Maleek Washington brings family memories to BAAD!

Dance artist Maleek Washington
(photo: Whitney Brown)

Last night in the sudden chill, the mist-veiled, almost-full moon rode high over St. Peter's Episcopal Church, its landmark chapel, Foster Hall--home to Bronx performance space BAAD!--and its cemetery. Approaching from nearby Zerega Avenue station felt like stumbling onto the set for Michael Jackson's Thriller, a feeling intensified at first sight of signs directing visitors to enter not through the usual chapel doorway but by a side path within inches of massive gravestones.

For the opening section of Shadows of Heaven: Bronx Blues, dance artist Maleek Washington took over the familiar, modest allotment of space inside Foster Hall's entrance. So his audience had to wait downstairs in BAAD's office--stocked with refreshments and brightened by disco classics--before being let upstairs, carefully, in groups of five. I lined up, walked up and found myself in cramped quarters with a ring of people, some of whom, clearly, were family and friends of Washington. How did I know this? Well, he had strung up several mobiles to which old family snapshots were clipped. People were touching them, oohing and ahhing and wow-ing and OMG-ing at the sight of people they knew--or themselves!--so much so that they appeared to completely ignore the dancer's presence and performance.

I kept shifting--dodging these folks, trying to stay out of Washington's way, too, as he coiled and spun or abruptly darted back and forth with photos or photo albums in his hands. I admired how he managed the continuous reconfiguration of his space as people entered and moved about. I wondered if he improvised his ductile maneuvers according to whatever space was presented to him at any given moment.

There was something...a sudden lighting change, if I recall...that signaled the next phase. Filing past large painted portraits (by Sophia Dawson) and reflective "portal" paintings (by Chet Gold), we transferred to BAAD!'s theater space and, gratefully, its usual seating. "Papa Was A Rollin' Stone" was in the air, and dancers--a man and a woman--posed behind huge painting frames on either side of an empty frame. A disco ball twirled, and Chic's "Le Freak" came on, which made the dancers groove, and then Smokey Robinson's "Ooo Baby Baby," which took their story further. In just the space created by two songs, you could grasp how different they are--her powerful self-possession; his sweetly easy-going, if less-focused, nature. As I type that now, I realize how stereotypical it looks--the Strong Black Woman; uncertain, emasculated Black man. But this seems drawn from personal life, Washington's history, a couple of actual portraits, and Washington is at his best, in this work, as a portraitist.

Although a first-rate dancer with extensive technical background and range, I find my attention not fully engaged with the solo material he has made for himself. I think we're meant to understand him to be the son of this couple long separated, apparently, by the man's incarceration--a story that ultimately fascinates me much more for its sensitive and moving depiction.

Performers: Danielle Mills, Sophia "Wet Paint" Dawson, Chet Gold and Maleek Washington

DJ: DTTONYMONKEY (aka Antonio Brown)

Writer: Niya Nicholson

Mentors: Sidra Bell, Francesca Harper

Shadows of Heaven: Bronx Blues (closed) was a presentation of Pepatián and BAAD!'s joint Dance Your Future: Artist & Mentor Collaborative Residency and a feature of BAAD's BlakTinX series (on through November 18).

Dance Your Future programming continues 

with the following performances:

Tatiana Desardouin / Passion Fruit Dance Company

Friday, November 10

Beatrice Capote & Miguel Aparicio / The Sabrosura Effect

Friday, November 17

Click here and scroll down for information and tickets.

BAAD!
2474 Westchester Avenue, the Bronx
(map/directions)

Subscribe in a reader

Francesca Harper named new Artistic Director of MIP®

Francesca Harper, the new Artistic Director
of Movement Invention Project®
(photo: Bale da Cidade)

Francesca Harper--an acclaimed multidisciplinary artist with extensive credentials in ballet, theater, film and arts education--has been named Artistic Director of Movement Invention Project® (MIP®), an immersive, contemporary dance summer program for dancers ages 18-23. Now in its tenth year, the three-week program was founded by New Jersey Dance Theater Ensemble's artistic director, Nancy Turano, to support dancers in developing creative voice as well as skills in improvisation, collaboration and cutting-edge technology. Based in New York City, MIP® provides dancers with opportunities to work with a wide range of teachers, choreographers and mentors and take advantage of the resources of venues like Baryshnikov Arts Center and New York Live Arts.

(photo: Veranika Antanavich)

“I have known Francesca for 25 years, and watched her phenomenal career as a brilliant dancer, choreographer, director and mentor to countless dance artists," says Turano. "We are thrilled to welcome her as Artistic Director of MIP® 2018. She has a wealth of information to contribute, and creates a very positive and encouraging atmosphere that enables dancers to develop their own creative vision."

