one reflection from witnessing “what the body knows”

taking a moment to take in/look at various thoughts shared via facebook and email of those who witnessed the world premiere of what the body knows : a dance suite of two solos and a duet here’s one in particular, reflecting on various moments within the solo “ele’fant” and duet “carry”:

“To make a new world, we need to create new aesthetics. Barak Adé Soleil is making a new aesthetic, and it is the most destabilizing thing I have ever seen. This is more than a remix of existing body politics; beyond addressing the oppression and hegemony of current race, disability, gender, and sexuality behavior/discourse, his work is opening a door to a new way of being human in our crazy world. He eats the poisoned apple from our hands and regurgitates the pieces for us to see. He crawls the floor with the force of a freight train and ploughs through our psyches. He slams his body against the walls, and the walls shake. After “what the body knows,” someone asked me where do we go from here? ANYWHERE WE WANT.”

Mary Wu

more reflections to come from what the body knows and other presentations this year…

 

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…

FullSizeRender (13)

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.

——

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

.

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

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.

10995948_10153180427068573_372520825934980103_n

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.

 

 

 

Expressive Roots. Expressing Roots.

Expressive Roots

Expressing Roots.

zora
Zora Neale Hurston, writer, artist.

 

alvin ailey
Zora Neale Hurston, writer, artist.

 

For Zora. For Alvin. for those who took hold of their roots, dug deep

#BlackIsBold #Roots #ZoraNealeHurston #AlvinAiley

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

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.

Dance of Decay…evolving soon.

soon, curating an evening  through Dance Union . Sunday, November 4th, at 7:00pm.

experimental compositions of decomposition. artist-generated physical response works to the curated theme of decay.

Baraka de Soleil with Carolyn Alvarado Castillo

 

some poetic thoughts…

Dance of Decay: Compositions of Decomposition.

returning to the organic body

three artists explore
dance as decaying 
metabolic matter moving from the interiors of muscle memory
impermanence intuited
exuding its beauty within formlessness
a temporal space undoing habitual desires as
flesh
weight
bones
give way
yielding an evolving composition of decomposition.

 

DANCE OF DECAY@ the Fasseas White Box Theater at The Drucker Center, Menomonee Club for Boys and GIrls, 1535 N. Dayton St. Chicago, IL 60642 map

FREE Parking Available
Admission: $12 general, $10 students/Seniors, and $20 for Tickets for Two (available only 7 pairs through FanFuelded). Tickets are available at the door or: FanFueled.com (sale starts one month before the show)
 
For more info on DANCE UNION &  DANCE OF DECAY Contact: danceunion1 (at) gmail.com312-330-4171

 

Building dialogue across culture: Africa Contemporary Arts Consortium

 

through the beauty of connecting with incredible artists such as Nadia Beugre (pictured above) from Voices of Strength’s program premiered at The Dance Center of Columbia College Chicago, came across The Africa Contemporary Arts Consortium

Founded in 2004, The Africa Contemporary Arts Consortium is a landmark program designed to initiate, develop and sustain a dynamic exchange of arts and ideas between artists, arts organizations & public communities throughout the United States & the African continent. The Consortium is dedicated to working with African artists who are interpreting contemporary life through traditional, popular and/or contemporary forms. The Consortium’s programs are rooted in experiential opportunities that nurture dialogue and exchange, allowing for organic connections to evolve.

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! 

