Robert Pincus-Witten, 82

Robert Pincus-Witten, Art Critic and Historian, Is Dead at 82
by Neil Genzlinger, The New York Times, January 31, 2018

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A.M. Weaver (1954–2018)

A.M. Weaver (1954–2018)
by ARTFORUM, January 24, 2018

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Kynaston McShine, 82

Kynaston McShine, Curator of Historic Art Exhibitions, Dies at 82
by Roberta Smith, The New York Times, January 12, 2018

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BAM's Joseph V. Melillo to receive a Bessies honor

Joseph V. Melillo
(photo: Jesse Winter)

The NY Dance and Performance Awards (The Bessies) has announced the recipient of the 2018 Bessies Presenter Award for Outstanding Curating--Joseph V. Melillo, Executive Producer, since 1999, of Brooklyn Academy of Music (BAM). Melillo will receive the award at the Bessies Presenters Gathering on Sunday, January 14 (5-7pm), at La MaMa's Downstairs Theater.

“The Bessie committees wanted to recognize Joe Melillo for his visionary curation for more than three decades,” said Bessies Executive Director Lucy Sexton. “Joe has made sure dance has a place on the stages of BAM—from the grand Howard Gilman Opera House to the adventurous Harvey Theater to the intimate space at the Fisher. He has brought so many international choreographers to New York City and lifted up generations of American dance artists on the world stage. We are thrilled to be honoring him with this award.”

The celebration of Melillo's award is free and open to all in the dance and performance community. Please click here to make your reservation.

La MaMa (Downstairs Theater)
66 East 4th Street (between Bowery and Second Avenue), Manhattan
(map/directions)

ABOUT THE BESSIES PRESENTER AWARD

Established in 2017, the Bessies Presenter Award for Outstanding Curating recognizes a presenter or curator of work performed in the New York City area. It is presented to an individual or curatorial team whose work has had a palpable impact on artists, audiences, or the dance and performance field in general. While the award can recognize sustained achievement in curating or presenting over time, it can equally recognize a particular project, festival, or season that occurred in the past year. Visiting or guest curators, as well as full-time curators and presenters are eligible. The first Presenter Award (in 2017) went to Judy Hussie-Taylor, Executive Director and Chief Curator of Danspace Project. 

ABOUT THE BESSIES

The NY Dance and Performance Awards have saluted outstanding and groundbreaking creative work in the dance field in New York City for 33 years. Known as “The Bessies” in honor of revered dance teacher Bessie Schönberg, the awards were established in 1984 by David R. White at Dance Theater Workshop. They recognize outstanding work in choreography, performance, music composition, and visual design. Nominees are chosen by a selection committee comprised of artists, presenters, producers, and writers. All those working in the dance field are invited to join the NY Dance and Performance League, as members participate in annual discussions on the direction of the awards and nominate members to serve on the selection committee. The Bessies are produced in partnership with Dance/NYC. For more information about the Bessies, visit www.bessies.org.

Follow the Bessies on Facebook / #theBessies / @bessieawards

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"Confusing times" call for clarity: Discuss!

Judy Hussie-Taylor
Exective Director and Chief Curator
Danspace Project
(photo: Michael Kirby)

In these confusing times, why and how do performing arts presenters and curators decide what work to present in their season? What is the interplay of determining factors – sociopolitical climate, curatorial vision, audience trends, diversity, the bottom line?

--publicity text for "Commissioning and Presenting in Confusing Times," an Open Spectrum Community Dialogue presented by New York Live Arts and co-curated with Brian Tate of The Tate Group

"For some reason, I kept calling this panel Presenting in A Crisis," said moderator Judy Hussie-Taylor, introducing Commissioning and Presenting in Confusing Times, hosted by New York Live Arts last week. Her alternate title made more sense, really, since most of us in the arts are not at all confused. We're clearheaded enough to be damned angry.

That sense of specific, political outrage seemed elusive at this gathering of five of New York's most powerful curators and presenters--Lili Chopra (French Institute Alliance Française), Tim Griffin (The Kitchen), Kamilah Forbes (Apollo Theater), Jay Wegman (NYU Skirball Center for the Performing Arts) and Hussie-Taylor herself, an innovator who has made space for award-winning "Platform" programming at historic Danspace Project.

Referring to our current American moment as "a crisis, the turning point in a disease," Hussie-Taylor suggested that her panelists might tackle four questions:

• What needs to be explored?
• What or who needs to be honored?
• What or who needs to be challenged?
• What needs to be jettisoned?

Relatively new to their positions, Forbes and Wegman are both clearly still researching, experimenting and seeking their best path at institutions with, respectively, formidable cultural legacy (the Apollo) and conventional, somewhat muddled programming (NYU Skirball). Wegman--formerly, and famously, artistic director of Abrons Arts Center--was forthcoming about challenges he faces in replacing stodgy Skirball fare with something actually attractive to NYU students. To do so, he has let go of familiar acts that, as he put it, tend to do little but recycle their material. The 2016 election re-energized his focus, inspiring him to produce more adventurous events such as an appearance by author Ta-Nehisi Coates and the U.S. premiere of a controversial Palestinian play, The Siege.

