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Thursday, May 31, 2018

Who is this body? Anabella Lenzu at La MaMa Moves!

Anabella Lenzu
(photos: Anabella Lenzu Dance)
"This is my body. The dance is coming from my body,
not the body of a 25-year-old."
--Lenzu in her post-show conversation with director Daniel Pettrow


What I most appreciate about Anabella Lenzu (Anabella Lenzu/Dance Drama), whom I have known since she took my dance writing course at New York Live Arts, is how fully she inhabits the moment. She's all there, a force of self-determination, and that serves her well in her vivid new solo, No more beautiful dances, a world premiere for La MaMa Moves!

It's a generous presence in which Lenzu--plunging headfirst into performance after a long time focused on making work for others--ramps up what it means to be a dancer. It means your body speaks for you; it is your art, one vulnerable to the judgment of others as well as your own, offered up for display and assessment. Lenzu aims to stay honest about all that. With the audience as witness, she desires to serve, too, as her own outside eye.

She marks thick lines in menstrual red around her feet and thighs, outlines she will then fill with the same color and with furious energy. She allows two live-streaming cameras--one from above, one from below--to snoop around every surface and crevice of her 42-year-old body. This reads a bit like feminism of the My Body, My Self kind, an effort to take look at herself, journal what she observes, understand and come to grips with the changes undergone with the years and after giving birth to her two kids.

With the help of director Daniel Pettrow and the mentors she will cite after the show, this "journal" has been distilled down to about 40 minutes. But it encompasses so much--all that can be seen and all that needs to be imagined upon reflection of the viewer's own history. It stretches across the walls of The Downstairs theater's waiting area where blown-up, drawing-enhanced selfies of the dancer have been hung. It includes Lenzu's sturdy, expressive movement, of course, and her husband Todd Carroll's video projections but also Lenzu's speaking and songs recalled from her Argentinian youth--all to recapture a grounding sense of a self almost lost here in a new land.

In her post-show chat with Pettrow and the audience, Lenzu answered the inevitable question about her title, No more beautiful dances, by calling it a warning: "This dog will bite you."

Oh, yeah, I get that. When I first read the title, I thought of it as: "No more beautiful dances...for YOU, MISSY!" I also could not help but hear a poignant question: "Am I no longer able to make beauty?"

But I think an audience member figured out something better, something true of Lenzu when he offered this:

"No more pretty dances. Ah, but beauty...!"

Costumes: Jennifer Johanos
Lighting design: Hao Bai

No more beautiful dances has a final performance tonight at 7pm. For information and tickets, click here.

La MaMa The Downstairs
66 East 4th Street (between 2nd Avenue and Bowery), Manhattan

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Wednesday, May 30, 2018

June 8-10: La MaMa’s Squirts: Generations of Queer Performance

Madison Krekel, left, with musician Isaiah Singer (photo: Nina Fleck)
and (below) Bessie-winner Jasmine Hearn (photo: Scott Shaw)
will appear in this year's La MaMa's Squirts festival, June 8-10


I'm thrilled to announce that I've curated one of this year's La MaMa's Squirts shows, and I want you to come out, represent and support!

The annual festival of queer performance, created by Dan Fishback's Helix Queer Performance Network, will feature three evenings curated by Linda LaBeija, Shannon Matesky and myself, performed at La MaMa's The Downstairs theater, Friday-Sunday, June 8-10, all at 7pm.

I'm showing up for all three shows, because they're going to rock, and I hope to see you there!

Here are your details:

Friday, June 8, 7pm: Q(here)magiQUE

curated by Eva Yaa Asantewaa

Q(here)magiQue is an evening of improvisation, manifesting multidimensional queer space for queer spirituality, casting spells through dance and the word.

Featuring:

Antonio Ramos
iele paloumpis
Jasmine Hearn
Madison Krekel (with Isaiah Singer)


Saturday, June 9, 7pm: The LaBeija Showcase

curated by Linda LaBeija

You can glimpse the House of LaBeija in great films like The Queen and Paris Is Burning but, in The LaBeija Showcase, peek into the life and history of the House and where it is today, with an evening of collaborative, devised theater. Through vogue and modern movement, original music, and lip sync performances, bear witness to the performative talents and fashions of this iconic collective. Learn who they are and learn what they stand for. Learn it and learn it well!