(photo: David Flores)

ABOUT FRANCESCA HARPER

Francesca Harper is an internationally acclaimed multi-disciplinary artist. After being named Presidential Scholar in the Arts and performing at the White House, Francesca attended Columbia University studying philosophy and computer programming.  She soon after joined the Dance Theater of Harlem’s Second Company and the main Company the following year.  Francesca performed soloist roles with the company including the Hostess in Bronislova Nijinska’s Les Biches and as a Soloist in Swan Lake.  She then began working with William Forsythe’s Ballet Frankfurt, where she was promoted to Principal. Performances included leading roles and pas de deux in Herman Schmerman, In the Middle Somewhat Elevated, and Loss of Small Detail, amongst others.  While a member of Ballet Frankfurt, Francesca was chosen to perform with designers Issey Miyake and Gianni Versace in shows in Paris and Milan, and in Miyake’s film Dancing Pleats. As a member of Ballet Frankfurt, she choreographed her first full evening of work, Dark Violet Light Stone, commissioned by The Holland Dance Festival. A vocalist as well, Francesca was invited to record her first single, "Slow Groove," and self-produced her own album, Modo Fusion.

The vastness of her artistry and hunger soon led her to theater and film, working with Anna Deavere Smith on many projects, and to Broadway for productions including Fosse, The Producers, All Shook Up, The Frogs and the Tony nominated treasure The Color Purple.  She was a featured performer in Zinnias – The Life of Clementine Hunter, directed by Robert Wilson, and toured Internationally with the production. Her TV appearances include Boardwalk Empire, David Letterman, and The Oprah Winfrey Show, and Francesca served as ballet consultant for the feature film Black Swan by Darren Aronofsky. Harper has choreographed works for Alvin Ailey American Dance Theater, Ailey II, Tanz Graz, Hubbard Street II, Dallas Black Dance Theater, and founded her own company The Francesca Harper Project in 2005.

Continuing to pursue her interest of technology and dance, Francesca received a Living History Award in 2013 during Black History Month from Long Island University, and the Innovation and Technology Award for her choreography for Fashion Week with designer Louis Vuitton. She also conceived, directed, choreographed, and produced the dance film M(y)ourstory: Chapter One that premiered at the Triskelion Dance Film Festival in 2017.  Francesca was awarded a Fellowship at The Center for the Ballet and the Arts in 2017, as well as a Choreographic Fellowship from Urban Bush Women in 2017, supported by the Mellon Foundation.  Her latest creations en pointe in 2017 for The Dance Theatre of Harlem in NYC and Bale da Cidade in Sao Paulo has received critical acclaim, being cited as “...revolutionary” by The Chicago Tribune, and possessing “...sensual beauty,” by The New York Times.

Francesca’s mother Denise Jefferson, director of The Alvin Ailey School for over 26 years and creator of the Ailey B.F.A program, served as an inspiration and mentor for Francesca’s teaching work and giving back to the community.  Francesca’s one woman show based on the life of her mother, The Look of Feeling, premiered Off- Broadway in 2014 and was later performed at Impulstanze Festival, The Holland Dance Festival, and Germany’s The Colors Festival.

Harper enjoys her appointment as an adjunct professor at New York University, was an Associate Professor at Barnard College, and continues the vital role of teacher and choreographer for The Ailey School, Fordham University’s BFA Program, and the Susan Batson Studio.  Francesca is a featured actress and singer in Punchdrunk’s Sleep No More each week at The McKittrick Hotel in New York City. She is grateful for the daily opportunity to do what she loves and is passionate about inspiring others to live their dreams.

Subscribe in a reader

It's time to E-Moves again at Harlem Stage

Kyle Marshall
(photo: David Gonsier)

Spring's here and, with it, a fresh new season of E-Moves at Harlem Stage, featuring commissioned works by "emerging, evolving and established" choreographers of color, as writes E-Moves series curator Charmaine Warren.

Running from Fridays and Saturdays only, March 31 to April 8, the programming spans a range of interests--iconoclastic approaches to ballet to an innovative blend of Indian and contemporary dance. Choreographers include Francesca Harper ((y)ourstory : Chapter one, a work in progress), Parijat Desai (JustLikeThat), Kyle Marshall (Colored) and Leyland Simmons (Traffic).

E-Moves 18 also promises nightly “Pop-Up” performances by renowned artists such as tap dancer Dormeshia Sumbry Edwards and dancers from the Bill T. Jones/Arnie Zane Company.

“Pop Up” artists:

Friday, March 31: Dormeshia Sumbry-Edwards: Tap solo created & performed by Dormeshia Sumbry Edwards

Saturday, April 1: Ronald K. Brown/EVIDENCE: SHE IS HERE (2016), Choreography: Ronald K. Brown, performed by Annique Roberts.

