Bernard Pomerance, 76

Bernard Pomerance, Who Wrote ‘The Elephant Man,’ Dies at 76
by Neil Genzlinger, The New York Times, August 29, 2017

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Jay Thomas, 69

Jay Thomas, Actor on ‘Murphy Brown’ and ‘Cheers,’ Is Dead at 69
by Neil Genzlinger, The New York Times, August 24, 2017

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Brian Aldiss, 92

Brian Aldiss, Author of Science Fiction and Much More, Dies at 92
by Sam Roberts, The New York Times, August 24, 2017

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John Abercrombie, 72

John Abercrombie, Lyrical Jazz Guitarist, Dies at 72
by Giovanni Russonello, The New York Times, August 23, 2017

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Janusz Glowacki, 78

Janusz Glowacki, Polish Playwright of Terror and Dark Humor, Dies at 78
by Neil Genzlinger, The New York Times, August 22, 2017

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Jerry Lewis, 91

Jerry Lewis, Mercurial Comedian and Filmmaker, Dies at 91
by Dave Kehr, The New York Times, August 20, 2017

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What's CURRENT: the CURRENT SESSIONS returns to Wild Project

Curated and produced by Alexis Convento, this season's edition of the CURRENT SESSIONS at Wild Project features performers exploring the concept of embodied resistance. I attended last evening's hour-long show, REFUSE, solos by three artists of color--NIC Kay, Samantha CC and Jonathan Gonzalez.

Of these, only Samantha CC kept us staring at the stage and confined to our seats and the building itself the entire time, which seemed appropriate. After all, her gentle, mellifluous singing, in Sanctuary--second work on the bill--invoked the condition of being settled into the physical state, Black and female, sanctuary for an ethereal soul, a home offering stability, place, placement to something that would otherwise easily flap away, a home offering visibility and audibility and, presumably, power. "I know that the body is a temporary home...a temporary home...a temporary home for my soul." Which brings up this thought in me: While you've got it, use it.

From our temporary perches, we watched this quiet exultation issued from a woman who first presented herself panting and costumed in plastic trash bags she clawed and scraped from her limbs to reveal a body stocking, underwear, one breast covered by the doves' feathers. If we passed her outside on an East Village street, she would be the homeless person famous for incoherent mumbles or formidable rants. Here, she is sweet-voiced, lucid, illuminated and illuminating. A New Age medium.

Sanctuary was described as "a multi-media performance speaking to technology's ability to both restrain and liberate." Honestly, I can't say I saw that, but I did see the body's ability to both restrain and liberate--an idea I found more intriguing.

The evening opened with the audience suddenly, inexplicably uprooted from the seats we'd just sunk into. We were directed, instead, to the sidewalk where it took a while to notice an unassuming figure turned from us and leaning with forehead pressed against the building's white-washed brick wall. Standing under the building number, 195, was this dancer in a sleeveless unitard of black with star-like speckles. White strings from several buoyant balloons--translucent milky white save for one Mylar silver pillow balloon--coiled around the dancer's neck. It was NIC Kay beginning Get Well Soon!, a dance that would gradually move them over the sidewalk, out into traffic, across the street to the edges of a dumpster and finally back to the lights of the Wild Project stage.

Described as "a loose meditation on the often used wish of recovery"--and what self-care, recovery and wellness mean in the context of the perennial trauma and threat to Black lives--Get Well Soon! played a serious game with the mind. Kay uses limber flow to sprawl around space and a crunchier, jerking motion to re-position limbs and torso, both strategies rigorously controlled by this skilled performer. Their form is profoundly elegant while bold in assertiveness; their body--crouching, lunging, squatting, splaying--embraces gravity while those well-anchored balloons brightly incline heavenward. The body is like, "I'm doing what I'm doing, regardless." The balloons are heedless of this. They are pretty, a little silly in a way but...yeah, pretty, especially in this mellow summer night on an East Village street. You can't take your eyes off any of this. And you can't help some ambiguity about what you're watching. I can't see this Black body with cords wrapping around the neck and extending up into the air and not think about lynching.