All the panelists expressed, to one degree or another, dedication to supporting artists and putting artists' needs and concerns at the center of operations--with all the practical complications that can entail. Forbes argued that the job of the institution is to be the locus of transformation and a vehicle for creating the "21st Century canon." But, for the most part, I must say I walked away still questioning how this might be achieved, not just at the Apollo, but elsewhere in what is arguably the arts capital and most progressive city of our nation.

Even in New York's dance and performance community, we are still looking at citadels of power in need of the knowledge, skill, insight and visionary courage of more women and more people of color. The expertise and talent, which I witness regularly, are out here in abundance....and not in the least in a state of confusion. 

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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)


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Nathan Lyons, 86

Nathan Lyons, Influential Photographer and Advocate of the Art, Dies at 86
by William Grimes, The New York Times, September 1, 2016

Guest curators offer food for thought at Danspace Project

Earlier in the day, I screened a documentary about Yvonne Rainer in which Rainer quipped, "I love existing in front of spectators."  And I had been thinking about the way performance is less a game to be played and won or lost with good or bad reviews than an invitation to someone's world. In the case of the frequent reviewer, that's like frequent flying. I have decades worth of miles and navigation within worlds created by others.

Thinking of it this way removes the pressure to level judgment and opens up some room for...whatever. For Yvonne Rainer's existence, certainly.  For Larissa Velez-Jackson's star crap. For the pleasure curator Ali Rosa-Salas intimated by calling her Food for Thought program "pleasure principles."

Rosa-Salas was the second of three guest curators recruited by Danspace Project for this season's Food for Thought (the series title referring to DP's canned food drive for the food distribution program at St. Mark's; donate a couple, get a ticket discount). Her evening last night brought us performances by serpentwithfeet,  Jasmine Hearn, Dan and Lindsay Reuter, and Jonathan González. These artists had also contributed words to something not labeled an artist statement inviting us to follow our pleasure, our melancholy, our bliss.

serpentwithfeet ("a brooklyn based singer") whose two performances opened and closed the evening--presented the challenge of being completely unfamiliar to me and being about sound instead of dance. I entered his world and bonded with him over the superior metallic gleam of his emerald green nails. I stayed for the way his perfected R&B voice and stylings layered over classical music. His voice had a right (and a rite) to be there, and I took instruction from that. I found myself thinking visually as I listened to him. He wasn't dancing, and there were no projections. Yes, with his piercings, skirt, sneakers, those nails, he was a certified work of art. But something else happened in which I saw what his voice was doing and, sorry, I can't explain it.

I have seen Jasmine Hearn dance, admirably, with Marjani Forté-Saunders (and, I think, Ni'Ja Whitson maybe?). Her solo, cinder, seems like attempts to reach out through voice, through sound, through direct address to a watching, unfortunately passive crowd--"I need an adjective! How are you feeling?" But I found myself looking past all that, almost softly batting it away so that I could concentrate. What shined through was Hearn herself--uncommonly pliable, mercurial, intense, physically invested to the max with zero caution, allowing no daylight between herself and her choreography. She began the work as if carving herself out of darkness and ended it by returning to the dark. In between, she burned and glowed.

Dan and Lindsay Reuter's Annie largely evaporated around me. I followed along behind their backs, noting the drab coloration of their costumes, and lost track of them somewhere atop the church's altar steps. For some reason, I never found my way around.

This is the second time I've seen work by Jonathan González; the first time was on a shared program at BAAD! It seems the world he makes is about taking ordinary things--the space, the lighting, his body parts, his voice--and twisting them into unfamiliarity and absurdity. So, if you visit one of his worlds, no matter what you bring in your knapsack, you will never be prepared. Even as the experience winds down, González will find a way to subvert your expectations of an ending. I enjoyed the way he did it this time.

Let's hope that, despite the snowstorm, the third and final evening of Food for Thought will be able to run tonight at 8pm. Curated by Greta Hartenstein, the program will feature work by Ayesha Jordan and André D. Singleton. Check online for details and updates. If it's on, don't forget to bring a couple of cans.

UPDATE: Tonight's program has been cancelled due to weather conditions. Stay safe!

Danspace Project
St. Mark's Church in-the-Bowery
131 East 10th Street (at Second Avenue), Manhattan
(map/directions)

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Joan Duddy, 78

Joan Duddy, Nurtured Dance and Joyce SoHo in Manhattan, Dies at 78
by Jennifer Dunning, The New York Times, November 27, 2015

Brookie Maxwell, 59

Brookie Maxwell, an Artist and Curator, Dies at 59
by Sam Roberts, The New York Times, November 9, 2015