TONY review: afroFUTUREqu##r

Hey, gang! I reviewed the Friday program of afroFUTUREqu##r (curated by Thomas DeFrantz and niv Acosta) at JACK for Time Out New York, and TONY had a delay in posting it. But you can find it now at this link.

Pan African journal examines dance

JPAS - Journal of Pan African Studies presents a special issue on dance. Click here to access and download pdfs of the issue's many articles including:

"Terminology of Difference: Making the Case for Black Dance in the 21st Century and Beyond"
by Takiyah Nur Amin

"Theorizing Connectivities: African American Women in Concert Dance"
by Thomas F. DeFrantz

"I Just Want to Get my Groove On: An African American Experience with Race, Racism, and the White Aesthetic in Dance"
by Tracey Owens Patton

"CaribFunk Technique: Afro-Caribbean Feminism, Caribbean Dance and Popular Culture"
by A’Keitha Carey

"Hoodoo Religion and American Dance Traditions: Rethinking the Ring Shout"
by Katrina Hazzard-Donald

"African Dance as Healing Modality throughout the Diaspora: The Use of Ritual and Movement to Work through Trauma"
by Nicole M. Monteiro and Diana J. Wall

and much more.

The Journal of Pan African Studies works to become a beacon of light in the sphere of African world community studies and research, grounded in a trans-disciplinary open access scholarly peer-reviewed construct, simultaneously cognizant of the multilingualism of our audience, and the importance of universal access in cyberspace; regardless of geography, economic, social or cultural diversity.

House of Olinghouse

Absolutely no advance tickets remain for Cori Olinghouse's voix de ville, but don't hesitate to get on the waiting list! You'd be mad to miss a chance to see this show, part of PLATFORM 2011: Body Madness, at Danspace Project.

Before I go further, let's get another layer of titling out of the way: DP ED Judy Hussie-Taylor--wearing her curator's hat this time--has labeled her chosen PLATFORM sequence "Part 1--Absurdity & Wit." All of this sounds impossibly clunky to my ears, but it really doesn't matter what Hussie-Taylor or her fellow PLATFORM curators call this or anything else. They have turned New York's contemporary dance scene upside down by radically expanding the nature of work we usually envision in the sanctuary of St. Mark's.

The lush jewel box of voix de ville ("voices of the city") contains three gems. Olinghouse's opener--The Animal Suite: Experiments in Vaudeville and Shapeshifting--deserves a more relaxed title. But its actual execution is pure, lapidarian grace. It lifts the audience away from time and into a fanciful world where vaudeville, eccentric, postmodern and house dance overlap, where gender identity ebbs and flows, and where fairytale birds and bears may coexist in peaceable spirit. The five-member cast is perfect--especially exquisite Olinghouse and Neal Beasley, whose Keatonesque-Chaplinesque dancing is a tasty joy.

(I think you'll enjoy this conversation between Olinghouse and MIT professor, writer and performer Thomas DeFrantz: Click here.)

The eccentrically-costumed Kota Yamazaki dances Itsuko san--part-Butoh, part-drag-from-hell, part fever dream--as splashes and splotches of music whimsically flare up and depart. His locomotion gets him from here to there but never through a straight path or with deliberate steps, and the dance just slips away, evaporates at the end. Quite right.

Elements of Vogue--created and performed by the truly legendary Archie Burnett (Olinghouse's master teacher) and Javier Ninja of the House of Ninja--ends the evening with a real house dance bang. Ninja is comically robotic and fussy to Burnett's sexy earthiness, but they both move with astonishing conviction and power.

Try to see voix de ville at Danspace Project tonight or tomorrow at 8pm. More information here and ticketing info here.

Danspace Project
St. Mark's Church
Second Avenue and 10th Street, Manhattan