Commentator/Co-Director: Leggoh LaBeija
Choreographer and Dancer: Monster LaBeija
Sound Director: Skyshaker

Featuring:

Rozay LaBeija
NYC Father Legendary Freddie LaBeija
Krystal LaBeija
Egyptt LaBeija
and more!

Sunday, June 10, 7pm: Four Questions

curated by Shannon Matesky

Shannon Matesky, creator and curator of Queer Abstract, curates an evening of theatrical performances highlighting queer artists as they grapple with four pivotal questions in honor of Nina Simone's “Four Women."

Featuring:

Regie Cabico
Gary Champi
Aviva Jaye
Ni'Ja Whitson
Shannon Matesky

For information and tickets--including your 3-performance 50% discount pass!--click here.

La MaMa (The Downstairs)
66 East 4th Street (between 2nd Avenue and Bowery), Manhattan

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Sunday, May 27, 2018

My DanceAfrica wish list

Abdel R. Salaam, Artistic Director
of BAM's annual DanceAfrica fest,
presents Remembrance, Reconciliation, Renewal,
honoring the centennial of Nelson Mandela's birth
and the work of "freedom fighters past and present."
The season focuses on South Africa's
traditional and contemporary dance.
Below: Siwela Sonke Dance Theatre, founded in 1995,
under the leadership of artistic director Jay Pather
and resident choreographer Simphiwe Magazi



He said it himself. Several times. It's hard to choose.

Why do we have to?

Abdel R. Salaam--Chuck Davis's successor as artistic director of DanceAfrica--went to South Africa and fell in love. He auditioned several dozen dance troupes, knowing he could select only one for his festival. One. At most, two. He watched and watched. And enjoyed. And agonized.

Then he chose one (Durban's Siwela Sonke Dance Theatre). And then he combined a large number of dancers from four different companies into a supergroup, what became Ingoma KwaZulu-Natal Dance Company, made up of performers from:
Champions Dance Crew, which specializes in isipantsula, an energetic street style of movement that first emerged during the apartheid era; Kangaroo, a traditional Zulu ensemble based in Durban; the all-female Tswana Group, trained in Setswana, Pedi, Venda, and Xhosa styles; and Amatsheketshe, another all-female troupe that specializes in the traditional Zulu styles of Ushiyameni, Umkhomaas, and Umzani. -- from DanceAfrica 2018 publicity
And with thoughts of Mandela's birth centennial and mindful of continued struggles both there and here in his own homeland, Salaam began to create a way to introduce a range of South African artistry to his loving and loyal DanceAfrica audience for the 2018 season.

The head swims to think of Salaam's responsibility. And to think the next thought--which is that, since Baba Chuck gave Salaam his wholehearted blessing, telling him to make DanceAfrica his own, it might be time to do exactly that. What's the next level for this annual tradition at BAM--one which, given Brooklyn's struggles around gentrification and cultural displacement--is more significant than ever?

While Salaam is meticulous about thanking DanceAfrica supporters like Bloomberg and ConEd from the stage, I'm going to throw out a challenge to BAM and to funders to help DanceAfrica do more than entertain. It's time to make it an institution that thoroughly illuminates and educates year-round, not just for a single holiday weekend.

DanceAfrica 2018, which continues today and tomorrow, is entertaining and rousing as all get out, designed to be so, with everything from thrilling movement and acrobatics to breathtaking stage design. You can't beat it for that. Salaam inherited a jewel and, wonderfully, brings his own broad interests to it.

I can say that I saw much--and it was quite a range, stylistically, all presented with painstaking skill and openhearted verve--but I can't say much about what it all meant. I can't distinguish between the styles noted in the above description of Ingoma's component groups. I have a woefully imperfect understanding of the theatrical narrative presented in Siwela Sonke's Umsuka (choreographed by Neli Rushualang), despite what's written in the program notes' one-sentence description. And--like Salaam in his way--I want more.

I'd like Salaam to have the opportunity and the wherewithal to break DanceAfrica out of its box and build it further. Why, after four decades, is it not yet an institution that can bring companies--from traditional to hip hop and beyond--throughout the year? Why can he not open a permanent DanceAfrica building of studios at the ready to nurture African and African-diasporan dancemakers and new generations of excellent performers? Why can't young Black artists making searching, powerful work here in New York City and the states not have venues to find common ground with colleagues from the continent? Why can we not have year-round DanceAfrica residencies and retreats and networking and commissions and awards?