Kay is wicked smart, an exacting performer with a divx quality I will dare call classic glamour. Catch them next chance you get.

I also like Jonathan Gonzalez because I never know what to expect from this guy.
This time, for Ikarus, he showed up in blackface, wearing a shiny Mylar-silver jacket and carrying a huge, scarlet Valentine balloon he ultimately draped around an audience member's neck. A lot of bizarre things happened in Ikarus including a chilling version of "Ghost Riders in the Sky"--yippie yi ooh yippie yi yay--and some foolery in which Gonzalez hid out of viewing range and some of us shot out of our seats to try to find him only to be stymied by the theater's lights flipping on and off, and then he returned in a duck mask to dance his ass off and quite well, mind you, having his own divx quality. Can't say what any of this was about but the short version of his description reads "Escape is exactly the distance between a dirt bike and the will to leave." Oh, and something like that happened, too, ending the show with the audience once again up on its feet and gazing from the lobby out onto Third Street.

As always, I have no idea exactly what you'll encounter if you venture over to the CURRENT SESSIONS for the series' last show tonight, since it's a different draw of artists. (The first evening, RESCUE, offered works by Gregory King and Megan Young; Raha Behnam; and Elena Rose Light.) But Alexis Convento has keen eyes and provocative taste. She always takes risks, and it's worth your doing so, too.

The CURRENT SESSIONS: Volume VII: On Resistance concludes this evening with RESTRICT, featuring works by Dalel Bacre, Dorian Nuskind-Oder and Simon Grenier-Poirier, and Tina Wang and Tingying Ma at 8pm. Click here for information and tickets.

Wild Project
195 East 3rd Street (between Avenues A and B), Manhattan
(map/directions)

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Dick Gregory, 84

Dick Gregory, 84, Dies; Found Humor in the Civil Rights Struggle
by Clyde Haberman, The New York Times, August 19, 2017

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Paul Oliver, 90

Paul Oliver, Pre-eminent Authority on the Blues, Dies at 90
by William Grimes, The New York Times, August 17, 2017

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Fadwa Suleiman, 47

Fadwa Suleiman, Actress and Voice of Syrian Opposition in Exile, Dies at 47
by Sam Roberts, The New York Times, August 17, 2017

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Antonio Ramos: For love of the body

L-r: Antonio Ramos, Darrin Wright and Alvaro Gonzalez
in Almodóvar Dystopia, premiering next month at Dixon Place
Below: l-r, Wright, Gonzalez, Luke Miller and Ramos
(photos: Peter Yesley)

When I read about Antonio Ramos and The Gangbangers planning a world-premiere Dixon Place commission described as "part Latinx-flavored 'asstravaganza,' part humorous celebration of queer culture, and part an outrageous political statement against the body-negative and repressed nature of the world we live in" and, btw, "the work is performed in the nude," I must admit I thought: 'Great. Queer. Check. POC. Check. Nude and body positive. Check and check. Dixon Place. But, of course." I envisioned the delightfully Tricksterish Ramos bringing coals to Newcastle or...whatever would be the appropriate metaphor in this case. The famously-inclusive, provocative Dixon Place is not exactly enemy territory for any of the communities or sensibilities Ramos represents.

The work's title, Almodóvar Dystopia, references Spanish film director Pedro Almodóvar with whom Ramos feels creative kinship. Award-winning playwright/director/actor David Drake is onboard as dramaturg, and Ramos is joined in performance by Luke Miller, Darrin Wright, Alvaro Gonzalez Dupuy, Angie Pittman, Sarah White-Ayón and Awilda Rodriguez Lora--a diverse cast who "cull exaggerated personae from their personal backgrounds, exploring the challenges, anxieties, and neuroses entailed in the process of dance-making."

I asked Ramos, the self-identified "Queer-Puerto-Rican-Cha-Cha-Heels-Shaman," to share more about the mission and vulnerability behind the new work and how he hopes to relate to his audiences. Here are some excerpts from his remarks.