Friday, April 7: Dance Theatre of Harlem: Movement 3, Love from VESSELS (2014), choreographed by Darrell Grand Moultrie, performed by Alison Stroming and Francis Lawrence.

Saturday, April 8: Bill T. Jones/Arnie Zane Company: VALLEY COTTAGE (1980/1981 revised in 2011)(excerpt), Choreographers: Bill T. Jones &  Arnie Zane, performed by Antonio Brown and I-Ling Liu.

E-Moves 18 schedule

Friday, March 31, 7:30pm

Saturday, April 1, 7:30pm

Friday, April 7, 7:30pm

Saturday, April 8, 7:30pm

Each program is approximately 90 minutes. For tickets & more information, click here or call (212) 281-9240 ext. 19 or 20.

Harlem Stage Gatehouse
150 Convent Avenue (at West 135th Street), Manhattan
(map/directions)


Subscribe in a reader

Confirming Adams: Attacca and The Francesca Harper Project

Attacca Quartet
l-r: Luke Fleming, Amy Schroeder, Keiko Tokunaga and Andrew Yee
(photo: Lisa-Marie Mazzucco)

Limor Tomer, Metropolitan Museum of Art's Curator of Performance, was admittedly starstruck to be onstage with composer John Adams last evening at the museum's auditorium. For his part, Adams playfully disputed her description of his work--"I don't really think of Bach when I think of myself...I'm more inspired by country fiddling and R. Crumb comics"--while praising Attacca Quartet, there to present John Adams "Confirmed" Dances, selections from his chamber works for strings. 

Mentioning past collaborations with Shen Wei and Trisha Brown, Tomer noted the museum's intent to work more often with dance artists. And, indeed, in this concert, Attacca's music would be paired with The Francesca Harper Project and guests from Dance Theater of Harlem and Howard University.

Marred only by a technical glitch that briefly interrupted the performance of John's Book of Alleged Dances (1994), the concert proved why the young musicians--Luke Fleming (viola), Amy Schroeder (violin), Keiko Tokunaga (violin) and Andrew Yee (cello)--have won multiple awards. Their needle-fine sensitivity, clear, distinct polyrhythmic layers and blistering speed--this last, especially in the driven, early moments of String Quartet, a piece from 2008--more than live up to Adams's word for Attacca: "jaw-dropping."

In John's Book of Alleged Dances, the dances Adams had in mind were, yes, just in mind--"alleged," he has said, because "the steps for them had yet to be invented." Enter Francesca Harper with her background spanning Forsythe, Broadway and DTH to "confirm" them. She opened with a restless solo Bradley Shelver made for her, set to Adams's "Judah to Ocean." Her charismatic presence--a tall, pliant woman in a tomato red dress--flared through across the stage, taking command. But her approach to Alleged Dances for the dazzling, superheroic Eriko Iisaku and her dancers went much further and was more intriguing. Show-off images that, mindful of Adams, never take themselves too seriously; lush, gleaming beauty prone to being off-kilter, even bizarre; an elastic, athletic, aggressive rush that, coming from a troupe of mostly women, can look...well, jaw-dropping. I much prefered this disruptive Harper to the more conventional sculptor of String Quartet, danced by the guests from DTH and Howard. She posed hard challenges to her own dancers in Alleged, and they confirmed that they are up to the task.

******

Seven Words

Hear Attacca Quartet perform a string quartet arrangement of Haydn's Seven Last Words of Christ on the Cross with video by Ofri Cnaani at the Metropolitan Museum of Art's Grace Rainey Rogers Auditorium on Thursday, April 2, 7pm.

For information and tickets, click here.

Metropolitan Museum of Art
1000 Fifth Avenue (street entrance at East 83rd Street), Manhattan
(directions)

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.

Times obituary for Denise Jefferson

Denise Jefferson, 65, Director of the Ailey School, Is Dead

by Margalit Fox, The New York Times, July 20, 2010

Congratulations!

It might--or might not--be evident to readers of this blog, but I am a big romantic. I was surprised to learn, some time back, that a few of my friends and colleagues share my guilty pleasure of reading the Wedding/Celebrations pages each Sunday in the New York Times!

It's great fun when, on occasion, I find announcements about people I've actually heard of--as in today's Vows column, which features a multi-talented performer well known in the dance field.
Enjoy!

Vows: Francesca Harper and Eric Cohen
by Eric V. Copage, The New York Times, April 6, 2008

Francesca Harper's brand new show--MODO FUSION: Truth For Sale--continues its run at Harlem Stage this coming Friday and next Sunday. Click here for more information.