the theme of this event. A communal partnership. An intimate partnering. Mambo style!

learning the basic step
learning the basic step.

Arriving a bit late, i was compelled to catch up on the ‘lesson’ being taught by Del Dominguez & –  his partner for this instruction – Laura Flores. note not Laura Flores, the acclaimed Mexican actress, but the equally charismatic co-founder of Mixed Motion Art: a space for dance & fitness.  Actress Flores (whose birthday happens to fall on the same day as this event, the 23rd) probably wishes she could Salsa, Mambo & Cha-cha as well as dancer Flores! 

Back to the lesson.  Throngs of folks peppered the specially-laid outdoor dance floor, eager to learn the ‘basic step‘.  The basic step in this case involves stepping forward on one foot, stepping back on another with some transitional lift of the feet between or as Del would count out  “1-2-3, 5-6-7”.  Singular at the moment, each person was assuredly focused on capturing the footwork.  All ages represented. All skill levels. All determined to get every nuance of the “1-2-3, 5-6-7”.  Even in their seats on the outskirts of the dance floor, people looked on and ‘moved’ with the dancers.

“How we doing?” Del asks to the community.  Smiles, giggles, some shaking or nodding of heads and further explorations of the step were the response.  In protocol with social dance forms, often one is taught first the ‘vocabulary’ or basic step, before the more intricate moves are added.  Sans music, he and Laura continued on to ‘coupling’.

Hands touching angled in the air.  Pressed not too tightly to allow for subtle shifts of body. Tipping with turns to be mastered. Men leading women. women with women. young girl leading younger girl. Women leading men in the men’s leading of women.  All embracing the directions of the lead teaching partners.  “Leading a partner…” Del advises is “less ‘swagga’, more attention to the person you are leading…. Be chill.” His smooth delivery of the next line undercuts its sting to the ego of some of the men ‘handling’ their female counterparts – “Not like you’re jumping rope”.  Furthermore, both he  & Laura offer that there will be time to “show off” later. To use your hips and add your own ‘flava’.   But for now “just flow.”

1-2-3, 5-6-7. the momentum of the steps pick up speed. and so does the intricacy of the partnering.  “1 of 3 things could happen…” Del cautions when instructing on how the man(leader) would turn themselves after guiding the woman(leadee).

1.  You could ‘break’ the shoulder.

2. Put your Butt into it {“Don’t do that!” Laura interjects}

0r 3.  Lower your hand.

#3 being the preferred option as long as you understand how to lower the hand, effectively releasing your partner’s hand; only to gracefully retrieve it and continue to Mambo.  Ironically, Del ‘tweaks’ his shoulder while working through each of these options. “All for  art” he quips, shrugging it off as they call out for “musica!”

the mechanics of the mambo
the mechanics of the mambo.

“Earl” the “Maestro” slows down the tempo with a ‘Cha-cha’ inspired rhythm.  The instructors suggest that this is the entry way to the Mambo.  Soon the communal dancers will be able to “jazz it up!”. As the instruction comes to a close, the partners move methodically and sometimes mechanically through each ‘lesson’ of the hour.  An accomplished & beautiful communal exchange has occurred. Everyone who has been witness or dancer inside this experience has something to take away.  Del and Laura leave the platform. The dance floor clears out.  People move off to the side to partake in food or beverages, rest or persevere through the steps; hoping to get inspired by the dee-jay set that will take place momentarily.

During this transition, genderization of the partnering is eschewed in favor of  fun infused playfully-coupled dancing.   Lips pressed, one young woman, relentlessly practices with her female partner; finding the connection to the internal rhythm of the beat to the steps of her feet.  Incidental moments of heel tapping betray the connection, but she is determined. Others break from the moment by goofing off and mock dancing movement from other periods in time such as the ‘Jerk‘ or the ‘Robot‘.  An African contracted poly-rhythmic movement exchange happens not far from eyesight, while – gum in mouth- a flustered young woman still works to get the “1-2-3” of the Mambo.  Around her people picnic. Less cellphone than engaging one-on-one or group live conversations permeate  Grant Park’s Spirit of Music Garden.  Some choose to ‘catch up’ with each other and recollect on past ‘lessons’.

“It didn’t matter if you messed up”  Nikki points out.  A resident of  Auburn-Gresham, she brought her aunt tonite to share her love of “Latin music” and of course to dance.   Nikki got “hooked on dance” watching ‘Dancing With The Stars‘.  This is her 2nd time coming to SummerDance.  i ask if she has heard of the Chicago Dancing Festival and is met with an ‘of course’ look; schooling me on when and where the upcoming event  – Celebration of Dance – will be.