Living the dance part 1: Bolero Chicago’s community rigorously moves towards its Chicago Dancing Festival premiere

Last week during Bolero Chicago’s first rehearsal at Senn HS, Jerina from the west side, commented that she was “seeing dance in a different way”.  Having come to support her sister and cousin who were inside the process,  Jerina was surprised and impressed by the immediacy of this community of dancers emerging. “Interacting with different people could be awkward [but] they were clicking & hitting it off…There’s just something different…freeing…”

As stated in my previous entry, i too was impressed by this phenomenon.  A phenomenon not by any means foreign to professional dancers, musicians, actors or artists who come together with a common goal: to create a new work, put on a play, develop a new composition or learn & inspire choreography.  The fact that this was  “everyday people” – as dancer/student Jacqueline & witness to this past Wednesday’s rehearsal called them –  hasn’t eclipsed the wonder of instant comradery existing in the folds of this creative process for Bolero.  Nor has it dissuaded the “everyday people [insert Chicagoan]” from inspiring choreographer Larry Keigwin to intricately craft a labyrinth of crosses, steps, phrases and groupings for the exquisite musical composition.  “Larry is like a boy in a candy shop” Jacqueline expresses as we both witness him beaming as he looks upon the community of dancers embrace new moves he throws at them. and yes it’s a throw!  At one point later in the rehearsal he delivers a rapid set of instructions , counts and mutterings that only a dancer would understand… did they get it? i sure didn’t. And yet in one quick release the Chicagoans move through his directions with a certain finesse, as if they were accustomed to him in much the same way his dancers Ashley and Gary have come to experience. Both company dancers are observing the ways Larry interacts with the community dancers and assist, guide and notate the elaborate development of the choreography.

‘Setting dance on pedestrians” is intriguing  to Jacqueline.  She is from Chicago but goes to school at the prestigious  University of North Carolina School of the Arts.  Encountering Larry at Bates dance festival this summer, made her want to witness how this process unfolds.  Unfortunately, Jacqueline cannot be part of the performance because she leaves before Chicago Dancing Festival opens; however more new faces arrive into the space as the rehearsal begins, primed and ready to jump in.  An energetic burst sends people rushing to create a  ‘warm-up’ circle that mutates into a series of lines in order to review some phrases from their previous rehearsal. The “bow” dance flows as ‘End of Time”  is cranked up…the community radiates  warmth yet ‘koolness’ as they transition between steps. It’s clear they are enjoying grooving to Beyonce!

For Janet this is only her 2nd night…She came the night before and is excited to be present and moving. “So fun!” she proclaims… sweating & gleaming through the entire rehearsal. A full time dance teacher for Loyola Academy in Wilmette, Janet doesn’t perform as much as she did before; but when she heard about this project while at the Bates dance festival {yes much like Jacqueline}, she couldn’t resist the allure of Bolero Chicago…

more to come on Bolero & other ‘communal exchanges’ within the Chicago Dancing Festival in part 2 of Living the dance…For those interested in becoming part of this unique community performance, it’s not too late.  Bolero Chicago is looking for more people to be part of this wonderful community of dancers…stop by rehearsal tonite, 6pm,  at Nicholas Senn High School  Gymnasium – 5900 N Glenwood Ave, Door #10 to get involved right away or email Chicago Dancing Festival at info@chicagodancingfestival.com

Bolero Chicago living the dance at Senn HS
photo by Araceli Arroyo

Gateway to dance: exploring possibilities of communal exchange within the Chicago Dancing Festival

Dance has always been part of the vibrant cultural landscape of Chicago & my communal upbringing as a young person living on the south side in the 70’s & 80’s.  Upon returning here after a 20 + year hiatus, i am excited to begin looking more closely at how dance has permeated the everyday culture of this distinguished city.  What are the multiple ways in which dance can be experienced here?    How can Chicagoans explore dance as a communal exchange?   Enter Chicago Dancing Festival:  “From August 20-25, 2012, the Chicago Dancing Festival will present six days of FREE dance programs by artists from Chicago and across the country, to an anticipated audience of 20,000!   [The] mission is to elevate awareness of dance in Chicago and increase accessibility to the art form by presenting a wide variety of excellent dance that will enrich the lives of the people of Chicago, provide aspiration for local and future artists and raise the national and international profile of Chicago, furthering Chicago as a dance destination.”

