InfiniteBody

Some days, you feel like the kitteh. Some days...

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 09 Dec 2009 04:09:04 PST

Video: Kitteh Challenges Big Goggie « Lolcats 'n' Funny Pictures of Cats – I Can Has Cheezburger?

Vision-impaired actress to understudy Keller role

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 09 Dec 2009 03:45:08 PST

Kyra Siegel to Understudy Helen Keller Role on Broadway
by Patrick Healy, The New York Times, December 8, 2009

Revolutionary Cameron Carpenter

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 08 Dec 2009 13:25:34 PST

The Revolutionary: An interview with organist Cameron Carpenter
by Stephen Greco, Classical TV, December 2009

Photographer Pokoik in conversation with dance

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 08 Dec 2009 13:09:42 PST

In Conversation: MTA at DNA
Art, Nature, and Community at Mount Tremper Arts (MTA)

Photographs by Mathew Pokoik

Tuesday, December 1 through Wednesday, December 30
Opening Reception: Thursday, December 10, at 7pm

To be followed by the premiere performance of A Number of Small Black and White Dances by the Aynsley Vandenbroucke Movement Group at 8pm

Dance New Amsterdam
280 Broadway, 2nd Floor (entrance on Chambers)
Manhattan

In Conversation: MTA at DNA documents the relationship between art and environment at Mount Tremper Arts (MTA). Through photographs taken by MTA co-founder Mathew Pokoik, this exhibition presents the interplay between the many artists who have worked at MTA, and the grounds, gardens, and meals that foster an environment that support contemporary artists.

Includes photographs of Monica Bill Barnes + Company, Kimberly Bartosik, Jonah Bokaer + Anne Carson + Peter Cole, Brian Brooks Moving Company, Collective Opera Company, Hilary Easton + Company, Elke Rindfleisch, robbinschilds, Liz Sargent Installations, jill sigman/thinkdance, Dusan Tynek Dance Theatre, Aynsley Vandenbroucke Movement Group, and others, interspersed with photographs of and the grounds and gardens of MTA.

In the round

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 08 Dec 2009 12:11:09 PST

The Circular Logic of the Universe
by Natalie Angier, The New York Times, December 7, 2009

Neville's Nutcracker

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 07 Dec 2009 10:43:52 PST

The Nutcracker according to Brenda R. Neville is a cozy affair set in contemporary, high-rise Manhattan. Since her amiable Drosselmeyer (Yasu Suzuki) is a well-traveled, open-minded diplomat, she can rightly give him friends and associates of diverse races and nationalities and even have young Clara (Ally Taylor Sacks) get dreamy over an NYPD cadet (Christopher McDaniel) who happens to be Black. What's more, Neville Dance Theatre's Nutcracker puts out the red carpet for a bustling world of dance—from tango to Tinikling, from hip hop to Fayzah Claudia Chisolm's superbly crafted "Arabian" solo. Each of the non-ballet dance forms presented in the party celebration emphasizes carefully executed authentic movement rather than the usual balletic stylization of a sprinkling of light ethnic flavors.

This past week, NDT brought its Nutcracker to Chelsea's Hudson Guild Theater, where--on Saturday's matinee performance--the floor gave dancers a few scares. The choreographer and troupe nevertheless made the best of cramped stage space, filling it with gaiety and flourish.

I never grew up a Nutcracker fan. (Sorry! At Xmastime, my family headed to Radio City for the movies and Rockettes.) But I can certainly get behind a project that indulges my love of world dance. Neville is onto something whose development could be supported and enhanced, I think, by nicer, more adequate space.

Click here to learn more about Brooklyn's Neville Dance Theatre.

Jeremy Wade: Cute, then not so cute

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sat, 05 Dec 2009 09:28:45 PST

Director-choreographer Jeremy Wade concludes There is No End to More--performed by Jared Gradinger of Berlin's Constanza Macras/Dorky Park troupe--at Japan Society tonight. So, people, there really is an end to No End. Try, try, try to get in.

This production--and Gradinger's demanding, non-stop solo--hit me with the force of a thousand-thousand stars. If that sounds like a wild exaggeration, let it. It should give you a sense of the intensity of the manga-fabulous text dreamed up by writer Marcos Rosales with Gradinger and Wade, the increasingly maniacal, nightmare visuals by illustrator Hiroki Otsuka and video artist Veith Michel, and Brendan Dougherty's breathtaking sonic design.