******

I wish an audience that is not used to seeing this kind of work would come to see it. I really want people to understand the importance of body respect and that, in my work, all bodies are beautiful. Right now, in society, there’s this whole thing about how the body should look and how the body should be. That’s affecting us on so many levels, even in the queer community. We call each other names, and I have a problem with that.

I’m actually doing a lot of work on genitals in Almodóvar Dystopia, about how society views genitals as disgusting, taboo, that we constantly have to cover them. It’s an issue I deal with myself: why, if we are made beautiful, we have to cover, and we treat people like they are perverts. To me, that’s the perversity–finding the nude body disgusting and sinful.

It has also been hard for me to find dancers who have that sense of freedom and to deal with photographers who have strict limits on what they can show in their photographs. They don’t have to be rude about it, though. If you’re a photographer, you should find a way to work with the nudity. Their discomfort can be funny, but it’s also offensive to me. Again, it’s the issue of how we deal with genitals in this country. For me, the body is sacred. This is the real thing. We’re real people who sweat. We’re real people who shit and fart.

I am grateful for my dancers' courage, for being vulnerable and naked with me, and for believing in the work.

When you look at Almodóvar’s work, I think he’s always been interested in Hollywood and how to copy Hollywood. I’m not interested in that. I’m more interested in his process and how that process of creating is very similar to mine. It’s almost like the meta of the meta of the meta. Kind of doing a play that is being recorded or making a film of and, at the same time, you see the inside of the film, and you see the actors showing you the process of making the film. I do that a lot--show you how the work is done. I have a collage of images--things happening right now, things happening to me, things happening in the world, in Latin America. I’m excited to work with David Drake as my dramaturg. He has been really great.

I’m using elements I haven’t used before, like green screen and livestream. My video designer Alex Romania has helped me with that. Live music. I wanted to make it like you’re in the studio making a film, making a dance and trying to make sense of this mess we live in.

I feel like I have to get my voice out there, and this is my practice to deal with how we are treating one another.

In terms of shamanism, it is my spiritual practice, and I’m trying to do it within my dance. It is my way of living, my way of breaking through. It’s not a dogma, not a religion, not a rule, but more things that come through nature. I feel related to that. A lot of the source material comes from my journey, connecting with nature. Some of this is connected to my mother’s illness and death.

I’ve always been interested in herbalism. I’m a massage therapist. I like energy work. I’m very involved with all that. This sustains the work and my practice as a shaman, as a healer. And I go in nature, I get undressed, and I do my little video in the sea, in the mountains. And somehow that material gets filtrated into the dance, and the dancers learn from these improvisations. The process keeps changing, but the process also keeps creating and setting things from that process.

I don't want to give too much away about the piece, but I always have food in my pieces, and it's a symbol of unity and family, getting people together--the warmth of the food, the sweetness of it. It's part of my Latin culture.

In Almodóvar Dystopia, it's a gift to the audience. I'm grateful to the audience for taking this journey with me. Regardless if you see me as dirty, nasty, queer, perverse, there's always the sweetness. 

I hope people laugh and have fun!

******

Antonio Ramos is a dancer, choreographer, and licenced massage therapist / Feldenkrais practitioner from Puerto Rico whose recent work has been presented at American Realness, The Center for Performance Research, JACK, and Museo del Barrio. He is currently a resident artist at Gibney Dance and Danspace Project. Ramos is the artistic director and choreographer for Antonio Ramos & the Gangbangers. As a performer, Antonio has danced with choreographers Mark Dendy, Neil Greenberg, Jeremy Nelson, Stephen Petronio, Merian Soto, Kevin Wynn, Ori Flomin, Donna Uchizono and Larissa Velez-Jackson/YACKEZ, among others.

 The Gangbangers find inspiration in pop music, queer identities,  shiny objects, all forms of dance, and the fabulous way a wig can enhance how one presents themselves to others.

Catch Almodóvar Dystopia at Dixon Place on Fridays and Saturdays, September 15-30 at 7:30pm. For information and ticketing, click here.