Why can we not have as many and as much as we want and need? And why, in particular, can't we learn--through adequate opportunities to see and document work--what we most need to know to truly give Africa's artists their due?

I want this. For myself. But also for Salaam and all the artists and audiences DanceAfrica has touched.

Dance Africa continues with 3pm matinees today and tomorrow, Memorial Day. For information on the season and related events and ticketing, click here.

BAM Gilman Opera House
Peter Jay Sharp Building
30 Lafayette Avenue, Brooklyn
(map/directions)

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Saturday, May 26, 2018

"Raising The Bar" at New York's Tap Family Reunion


Last night, Da Super Villainz (top) put on a show
to honor jazz, tap and Bill "Bojangles" Robinson.
Photo: Courtesy of Billy Rose Theatre Division,
The New York Public Library Digital Collections 


Up in Harlem last night, the tap fam turned out for the signature event of the first annual Tap Family ReunionRaising The Bar--created by formidable tap stars Dormeshia Sumbry-EdwardsDerick K. Grant and Jason Samuels-Smith--celebrated National Tap Dance Day, birthday of ancestor Bill “Bojangles” Robinson. Hosted Schomburg Center for Research in Black Culture, the show was cookin' like the first barbecue of Memorial Day weekend. People, without exaggeration, this was one of the best and hottest shows of New York's jam-packed season. Following a brief introduction by the three co-conspirators--they do call themselves Da Super Villainz--and a blessing from renowned Debbie Allen, the evening took off with the warm, sumptuous jazz of Igmar Thomas's quartet.

Intergenerational by design, the show mixed solo turns by well-respected entertainers like tap guru Brenda BufalinoMaurice Chestnut (Bring in 'da Noise, Bring in 'da Funk) and Broadway's Karen Calloway-Williams with peppy ensemble numbers created for youngsters who brought refined training, charm and notable confidence. For this celebration of two American inventions--jazz and tap--the bar for rigorous thought and execution was raised especially high by Chicago's Star Dixon (M.A.D.D. Rhythms) and Nico Rubio (Tap Company 333). Bring us more from Chicago, please.

Grant, Sumbry-Edwards and Samuels-Smith never danced in the show. But I can tell you the two guys' resounding play-by-play and grunts of appreciation (and occasional disbelief) greatly enhanced my viewing experience. Presenters, take note: From now on, I always want to be seated directly in front of Grant and Samuels-Smith--and maybe not only for tap shows.

Featured performers: Antoinette Montague (vocals), Maurice Chestnut, Karen Calloway-Williams, Skip Cunningham, Nico Rubio, Star Dixon, Brenda Bufalino

Ensemble performers: Ciper Goings, Demi Remick, Destiny Delancy, Eric Decaminada, Jalen Saint Phifer, Jabu Graybeal, Maia Dumas, Naomi Funaki and Nakya Fenderson

Musicians: Igmar Thomas (Musical Director; trumpet); Jason Brown (drums); Zaccai Curtis (piano) and Luques Curtis (bass)

Upcoming Tap Family Reunion events include a day of classes today taught by tap greats at the Ailey Studios, a jam session at Swing 46 and much more. For the full schedule of events and ticketing details, click here.

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Tuesday, May 22, 2018

New Sokoloff Arts venue for Tribeca: Town Stages

Town Stages (first-floor event space shown above) is proudly woman-led.
(photo: Austin Donohue)
Left to right: Chie Morita (Deputy Director),
Robin Sokoloff (Founder/Executive Director)
and Staci Jacobs (VP, Development)
Not pictured: Joanna Carpenter (Bar Director)

Robin Sokoloff (Sokoloff Arts) has long chased one dream: "To create an inspired home for my artistic family, and build a platform for the next generation." 

Enterprising Robin Sokoloff last brought Manhattan Loft227, a snazzy, hi-tech venue in Chelsea for art incubation. Now, in collaboration with Chie Morita, Staci Jacobs and Joanna Carpenter, the versatile dancer/activist/carpenter/counselor/entrepreneur has set up shop in Tribeca, taking over what was once Churrascaria, a popular Brazillian steakhouse, and then White Street Restaurant and Bar. At 221 West Broadway--now called Town Stages--Sokoloff serves up 9,000 square feet over two floors of multi-use event and performance space with resources for creatives with a vision and a hankering for community. Town Stages offers flexible spaces suitable for almost any size performance as well as rehearsals, auditions, weddings, film shoots, corporate events and you name it. And White Street's curvacious bar--with its speakeasy appeal--is still there.