Moving in the jerky, grotesque style that Wade, a Bessie Award winner, has made his trademark, Gradinger depicts a nerdy figure trapped in an overheated mental bubble filled with obsessive fantasies and fanciful artifacts of Japanese kawaii ("cute") pop culture. Gradinger believes he is "wearing a three-piece suit--and a cape." He is "being chased, chased by...I don't know what!" As kawaii commercialism spins out of control, fantasy slips into sad realism which, in turn, becomes sinister phantasmagoria. This work is rich, visceral, unforgettable.

And enough cannot be said about the creative imagination--that sheer, defiant, leap-of-faith agility--of Yoko Shioya, Japan Society's perceptive artistic director. Following hunches, she commissioned this work from the Berlin-based Wade and brought it to New York, sight unseen. She tends to do this kind of thing, and bless her.

Information and ticketing or 212-715-1258

On The Dream Express way to your heart

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 04 Dec 2009 07:04:53 PST

The Dream Express started with the sip of a drink, the wail of a distant train, and a kind of yelping, high-lonesome, tumbleweed song. The Chocolate Factory hosted a "journey to the end of the night" with its upstairs theater marvelously, if tackily, re-purposed as an honest-to-god cabaret for Obie-awardees Steve Mellor ("Spin Milton") and Deirdre O'Connell ("Marlene Milton"), known as, they kept telling us, The Dream Express, along with co-conspirators Len Jenkin (writer/director) and John Kilgore (composer).

At first glance, the formerly-married Miltons--hulking, vaguely surly Spin and slightly tipsy, vaguely slutty Marlene--looked like the kind of people you'd want to keep at arm's length. Please, god, do not let either of them come down off that stage and start messing with us. By the end of the roughly 90 minute act, a mashup of songs and stories, you'll find that you've relaxed. You've chuckled some. You've pondered some. You've learned to trust that Spin will rise from his keyboard, now and again, without actually assaulting anyone. What's more, the Miltons and their consciousness-streamings have managed to work their way under your skin. You've been seduced by Marlene's adorable, gutsy charm and roused by Spin's gusty vocal power. Who else has the skills to segue from Olivia Newton John to "A Whiter Shade of Pale" without inflicting terminal whiplash?

As the Miltons' dearly-departed "Uncle Wolfie" would say, "Make 'em laugh, make 'em cry, make 'em kiss ten bucks goodbye!"

In this case, it's 15 bucks and worth every single penny. Go see The Dream Express at The Chocolate Factory, Tuesdays-Saturdays through December 19 (No performances 12/15-17). For details, travel directions and ticketing, click here.

Pink Glove Dance

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 04 Dec 2009 04:03:09 PST

I love this!

Return from exile: Sanchez illuminates World AIDS Day

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 02 Dec 2009 14:37:03 PST

Last night, I made my first trip to WNYC's Greene Space for a World AIDS Day event featuring performances by the pioneering poet Sonia Sanchez and acclaimed dancer-choreographer Ronald K. Brown as well as a conversation among Sanchez and health advocates. Greene Space's intimate setting created a special feeling of welcome quite appropriate to the artists' theme of acceptance, truthful dialogue and reconciliation within the Black family and within the larger family that is the Black community.

Warmly accompanied by jazz musicians Odean Pope (saxophone), Kenny Gates (piano) and Lee Smith (bass), Sanchez performed her award-winning Does Your House Have Lions?--a rhythmic conjure-work in book form. The poem deals with her gay brother's estrangement and struggles, his migration from the South to New York City where "a new geography created him," his political awakening and his passing, from AIDS, in 1981. Brown enhanced Sanchez's mesmerizing vocal performance with big, hungry, panther-ish moves. The radiance of speaker, dancer and musical trio reached across the short distance from artists to audience, hearts to hearts.

"How how how...how to return from exile?" Sanchez's poem asks. The evening's panel, moderated by pan-media journalist Esther Armah, explored this question as it relates to the disproportionate impact of HIV/AIDS on people of African descent. With an increase in HIV infection among Black men who have sex with men, young Black men and Black women under 30, the African-American community simply cannot afford to avoid frank, uncensored talk about sexuality and health.

Panelists Dr. Monica Sweeney, MD (Assistant Commissioner for HIV/AIDS for the New York City Department of Health) and Phill Wilson (Founder and Executive Director, Black AIDS Institute) offered some measure of hope, pointing to a gradual decrease in stigmatization of people with HIV/AIDS, even within Black churches, and more openness to honest talk about sexual orientation, sexual behavior and methods of preventing infection.

Societal and psychological barriers to prevention and care still exist, but Armah's panelists emphasized how individuals and communities can empower and protect themselves. "We need to have these conversations in more robust ways," Wilson said. "You have the power to stop transmission of HIV. You deserve to protect yourself."

