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Showing posts with label Chicago. Show all posts
Showing posts with label Chicago. Show all posts

Friday, June 12, 2020

Artists Reach Out: MurdaMommy

Dear friends,

Welcome to Artists Reach Out: reflections in a time of isolation. I dreamed this series of interviews out of grief for my work both as a documenting arts writer and curator of live performance. In this time of social distancing, we are called to responsibly do all we can to safeguard ourselves and our neighbors. It is, literally, a matter of life and death.

But there's no distancing around what we still can share with one another--our experiences, thoughts, wisdom, humor, hearts and spirit. In some ways, there are more opportunities to do so as we pull back from everyday busyness out in the world and have time to honor the call of our inner lives.

So, let me introduce you to some artists I find interesting. I'm glad they're part of our beautiful community, and I'm eager to engage with them again (or for the first time) in years to come.

--Eva Yaa Asantewaa, InfiniteBody



MurdaMommy


MurdaMommy
(photo courtesy of the artist)


MurdaMommy is a dancer, musician, actor, and innovator in the film, fashion, and gaming industries. As a lesbian artist and a teen who experienced homelessness, she brings her life experiences into her practice and teaches the dance form Chicago footwork to people who live on the South and West sides of Chicago. In 2019, she was recognized by SWAN Day Chicago, celebrating Black women in dance.

MurdaMommy has performed across the U.S. In Chicago, she mentors and connects with all generations through performance and workshops, including programs within Cook County Juvenile Temporary Detention Center and Stateville Correctional Center.

As a musician, her style complements her choreographic and movement approach. She is currently working on her first official E.P. She recently created the short film I Am Queen, based on the women of Chicago footwork culture. She is also collaborating on Juke Town, an online multiplayer game where characters can practice footwork, socialize, and complete missions.

For more information (including classes and #TakeOffFridays), visit www.murdamommy.com.

IG: murdamommy

FB: www.facebook.com/TheRealMurdaMommy

YouTube: MurdaMommy Chicagofootwork



(photos: Wills Glasspiegel)




Do you have a current or planned project whose progress is affected by the pandemic?

This process and state we are in has affected me and my projects, but on a minimal level. As an independent artist, certain movement classes and workshops that were scheduled have been canceled, along with a residency and even performances. I think with all of the unknowns, it’s all a matter of regrouping and adjusting to society. With times of uncertainty, creativity visits the mind to help regroup old plans and thoughts and reinvent them in today’s time. In a lot of ways this pandemic has evened the playing field within the dance industry; I have been dealing with limited income and opportunities for my entire dance career, and have needed to be creative in reaching people with my art. It’s something I am familiar with.

I am also part of the Dance/USA Fellowships to Artists program and, as a fellow, I have received professional and financial support, which has helped me for the past year and during this time.

Projects that I have curated recently are #TakeOffFridays: a series and giveaway that is meant to get people up and dancing and--even more so--let off pinned-up stress and anger. Each Friday for 5 weeks straight, there will be a song uploaded for the audience to dance to and record to. Each track can be downloaded for free, or a donation of the person's choice will also be accepted. At the end of the 5 weeks, the full album will be available for purchase or free. All donations will go towards food and PPE equipment to be distributed among the local urban community that I am in and that is being affected the most during this time. Another aspect of #TakeOffFridays is the fact the people will also have a chance to win $100 each week just for dancing.

I also have a 4-week movement class series that will be running during the same time as #TakeOffFridays. This class series is called Take Flight, a Chicago footwork beginners movement class that will be aired on Thursdays during the month of June via Zoom. This beginners class will also be FREE with an optional donation. Any donations received through this series will help go towards a food drive and distribution of PPE throughout my community.

Not only did I want to create a fun experience during these times, I want to give a little relief to someone else who might be in need. Musically, I also wanted to create a sound as a backdrop of how this time is feeling and how it can correlate with your vibration and frequency at that time, space, and moment.

Get more information at: www.murdamommy.com

Briefly, tell me about how you got involved in the arts and in your particular practice.

I began my love for footworking at a young age, around 6 or 7 years. But my dancing and my love for the arts started even younger than that--from winning local Park District dance competitions or drawing freehanded in my spare time, to writing poetry which later transformed into music, merging poetry into rap. I got my first taste of Chicago footworking from going to the Bud Billiken Parade (the largest and longest running African American Parade in the US), from Elma & Company, a local television show, and from going to juke parties that were in the neighborhood.