Dixon Place
161A Chrystie Street, Manhattan
(map/directions)

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Gibney's new Center Line season presents Long Table convos

I'm looking forward to a new season in the arts in New York!

Please join me on September 27 and November 8 

for two special Long Table conversations 

at Gibney Dance, 

free and open to all!

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Center Line Conversation Series

Gibney Dance: Agnes Varis Performing Arts Center

Curated and facilitated by dance writer and independent curator Eva Yaa Asantewaa, Center Line is a conversation series highlighting issues concerning the dance community. Center Line conversations will adopt performance artist Lois Weaver’s non-hierarchical Long Table format to encourage “informal conversation on serious topics.”


Casting About: About Casting
Wednesday, September 27 at 6:30pm

Initiated by Yanira Castro, Casting About: About Casting will explore present day dynamics of cast, audience and choreographer. What does a cast represent? How does access to resource affect the composition of a cast, and does this change the relationships between performers, the work and the choreographer? Does the mutability of the contemporary performer challenge or stimulate creativity? Invited participants include Yanira Castro, Aaron Mattocks, Judy Hussie-Taylor, Kyle Bukhari and Leslie Cuyjet.


Moving into Writing
Wednesday November 8 at 6:30pm

Moving into Writing considers approaches to the written word as response to, collaboration with and documentation of dance and performance. What can writers and dancers learn from each other? What role do writers play within local, national and international dance ecosystems? How can dance artists best interact with critics, scholars and creative writers in their field? Participants may bring one sample written about or for dance, to share if time permits (350 words, maximum). Invited participants include Maura Donohue, Ishmael Houston-Jones, Paloma McGregor, Tara Sheena and Marissa Perel.

******

For information on this and all Gibney Dance programming for Fall 2017, visit Gibney Dance Center here.

Gibney Dance: Agnes Varis Performing Arts Center
280 Broadway (entrance at 53A Chambers), Manhattan
(map/directions)

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Joseph Bologna, 82

Joseph Bologna, Onscreen Tough Guy With a Sense of Humor, Dies at 82
by Anita Gates, The New York Times, August 14, 2017

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Barbara Cook, 89

Barbara Cook, Broadway Star Who Became a Cabaret Mainstay, Dies at 89
by Robert D. McFadden, The New York Times, August 8, 2017

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Arnold sisters tap, make dreams at Lincoln Center OOD

Chloe Arnold (left) and Maud Arnold
(photo: Vaughn Dabney)

In the field of tap, dancer-choreographers Chloe Arnold and Maud Arnold stake out territory in a place of contemporary sound and attack, aiming to take the art of tap to folks whose tastes run to music styles like R'n'B, rock, funk, rap and Latin pop. Did you make it to last evening's Lincoln Center Out-of-Doors performance of Where Dreams Are Made in Hearst Plaza, featuring the Arnold sisters and their Apt. 33 troupe? If so, you heard, among other things, Ed Sheeran's "Shape of You," Sean Paul's "So Fine," John Legend's "Ordinary People" and "Glory," Beyoncé's "Run the World," Mark Ronson's "Uptown Funk," Andra Day's "I Rise Up," Eminem's "Not Afraid," Jay Z's "Empire State of Mind" and a trio of Prince bestsellers. You also heard, from one song to the next, the troupe layering on a fairly uniform staccato, hard-heeled, hard-charging tap in their rangy, loose-limbed style. Power tap for the people!

Apt. 33 re-envisions Eminem's "Not Afraid" in Charles Renato's 2016 video, featuring is That Asha.

Where Dreams Are Made seemed overly segmented, each bit limited by the length of its popular song and encouraged to lock itself within a certain forceful register (even if, as in "Ordinary People," the song seemed to call for a more vulnerable approach). The sisters' in-between patter advocated more love and unity and sisterhood/brotherhood and exhortations to affirm ourselves as "amazing." I can appreciate that; the Arnolds absolutely do physical and psychic upbeat like nobody's business. Their entire project is the dance equivalent of an energy drink. But as a fan of tap (and, maybe, because I'm an introvert), I also have a longing for some of the other things tap has always done well--softness, juicy lyricism and fine, adroit detail, soulful reflection and nuance, sound that goes on walkabout, winding us through diverse terrains where new, unprecedented things await discovery. I love, sometimes, to hear "I love you" whispered, not always a shout.

