Artists Reach Out: Maria Bauman-Morales

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

Maria Bauman-Morales

Maria Bauman-Morales
(photo: Lola Flash)

Maria Bauman-Morales is a “Bessie” award winning multi-disciplinary artist and community organizer based in Brooklyn, NY. She is 2020 Columbia College Dance Center Practitioner-in-Residence, 2019 Gibney Dance in Process residency award winner, 2018-20 UBW Choreographic Center Fellow, 2017-19 Artist in Residence at Brooklyn Arts Exchange and was the 2017 Community Action Artist in Residence at Gibney. In 2009 she founded MBDance which recently premiered (re)Source to sold-out audiences, co-commissioned by the Chocolate Factory Theater and BAAD!. She creates bold and intimate artworks for MBDance, via dream-mapping and nuanced, powerful physicality. Centering non-linear stories, bodies and musings of queer people of color, she draws on her studies of English literature, capoeira, improvisation, dancing in nightclubs and concert dance classes to emphasize ancestors, imagination, and Spirit while embodying inter- dependence.

Bauman-Morales is also a performance collaborator with Jumatatu Poe's and Donte Beecham's Let 'im Move You: This is a Formation. Previously, she danced with Urban Bush Women (UBW) and was UBW's Director of Education and Community Engagement before becoming Associate Artistic Director. She still works with Urban Bush Women as part of the UBW Summer Leadership Institute advisory council and faculty member for the Summer Leadership Institute.

She is an active member of our dance community outside of choreography and performance. Bauman-Morales is a Core Trainer with The People's Institute for Survival and Beyond, helping arts organizations and university dance programs understand and undo racism. In 2014, she co-founded a grassroots organization, Artists Co-creating Real Equity, which won the 2018 BAX Arts and Artists in Progress Award for working to undo racism in our daily lives. Organizing to undo racism informs her artistic work and the two areas are each ropes in a Double-dutch that is her holistic practice. She is also a mentor through Queer Art Mentorship initiative.

Desire: A Sankofa Dream
in-progress showing at BAX
Shown: Kirya Traber, Nana Chinara,
Ziiomi Law and Cat Archer
(photo: Beto O'Byrne)

Maria Bauman-Morales in re(Source)
(photo: Brian Rogers)

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

My reading, dancing and dialogic research persists with the MBDancers--from living room to living room. I’m investigating a new, site-responsive and non-proscenium celebration of QTPOC (Queer and/or Trans People of Color) survival technologies. This performative practice and celebration is called Desire: A Sankofa Dream, and I’m thrilled that Courtney Cook, Johnnie Cruise Mercer, Audrey Hailes and Angie Pittman are part of Desire with me.

I’ve been in residence at Columbia College Dance Center to investigate the new work and, as part of that, I’ve loved teaching a course I designed entitled Queer Makers of Color, as well as a repertory course to research the movement vocabulary. Of course, all teaching has gone remote. I'm mourning the loss of those in-person inquiries. However, at this point we are still on for our 2021 premiere.

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

I’m all about making our way--dancing, singing, drawing for our healing--and being resourceful as a creative practice. So, these days I’m making non-proscenium art where the people and the environment are primary.

I started by dancing and singing for my mother and other family members. One of my best memories is dancing with my mom by standing on top of her feet while she cavorted through our house when I was small. Eventually, I moved to Capoeira, U.S. Black vernacular dances, Western modern and postmodern dance techniques and the like. Nightclubs and living rooms have remained great performance venues for me in addition to my stage experience.

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

Envisioning the world I want to live in and trying to live it now--accepting with alternating grace and defiance what is actually happening instead of numbing out; practicing being with the Earth, my body, my wife, the dancers in my company in place of ownership relationships I’ve been socialized into; appreciating simplicity. Holding myself and my families well--eating well, exercising, checking and talking with the little ones and the elders in my community. Without my commute time and so many other facets of “regular” life that have died, I’m honing in on generativity and recuperation as a more consistent cycle. There are things I want to make, do and think about so I am. But I’m also feeling into quieter evenings and longer meals.

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

Imagining and feeling into ways of relating other than ownership and power-over are important to my life and to this new work Desire: A Sankofa Dream. QTPOC (Queer and or Trans People of Color) have been inundated with explicit and subtle messaging that says we are property, to be managed and fixed.

