Artists Reach Out: Danni Gee

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

Danni Gee

Danni Gee at SummerStage
(photo: JDH)

Danni Gee has over 35 years’ experience in the Arts and Entertainment industry, both on stage and behind the scenes. Her professional performing career began as a dancer with the Philadelphia Dance Company. After several seasons there as a leading soloist, Danni joined the world-renowned Alvin Ailey American Dance Theater and remained there as a principal dancer for seven years. Danni’s dance career was ended abruptly due to injury, but she was able to then focus her energy on her vocal talent and has since gone on to provide backing vocals to artists such as Sister Sledge, Gloria Gaynor, and Cher. She also formed her own independent rock band, Suga Bush, and with Danni as the lead singer and songwriter, they perform regularly at renowned venues such as The Bitter End, The Blue Note and The Apollo.

Danni, however, has always kept one foot in the dance world, continuing to attend performances and classes. Danni accepted the position of Dance Curator for CityParks SummerStage in 2006. In her 14 seasons as Curator, she has engaged such established companies as Parsons Dance, Dance Brazil, Complexions Contemporary, Ballet, Kibbutz Contemporary Company, Morphoses, Martha Graham Dance Company, Limon Dance Company, Alonzo King LINES Ballet, and the Alvin Ailey American Dance Theater as well as many emerging choreographers and teaching artists. She has commissioned several new works for the organization, presented many World and New York premieres, and major cultural events, including the 40th anniversary celebration of the Broadway show, The Wiz; the Merce Cunningham Centennial; and the 10th anniversary of FELA! Danni, who is also a Music Programming Associate at SummerStage, assisting with the booking of domestic and international music artists, is also involved with the curation of SummerStage dance workshops, panels, and family programming. She also serves as an Artistic Advisory Board member for Brooklyn Dance Festival, Dancing in the Streets and Gibney and provides freelance administrative support to independent artists and companies.

Danni Gee at SummerStage
(photo: Melissa Cruz)

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

Not a personal project, but it is dear to my heart. My festival, SummerStage, is affected because normally by April 1st, we start building the Central Park venue. All of our seasonal production people start to return to work. It takes normally five to six weeks to get everything in place, from the stage to the dressing rooms, audience areas, etc. Our core staff is still working, albeit remotely for now, but I worry about our longtime seasonal staff who count on this annual chunk of income. And of course, all the artists that might be affected.

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

My arts journey started at the Performing Arts School of Philadelphia, a small private school that used to be on the campus of the University of the Arts. I started there in 6th grade and declared dance as my major in the 7th. When I was 14, an older schoolmate, Evelyn Watkins, suggested I audition for the summer program at Philadanco (Philadelphia Dance Company) where she was already a company member. I did and was accepted and, two years later, I joined the company at the invitation of the legendary Joan Myers Brown. Stayed there for six years before transitioning up to New York City and Ailey.

My current work as a presenter and curator came through the suggestion of a friend, Freedom Bradley, who was working with SummerStage as the Theater Director. The festival needed a new dance curator, and he implored me to apply. I was nervous as I had never done any “behind the scenes” dance work. But the amazing then-director of programming, Alexa Birdsong, took a chance and hired me. I guess she “saw something.” (smiling)

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

Right now, I am practicing focusing and flexibility. Being at home, I can get distracted easily. My mind bounces around a lot. So this has been an exercise in sticking to a daily program which includes, (especially during weekdays), morning coffee, making my bed, meditation, “going” to work at 10am, lunch at 2pm, giving myself projects to complete by end of day, working out after work, etc.

I am also using the time to watch, look and learn. Everything is going to be different. It already IS. That’s where the flexibility comes in. We all have to be open to sharing, collaboration, thinking outside the box, learning just a wee bit about technology than you already do because here we are. I see a lot more cross-pollinating. We can’t be selfish.

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

I care about people. Humanity. Our children. So, to that end, whatever I can do to safely bring people together, to bring light to our shared humanity while celebrating our differences, I will do it. And I hope to continue doing that through the arts. People need to express themselves. Our children right now are scared because their parents are scared. There is pain, grief, anger, confusion. If what we do can provide an outlet for all of what we are feeling individually and collectively, then I am all for it. When--and I say when with the utmost hope--we are able to safely gather again, I want to make sure we are focused and ready to proceed. I would love to do a second line that starts at Columbus Circle and ends at the venue, with us singing and dancing together all the way to the stage.