Last November, Sokoloff received the keys to what--with imagination, ingenuity, daring and sweat equity--she and her all-woman team would transform into Town Stages. Among its unexpected charms: a tiny, glass-enclosed wine storage area that now might serve as a box office, or a quirky performance space, or a site for the sound installation that Morita has in mind. Another tucked-away treasure: a cozy, window-lit room lit filled with quaint antiques from the now-defunct Pearl Theatre that could offer a place for singers to warm up or might be turned into a pop-up bookstore.

This handsome, state-of-the art, ADA-accessible facility--with its new, "small but mighty" elevator--was the culmination of an exhaustive, eye-opening search around the city.

"There were 298 landlords saying NO to artists and women and people of color," Sokoloff tells me. "All those storefronts we checked out are still empty. This one said YES.

"We think the city is liberal-minded and diverse and accepting to all. What I learned as an artist traveling through multiple spaces and with multiple kinds of people–especially those who don’t look like me–is that not everyone’s welcome. In fact, most artists are not welcome. 

"Town Stages is different because we recognize that if you don’t have the space to have a platform and represent yourself in whatever form you come in, you don’t have a voice. We are specifically interested in the advancement of women and people of color, LGBT, the underrepresented having space to do their work here."

But how affordable is Town Stages?

"There's no specific price sheet," says Sokoloff who's ready to sit down with any and all to chat about their ideas and needs first. Events and projects coming in with big budgets subsidize smaller productions--Sokoloff calls it her "Robin Hood model." This model also allows Town Stages to offer residency fellowships to creatives with a wide range of fresh ideas.

Deputy Director Morita--former Managing Director for the New York Neo-Futurists troupe--oversees the fellowship program. She says her eye is less on the type or quality of the proposed project than who the applicant is as a human being, how they might interact with and support others in shared space.

“If you are making something–dance, music, theater, an experience for people to walk into, an empowerment event, an app, a piece of clothing, a cocktail, a sandwich–there’s something collaborative about that experience," Morita says. "Bringing those people into a room and offering them the opportunity to collaborate and ask for help in an environment that is easy and comfortable is what we’re looking to build.

"That comes with amenities. Bring your lunch, and put it in our fridge. Bring your yoga mat from this morning, and stick it here and leave it overnight. Have a private room for auditioning. Meet your other fellows here, and talk about projects.

"In the first year, we didn’t advertise the fellowship or put it on social media. It was all word of mouth. From that alone, we got 65 applications. I can only imagine what will happen when we ask for applications from the general public!"

Dance is, of course, especially dear to the hearts of the team. Bessie Award-winning choreographer Ephrat Asherie developed her latest ensemble piece, Odeon, at Town Stages in preparation for its world premiere at Jacob’s Pillow Dance Festival this June. The all-women’s house dance crew Mawu, which affirms sisterhood and celebration over hypermasculine competition, offered creative dance workshops at Town Stages.

Sokoloff remains mindful of dancers' struggles, what she experienced and witnessed as a performer, choreographer and teacher in the field.

“Law of averages, very few dancers have a voice. They are bodies moving on stage. They’re in the background. I had a lot I wanted to say, a lot I wanted to change, a lot I wanted to do. I knew if I just kept dancing, there’d be no way to elevate all of this.

"I’m creating space for myself and my fellow dancers, but my vision and goals and activism are so much bigger than that. I’ve got to be louder than my body enables me to be and be on a bigger platform and a bigger stage.

“I’m still in shows, but going from dancing in studios eighteen hours a day to being on the front lines of real estate and construction is a shift. But it’s a necessary shift if this is all going to move in a better direction. I'm always asking, How can I change the paradigm?"

*****

To connect with the Town Stages team, set up a tour or get details on upcoming events, call 212-634-7690, or click here for their website. They are on Instagram (with daily check-ins) and Facebook as follows:

Instagram: Town Stages and Sokoloff Arts
Facebook: Town Stages and Sokoloff Arts

Town Stages
221 West Broadway, Tribeca, Manhattan
(between White and Franklin Streets)
A, C, E, N, Q, R, W to Canal Street; 1 to Franklin Street; or 2, 3 to Chambers Street

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Robert Indiana, 89

Robert Indiana, 89, Who Turned ‘Love’ Into Enduring Art, Is Dead
by Jori Finkel, The New York Times, May 21, 2018

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