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Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
FOR IMAGES and MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 X132 [email protected]
FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 x132 [email protected] TIRELESS: A TAP DANCE EXPERIENCE, AT JACOB’S PILLOW JUNE 28-JULY 2 CURATED BY TAP SENSATION MICHELLE DORRANCE June 5, 2017 – (Becket, MA) Astonishing tap artists from across the U.S. and abroad come together in a Jacob’s Pillow-exclusive program curated and introduced by the “tireless ambassador of tap” Michelle Dorrance (The New York Times). TIRELESS: A Tap Dance Experience will come to the Ted Shawn Theatre, June 28-July 2, and features outstanding tap artists including Jumaane Taylor and M.A.D.D. Rhythms of Chicago, siblings Joseph and Josette Wiggan of Los Angeles, Joe Orrach of San Francisco, and Reona and Takashi Seo of Japan. A Tap Program in The School at Jacob’s Pillow, All Styles Dance Battle, and many free public events make this an expansive week celebrating the art of tap dance. “I’m very interested in exploring the practice of artist as curator,” comments Pamela Tatge, Jacob’s Pillow Director. “A year ago, Michelle Dorrance had just returned from Japan where she regularly interacts with their vibrant and innovative tap scene. She told me about Reona Seo and that led her to highlight for me the many explosive tap talents she sees in the U.S. and abroad. I had the idea that we should invite her to bring some of these artists together in an evening that she would curate exclusively for the Pillow. And so, TIRELESS was born. We also invited Michelle and Dormeshia Sumbry-Edwards to host a two week program at The School so that young talents will have the opportunity to learn from them, outstanding faculty, and all of the virtuosic artists performing at the Festival. -
Field+Perspectives+2017.Pdf
Field Perspectives is an arts writing project organized by Common Field in collaboration with nine arts publishing organizations around the US. Field Perspectives publishes writing that considers the state of the artist organization field and the key ideas explored in the Common Field 2017 Los Angeles Convening. The nine 2017 Field Perspectives partners are Los Angeles publications Contemporary Art Review Los Angeles (CARLA), contemptorary, X-TRA; and national publications ARTS. BLACK (Detroit/New York), Art Practical (Bay Area), The Chart (Portland, ME), DIRT (DC, Maryland, Virginia (DMV) Area), Pelican Bomb (New Orleans), and Temporary Art Review (St. Loius). Commissioned writers include Chloë Bass, Dan Bustillo, Travis Diehl, Lucy Lopez, Lindsay Preston Zappas, Ellen Tani, Anuradha Vikram; Andrea Andersson, Imani Jacqueline Brown, L. Kasimu Harris, and Charlie Tatum; and a collaborative essay by Ani Bradberry, Martina Dodd, Andy Johnson, Jordan Martin & Ikram Lakhdhar, Georgie Payne, and Valerie Wiseman. Thanks to the organizing and editing efforts of the people behind our nine partner organizations — Taylor Renee Aldridge, Anahita Bradberry, Michele Carlson, Poppy Coles, Jenna Crowder, Martina Dodd, Andy Johnson, Gelare Khoshgozaran, Eunsong Kim, Ikram Lakhdhar, Jessica Lynne, Shana Lutker, Jordan Martin, James McAnally, Georgie Payne, Lindsay Preston Zappas, Cameron Shaw, Vivian Sming, Charlie Tatum, and Valerie Wiseman. Each publication commissioned writing published weekly throughout October 2017, with goals of catalyzing discussion, dialog, and debate before, during and after the Los Angeles Convening. To see the 2016 Field Perspectives project, you can download a PDF of the essays from Common Field or read on websites of 2016 partners Miami Rail and Temporary Art Review. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
The House Party Spirit in All Its Glory
Sunday, December 28, 2008 ARTS & ENTERTAINMENT Photographs of men in drag, erotic murals in the bathroom, and glittery painted stars hanging from the THE HOUSE PARTY SPIRIT ceiling are all part of The B Sides, a new, boldly unconventional show IN ALL ITS GLORY at Aljira, a Center for Contemporary Art in Newark. It looks at visual art Exhibits That Show the Influence of Dance, inspired by 1980s and early ’90s Music and Movement post-disco dance music, especially the pared-down genre known as By BENJAMIN GENOCCHIO house music. The show gathers 32 artists and artist collectives with the emphasis on paintings and documentary photography of people partying. But there is also sculpture and installation art, for house music concerts, clubs and parties, which began in Chicago, Detroit and New York in the ’80s before spreading to Europe, often involved elaborate setlike environments. Several artists selected for the exhibition by Edwin Ramoran, the curator, are recording artists or worked as party promoters or set designers for clubs. Among them is Carlo Quispe, a stage designer and comic book artist who was given the task of decorating the structural columns in the gallery. Influenced by graffiti art and party culture, DESIGNING Above. Lincoln his column designs depict writhing, Motel Birdhouse dancing figures, cartoon characters, (2006) by John tribal motifs and text. Mr. Quispe Parris. Left, Javier also did the restroom murals Ninja Performance (involving sex and drugs). (2007) photograph by Ryan Joseph. continued on other side… 591 Broad Street, Newark, NJ 07102-4403 p. 973 622-1600 f. 973 622-6526 www.aljira.org An interest in the body, dance figure in Jennie Livingston’s 1990 I liked this work a lot, as much for and movement is a common documentary Paris Is Burning about its eccentricity as for its intricate thread among the artworks in the world of drag balls in Harlem. -