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

Well, I was/am an artist first, curator second. I love to entertain, so social media has always been a fun place for me especially as I’m not on the stage as much now as I would like to be. I am definitely using this time to focus on personal creative projects (book, website, etc.), building up my platform and fortifying my connections. But being flexible in knowing that, every day is not going to be a good day; every day is not promised. Staying flexible and grateful. That’s how I’m functioning.

******

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.

******

Subscribe in a reader

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)


Subscribe in a reader

Dance Talks: Dancing Identity

Members of Abraham.In.Motion (c)2010, Eva Yaa Asantewaa

In celebration of the 25th anniversary of SummerStage, City Parks Foundation and The Greene Space (New York Public Radio) hosted Dance Talks: Dancing Identity, a conversation on issues of concern to contemporary Black dance artists. Moderated by choreographer and cultural scholar Dr. Kariamu Welsh, the discussion featured panelists Desmond Richardson and Dwight Rhoden of Complexions Contemporary Ballet; Francesca Harper of The Francesca Harper Project; Jamel Gaines of Creative Outlet Dance Theater; and Kyle Abraham of Abraham.In.Motion. The hour-long program opened with the presentation of an excerpt from Abraham's critically-acclaimed ensemble piece, The Radio Show.

"What is Black dance?" Dr. Welsh dared to ask. "Can it be defined? Is there such a thing? Have we passed its moment? Are we all just humans dancing?"

While the panelists agreed that, ultimately, we were all humans dancing, each emphasized the value of reaching into the wealth of one's culture and telling the stories that, Welsh declared, must never be abandoned.

Richardson recalled Alvin Ailey's teaching: "Don't exist just in that mode [Black dance, Black culture] but use it. You climb on the shoulders of folks who went before you."

"Here we are in 2010," said Rhoden, "And the world is a different place. We are celebrating the idea of diversity, watching the differences work in harmonious ways. But that doesn't mean you have to forget where you came from. It brings dimension to it."

But Harper also touched on the historical context of "Black dance" and the Black arts movement. "At the time, it was necessary and appropriate. It was important to establish the Black voice. Now we're expanding, opening up," she said. Her mother--the late Denise Jefferson, director of the Ailey School--taught her to prepare for a world of opportunities across dance techniques and performance disciplines. "She instilled in me to have the training to go wherever I wanted to. It was important to declare myself an equal."

Gaines agreed that Black artists had learned much from the Civil Rights movement but that today's performing artists draw inspiration and take training from diverse sources--ballet, modern, jazz, hip hop, singing and acting. As a strict category, "'Black dance' is a small part of an industry that is huge." He added that his work is recognizably Black in its foundation but not only that. "You might see ballet, hip hop, a step from Jamaica. Black dance is universal."

"I've always accepted all the labels," said Abraham, "Black. Gay. My experience growing up is reflected in the work I make. But I make work for a general audience."

So, is it okay to be "post-Black" now?

Welsh reflected on the "heavy, heavy, heavy burden" carried by Black artists of her generation, having to prove themselves in so many settings. "I'd like us to get past the proving part and just be: This is who I am."

"We always seem to get it," Welsh remarked. "It's the rest of the world that I'm worried about." And Gaines reminded us that the term "Black dance" can be used to limit artists: Black troupes suddenly become popular when it's time for presenters to draw up plans for Black History Month. "You can work from MLK Day to perhaps the second week in March," he said. To make a real difference, Black artists and other people of color must train not only for the stage but for the management office.

For the most part--aside from Abraham's brief, personal mention of sexual identity and a few panelists noting the dim employment prospects for Black ballerinas--speakers steered clear of potential flash points.

"As we continue, our stories get broader and broader, and that's a good thing," said Rhoden. "We have many, many layers. African American people are rich people with many stories to tell. The stories are changing because we are changing."

The conversation drew to a close too soon, with much left to be shared. Welsh requested a moment of silence. Panelists linked hands and closed their eyes as a screen showed a picture of the beloved Denise Jefferson. Afterward, Harper remembered that she had a message that her mother had sent her. She took out her smartphone and read it to us. Here are the final words:

"You can't be a dancer if your spirit is strained and cut off. You must touch that special place inside."

***

For information on upcoming events at The Greene Space, click here.

Celebrate citywide with SummerStage: Here's the schedule.

SummerStage welcomes Creative Outlet Dance Theater and Abraham.In.Motion this Friday at Harlem's Jackie Robinson Park. Click here for details.