As I became older, I had a friend named Lazerick who used to footwork all the time, and he would show me moves from time to time. Unfortunately, he became a casualty and another young African American male slain by police. At that moment, my journey of footworking began. I set out to be an elite Footworker--to become one of the best--and I haven’t put my shoes down since.

In a more specific way, what are you practicing? And what are you envisioning?

Currently, I’m practicing on how to connect to people many different ways, whether it’s through vibrant music or the silhouette coming from my legs. I do have a greater vision but, as of the moment, I want to take it slow--one step at a time.

How does your practice and your visioning align with what you most care about? How does your practice function within the world we have now?

I think my practice of Chicago footwork can help the world by allowing dancers to become free within their movements, due to the form’s aggressive style and up-tempo beats. It is a dance form that shows people how to control and release anger and sorrow, while also having fun doing it.

Briefly share one self-care tip that has special meaning to you now.

A good self-care tip that is meaningful to me is to always care for my health first. Obtain rest. Even though everything in the world is going virtual, take some time away from social media, and get in tune with your roots so your message through dance can be as pure the roots it originated from.

******

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

******

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Wednesday, April 15, 2020

Artists Reach Out: Anna Martine Whitehead

Dear friends,

Welcome to Artists Reach Out: reflections in a time of isolation. I dreamed this series of interviews out of grief for my work both as a documenting arts writer and curator of live performance. In this time of social distancing, we are called to responsibly do all we can to safeguard ourselves and our neighbors. It is, literally, a matter of life and death.

But there's no distancing around what we still can share with one another--our experiences, thoughts, wisdom, humor, hearts and spirit. In some ways, there are more opportunities to do so as we pull back from everyday busyness out in the world and have time to honor the call of our inner lives.

So, let me introduce you to some artists I find interesting. I'm glad they're part of our beautiful community, and I'm eager to engage with them again (or for the first time) in years to come.

--Eva Yaa Asantewaa, InfiniteBody


Anna Martine Whitehead


Anna Martine Whitehead
(photo: Shereen Marisol Meraji)

Anna Martine Whitehead does performance. Her work considering a Black queer relationship to time and space has been presented by venues including the Chicago Museum of Contemporary Art; San José Museum of Art; Velocity Dance Center; Links Hall; and Yerba Buena Center for the Arts. She has developed her craft working closely with Onye Ozuzu, Jefferson Pinder, taisha paggett, Every house has a door, Keith Hennessy, BodyCartography Project, Julien Prévieux, and the Prison + Neighborhood Art Project, among others. She has been recognized with awards and fellowships from the Graham Foundation, Portland Institute of Contemporary Art, the University of Chicago, 3Arts, Chicago Dancemakers Forum, Foundation for Contemporary Arts, Headlands Center for the Arts, Rauschenberg Foundation, and Djerassi. Martine has written about blackness, queerness, and endurance for Art21 Magazine, C Magazine, frieze, Art Practical; and has contributed chapters to a range of publications including Queer Dance: Meanings and Makings (Oxford, 2017). Martine is the author of TREASURE | My Black Rupture (Thread Makes Blanket, 2016).


From Whitehead's Amnesty 2.0 (2019)
(photo: Ricardo Adame)


Do you have a current or planned project whose progress is affected by the pandemic?

As Ni’Ja Whitson said, not one aspect of my life has been untouched by the pandemic. Residencies through the year have been postponed or cancelled. I was in a year-long residency when we began sheltering-in-place. I’d finally begun to reach a rhythm with the cast of the opera I’m writing and choreographing: FORCE! The libretto features a group of queer and trans femmes of color waiting to get into a prison and also escape a strange creeping force. It so happens that people in prison are being the hardest hit by the pandemic, a strange creeping force that they had no part in bringing into their lives. My cast can’t meet in person anymore. So this time has been a reset for all of us, a time to interrogate what is the best use of our talents at this moment when it comes to being of service and getting people free.

Briefly, tell me about how you got involved in the arts and in your particular practice.

