Janka Nabay, 54

Janka Nabay, 54, Dies; Carried an African Dance Music Worldwide
by Jon Pareles, The New York Times, April 3, 2018

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Juan Gabriel, 66

Juan Gabriel, Music Star in Mexico, Dies at 66
by Jonah Engel Bromwich, The New York Times, August 28, 2016

Patti Smith, Mariachi Flor de Toloache at LC Out of Doors

Patti Smith and band
rocked the 2016 Lincoln Center Out of Doors Festival.
photo ©2016, Deborah Feller

A perfect evening for Lincoln Center Out of Doors. Rain-free skies. July heat and humidity simmering at a comfortably mellow pitch. A pleasant crowd. Even the festival's security detail--with its new entrance gates and bag-checking procedures--kept things moving with cheerful efficiency.

Patti Smith, as I knew she would, had brought us good fortune.

More good luck arrived with Smith's opening act, Mariachi Flor de Toloache, New York's first and only all-women mariachi troupe. (Their eponymous debut album received a 2016 Latin Grammy nomination for Best Ranchero.) They offered original songs, traditional tunes, Nirvana and Led Zeppelin covers and Coltrane's "Afro-Blue," all with superb musicianship and mariachi flavor and warmth--trumpet, guitarrón, vihuela and violin blending peppy rhythms as gorgeously flutey voices ascended.  They took Irving Berlin's "Blue Skies" at a frisky pace, voices now a bit reminiscent of the Andrews Sisters. It was a little offbeat, spine-tingling and irresistible. The audience fell in love.

A taste of Mariachi Flor de Toloache performing on NPR:

Following a surprisingly quick break, Smith--mindful of LC's strict runtime policy--fondly admonishing her audience to not "mill around like a herd of turtles." Then she offered a passage from Just Kids, her beautiful remembrance of life with Robert Mapplethorpe. But her incantations (Ginsberg's "Howl") and rocking out with Lenny Kaye to "Dancing Barefoot" and "Summer Cannibals" brought the turtles rushing to the edge of the stage, phones aloft, as "Ghost Dance" rang into the night.

It was a night for calling up our holy dead--from Mapplethorpe to Ginsberg, yes, but also Amy Winehouse (a tribute to her called "This is The Girl"), Prince (a decidedly sultry "When Doves Cry"), Jim Morrison ("Break It Up") and her beloved late husband Fred "Sonic" Smith ("Because the Night"). If I recall, I might have heard a little George Harrison snaking through "Beneath the Southern Cross."

Aside from the sorry state of our politics--Smith, of course, took a few moments to excoriate Trump and the GOP and insist we use our People Power to do better--Smith very much had death and the passage of time on her mind. She startled me with the choice of "The Last Time" by The Rolling Stones, because she made me hear its refrain as a song of uncertainty about what time remains. It recalled that moody standard from way back in the '30s, you know, that goes, "For all we know, we may never meet again...."

We won't say goodnight/Until the last minute/I'll hold out my hand/And my heart will be in it

For all we know/This may only be a dream/We come and we go/Like the ripples of a stream

My heart clenched a little as I listened to the band lace into The Last Time. Smith was having fun with it but also making me imagine saying goodbye to this extraordinary being whose wit, spirituality and life force has always brought her audiences renewed belief and just the right jolt of energy in the nick of time.

I don't think the sensible and fiery Patti Smith is going anywhere anytime soon, though, and she later told us as much:

"I'm getting old," she roared, as we pumped fists into the air. "And I'm going to get fuckin' older!"

Words to live by.

* * * * *

Lincoln Center Out of Doors runs through August 7. All events are free. For schedule information, click here.

Damrosch Park and other Lincoln Center venues, Manhattan

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Upcoming US premieres for Carlos Saura's "Argentina"

Fans of Spanish director Carlos Saura's series of flamenco-related films should also enjoy Argentina (2015), a soulful love note to the music and dance of that nation. Shot in Buenos Aires, the sensuous documentary bears family resemblance to Saura's Flamenco Flamenco (2010) in its minimalistic yet dramatic setting, chiarascuro lighting and sunset coloration, intriguingly voyeuristic camera work, close-ups of expressive, lived-in faces and diverse array of excellent performers.

The 85-minute film samples everything from indigenous folk music to extraordinary ballads with an existential or political edge. There are songs about friendship and generosity, songs about the pain we humans cause our earth. "The only thing more important than God," one lyric tells us, "is that no one should spit blood so that another can live better."

The dancing follows a similar mixture--regional social dances, carnival dancing, contemporary choreography. It's all Argentina.