Oft the most valued exchange in this contemporary society involves money. Communal exchange asks that one is not consumed with the expectation that they get their money’s worth, but look to the possibilities of what is being reciprocated, offered and experienced. With Chicago Dancing Festival providing an exciting array of  events at no charge, this opens up the possibilities that any and every Chicagoan can experience dance in multiple ways; without the money variable.  My particular focus will be on three interactions that highlight compelling dimensions of communal exchange:

Bolero dance Chicago, Larry Keigwin & Dancer’s ultra community collaborative project that includes the ‘everyday Chicagoan’ will be presented as part of the festival’s opening program, “Chicago Dancing” at the Harris Theater, Monday, August 20 & again as part of the Festival’s grand finale program, “Celebration of Dance” at  Pritzker Pavilion on Saturday, August 25.

Bolero Chicago prepares
Bolero Chicago prepares

– Choreographer Nicholas Leichter’s intriguing work with select young dance artists from the Chicago community program, Afterschool Matters, showcases alongside Bolero and other Chicago based companies including Giordano Dance Chicago, opening night of the festival,  Monday August 20th at 7pm.

After School Matters prepares

“Dancing Under the Stars” open community space, where ‘you can dance if you want to’ with a live orchestra’  immersed in the beautiful surroundings of Grant park on Thursday, August 26th at 6pm. Polka!

i would also like to take note  of the “Chicago Now”  discussion on the current state of dance in Chicago, Friday August 24th at 6pm.  Moderated by journalist and former dancer Zac Whittenburg, it features : Lane Alexander(Chicago Human Rhythm Project)Ron De Jesús (Ron De Jesús Dance)Carrie Hanson(The Seldoms) and Julie Nakagawa(DanceWorks Chicago). The program will also include brief performances by The Seldoms, Ron De Jesús Dance and FootworKINGz.  This evening complements the concept of communal exchange by giving essential insight to the artists’ experiences and process in ways, an audience may not get to learn of by just witnessing the work.

In looking at these multiple opportunities to experience the dance through communal exchange,   implicit is the cultivation – even inside just the act of witnessing a performance – of a meaningful relationship. Temporally this may only last an hour or two, but nevertheless both artist and audience participant are left with  lasting impressions. These moments go deeper into other aspects  & possibilities of communal exchange for Chicagoan to experience.

How might one  further define communal exchange?

For the past two decades i have been exploring communal exchange through my performative work with D UNDERBELLY, a network of artists of color from a vast spectrum of experiences.  Within the core of this concept is consideration for  the deepening of a vital relationship that draws upon the aspects of equity in which there are certain expectations to be met,  governed by our responsive energy to each other and cultivation of a shared space for thoughtful interaction.

If one becomes part of a communal exchange there is a illuminating experience where both audience/participant and performer are active and vital. building of a community takes place surrounding a common thread – in this instance dance.  We come to actively witness the process. We may get opportunity to learn ‘hands on’ from the artist the particular aesthetic or tradition;  allowing us to embrace its complexities and feel the flow of its moving force.  even dance the dance.

How might Chicagoans experience this communal exchange?

From now til the end of the festival,  i will be exploring more in depth discussion on what it means to be part of a  communal exchange inside the landscape of Chicago Dance Festival through witnessing & conversing with those involved in  Bolero dance Chicago, Nicholas Leichter & After School Matters, as well as  community members who wish to dance the Polka “Dancing Under the Stars”.

Returning back to my youth experiences on the southside, communal exchange was the gateway to dance for me; getting to witness the community i lived in construct performances, learn dances not from a ‘technique’ point of view, but ‘a-community-gathers-&-just-celebrates-moving-together point of view, dancing on stage to Gloria Esteban/Miami Sound Machine for “Footlites”, be simultaneously embarrassed yet inspired by my mother dancing at church functions and trying my hand at choreographing. It was such an important part of my upbringing, informing my professional inroads into dancing and art.  It allowed me to understand how dance can be part of the ‘everydayness’ of culture.  Chicago Dancing Festival can/may be that for many Chicagoans… A gateway…