Dancing While Black: jumpin’ fences program

Curated by Paloma McGregor (2014/2016 BAX Artist in Residence)

Featuring work by

Brother(hood) Dance! (Orlando Hunter and Ricarrdo Valentine)
Jonathan Gonzalez
Marguerite Hemmings
Sydnie L. Mosley
Candace Thompson
Shamar Watt

Friday March 4, 2016 @ 8:00pm

MARGUERITE HEMMINGS

we free, but you (I) still owe me (you)

Choreographer: Marguerite Hemmings

Performer: Marguerite Hemmings

Sound Mix By: DJ PUDGE

SYDNIE L. MOSLEY

SPENT (an epilogue)

Choreographer: Sydnie L. Mosley

Performer: Sydnie L. Mosley

Sound: Another Round

BROTHER(HOOD) DANCE!

Afro/Solo/Man

Choreographers: Orlando Zane Hunter Jr. & Ricarrdo Valentine

Performers: Orlando Zane Hunter Jr. & Ricarrdo Valentine

Sound: Canto a Elegwa (Yoruba) by Afrocuba, Fountain Hues, Uncle Bill Ray, Laura Mvula-Father Father, Death- Politicians in my eyes

 

 

SATURDAY, MARCH 5, 2016 @ 8:00pm

 

SHAMAR WATT

welcome to Di Jungle

Choreographer: Shamar Watt

Performer: Shamar Watt

Sound: Sebastian Bach, movado, Bob Marley

 

CANDACE THOMPSON

‘Neath de Mas’ (working title)

Choreographer: Candace Thompson project of ContempoCaribe

Performers: Candace Thompson, Alicia Dellimore, Shola Roberts, Brittany Williams

Sound score by: shamar watt music credit: Mavado- a fathers prayer, Young Millie- sk ratch out, Dr Seuss ABC (patwa version), Sizzla-rise to the occasion

 

JONATHAN GONZALEZ

the proto series: wild thing

Concept & Design: Jonathan Gonzalez

divider line ffe293 700x1

BIOS

BROTHER(HOOD) DANCE!

Orlando Zane Hunter, Jr is a choreographer who researches, illustrates and creates from an African-American male perspective. In his work he tackles issues resulting from a capitalistic imperialist patriarchal white supremacist system. Hunter grew up dancing hip-hop and graduated with a BFA in Dance from Univ. of Minnesota, where he performed works by Donald Byrd, Bill T. Jones, Carl Flink, Louis Falco, Colleen Thomas, Uri Sands, Stephen Petronio and Nora Chipaumire. His solo “Mutiny” was selected to represent the University of Minnesota at the 2011 ACDFA gala in Madison, Wisconsin. Orlando studied LGBT activism and history in Amsterdam and Berlin. He has performed with Christal Brown/INspirit Dance Company, Contempo Physical Dance, Forces of Nature, Makeda Thomas, Threads Dance Project, TU Dance and Ananya Dance Theater, an all women’s company where he was the first male member and toured with them to Trinidad & Tobago and Zimbabwe. Hunter is a co-founder of the collective Brother(hood) Dance! In addition, he is a 2015/16 Dancing While Black Fellow.

Ricarrdo Valentine uses dance and technology as a vehicle for activism. Ricarrdo’s education includes Urban Bush Women: Summer Leadership Institute, Bates Dance Festival and Earl Mosely Institute of the Arts. He has presented his choreography at Bates Dance Festival, Brooklyn Museum, El Museo de Barrio and LaGuardia Community College. Ricarrdo continues to collaborate and work with Christal Brown/INspirit, Edisa Weeks/Delirious Dance, Paloma McGregor, Dante Brown/Warehouse Dance, Malcolm Low/Formal Structure, Jill Sigman/Thinkdance, Ni’Ja Whitson-Adebanjo/NWA project, Andre Zachary/RPG and Emily Berry/B3W. Ricarrdo Valentine is a 2015 mentee in the DanceUSA Institute Leadership Training program with Jaamil Omawale Kosoko as his mentor. In addition, he is a 2015/16 Dancing While Black Fellow. In April 2014, he became a co-founder of Brother(hood) Dance!, presenting works at Dixon Place, VCU-Grace Street Theater, BRIC Media Arts, Bronx Academy of Arts and Dance! (B.A.A.D!), Center for Performance Research Denmark Arts Center and others spaces in NYC and abroad.