I’ve always liked dreaming of other worlds, inhabiting other bodies. Eventually I became a puppeteer. I needed dancers to puppeteer my objects, and at some point realized I could also dance. So then I started dancing. That was about twelve or thirteen years ago.

I was blessed to have people I really respect try me out and teach me what it means to explore making other worlds with my body. Jefferson Pinder and Keith Hennessy and taisha paggett and Every house has a door and Onye Ozuzu. People just tried me out even though I always feel that I’m on a learning curve. But I think that may be how I approach my practice: I do everything as if it’s the first time I’ve ever done it, because it probably is. In some ways that means I can’t fail.

In a more specific way, what are you practicing? And what are you envisioning?

I kiss my hand and touch it all over my face every morning. I’ve been drawing portraits; this feels good. I’ve been trying to finish the libretto, but it’s hard. Anything that has a product on the other end feels excruciatingly difficult. I meet with my dancers every week, and we do movement exercises, shoot the shit, watch Wu Tsang videos together. I take a lot of class online. I’ve been getting back into Body-Mind Centering.

I’m envisioning a revolution--and a reckoning. Within the year we must be able to ask: Why were so many incarcerated people allowed to die? Why didn’t anyone start talking about Black COVID-19 death rates until April? Why are we always the ones dying? Where were people like Zuckerberg and Bezos when hundreds of homeless people were dying across California? I heard Donatella Versace gave $200,000 to ICUs in Milan--what about the millions of Black and Brown women who take care of whole families on $100 a month making Versace and Tom Ford and Armani rich? Armani is worth $10 billion. I heard he gave $1 million to Italian hospitals. This is good, but why is there any bottom line at all? Why can’t the richest people in the world forego a year’s salary and wipe out global debt? How is it acceptable that this has not happened?

We have to be able to ask ourselves these questions, and if the answer is "Because we don’t actually care about Black and Brown people, and we don’t care about poor people, and we don’t care about women," we have to reckon with that, or face the consequences. I think we are already facing the consequences now, but not to their fullest extent. We still have time to repent.

How does your practice and your visioning align with what you most care about?

One thing I’d like to see before I die--which hopefully is a long way off--is Black women, femmes, trans, and gnc folks doing a lot less. I envision a future where all Black people nap every day, and I’m not talking 15-minute naps. I’m so blessed to be paid right now for teaching. And though shifting classes online was a lot of work, I have much more space today than I would have had the semester continued on as usual. So I have space to breathe, take walks, call my family. I see this of many of my friends who are Black and Brown women and femmes. Some of us (though not enough of us) have more room to take in more breath. I’m trying to catalogue what this feels like in my body so that I’m able to transmit this practice later on to those who still haven’t had the opportunity to experience it. I’m trying to learn the practice so it feels more comfortable.

How does your practice function within the world we have now?

I’m not sure it does. I try to spend no more than ⅓ of the day in the world we have now.

******

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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Sunday, April 29, 2018

Chicago's Deeply Rooted brings "INDUMBA" to BAM Fisher

Dominique Atwood and Joshua L. Ishmon
of Chicago's Deeply Rooted Dance Theater in INDUMBA,
a work by South African choreographer Fana Tshabalala
(photo: Ken Carl)


How fortunate to be introduced to South African dancemaker Fana Tshabalala through his mighty ensemble piece, INDUMBA ("healing hut"), a 2017 work performed for the first time in New York by Kevin Iega Jeff's Deeply Rooted Dance Theater. The Chicago-based troupe completes its too-short run of this stunning piece this afternoon at BAM Fisher.

The hut in question here--evoking sites of African traditional cleansing and healing--takes shape through a semicircle of stools for dancers on the perimeter of a misty space illuminated by hazy shafts of light. Constructed of beautiful, golden wood, the stools are spare and look less than sturdy. Inside that simple boundary, dancers rise to propel themselves through angular, anguished gyrations and convulsions. These obsessive movements suggest horrors born of social conflict. At the same time, they suggest a ritual of pressure to rid body, mind and soul of these lingering toxicities.

Nicholas Aphane's driving music reaches inside any helpless viewer, evoking the violent, relentless churning of massive machinery. We first hear a vague, intermittent hum like a muted signal or something powering up. We don't anticipate its coming textures and caustic power. External, inhumane forces that have become internalized must, like demons, be exorcised. The "hut" itself--heartless but purposeful--nearly pulverizes damaged beings to render them safer for themselves and for their community.

