Okpokwasili and Born's "Adaku's Revolt"

Okwui Okpokwasili
(photo: John D. & Catherine T. MacArthur Foundation)

Adaku's Revolt
Okwui Okpokwasili and Peter Born
Abrons Arts Center
March 14-24

One young black girl becomes alert to her inner signals, finds the strength to resist expectations, and revolts against efforts to straighten her hair. -- from Abrons Arts Center's website

Out of the blue, a thought visited me over breakfast today:

No, you can't touch my hair. My hair is part of my body. I do not give you permission to touch my body. So, why do you think you can touch my hair?

I'd swear I don't know where that came from, but I do know it's something I should have said, years ago, to one man--the husband of a fellow dance critic--whose white hand shot out and touched my woolly head. Happened so fast, I didn't have time to cringe, flinch or launch a preemptive strike, which I now so wish I had done.

And I also know Okwui Okpokwasili (with director/designer Peter Born) must have triggered something with a new ensemble work, Adaku's Revolt, just opened at Abrons Arts Center. It's not about white people touching Black people's hair, the site of both painful and glorious historical experience and culture. But it is about how white aesthetics touch Black people's hair...and bodies...and values...and lives.

Dear Okwui, as you must imagine, I know all about the perils of getting the "kitchen" straightened with a hot comb. I think you must have reached out and touched a nerve.

Urban Bush Women's dancers are also looking at the Black hair thing this season with Hair & Other Stories. But Okpokwasili's concept and Born's visual design appear to have the potential to help Adaku's Revolt work down into the subconscious in a way that UBW's far more direct piece--with audience participation that keeps our conscious minds centered and on high alert--might not.

Above: Dancer AJ Wilmore as Adaku
Below: Wilmore with Okwui Okpokwasili
(photos: Ian Douglas)

The audience is directed to its place on the stage of Abrons's theater through a back channel and instructed to take seats lining three sides of the performance space. As we enter and get settled, the scene has already been set, a compelling visual atmosphere already built. Before a white screen, four dancers lie on the floor with torsos stiffly arched and heads thrown back. Above them, a large windsock of pearly-white gossamer continuously flows out from a big fan, its hypnotizing, watery fabric reaching for another dancer, our Adaku (AJ Wilmore), who writhes, wriggles, tilts, chops and revs up as she sits in a chair. A dense assemblage of what appear to be ordinary desk lamps lights the area.

Within Born's vision, Okpokwasili's placement and movement of individual and group bodies take the shape of dreams with nonlinear but soul-tugging storytelling. White fabric engulfing and molding itself across faces. Bodies emerging from beneath pulsating fabric. Hips and feet twisting, pelvises rocking and left hands raised high in the air over a captivating--and destabilizing--polyrhythm of music and women's voice-overs and live singing.

I tried to jot down something Wilmore said before her turbulent yet mutually-supportive duet with Okpokwasili, and I think I got it right:

I'm going to open all the doors in my head.

Doors opening bring music and voices--both louder, brighter, undeniable--and the birth-like reclamation of bodies. I think the piece, just under an hour, seemed longer. For me, its conclusion fell short of grace or definitude. But something about it all clearly reminded me to revolt.

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Choreographed and created in collaboration with Peter Born and performers Khadidiatou Bangoura, Peter Born, Audrey Hailes, Breyanna Maples and AJ Wilmore

Adaku's Revolt runs through March 24 with performances at various times. For information and tickets, click here.

Abrons Arts Center
466 Grand Street (at Pitt Street), Manhattan
(directions)


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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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Celebrating the work of gay Black writers

"in the life" 

a reading of works by gay Black men from the 1980s and '90s

at the Whitney Museum of American Art

Sunday, April 14, 2pm

(doors opening 1:30pm)

For “in the life,” artist and writer Gregg Bordowitz will host readings from the literary work of gay, male, African American poets and writers, who chronicled sexuality, illness, and death during the height of the AIDS crisis in the 1980s and ’90s. Many of the writers are now dead, and their works have been collected in anthologies, such as "in the life", edited by Joseph Beam. Bordowitz will be joined by a diverse group of readers including former Q/A/M mentor Pamela Sneed, to pay tribute to artists such as Donald Woods, Essex Hemphill, Marlon Riggs and many more.

Free with museum admission

Whitney Museum of American Art
945 Madison Ave (at 75th Street), Manhattan
(map/directions)

Subscribe to the Queer/Art/Film listserv

Harry Belafonte: The responsibility of the Black artist

Harry Belafonte: Black Artists Must Do More
The Daily Beast, September 2, 2012

Author Terrance Dean discusses Black queer literature

Click here to read an interview with Terrance Dean, creator of Live to Tell, a panel of Black queer writers at the Schomburg Center for Research in Black Culture, co-sponsored by the Black Gay & Lesbian Archive.

Wednesday, August 8, 6pm 

Schomburg Center for Research in Black Culture
515 Malcolm X Boulevard, Manhattan
(map/directions)

I plan to attend this event and hope to record and post an audio of Dean's panel which will include these notable Black LGBT writers:

Stanley Bennett Clay
James Earl Hardy
G. Winston James
Cheryl Boyce-Taylor
Imani Henry

For more information, click here.

Admission is free, but you must register (click here) or call 212-491-2040.

Meet Marjuan Canady. She's almost every woman.

Marjuan Canady

Girls! Girls? Girls.

Read that a few times in different ways.

Or maybe read it ten times to account for the ten Black women that actress/playwright/producer Marjuan Canady deftly transforms herself into in her one-woman play, Girls! Girls? Girls. Presented tomorrow night by Sepia Works at Harlem Stage, Canady's satirical show "critiques the power of the media, celebrity culture and challenges society’s negative notions of black female identity."

Directed by Noelle Ghoussaini

On two programs showcasing new works by Harlem Stage's commissioned artists who include:

June 27 Amma Whatt, Roberto Villanueva and Maurice Chestnut
June 28 Maija Garcia, Canady and Eric Lockley

For further information and ticketing for these Fund for New Work shows, visit Harlem Stage's Web site here.

For more information on Marjuan Canady, click here.

Harlem Stage: The Gatehouse
150 Convent Avenue (West 135th Street), Manhattan
(directions)