Rosie, Nikki’s aunt,  lives in Walnut California, famous for Disneyland…”well I am about 10 minutes away”.   She reminisces about dancing with her husband who has passed away some years ago…loving how they took cruises together and “made fools of [themselves] at the disco lounge.”  A moment passes. In my mind some tears release.  We take in the late comers to this event; though they may have missed the lessons, these people are ready to dance! With smoldering looks and summer crisp linens, one man saunters onto the floor, inviting  into this festive atmosphere  exciting coupled possibilities the evening shall bring.   The music  emerges and the dance floor is becoming alive again.  “She looks like she wore her salsa shoes [for this occasion] and dress” Rosie observes.   Before long, niece and aunt take to the floor and dance.  “1-2-3, 5-6-7” Who needs a ‘4’ or ‘8’ when you are enjoying being with each other as these two are.  i am reminded of my mother seeing them inside their joy.  Another moment passes. real tears are released.

Nikki (left) & Rosie dancing under the stars
Nikki (left) & Rosie dancing under the stars

For Paula –  one of the last people i encounter before heading back home – “there is no better backdrop than Michigan Avenue or being in good company” in speaking on why she came to ‘Dancing Under The Stars” or referring to co-worker and friend Ade; who sits and ‘fans’ her in between her dancing ‘shifts’.  It was lovely to capture Paula in her mambo glory, as a fitting exit to my time here.

Paula in her dancing glory.

The dancing was far from over. The night seeming to have just begun.  And the stars have yet to arrive.  i travel to my apt heart full of the treasured wonder  from witnessing the evolution of this dancing public; from just a basic step to meaningful and intimate partnering within an expansive communal force.

Back at my place, far from the crowd and my nervousness, i take my chance to dance the Mambo… in the quiet solitude, i speak the counts as instructed:

1-2-3, 5-6-7…1-2-3, 5-6-7…1-2-3, 5-6-7…one two three, five six seven…

part 2 of  The dance eclectic, the dancing electric part 1:Chicago Dancing Festival places the “Everyday Chicagoan” on a world class stage coming soon…

The dance eclectic, the dancing electric part 1:Chicago Dancing Festival places the “Everyday Chicagoan” on a world class stage

There is a continuum…this continuum places within our reach: young people, elders, black, white, mixed, Asian, Latin/Hispanic & all of the above, dynamic & virtuosic, poised & sophisticated beings.  All on the same stage.  A world class stage.  For all to see. And feel deeply what they saw.  And tell others what they love.  How they loved experiencing a reflection of their city expressed through the dance panorama that took place last night as part of the Chicago Dancing Festival.  A reflection of Everyday Chicago articulated by Everyday Chicagoans. The dance eclectic? Yes: hip Africa post modern contemporary release idiosyncratic balletic cha-cha lyrical character defiantly undefinable. The dance electric? Most certainly.  Like static cling, it clung to us.  Hair  raised on arms at times.  Defying gravity.  Residing still within my recesses.

It begins with a Touch of Soul.  Because that is how the evening began.  And what  a beginning…the dancers eclectic, their dancing electric.

One of my foci to blog for the festival, i had the pleasure of meeting with Chicago Dancing Company commissioned choreographer Nicholas Leichter and some of the crew from After School Matters’ Hip Hop Culture Dance Ensemble : Shannon Brown, Dorian Rhea, William Harris and Kaina Castillo.  Prior to the performance, we gather in the dressing room to discuss this communal exchange.   Within a few minutes, i can already sense the communal synergy  between choreographer and dancers.  Though, at times, that distinction was blurred; as Nicholas is quick to admit how these young people threw in their own kinetic thoughts, shapes, moves into the composition.  Throughout their process  he encouraged, insisted that their artistic voice be heard.  Be honored.  Challenged.  And he diligently cultivated it inside the rehearsals and within their “presence”.  Any artist within the performance field knows how difficult it can be to be ‘present’.   To be keenly aware of what’s & who’s around you at all times during a live performance exchange; such that if someone bumps into you or throws you off, the moment is still infused with your crafted spontaneous creativity.  That takes skill. And hearing these young dancers speak about how inspiring it was to have Nicholas as a mentor, a reflection of what they desired to become, you got the feeling his presence only enhanced their luminous presence. Indeed, Nicholas wanted to make his ‘presence’ known in Chicago as well.   He spoke briefly with Lar Lubovitch [one of Chicago Dancing Festival’s Artistic Directors] about the project and heard a little about the After School Matters program, but had yet to truly discover the kinetic possibilities within these Chicagoans.  Then came the first rehearsal…”First day we didn’t know what to expect!” Shannon proclaims, the others immediately concur.  “All the hype” they had heard about him, what they pulled from the internet, didn’t compare to seeing Nicholas preparing in the studio for the initial rehearsal.  “Nic was feeling it!” As they watched him moving to the music, they got more excited.  Even more nervous.  “Before Nic came, i never knew i needed to work on my sassy, fierce, stuff” Kaina professes. “…How to throw myself [into the dance] and be able to whip my hair“.  All with technique and control i might add.  Nicholas succinctly and brilliantly conveys that in his detailed choreographic aesthetic. More than just a ‘hybrid’ the vocabulary defies the boxes it supposedly exists within.  ‘Hip-Hop’ Urban? Even contemporary  doesn’t seem to capture the multi-layered legacies he explores with his company of dancers in Ny; now with his ‘company of dancers’ in Chicago.  To him it’s all about vibing off what’s/who’s in the room that informs the creative impulse inside the compositional landscape.   With two working weeks, he takes them through an exhilarating experience heightening their kinesthetic abilities; utilizing everyone who wanted to be part of this process.  By the end of the process,  he has delivered a potent message to these artists; one that continues to resonate for them.  “A new vision…Nic’s notion of ‘staying out of the box’….to come up with your own labels” (Kaina).  “Recreated…[to be able to just] switch it up” (Shannon)  [While]”After School Matters has given alot of teens a voice, an outlet, a chance to be heard”(Dorian),  Nicholas has offered to them “a new box of crayons… So now [i] can go home and create [my own] picture…” (William)