Some of the drama involves two men--are they antagonists? brothers? actually one person wracked by warring forces within himself?--who clutch, grapple, twist and coil around each other as if they were made of the same skin. One shoves away and isolates himself only to later find himself in the other's grip once again. Likewise, a suffering woman turns from her brutal attacker only to find her "savior" treating her with equal brutality.

Tshabalala's research into the experiences of war-scarred Mozambique, as well as his observations of how apartheid's legacy impacts today's South Africa, informed the creation of Indumba. The work resonates for us, as well, in an America newly haunted by its nightmarish past and roiled by present-day hatreds and violence. If Inbumba is a dance, as described in DRDT's program, offering hope of "resilience and reconciliation," there's clearly nothing easy along that path. And its final image suggests not so much the soothing of terrible pain as its honest, open-throated expression.

Performed by Dominique Atwood, Pierre Clark, Shanna Cruzat, Joshua L. Ishmon, Rebekah Kuczma, Marlayna Locklear, William Robertson and Anthony Williams

Costumes: Alex Gordon
Lighting design: Sarah Lackner

INDUMBA concludes with a 3pm performance today with a post-show discussion moderated by Baraka Sele. For information and tickets, click here.

BAM Fisher
321 Ashland Place, Brooklyn
(map/directions)

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Thursday, August 11, 2016

Chicago dance artists rock latest NEFA RDDI Dance Lab

Chicago-based dance artists from NEFA's NDP RDDI Dance Lab 2016
at University of Illinois, Urbana-Champaign
Back row, l-r: Erica Mott, Molly Shanahan, Jenn Freeman, Jonathan Meyer,
Ayako Kato, Jan Bartoszek, Julia Rae Antonick
Next row, l-r: Sara Zalek, Nico Rubio, Kristina Isabelle (behind Rubio), T. Ayo Alston
Front: Jessica Cornish
(photo courtesy of NEFA)

The Regional Dance Development Initiative (RDDI) is part of NEFA's National Dance Project (NDP), which provides professional growth for dance artists in regions across the U.S. through programs including a ten-day dance lab designed to help dance artists clarify goals, develop strategies, hone public presentation skills, and strengthen partnerships between artists and presenters. Since 2004, RDDI dance labs have been held in the Pacific Northwest, the San Francisco Bay Area, New England and Minnesota. RDDI Chicago (July 29-August 8, 2016) was produced by NEFA and the Chicago Dancemakers Forum.

I'm certain that serving on the faculty of this summer's RDDI Dance Lab for Chicago choreographers at University of Illinois, Urbana-Champaign will prove to be one of the great turning points of my life. Working with talented faculty peers and twelve remarkable artists has inspired renewed commitment to dance community and sparked the sense that I can contribute even more to the field than I have in the past.

Heartfelt thanks to Sara Nash (Program Manager, NEFA's National Dance Project) for inviting me to join the project and for her calm spirit of generosity throughout the many twists and turns of an intense, high-energy process.

Nash was not alone in making and holding this unique space. Thanks, also, to the delightful and supportive Jane Preston (Deputy Director, NEFA); Ginger Farley, Victoria Bradford and our indispensable logistics coordinator Shawn Lent (all of Chicago Dancemakers Forum); consultant Elspeth Revere (formerly of the MacArthur Foundation); and our steadfast leader Michèle Steinwald, charged with keeping the faculty--and pretty much everyone else--on point.

As faculty, I shared responsibility and laughter with an ideal team including Rob Bailis (of CAL Performers), knowledgeable, impassioned veteran of RDDI; Peter DiMuro (Public Displays of Motion, The Dance Complex); choreographer Dayna Hanson; independent consultant David Sheingold; and independent manager, producer and curator Marýa Wethers. Their sensitivity and adaptive creativity made each day an adventure and a reward.

For the final few days, presenters came from as far away as California, Oregon and Florida to meet with our artists and enjoy showings of samples of their work. They relaxed into RDDI's atmosphere of discovery and offered the artists their best strategic ideas and encouragement.

But my biggest thanks go to our cohort of artists who, from the first day we met, knocked our socks off. Clearly, they came ready to rock'n'roll--each one smart, accomplished, emotionally available and artistically curious. We ended each work day with them in amazement and gratitude, hungry for more. As for literal hunger, we had little of that. Thank you, NEFA, for treating us to the culinary charms of Urbana-Champaign!