I was moved by so much in this film but especially the photo montage honoring the late, great singer Mercedes Sosa--a progressive artist known as "the voice of the voiceless"--who Saura positions as inspiration to a classroom of youngsters charmingly attentive to her "Todo cambia" ("Everything Changes"). Everything, she tells us, will change--except for the love she holds for her land and its people.

Eighty-five minutes can only give us a taste but, in that short time, Saura does his best to help us understand what Sosa loved with all her heart.

See the trailer here, and the US premiere screenings at New York's Lincoln Plaza Cinema (June 17) and LA's Laemmle Royal (July 1), presented by First Run Features.

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Building futures: a fresh DanceAfrica for BAM

Armand Celestin (center)
takes a journey in Senegal: Doors of Ancient Futures,
the 2016 season of BAM's DanceAfrica.
(photo: Richard Termine)

The extraordinary Moussa Sonko
of Senegal's Les Ballets de la Renaissance Africaine "WAAtO SiiTA"
(photo: Richard Termine)

The charming Chuck Davis has stepped out of his role as Artistic Director of DanceAfrica--that torch now passed to Forces of Nature's Abdel R. Salaam, a former, and impressive, Davis dancer. But let's just call this change a further expansion of leadership rather than a replacement. DanceAfrica, now celebrating its 39th season at BAM, functions as an engine built to generate leadership in all directions--from its mighty corps of elders to the youthful minds and talents it nourishes, instructs and inspires. It's a village, and that village includes you, too, sitting out in the seats of Gilman Opera House, clapping, cheering or tearing up as you always do.

There was quite a lot of that last evening at the opening of this year's spectacular Senegal: Doors of Ancient Futures. There was Baba Chuck and the always nattily-dressed Baba Salaam to greet; generous supporters to thank; nine young Scripps scholarship winners to honor; and one lucky dance artist--DC-native Kwame Opare--to congratulate as first recipient of the new Chuck Davis Emerging Choreographer Fellowship. Opare's award will allow him to continue and deepen his relationship with the National Ballet of Ghana, creating "new work that explores West African dance technique and aesthetics on the contemporary stage."

DanceAfrica welcomed a new Artistic Director this season,
veteran choreographer Abdel R. Salaam.
Much-loved Baba Chuck Davis (below) will stay connected
to DanceAfrica's community as Artistic Director Emeritus.
(photo: Richard Termine)

Under Salaam, DanceAfrica will pursue its own imaginative expansion, newly emphasizing a unity of African tradition and African innovation. The latter is dramatically represented, this season, by Salaam's own work, A Question of Beauty, with its visual grandeur and passion for ousting demons of Black self-hatred, and Marie Agnes Gomis' Who Are We?, which situates rigorous contemporary movement and traditional Senegalese dance within an imperiled environment. Her handsome, Dakar-based Compagnie Tenane dances that piece amid a gleaming and confining field of one-gallon plastic water bottles. 

Baidy Ba and Marie Agnes Gomis
of Compagnie Tenane in Who Are We?
(photo: Richard Termine)

Senegal: Doors of Ancient Futures crackles with fresh energy and--at nearly 2-1/2 hours--benefits from a lightly-applied narrative through line that connects its companies and pieces. Central to this scheme is young Armand Celestin who takes an Alice-like step through an opening in space and time. Celestin's "looking glass" is inspired by Salaam's visits to Gorée Island's Door of No Return, the portal to the ocean that carried so many enslaved Africans west to the Americas. Lagging behind your typical bustling, photo-snapping tourist group, the boy becomes fascinated by this door, passes through and encounters all manner of dancers, musicians and wise elders. In many ways, Celestin stands for all of us in the house: DanceAfrica creates space and opportunities for us to appreciate African concerns--from environmental integrity to personal integrity--and African values.

But messaging isn't all. The stagecraft of Senegal: Doors of Ancient Futures--sets, lighting, costuming--has hit an all-time high for sophistication and pleasure. And we thrill to the vibrant performances of Dakar's Les Ballets de la Renaissance Africaine “WATTO SiiTA”--in particular, its leader, choreographer and charismatic chief dancer, Moussa Sonko. I don't know about young Celestin, but--damn--I definitely want to be Sonko when I grow up.

Senegal: Doors of Ancient Futures concludes on May 30 with performances today at 2pm and 7:30pm, Sunday at 3pm and Monday at 3pm. For information and tickets, click here.