A Touch of Soul’s (from left) Dorian, Kaina, William & Shannon with choreographer Nicholas Leichter

more to come on A Touch of Soul and Bolero Chicago’s premiere last nite at Chicago Dancing Festival

Living the dance part 2: Multiple Bodies, Multiple Voices…A unifying language

Today they prepare.

Tonite they perform.

Community has formed.

Some have left.

Others still arriving. ..

More exchanges to occur.

Multiple bodies signifying multiple voices unified through moving language.

This evening

We will witness them ‘living the dance’.

…Janet has a solo! From just having one nite’s rehearsal ‘under her belt’ to now proving how wonderfully individualized is the experience of being a community member of  Bolero Chicago,  she gets to have a ‘moment’.  It’s one of  many moments individual Chicagoans will have as part of the process of being a ‘dancer’ for the Chicago Dancing Festival premiere of Larry Keigwin & Company’s inclusive choreography.  Janet will ‘put the button’ on the end of a phrase. The ‘button’ being a jump as fleeting yet signature of her vibrant persona onstage.  She finds it refreshing that “so many [kinds of] people are moving together…A testament that everyone can dance.”

For some of the  Bolero Chicagoans, this has been an extension of their dance lineage.  For others simply pure expression of their love of moving.  Veronica embodies both.  20 years of age, she has been dancing for 15 of them.  It takes an hour & half to travel to rehearsal from Garfield Park, her current residence.  Veronica is nonplussed; focusing on the  intention of each move and how to “hit that beat“.  Her connection to beat, to rhythm, stems from her earlier experiences and love for Jazz dance.  She’s currently involved in Hip-hop but feels equally at home learning how to become a fluid ‘character’ inside Bolero; living the dance as one ‘type’ of Chicagoan inside a shifting urban landscape.  “It’s about natural movement, taking the everyday” [and performing it] with flair.” i see this in the way Veronica ‘hits’ certain moves during last Wednesday’s rehearsal.

i also get to witness others move in ways that suggest their lineage as well.  One Chicagoan, in a striking ‘pas de deux’ with her partner, shows her attention to detail, the lines in her body that have clearly been cultivated by years, if not decades, of training in ballet or contemporary technique.  Another in the choice of footwear and how this dancer places them on; a symbol to anyone in the rehearsal, that she has danced before! Indeed each community member shapes the dance with their individuality, offering up mutable ‘characters’ or interesting personas.  To me, this further suggests not only their quest to find the “character inside the dance” as Veronica puts it, but the ‘character of Chicagoan’.

What signifies the character of Chicago? Its uniqueness? and How will the “everyday Chicagoan” emerge from Bolero?

Tonite, we shall see what Larry, Ashley, Gary,  {Chicagoans}Veronica, Janet, Ira and other community members of Bolero Chicago offer up for ‘answers’….

Bolero Chicago will be part of the exciting lineup for ‘Chicago Dancing’ , 7:00pm at Harris  Theater, part of Chicago Dancing Festival. Featuring local companies alongside national artists; in particular, will  also be blogging about Nicholas Leichter’s Touch of Soul, choreographed in collaboration with After School Matters/Gallery 37 dancers.  below is  a preview of  Touch of Soul dancers in rehearsal.  Hope to see you tonite!