I will remain connected to each of these good folks, new friends:

Julia Antonick of Khecari
T. Ayo Alston of Ayodele Drum and Dance
Jan Bartoszek of Hedwig Dances
Jessica Cornish
Jenn Freeman/Po'Chop
Kristina Isabelle of Kristina Isabelle Dance
Ayako Kato of Ayako Kato/Art Union Humanscape
Jonathan Meyer of Khecari
Erica Mott of Erica Mott Productions
Nico Rubio (Groundhog)
Molly Shanahan of Molly Shanahan/Mad Shak
and
Sara Zalek

and deeply interested in their growth as artists. Chicago is fortunate to have these committed "ambassadors for dance" and creators of community.

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Tuesday, April 1, 2014

Frankie Knuckles, 59 [UPDATE]

Frankie Knuckles, house music 'godfather,' dead at 59
by Greg Kot, The Chicago Tribune, April 1, 2014

Frankie Knuckles, 'Godfather of House Music,' Dead at 59
Remembering the life and legacy of the man who birthed every aspect of electronic dance music culture
by Michelangelos Matos, Rolling Stone, April 1, 2014
(with audio and video)

Frankie Knuckles, 59, Pioneer House D.J., Dies
by Daniel E. Slotnik, The New York Times, April 2, 2014

Sunday, February 16, 2014

Black Artists Retreat, Chicago 2014, invites proposals

Following our first gathering in 2013, Theaster Gates, Carrie Mae Weems, Sarah Workneh, Marlease Bushnell, and Eliza Myrie came together to share what we had heard from participants and our own feelings on what could continue to happen with the Black Artists Retreat. As we prepare for [B.A.R.] Chicago 2014 we are seeking proposals that explore a range of topics related to black cultural production in its many forms.
We identified four focus areas that can lend structure to the concerns of the community without overdetermining what the community itself thinks is important. Proposals, while open, should fall under one of the following four categories: 
Research/Advocacy/Criticism/Exhibition
This open proposal is an opportunity for individuals to share their own thoughts on where our cultural production stands. What are the issues that we now face? What are the themes, concepts, and ideas that underscore critical thought and artist’s production?
Assembling a diverse and intergenerational group of proposal reviewers will allow us to assess where there is consensus. The invited panelists will meet in New York City to review proposals and select the presenters for [B.A.R.] Chicago 2014. Those proposals selected will have the period from May to August to expand their abstract in order to more fully present their ideas during the August retreat.
Please consider how your proposal can contribute to and foster the discussion of concerns facing the entire [B.A.R.] community, your proposal may consider individual presentations or group presentations and panels.
At this time there is no funding for the realization of proposals.
March 31: Proposals Due
April: Proposal review and deliberation
May: Chosen proposal authors contacted
August 21-23: Proposals presented as part of [B.A.R.] Chicago 2014
For complete information, including application and proposal guidelines, click here.

Tuesday, November 26, 2013

Chicago to host first US contemporary circus festival


The 2014 Chicago Contemporary Circus Festival (January 6-12) promises "five days of workshops [curated by the up-and-coming Circus Now organization], four days of full-length contemporary circus shows, and two late-night cabaret style performances, with the intent of creating a new and educated audience for circus in America."

If this sounds like your kind of Winterfest, click here for complete details.

Also, for information on Speaking Circus Chicago, a seminar for Chicago-area arts journalists (January 7), click here.

Friday, April 12, 2013

Maria Tallchief, 88 [UPDATE]


Maria Tallchief, Chicago dance legend, dead at 88
by Jon Anderson and Sid Smith, The Chicago Tribune, April 12, 2013

Maria Tallchief, a Dazzling Ballerina and Muse for Balanchine, Dies at 88
by Jack Anderson, The New York Times, April 12, 2013

And click here to see a New York Times roundup of video clips of Ms. Tallchief's performances.

Monday, March 7, 2011

Chicago arts, you've got a mayor!

Mayor-elect Rahm Emanuel on the arts: Dance, gritty theater and a shift towards neighborhoods
by Chris Jones, Chicago Tribune, March 4, 2011

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