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Papa Wemba, 66

Papa Wemba, Known as the King of Congolese Rumba, Dies at 66
by The Associated Press, The New York Times, April 24, 2016

Transcendant Malini Srinivasan

Dancer Malini Srinivasan introduces a dance.
Winter Garden at Brookfield Place
(photos: Eva Yaa Asantewaa)

Musicians shown, l-r: Vocalist Taniya Panda,
violinist Arun Ramamurthy
and bansuri (flute) player Jay Gandhi
(photos: Eva Yaa Asantewaa)

Sitting on the amphitheatrical staircase at the Winter Garden atrium at Brookfield Place can make you feel like you've finally fallen into that elusive "lap of luxury" you've always heard so much about. Beyond the round staircase landing (used as a performance space), you gaze out at a stand of palm trees, the entrances to upscale shopping spots and eateries and, past tall windows, to a yacht marina gleaming in the setting sun. The Winter Garden sits near the Hudson River edge of a neighborhood that, especially since 9/11, has seemed evermore sterile in design and sealed off from the rest of New York.

But Malini Srinivasan's Bharatanatyam performance last night--part of arts Brookfield's Transcendant Arts of Tibet & India series--brought heart and warmth to these surroundings. Entitled Rasa in the Round, the generous, nearly two-hour program included several dance solos by Srinivasan and music by Taniya Panda (Carnatic vocal), Samarth Nagarkar (Hindustani vocal), Umesh Venkatesan (nattuvangam), Arun Ramamurthy (violin), Jay Gandhi (bansuri), Bala Skandan (mrdangam) and Suryaksha Deshpande (tabla). Ramamurthy and flutist Gandhi, in particular, created heavenly beauty.

Srinivasan, dressed in magenta and gold, ritually blessed the space with movement and the release of rose petals to the air. Her dancing drew us close to those lovers of Lord Krishna who pine for him and vie for his favor. Her mastery of dance and story showed in her integrity of line, her firmly grounded plasticity allowing her to maintain control even when stretched, lunged or twisted out from her axis, shaping refined gestures and minute flutters of her fingers. Always, she displayed follow-through from head to toe, crackling with energy. Her dancing breathed as one with the singers' vocal lines.

For each tale, she took time to introduce the narrative with bits of dialogue and some imagery we'd notice along the way. For example, for Night, she previewed carefully inscribed gestures for "moon" and "waves." However, nothing prepared us for how deeply affecting these same simple gestures would be in their danced context and, especially, in Srinivasan's full-out, shapely performance.

Of one piece, Navarasa, Srinivasan noted, "It is up to the audience to taste the emotions" of the Divine Mother. Throughout the evening, she inspired us to taste a bit of everything, easily winning the rapt focus of her huge audience. Everything artificial, beyond her sacred circle, simply disappeared.

Transcendant Arts of Tibet & India is now closed. For information on future artsBrookfield programs at Winter Garden and elsewhere, click here.

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Naná Vasconcelos, 71

Naná Vasconcelos, Daring Brazilian Percussionist, Dies at 71
by William Grimes, The New York Times, March 11, 2016

Is it too soon to be thinking about The Nutcracker?

Photos from Dance The World Nutcracker Festival
courtesy of JP Dance Group

Maybe, even though Rockefeller Center's Christmas tree is already in place!

But JP Dance Group wants you to start thinking about its Dance The World Nutcracker Festival, devoted to New York's exciting diversity.  Three programs (December 15-20) will present dance forms from a wide variety of cultures represented in our city--Chinese, Bulgarian, Middle Eastern, African, Caribbean, Mexican and Indian.

For a complete schedule of festival programs, click here. For tickets, click here.

The Secret Theatre
44-02 23rd Street, Long Island City, Queens
(map/directions)

Doudou N’diaye Rose, 85

Doudou N’diaye Rose, Senegalese Drummer and ‘Human Treasure,’ Dies at 85
by Bruce Weber, The New York Times, August 23, 2015

See (and learn) dances of Aceh (Sumatra, Indonesia)

Asia Society

presents

Tari Aceh: Dance from Aceh, Sumatra, Indonesia

Tari Aceh

Saturday, February 28

7pm -- pre-performance lecture

8pm -- performance

info/tickets

Sunday, March 1

11am-1pm -- workshop with dancers of Tari Aceh, 

exploring traditions and hallmarks of Acehnese dance

info/tickets

Aceh (Sumatra, Indonesia) is renowned for its exuberant performances combining text, poetry, dance, and movement with a distinct flavor that reflects local culture as well as a strong Islamic influence. It has been ten years since the devastating tsunami killed over 200,000 people in Aceh. This performance celebrates the resilience of the people and a new generation of young women whose traditions have provided an important part of the healing process.