The artists I work with and I are breathing into different imaginations of ourselves through improvisation, fantasy and desire. Practicing autonomy and agency mean recognizing autonomy and agency in others--other people, terrains and approaches. I am practicing that, imperfectly, but practicing nonetheless.

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

It is humbling and simple. Meditating, dancing, caring for and imagining are all part of my and our new/renewed ways of being. One of the simplest and most complex ways I’m inviting the practice of being-with rather than ownership or being owned is to feel instead of to numb. While I’m mortified by this pandemic, I’m grateful for the call to feel and to envision.

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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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Melanie George reflects on (re)Source, new performance from Maria Bauman-Morales

Maria Bauman-Morales performs (re)Source.
(photo: Kearra Amaya Gopee)

I celebrate the abundance of this essay by guest writer Melanie George on (re)Source, a new immersive dance work by Maria Bauman-Morales co-commissioned by BAAD! and The Chocolate Factory. The solo premieres at BAAD! in its BLAKTINX 2019 series on September 25 and runs nightly through September 28. For more information, click here.

--Eva Yaa Asantewaa

Getting By, Getting Through, Getting Over, and Making it:

Reflections on Maria Bauman-Morales’ (re)Source

by Melanie George

(re)Source is a work of blood and bone, of muscle and memory. It only lives in Maria Bauman-Morales, and will likely only ever be performed by her. In part, because it is an improvisational work, but also because the specificity within the thematic content – America, race, family, identity – can only be assembled by way of her understanding of her origin story and place in the world. She is tethered, literally and figuratively, as she navigates and negotiates her relationship to space, memory, and family lore. Her body is an interpreter of stories, individual and collective, detailed through the supple facility of her movement, and open curiosity of her gaze. I hesitate to use words like earnest and confrontational, as, too often, we associate them with the absence of complexity and nuance, but to deal with race in America is be smothered in complex nuances. The willingness to do so openly (but not fearlessly because our history with race is overflowing with the consequences of fear) is to be vulnerable and critical, for performer and audience. I find the work to be one of meaning-making, not statement-making. In her multi-hyphenate identity – as a queer, woman of color, artist, educator, anti-racism facilitator, womanist, wife, daughter, citizen – her sociopolitical values are realized and transparent so as to not to be proclamations. Lived truth and embodied identity speak volumes.   

As I attempted to locate (re)Source in contemporary art making practices, Maria pointed me toward the work of Amara Tabor-Smith, and her theory of Conjure Art. In Conjure Art, there are no boundaries between the spiritual and artistic practice. In fact, they serve as reciprocal conduits within the process of art-making. In defining the practice, Tabor-Smith explains, “Conjure artists believe in the forces of nature such as ancestor spirits, gods and/or deities found in indigenous cultures and recognize these energies as the guiding forces in their art practice.” Through the improvisational score that comprises much of (re)Source, we experience conjuring in real time. On multiple occasions in rehearsal, Maria noted that her deceased father had joined her during runs of the piece. This is not metaphor or allusion. In crafting (re)Source Maria makes room for her elders and ancestors to dance with her and through her, to receive impulses that guide choice-making during the performance. I was particularly struck by adaptation of Doug Varone’s “room reading” exercise to prepare to rehearse. As her line of inquiry is steeped in exploring non-proscenium spaces, she is negotiating her relationship to the stage and inquiring about the role of agency on uneven terrain. Her practice is guided by relationships to people, to environment, to identity. So, of course, there is a need to engage with all of these things before diving into the dance. 