Where Dreams Are Made has concluded, but you will find a world of interesting, free events at Lincoln Center Out of Doors, now through August 13, by clicking here.

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Robert Hardy, 91

Robert Hardy, British Actor Who Played Churchill Often, Dies at 91
by Anita Gates, The New York Times, August 4, 2017

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Tribute to Bollywood premieres at Lincoln Center's Damrosch Park

Scene from Bollywood Boulevard: A Journey through Hindi Cinema
with Proma Khosla (left), Manav Gulati (center) and Pranav Patel (right)
(photo: Kevin Yatarola)

Bollywood came into my life after an injury left me unable to do much more than prop up my wrenched body in a somewhat less painful way and watch Netflix. I started mainlining as much Shah Rukh Khan as I could find, first intrigued by a news story about the Indian superstar's repeated detentions by immigration authorities at U.S. airports. (“Yes, it always happens. Whenever I start feeling arrogant about myself, I always take a trip to America,” he joked.) And I stuck with Bollywood not only for its charming, multi-talented "King Khan" but also out of helpless fascination with a form of entertainment that gave everything you could possibly ask for...and gave some more...and then some.

A storyline long enough--often up to three hours with an announced intermission!--and twisty enough you get lost in it and forget your troubles. Everything from slapstick and farce to tragedy, rollercoaster romance to action/adventure. Insight into social realities of family, friendship, class and religious conflicts, traditional values vs. modern desires, women's empowerment--check out the great Chak De! in which Khan coaches a women's national field-hockey team--and more. And big, fanciful music and dance production numbers to rival Hollywood, Broadway, MTV and YouTube combined. Most if not all of this often in a single film! I learned early to not fight the thing, just kick back and let Bollywood work its magic. I am grateful to Netflix and Bollywood for my healing.

To a lesser degree, I'm grateful to Lincoln Center Out-of-Doors for last night's celebration of Bollywood history, tradition and personalities--Bollywood Boulevard: A Journey Through Hindi Cinema--a world premiere presentation at Damrosch Park Bandshell. It was a lovely night with, thankfully, just a half-hearted sprinkling of New York summer rain. Produced by Heena Patel and Rushi Vakil and choreographed by Rohit Gijare, the 90-minute show briskly surveyed Bollywood music hits, dance styles and iconic performers through several decades of development. It was exuberantly performed, colorful and entertaining-- wonderfully nostalgic too, I'm sure, for audience members of the Indian diaspora.

For non-Indian and relative newbie fans like myself, though, too much breezed by (for example, the names of individual songs and films briefly posted in the upper left corner of the video screen, referring to--I could not tell--either the previous song or the one just starting). The tribute to identified "game-changers" like A. R. Rahman, Bappi Lahiri and the trio of Shankar–Ehsaan–Loy sent me right to Google this morning to find out more about these gentlemen whose images appeared behind the stage as their songs, varying in style, were played and sung. Aside from feeling a bit swept away by all of this stimuli and its pace--not an uncommon thing with Bollywood--I enjoyed the dancers, musicians and vocalists and surrendered to the condition of just not having enough information at hand. I think LCOOD is often like that, and we all have fun with it anyway.

On Tuesday, regrettably, I had missed India’s Identities through Bollywood Cinema: How Bollywood Sees Us, the festival's panel tracing Bollywood's role in "uniting people from different religious, ethnic, linguistic, economic, and class backgrounds," its "multitude of voices." But I will try to make up for it on my own, in coming weeks, with a dedicated new round of Netflix research.