 

JONATHAN GONZALEZ 

 

MARGUERITE HEMMINGS is Jamaican born, raised in New Jersey, and has been living in NYC for the past 10 years. She graduated from Columbia University in Education and Urban Studies. As a dancer, Marguerite specializes in street styles, social dances, hip hop, and dancehall, and has been training in modern and West African. She currently teaches Experimental Dancehall, a term she has coined to capture her love of dancehall/reggae culture, music, and dance as well as her love for movement exploration, improvisation, and challenging norms and expectations of how we express ourselves.

Marguerite’s work also centers around social change. She has received grants from the Jerome Foundation, Brooklyn Arts Council, and University Settlement to further her work as an artist/organizer. She co-founded a youth empowerment dance intensive, the New York Youth Movement Collaborative. She is a teaching artist/artist in residence with University Settlement. She recently finished a self-directed video project called Blacker the Berry, part of an overarching multimedia endeavor called ‘we free’ that explores the millennial generation’s take on liberation. The first installment of ‘we free’ was recently shown at Gibney Dance’s Double Plus Series, curated by Jawole Willa Jo Zollar. She is honored to be a Dancing While Black Fellow, with this specific group, at this specific time.

 

SYDNIE L. MOSLEY is an artist-activist and educator interested in work that is both artistically sound and socially aware. As a 2015-2016 Dancing While Black Fellow she is currently investing in her own healing and self-care through her creative process and the communities supporting that process. She produced her second evening length work BodyBusiness as a 2015-2016 Artist in Residence at The Performance Project at University Settlement, which interrogates the economics of the dance field. She is also the recipient of the The Field’s Leadership Fund Fellowship 2015-2017. Sydnie earned her MFA from the University of Iowa, and her BA in Dance and Africana Studies from Barnard College, Columbia University.

As a performer, Sydnie danced with Christal Brown’s INSPIRIT: a dance company from 2010-2013, and continues to be a guest artist for Brooklyn Ballet, since 2009. Of her broad work in education, she is currently most excited about consulting with the Barnard College undergraduate humanities course, “The Worlds of Ntozake Shange and Digital Storytelling,” to develop a movement curriculum to accompany the study of Shange’s work.

 

CANDACE THOMPSON of Trinidad and Tobago, is a dancer/choreographer/performer, and a graduate of Adelphi University fluent in several forms including Modern, Contemporary, Caribbean/Diasporic, and Soca Dance. She currently performs with Renegade Performance Group, Sydnie L. Mosley Dances, Areytos Performance Works, and her own work ContempoCaribe, and is the founder of Dance Caribbean COLLECTIVE. Candace is a part of the Dancing While Black Fellowship Cohort 2015/2016. www.candacedancefitness.com.

 

SHAMAR WATT is a conscious artist born in Kingston, Jamaica, he was raised in both Jamaica and Miami, FL. Most of his life, he’s been involved with sports (mainly basketball/football), he started dabbling with Dance by doing freestyle hip hop and dancing in his home church during his later years in high school. He started his technique training (on the side) at Miami Dade College under the direction of Michelle Grant Murray where he was introduced to West African, modern and ballet dance techniques. Before transferring to Florida State University he received his Associate’s Degree in psychology, he recently graduated with a BFA in Dance and minor in psychology at Florida state University. Shamar has worked with Artist such as Ronald k. Brown, Nora Chipaumire, Jawole Zollar, Netta Yerushalmy, John Jasperse and more. What drives Shamar as an artist, is the aim, dedication, and declaration to the emancipation and liberation of the whole self­ mind, body and soul for first himself, the people, and for mankind.