For those inclined to over-academise the art-making process (I, too, can be guilty of this), the identification of Conjure Art is fundamental to receiving (re)Source as it is intended, rather than applying erroneous models to interpret it. Please note my identification of the academy. This is purposeful because of its predisposition to valuing Western-normative art-making models, and its function as a gatekeeper in our field. What does it mean to accept this work on its own terms? What is our role and responsibility in engaging with this dance? First, we must allow the artist to define the landscape of the work. In (re)Source, Africanist elements are centered, as is the importance of storytelling. This must be the terra firma from which we start our journey with the piece.  Maria is highly conversant in several dance languages. Chiefly, she values the weight, rhythm, dynamism, and spirituality that we recognize as essential to an Africanist movement lexicon. Her training in capoeira informs her movement vocabulary and is instrumental in her strength and use of space.  Additionally, she employs elements of movement abstraction that we associate with the choreographic tools of post-modernism. In her work, I see the intersection of multiples ways of knowing and claiming contemporary dance. Within one movement there may be a composite of physical textures, alternately competing and co-existing. In centering the names and stories of her ancestors - purposely keeping black folks present and visible in the work -  she is also centering her art-making practice. All are resources toward the making of the work. All are valid and do not require defense.

(re) Source is not a sentimental work. Maria may be conjuring her ancestors, but she is doing so in the age of Trump, Brett Kavanaugh, and the rising tally of Black trans women’s deaths this year. There is little time for sentiment when you’re gathering your tools for survival. She sees (re)Source and her family history as “a microcosm for race relations” in this country. Within that history are black and white relatives, and white relatives that owned enslaved black people. Maria reckons with the weight of that knowledge through movement and text, and aligns it with the jarring shift in our political climate since the ascent of Donald Trump as a political figure. There is great responsibility in telling personal truths about one’s family. Maria endeavors to make the labor visible, but in doing so she does not wallow in the impact of that labor. Instead, her role, part oracle and part griot, is to synthesize the contrasting content into a locking archive. The set, which functions as installation, immersive theatrical design, and interactive playground for the performer, is both obstacle and portal. A series of interwoven strings and chairs resembling a human sized cat’s cradle, the bonds can be tenuous, supportive, pliable, or binding. Alternately highlighting positive and negative space, they function as a metaphor for taking up space, holding space, and moving through it. The seating arrangement interlocks so that perspectives are varied, but no one sits alone. Interdependence is also a theme of the work. Though it is a solo performance, through conjuring and the seating arrangement, Maria is never, truly dancing alone. (re)Source invests in telling truths about race. By design, the audience is implicated in her navigation of this content.

“Resources are tools. I want to make transparent that 

‘I am because we are’. 

I have resources because people have gone through worse.”

• Maria Bauman-Morales

Though I am writing about (re)Source, I feel it is important to note Maria is developing this new piece concurrently with another evening-length work, Desire: A Sankofa Dream. The processes for the productions are not related. Solo vs. Group. Fantastical vs. Non-linear Improvisation. Personal history vs. imagined biography. Though they are wholly individual works, the continuum between the two productions encapsulates a core underpinning in Maria’s artistic identity: Interconnectedness and the continuum between the intrapersonal and interpersonal. It feels significant that she is working on these dances concurrently. The duality of honoring the individual and the group is an Africanist element that is a resource for how she makes meaning in the world. This speaks to a larger, overarching theme in her work: Life as practice, and an embodied investment in the survival and thriving of black and brown folks. The processes used in the making of her art are enacted in comparable ways in all areas of her life, notably through her work with Urban Bush Women’s BOLD program (Builders, Organizers and Leaders through Dance) and as a facilitator of Anti-Racism training with the People’s Institute for Survival and Beyond. The various roles Maria plays an artist-activist are not discreet from each other, they are in dialogue, as she is openly and actively in dialogue with us.

Melanie George is an educator, choreographer, and scholar. She is the founder of Jazz Is… Dance Project, and the Audience Educator and Dramaturg at Lumberyard Center for Film and Performing Arts. She is honored to be the Dramaturg for (re)Source.

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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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92Y Harkness samples Dancing While Black: December 7

Paloma McGregor

Performing Justice: Dancing While Black

presented by Fridays@Noon

92Y Harkness Dance Center

Friday, December 7

Noon to 1:30pm

Eva Yaa Asantewaa and Dancing While Black founder Paloma McGregor in conversation

Performances by Maria Bauman/MBDance and Jaimé Yawa Dzandu

DANCING WHILE BLACK is an artist-led initiative that supports the diverse work of Black dance artists by cultivating platforms for process, performance, dialogue and documentation. We bring the voices of black dance artists from the periphery to the center, providing opportunities to self-determine the languages and lenses that define their work.

Information and tickets!

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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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Subscribe in a reader