Sweeney noted, with great concern, one segment of the population--women over 50--who sometimes engage in unprotected sex "as if age is a vaccine" and HIV something that happens to other people. She offers HIV testing to people of all ages and believes that if the test were part of all routine care, it would be accepted with no shame. The NYC health department's female condom program has been expanded, she says, enabling women to guard their health without having to figure out ways to negotiate safety with their partners.

One audience member raised the question of sexual abuse and domestic violence in the community and how they complicate prevention and healthcare. The panelists noted that the Black family and community have tended to shroud these issues in silence, although--thanks to high-profile cases, the testimony of celebrities who have been victimized, and works of art such as Sapphire's novel Push and the extraordinary film, Precious, based on it--more attention and resources are being directed to these parallel problems.

"AIDS is the health crisis of our day, and what we do about it will be our legacy," Wilson said. While he acknowledged the Obama administration's efforts around needle exchange programs, the extension of the Ryan White Act and the recent lifting of the ban for HIV+ people traveling into the US, he noted that we still lack a comprehensive, national AIDS strategy and meaningful healthcare reform.

I commend WNYC for presenting this informative and imaginative program. To view a schedule of upcoming events at the Greene Space, click here.

Naharin has a few tips for critics

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 02 Dec 2009 08:04:14 PST

Ohad's Advice to Critics
by Ohad Naharin, 2009 Dance Magazine Awardee

This is a must-read, and I hope my colleagues will give it a look-see, "especially if [they] are from England." :-D

I really do need to "dance [my]self a few minutes every day," but other than that, I'm pretty much checking off these items as done or, at least, reasonably do-able on a regular basis. On the issue of describable dance being bad choreography, he might have a point--but only because choreographic expression and writing feel as if they come from different universes. Most dance, not just good dance, is bitching hard to describe in words. Which is why dance writers get paid the big bucks. (Oh, wait...) Funnily enough, I have sometimes tried the "eyes going out of focus" thing. (I'm a psychic and try all kinds of tricks to sidestep linear thinking.) It's really neat, y'all!

World AIDS Day with Sonia Sanchez and Ronald K. Brown

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 30 Nov 2009 12:55:12 PST

In recognition of World AIDS Day 2009, WNYC's Jerome L. Greene Performance Space welcomes poet Sonia Sanchez and choreographer Ronald K. Brown, plus a discussion of AIDS in the African-American community.

Complete information here
Tuesday, December 1 -- 7pm-9pm

Breaking Ground: our day at Federal Hall

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sat, 28 Nov 2009 06:36:59 PST

I was honored to be asked to invited to participate in Breaking Ground: A Public Charrette--a workshop created and facilitated by San Francisco-based choreographer Joanna Haigood through New York's Dancing in the Streets program.

Here's a post I wrote about my experience for Breaking Ground's blog.

Do spend some time at the blog's site: You'll find writing by other participants, photos from the event and lots of information about our site (historic Federal Hall) and Haigood's fascinating project.

John Kelly: The Mirror Stages

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sat, 28 Nov 2009 04:15:38 PST

Art in America contributing editor Carol Diehl reviews John Kelly's show of visual art at Alexander Gray--The Mirror Stages: Self-Portraits 1979-2009.

Art in America, November 2009

Gray: the man behind the body

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sat, 28 Nov 2009 04:02:28 PST

Book Review: Ruth Richardson's The Making of Mr. Gray's Anatomy
by Sue Taylor, Art in America, November 2009

Holiday dancing at WFC

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 27 Nov 2009 06:21:29 PST

arts>World Financial Center dance events for Holiday 2009

New York Theatre Ballet in The Nutcracker
Tuesday, December 1 (12:30pm and 6pm)

Hour-long version. The 6pm show will be preceded by the annual Winter Garden lighting celebration.

ETHEL and Annie-B Parson: Wait for Green
Friday, December 18 (12:30pm and 7pm)

Choreographer/director Parson once again joins forces with postclassical string quartet ETHEL, restaging their 2008 collaboration, Wait for Green.

Ase Dance Theatre Collective
Monday, December 28 (12:30pm)
Dance and song in celebration of Kwanzaa

All events take place in WFC's Winter Garden and are free; no tickets required.

Map and directions

For a complete schedule and information on all Holiday 2009 events in the arts>World Financial Center series, click here.

Audition for Aviles: female singers with sense of humor

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 25 Nov 2009 07:01:15 PST

Arthur Aviles Typical Theatre is preparing a new musical theatre/dance work called Super Maeva de Oz which takes inspiration from The Wizard of Oz to tell the story of a young Latina lesbian coming out in the South Bronx in 1977. The piece will need a chorus made up of 6 to 12 participants that backs up the actress. The songs include cursing, humorous and sexually explicit references.