Dancers:

Aliyaa Islam, Aria Dandawate, Avinash Gabbeta, Barkha Patel, Bindi Patel, Geatali Tampy, Heena Patel, Manav Gulati, Minal Mehta, Payal Kadakia, Poonam Desai, Pranav Patel, Proma Khosla, Rhea Ghosh, Rohit Gijare, Rohit Thakre, Sean Kulsum

Musicians:

Achal Murthy (bass), Varun Das (drumkit), Niranjan Nayar (guitar), Rohan Prabhudesai (keyboard), Sanjoy Karmakar (percussion), Harini (Rini) Raghavan (violin)

Vocalists:

Harini (Rini) Raghavan, Harshitha Krishnan, Krishna Sridharan, Neel Nadkarni

Bollywood Boulevard: A Journey Through Hindi Cinema has concluded, but you will find a world of interesting, free events at Lincoln Center Out of Doors, now through August 13 (OMG, Bonnie Raitt!!!), by clicking here.

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Danni Gee celebrates Ailey and ten years with SummerStage

Danni Gee performs her solo
in Judith Jamison's Riverside.
(photo: Roy Volkmann
for Alvin Ailey American Dance Theater)

On Wednesday, August 16, Dance Films Association and SummerStage will co-sponsor a screening of Great American Dance: Alvin Ailey American Dance Theater at Central Park's Rumsey Playfield.

In addition to Revelations, the beloved Ailey signature piece, the documentary features Wayne McGregor’s Chroma, Ronald K. Brown’s Grace, Robert Battle’s Takademe as well as behind-the-scenes interviews with members of the troupe. Doors open at 7pm, and the screening starts at 8pm.

The screening is free and will be preceded at 6pm by a special Revelations workshop, which is also free. To attend the workshop, you must pre-register with an RSVP to: RSVP@CityParksFoundation.org.

Danni Gee, formerly a principal dancer with Philadanco and Ailey, celebrates her tenth season this year as curator of dance for New York's SummerStage. Below, read her reflections on recovering from career-ending hip injury, pursuing her passion for music and the happy opportunity, now, to partner with Dance Films Association in presenting an evening devoted to the glories of Ailey.

Danni Gee and Leonard Meek in Ailey photo shoot
(photo: Andrew Eccles)

EYA: I'm curious about any support you might have called upon as you moved towards a new career following your dance injury. Who or what could you call upon--particularly as a woman and as a woman of color--for practical or psychological or moral support as you stepped into an important new role?

DG: When I initially stopped dancing, I went into a pretty deep depression. My family helped as best they could, especially my mother, but in hindsight, I should have gotten professional help. Getting therapy, unfortunately, was something that was frowned upon; too much stigma attached to it.

I believe what saved me was turning to music. I reconnected with Kathy Sledge, of Sister Sledge, whom I worked with as a backing dancer briefly before joining Alvin Ailey, and she hired me again, but this time as a singer. I toured with her for close to eight years as "the baby sister." Around this time, I also started my band Suga Bush. Writing and performing really helped me through that dark time.

I did seek help years later, as there was still lingering sadness. My therapist helped me properly mourn the loss of my dance career and fully embrace my new life.

EYA: What challenges did you face in the beginning? How did you learn to cope with them?

DG: In the beginning, the challenges were mostly dealing with the loss of my dance career and artist life. So much of my identity had become enmeshed with being an "Ailey dancer." Along with that, there were some financial challenges. I received compensation, as it was a work-related injury, but it is only a portion, as you know, of your salary and doesn't last forever. Thankfully, I naturally have a pretty buoyant personality. I refused to let myself get too down as I was truly grateful to have had at least the experience to dance for two such wonderful companies [Philadanco and Ailey].

I eventually landed in fitness and started teaching aerobics. I was also starting to make some money from singing which was great. I have been blessed to not only sing with Kathy Sledge but also Gloria Gaynor and Cher.

The position with SummerStage literally fell in my lap some ten years after I stopped dancing. I was recommended for the position by then-Theater Director, Freedome Bradley. Initially, the challenges came in the administrative side of the position: drafting contracts, artist payments, etc. I had never done that kind of work before. I had a great set of people around me and a fantastic mentor in Alexa Birdsong, who was the Director of Arts at the time. The other difficult part was having to say no to artists and companies who were looking to perform at the festival. Some of these people were friends I've known through my own dancing career. But, over time, I learned that not everyone is ready, and being truthful is best.

