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Showing posts with label Sydnie L. Mosley Dances. Show all posts
Showing posts with label Sydnie L. Mosley Dances. Show all posts

Tuesday, September 27, 2016

SERIOUS MOONLIGHT podcast: Sydnie L. Mosley

Sydnie L. Mosley
(photo: Farima Faye/F.F. Visual)



Sydnie L. Mosley is an artist-activist who is interested in creative work that is both artistically sound and socially aware. Sydnie earned her MFA in Dance with an emphasis on Choreography from the University of Iowa, not long after she received her BA in Dance and Africana Studies from Barnard College at Columbia University. Sydnie’s creative and research interests lie at the intersections of modern dance, movement in the African Diaspora, spirituality, feminism, and literature.​
​​
Her choreographic work with her company SLMDances actively engages audiences, and often reflects the experiences of black peoples and women. Her evening length dances The Window Sex Project and BodyBusiness, their creative processes and performance experiences are a model for dance-activism. ​​​Her dances have been performed extensively throughout New York City and she was listed by TheRoot.com as one of twenty-five “Up and Coming: Young Minority Artists and Entrepreneurs.”​

Sydnie is a recipient of the CUNY Dance Initiative (2016 Artist in Residence), Dancing While Black Artist Fellowship (2015-2016), and The Field Leadership Fund (2015-2017). She produced her most recent evening length work with The Performance Project @ University Settlement (Artist in Residence 2015-2016). She is a 2013 alumna of the Create Change Fellowship with The Laundromat Project, and the Gibney Dance Institute for Community Action Training. In 2011, she became the inaugural Barnard Center for Research on Women Alumnae Fellow.

​A versatile dancer, Sydnie performed most recently with ​INSPIRIT, a dance compan​y, and Brooklyn Ballet. Jennifer Dunning of The New York Times writes of her performance in David Parker’s Nut/Cracked Redux, “I won't soon forget… the woman who stood in the center of a sea of floor-bound bodies, allowing her arms to bloom up and open luxuriously in a gracious, centuries-old convention with radiant pride and pleasure.”​

As a dance educator, Sydnie specializes in teaching modern, jazz and West African dance, amongst other styles.  She teaches babies (really!), K-12, undergraduates, non-dancers and professionals alike, with the motto: if you can move, you can dance! She designed and teaches Dance in the City, Barnard College's Pre-College Program in dance.

Sydnie’s skills extend beyond the creative. She is an independent scholar who earned honors for her Barnard College senior thesis, “​Dancing Black Christianity: Revealing African American and Ghanaian Cultural Identity through Movement in Christian Worship.” She is a new contributing writer to The Dance Enthusiast and has contributed to Dance Magazine. She is also an advocate for dance currently serving on the Dance/NYC Advisory Board, after a four year tenure on the Dance/NYC Junior Committee which represents the interests of dance professionals in New York City ages 21-30.​​​ She served as Vice Chair 2014-2015.

Sydnie currently resides in Harlem, New York City. When she isn’t dancing, she is writing, listening to music, and cooking.

Serious Moonlight--hosted by Eva Yaa Asantewaa and produced with Tei Blow--is a production of Gibney Dance Center's Digital Technology Initiative.

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Friday, November 13, 2015

Our bodies, our business: SLMDances at University Settlement

Candace Thompson of SLMDances
at University Settlement for BodyBusiness
photo ©2015, Eva Yaa Asantewaa

BodyBusiness--the exuberant, inspired new venture from Sydnie L. Mosley's SLMDances--asks "How can dancers be paid a living wage for meaningful work? How can we transform places of lack in our lives into places of abundance?"

While the first question will require something like revolution, the second gets answered and put into practice this very week by BodyBusiness itself, a dance concert hosted by The Performance Project at University Settlement where Mosley has been in residence. But not just a dance concert. BodyBusiness is a dance physically--and spiritually--nested inside a social, marketing and community networking event ("Marketplace").*  The simple fact that I might have something you need and vice versa is its operating principle and a model for how to survive, thrive and get your work done as an artist in New York or really anywhere.

Katherine Bergstrom of SLMDances
at play with audience members
at University Settlement for BodyBusiness
photo ©2015, Eva Yaa Asantewaa

Opening night found US's Speyer Hall performance space encircled by reps from from several community service organizations--The Field, Pentacle, OurGoods, PURPOSE Productions, among others--the sound system pumping soul and R&B as an audience gathered. Eventually, dancers from Mosley's troupe appeared, casually engaging a few audience members in movement play in the central space as tabling continued on the sidelines. These interactions provided a transition into the formal performance. With tables cleared away, Damel Dieng's video introduced and, with the help of Mosley's entertaining dancers, cleverly illustrated the complex economic issues faced by freelance dance artists.

Unpaid or underpaid. Up to their eyeballs in debt. Working several jobs to support themselves while pursuing an art they love. Statistics stacked against any hope for healthy balance in life, let alone success in their chosen career.

In the following live performance, we learned more about Mosley and her dancers as individuals, their backstories, struggles and dreams. "My folks wanted me off the couch," said Kayla Hamilton. "My mother, she worked too damned hard for me to be just dancing around," said Kimberly Mhoon. "My mother likens my dance career to an abusive relationship," said Candace Thompson.

Most of the dancers are Black women, and Mosley's choreography for this initial segment shows a wry relationship with classical ballet (as skill, as playacting) that is full of charm and mischief.

There is joy and determination and something I can only call being-one's-selfness in every move, and I love how Mosley keeps things continuously on the move. There are bodies in a range of sizes, and so we bid fond adieu to that "mold" that one dancer, Rachel Russell, said she did not fit. Fuck that mold.

The audience participation that follows--which I will not divulge here--gets to the heart of Mosley's whole project. She has a need to see dancers stand in their power (probably more than just dancers, too...but let's start there), and she offers some tools and bids us all use them well and carry on.

*Tonight's Marketplace--open at 6pm and followed, roughly at 7 or 7:30 by the performance--will feature tabling by health and social services organizations, and tomorrow's will be devoted to small businesses.

For BodyBusiness information and tickets, click here. Note: No one will be turned away for lack of funds. Also, with advance notice, childcare is available--which is very cool.

University Settlement
184 Eldridge Street (near Rivington Street), Manhattan
(map/directions)

Saturday, November 1, 2014

No shame in their game: Mosley troupe readies premiere of "CAKE"

Autumn Scoggan, Candace Thompson and Kimberly Mhoon in
The Window Sex Project film, choreographed by Sydnie L. Mosley
(photo: Keevan Girdharry)
This month, Mosley's troupe will premiere CAKE.

Sydnie L. Mosley Dances, a Harlem-based troupe noted for its focus on women's activism through the arts, presents the world premiere of CAKE as guests of The Victory Dance Project on Sunday, November 9, 2pm, at Actors Fund Art Center. In Mosley's words,
CAKE questions the definition of respectability, and considers how doing away with shame around the female body can enliven those bodies to create new, free realities.
Get tickets here.

Actors Fund Art Center
160 Schermerhorn, Brooklyn
(map/directions)

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