Arthur Aviles Typical Theatre is seeking singers for the chorus who have: a good singing voice (formal training a plus); can sing with Spanish/ Latina accent; and OK with being perceived as Queer.

We are having auditions on Saturday November 28, from 10am to 12pm and from 6pm to 9pm. Also on Sunday, November 29th from 5pm to 10pm.

Audition will be at BAAD! The Bronx Academy of Arts & Dance, 841 Barretto Street, Bronx, NY 10474.

Preview performance of the songs will take place the second week of February at BAAD!

REHEARSAL STIPEND AND PERFORMANCE PAY. Rehearsals start in December.

Directions: Take #6 train to Hunts Point Avenue. Visit website: www.BronxAcademyOfArtsAndDance.org/directions.htm

To make an appointment call BAAD! at 718.824.5223.
Fax or e-mail resumes to 718.542.4077 or arthuraviles@gmail.com

Rogoff and Mozgala: Dancing the body's diversity

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 25 Nov 2009 03:55:26 PST

Overcoming Cerebral Palsy, Gregg Mozgala Learns to Dance
by Neil Genzlinger, The New York Times, November 24, 2009

I'm looking forward to seeing this piece, which I will be reviewing for Dance Magazine.

She's a revelation!

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 24 Nov 2009 08:44:39 PST

See my "Dance Matters" feature on Ailey's Judith Jamison--celebrating her 20th Anniversary at the helm of the world's best-loved company--in the December issue of Dance Magazine (pp. 20-22).

Bernard Dove: Gotta dance!

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 24 Nov 2009 03:38:11 PST

Experience Necessary - Bernard Dove Is Doing What He Loves, Leading Dance Classes
by Ralph Blumenthal, The New York Times, November 23, 2009

Run away and join the circus

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 23 Nov 2009 03:50:16 PST

Learning Acrobatics at New York Circus Arts Academy
by Nida Najar, The New York Times, November 22, 2009

Jones brings ‘Fela!’ to Broadway

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sun, 22 Nov 2009 09:22:39 PST

‘Fela!’ on Broadway - African Rebellion
by Jon Pareles, The New York Times, November 19, 2009

A recovering heart

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sun, 22 Nov 2009 09:21:13 PST

Robin Williams Opens Wide His (Repaired) Heart
by Dave Itzkoff, The New York Times, November 19, 2009

Ahern's spook house

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sat, 21 Nov 2009 07:45:19 PST

Halloween might be long gone, but Carrie Ahern and her fellow dancers are haunting the Brooklyn Lyceum this week. They're decidely flesh-and-blood creatures. But, if you go, you'll feel the hairs on your arms tingling, particularly if you spend any time in the small, upstairs room where powerful Donna Costello might thrash around like a maniac only a millimeter away from you.

Sensate, running for three hours at every installation performance, offers each audience member his or her choice of arrival and departure time, viewing location and even intermission. (A restroom is conveniently located to the rear of the main space's primary seating area. Quietly slip back to your bench without fuss, and know that it's okay that you've missed what you've chosen to miss.) Ahern invites us to collaborate with her by creating our own experience of the work, going beyond her own efforts to shape its structure by willfully reorganizing her output.

From what I could tell, last night's small audience saw itself in a far more linear way. For instance, for long stretches of time, people sat in a conventional arrangement, facing the main space head-on. And Ahern's use of the Lyceum's features--including stairs to different levels--rarely went beyond expected functionality. It's certainly not the first time, we've seen dancers suddenly arrive or withdraw by taking the stairs.

A live, visually-innovative performance voice and electronic music by composer Anne Hege and eerie lighting by Jay Ryan contribute to the spooky, mysterious air. Costumer Naoko Nagata's raggedy layers make the dancers resemble survivors of some unnamed disaster. And the site itself, a former public bathhouse, is a potentially eccentric space for a show. But it needs more imaginative magic-making.

Ahern's choreography, however, and the Bacchante-like performances of her fellow dancers--Costello, David Figueroa, Kelly Hayes and Jillian Hollis--can often sizzle. The audience might evade Ahern's invitation to freedom, but her dancers do not. They take to this work with feverish abandon and put their bodies--maybe even their sanity--on the line.

You'll find the Brooklyn Lyceum (227 4th Avenue, Park Slope) right upstairs from the Union Street station on the R line. Remaining performances of Sensate run tonight (7:30-10:30pm) and tomorrow (3-6pm).

Information and ticketing
718-857-4816

Listening to Savion

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sat, 21 Nov 2009 04:26:11 PST

Savion Glover - Tap Dancing (Or Is It Composing) at the Blue Note
by Ben Ratliff, The New York Times, November 20, 2009