 

Paloma McGregor is a Caribbean-born choreographer, writer and organizer living in Harlem. An eclectic artist, she has structured improvisation for a floating platform in the Bronx River, choreographed an Afro-futurist pop opera at The Kitchen and devised a multidisciplinary performance work about food justice with three dozen community members and students at UC Berkeley. Since 2011, Paloma has been developing Building a Better Fishtrap, an iterative performance project rooted in her 90-year-old father’s vanishing fishing tradition. The work examines what we take with us, leave behind and return to reclaim. Paloma was a 2013-14 Artist In Residence at NYU’s Hemispheric Institute for Performance and Politics and is currently an Artist In Residence at BAX/Brooklyn Arts Exchange. She is director of Angela’s Pulse and founder of Dancing While Black. She also facilitates technique, creative process and community engagement workshops around the world. She toured internationally for six years with Urban Bush Women, and continues to perform in project-based work with choreographers including Liz Lerman, Jill Sigman, Cassie Meador and Marjani Forte.

 

ANGELA’S PULSE creates and produces collaborative performance work dedicated to building community and illuminating bold, new stories. We provide a home for interdisciplinary collaborations that thrive on both politics and play, and we are committed to developing timely performance works that provoke, inform and inspire. Co-founded by Paloma and Patricia McGregor, Angela’s Pulse was named for their mother Angela, an artist, teacher and activist who continues to inspire their work. Learn more at angelaspulse.org.

Angela’s Pulse receives funding for Dancing While Black from the Surdna Foundation and Dance/USA’s Engaging Dance Audiences. The Surdna Foundation seeks to foster sustainable communities in the United States — communities guided by principles of social justice and distinguished by healthy environments, strong local economies, and thriving cultures. Engaging Dance Audiences is administered by Dance/USA and made possible with generous funding from the Doris Duke Charitable Foundation.

divider line ffe293 700x1

DANCING WHILE BLACK

Dancing While Black is an artist-led initiative that supports the diverse work of Black dance artists by cultivating platforms for process, performance, dialogue and documentation. We bring the voices of black dance artists from the periphery to the center, providing opportunities to self-determine the languages and lenses that define their work.

Dancing While Black operates at the intersection of aesthetics and organizing. Central to the work is building partnerships – with presenters, organizers, curators and artists. Since 2012, Dancing While Black has established ongoing partnerships with Bronx Academy of Arts and Dance, NYU’s Hemispheric Institute of Performance and Politics, Human Rights Project at the Urban Justice Center, Purpose Productions and Urban Bush Women.

Our partnerships are rooted in a mutual commitment to equity and serving the needs and visions of artists. In a field that encourages individualism, our work prioritizes community building. We celebrate that there is a momentum building around shifting the dance landscape, and we are committed to help shepherd these efforts. Our commitment to equity requires our solidarity with others who are also doing the work.

 

jumpin fences

Witness experiments, early constructions and visions in progress from the 2015-16 Dancing While Black Fellowship class. These emerging artists have spent the past six months building community through workshops with master teachers, communal dinners and a public discussion at BAX. The Fellowship, a program of Angela’s Pulse, is part of Dancing While Black founder Paloma McGregor’s ongoing commitment to community building and centering the voices and visions of black dance makers.

 

2015-16 DANCING WHILE BLACK FELLOWS

Brother(hood) Dance! – Orlando Hunter & Ricarrdo Valentine
Jonathan Gonzalez
Marguerite Hemmings
Sydnie Mosley
Candace Thompson
Shamar Watt
nyz zierhut

Director, Paloma McGregor
Project Manager, Marýa Wethers
Marketing Manager, PURPOSE Productions