EYA: What has been some of the rewards of working as a curator for SummerStage?

DG: The biggest reward for me has been giving a platform to some truly talented artists who might not otherwise have been given such an opportunity in this city and definitely for companies of color. It's also rewarding for me to know that I am continuing Alvin Ailey's mission of "giving dance back to the people." I think concert dance can still feel very exclusionary to people, and I want our audiences to know that dance is for everyone. The other joy has been reconnecting with dancers and choreographers I've known for over 20 years, either through booking them to appear at the festival or having them attend a performance.

EYA: What lessons and values did you take away from your years with Philadanco and Ailey that you have found invaluable in your work in music and in curation?

DG: Discipline, discipline, discipline. You have to do the work to get results. Good time management is also key. And staying healthy, especially when we're in season. And being a team player. Knowing how to navigate through various personalities whether as a leader or part of the group is important. When you've toured with forty people for sometimes up to three months at a time, you learn this. And respect for others' time, space and individuality.

EYA: What's most exciting for you about the SummerStage screening of Great American Dance: Alvin Ailey American Dance Theater?

DG: I am excited to share a film about a company that has been such a HUGE part of who I am and who I STILL am. Also, with this being my 10th anniversary season, I wanted to celebrate my legacy with SummerStage which includes dancing on this very stage with Ailey in 1993!!! I also love these ballets that are going to be shown in the film. It really shows the breadth of the company's repertoire and talent.

EYA: Tell us about the pre-screening Ailey dance workshop at 6pm.

DG: The workshop will be led by the amazing Nasha Thomas, also a former Ailey dancer. We were in the company together at the same time. She is now the National Director of AileyCamp/Spokesperson & Master Teacher for Arts In Education. I believe another Ailey diva from my time will also be on hand to assist, Miss Renee Robinson! The attendees will get to learn sections of Alvin Ailey's masterpiece "Revelations," namely, "I Been Buked," "Wade in the Water," and Rocka My Soul." It's the first time we've ever done a dance workshop at our Central Park location. I have them typically before all of my CityWide dance programs. Also, the class will take place on stage!

EYA: Do you have ideas or plans for future collaborations with Dance Films Association?

DG: Yes, I would love to collaborate with DFA in future seasons. They have been amazing to work with, with a special nod to Galen Bremer. Just lovely. I am looking forward to discussing several ideas for next year.

EYA: New York City has put an enormous effort into delving into how its arts organizations can better reflect and serve its many communities. When you think about our city's needs--and the needs of artists--what's top of mind for you?

DG: Maintaining diversity. Making everyone feel included. The fact that we have so many free programs including music, dance, sports and so forth, is incredible. We are also doing a lot more surveying at our programs to see what the reactions are and to inquire what people would like to see in their communities. There needs to be an open dialogue so our participation in their neighborhoods is not a forced marriage.

For SummerStage, I think the increased dialogue with community leaders, residents and centers is key. Maintaining respect with the community is fundamental, and listening to feedback, good and bad, whether it's from our audiences or the artists themselves is necessary.

EYA: Is there anything else that readers should know or might like to know about you, about SummerStage 2017, about the DFA collaboration or this specific screening?

DG: About me? Well that I am still active in my music endeavors, that I am very passionate about the work that I do here at SummerStage and that if you see me out in the park, you can always come up and say hello!

We are about two thirds of the way through our season and we have some incredible shows coming up in August and some benefit concerts (ticketed events) going into October.

Specifically about the film? Just come and enjoy a nice night out in the park, watching a film about one of the most iconic dance companies in the world. There are some great on-camera interviews and rehearsal footage as well.  We may also have a special guest coming to introduce the film, but I can't give that away!

*****

SummerStage at Rumsey Playfield, Central Park
(map/directions)


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Sam Shepard, 73

Sam Shepard, Actor and Pulitzer-Winning Playwright, Is Dead at 73
by Ben Brantley, The New York Times, July 31, 2017

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