One of the hallmarks of Acehnese dance is a form of body percussion in which various rhythms are created by slapping the body or clapping. One form — saman — is done in a tight line, shoulder-to-shoulder, becoming almost a singular-being moving at split-second speed. The form is not only entertaining, but also has an educational side which reflects the morals and teachings of the community.

This is a rare opportunity to see an all-female group from Syiah Kuala University, located in Banda Aceh, the capital of the Aceh province on the western Indonesian island of Sumatra.

This program is part of Asia Society's ongoing initiative Creative Voices of Muslim Asia.

Can't make it to this program? Tune in to AsiaSociety.org/Live at 7pm EST for a free live video webcast.

Asia Society
725 Park Avenue (at 70th Street), Manhattan
(map/directions)

Yacub Addy, 83

Famed Drummer Yacub Addy Passes Away
by Lynn Cianfarani, Saratoga Wire, January 17, 2015

Carolina Chocolate Drops' Rhiannon Giddens prepares solo tour

A Solo Spotlight for a Powerful Voice
by Jon Pareles, The New York Times, January 23, 2015

New hope for cultural exchange with Cuba

For Cuban Artists, Bigger World Awaits After Restoration of Ties
by Michael Cooper, The New York Times, December 19, 2014

Sabah, 87

Sabah, Lebanese Singer and Actress, Dies at 87
by William Yardley, The New York Times, November 28, 2014

U. Shrinivas, 45

U. Shrinivas, Indian Mandolin Virtuoso, Dies at 45
by Douglas Martin, The New York Times, September 30, 2014

Butterfly's still got the beat!

Tap artist Roxane Butterfly joyously announces the revival of her BeauteeZ'n The Beat dance ensemble--not seen for ten years!--for a concert at Nublu on New York's Avenue C.

November 9, 9pm

Roxane Butterfly

Brinae Ali

Ayodele Casel

and guests

Admission: $10

Nublu

62 Avenue C (between East 4th and 5th Streets), Manhattan

(map/directions)

Abdel R. Salaam to succeed Chuck Davis as head of DanceAfrica

Transition in Leadership for BAM’s DanceAfrica
by Felicia R. Lee, The New York Times, May 16, 2014

Flamenco great Farruquito comes to NYU Skirball, June 21-22

World Music Institute

presents

FARRUQUITO

in his first NYC performance in over ten years

at NYU Skirball Center for the Performing Arts

Saturday, June 21, 8pm

Sunday, June 22, 7pm

HOME from FARRUQUITO on Vimeo.

Son of the singer El Moreno and dancer La Farruca, Farruquito is the chief proponent of the unique dance style founded by his grandfather, El Farruco. Farruquito made his Broadway stage debut at age five, starred in Carlos Saura's film Flamenco at twelve, and was directing his own shows by fifteen. After years of successes—and some personal tragedies—he makes a ­triumphant return to NYC after more than a decade. He’ll present his new work, Déjà vu.

Ticket information

Farruquito Web site

NYU Skirball Center
566 LaGuardia Place (south of Washington Square Park), Manhattan
(map/directions)

Summer begins with Spain's Buika in Central Park

BUIKA

and

MARQUES TOLIVER

In association with

Blue Note Jazz Festival

Presented by SummerStage

Central Park, Manhattan

Sunday, June 22 at 7:00pm

FREE admission

Buika

Since her introduction to the American marketplace in 2007 with her album Mi Niña Lola (My Little Girl Lola), Buika has experienced a meteoric rise, earning lavish praise from The New York Times, The Miami Herald, and The Wall Street Journal, as well as NPR which quickly included her in their "50 Great Voices" radio gallery. Her next release, Niña de Fuego (Fire Child) paved the way for relocation to Miami in 2011. After achieving success in Europe, her works were compiled on the 2-CD set En Mi Piel (In My Skin) to coincide with the Pedro Almodovar movie of the same name in which she appeared. Buika was nominated for a Grammy for best Latin Jazz album this year, for her latest album La Noche Mas Larga. 

Marques Toliver

Marques Toliver burst onto the scene via the UK with an arresting television performance in 2010 and a declaration from Adele as her "new favorite artist." Toliver has played live and on records for the likes of Holly Miranda, Grizzly Bear, and Miles Benjamin Anthony Robinson. After a move to London, Toliver signed to Bella Union and released his well-received debut EP Butterflies Are Not Free. Following worldwide tours, he began work on the mixtape Studying For My Ph. D, a cornucopia of music, speech, loops, and news reports from the London Riots. Through the mixtape he would also delve in to some of the themes and ideas that would eventually influence his full-length debut Land of CanAan, a work brimming with his own unique R&B and Classical music influences.

For more information on this show, click here.