Dorrance Dance Program
Corporate Season Sponsor: Dorrance Dance Michelle Dorrance, Artistic Director Wed, Mar 8 / 8 PM / Granada Theatre Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay Corporate Sponsor: The Lynda and Bruce Thematic Learning Initiative: Creative Culture ACT I Excerpts from SOUNDspace (2013)* I have had the honor of studying with and spending time with a great number of our tap masters before they passed Direction and Choreography: Michelle Dorrance, with solo away: Maceo Anderson, Dr. Cholly Atkins, Clayton “Peg- improvisation by the dancers Leg” Bates, Dr. James “Buster” Brown, Ernest “Brownie” Brown, Harriet “Quicksand” Browne, Dr. Harold Cromer, Dancers: Ephrat “Bounce” Asherie, Elizabeth Burke, Gregory Hines, Dr. Jeni Legon, Dr. Henry LeTang, LeRoy Warren Craft, Michelle Dorrance, Carson Murphy, Myers, Dr. Fayard and Harold Nicholas, Donald O’Connor, Dr. Leonard Reed, Jimmy Slyde and Dr. Prince Spencer. Leonardo Sandoval, Byron Tittle, Nicholas Van Young I would also like to honor our living masters whom I am constantly influenced by: Arthur Duncan, Dr. Bunny Briggs, *Originally a site-specific work that explored the unique acoustics of New Brenda Bufalino, Skip Cunningham, Miss Mable Lee and Dianne Walker. York City’s St. Mark’s Church through the myriad sounds and textures of the feet, “SOUNDspace” has been adapted and continues to explore what is most While we are exploring new ideas in this show, we are also beautiful and exceptional about tap dancing – movement as music. constantly mindful of our rich history. Dr. Jimmy Slyde was The creation of “SOUNDspace” was made possible, in part, by the Danspace the inspiration for my initial exploration of slide work in Project 2012-2013 Commissioning Initiative, with support from the New York socks (in the original work) and his influence continues to State Council on the Arts. -
Dorrance Dance: Jungle Blues, Three to One, Myelination
PHOTO BY MATT MURPHY DORRANCE DANCE: JUNGLE BLUES, THREE TO ONE, MYELINATION Thursday, March 14, 2019, at 7:30pm Tryon Festival Theatre PROGRAM DORRANCE DANCE: JUNGLE BLUES, THREE TO ONE, MYELINATION DANCERS Ephrat “Bounce” Asherie Christopher Broughton Elizabeth Burke Warren Craft Brittany DeStefano Michelle Dorrance Claudia Rahardjanoto Byron Tittle Matthew “Megawatt” West Nicholas Van Young MUSICIANS Donovan Dorrance Aaron Marcellus Gregory Richardson Nicholas Van Young Warren Craft Michelle Dorrance, artistic director Donald Borror, executive director Christopher Marc, production manager/sound engineer Tina Huang Abrams, company manager Nicholas Van Young, associate artistic director Olivia Maggi, assistant to the artistic director Elizabeth Burke, rehearsal director Donovan Dorrance, music director Kathy Kaufmann, lighting designer Serena Wong, lighting supervisor Diego Quintanar, technical director/assistant stage manager Margaret Selby, Selby/Artists Management, artist representative 2 JUNGLE BLUES (2012) Michelle Dorrance, choreography Christopher Broughton, solo improvisation Kathy Kaufmann, lighting design Amy Page, costume design Fred “Jelly Roll” Morton: Jungle Blues Courtesy of Edwin H Morris & Company, A Division of MPL Music Publishing, INC. (ASCAP) Full company, with solos by: Claudia Rahardjanoto Elizabeth Burke and Nicholas Van Young Michelle Dorrance and Warren Craft Byron Tittle Christopher Broughton THREE TO ONE (2011) Michelle Dorrance, choreography Kathy Kaufmann, lighting design Michelle Dorrance and Mishay Petronelli, costume design Richard D James: Nannou Published By: BMG Blue (BMI) obo Chrysalis Music Ltd; Used by permission. All rights reserved. Thom Yorke: A Rat’s Nest Courtesy of Kobalt Music Performers: Michelle Dorrance Byron Tittle Matthew “Megawatt” West The creation of Three to One was made possible, in part, by the Danspace Project 2010-2011 Commissioning Initiative with support from the Jerome Foundation. -
Dorrance Dance
54 Dorrance Dance DORRANCE DANCE Memminger Program 1: June 1 – June 4 Auditorium Program 2: June 6 – June 9 Program 1 June 1, 8:00pm; June 2, 8:00pm; June 3, 5:00pm; June 4, 7:00pm ETM: Double Down (2016) Creators Michelle Dorrance and Nicholas Van Young Original Tap Instrument Design Nicholas Van Young Choreography Michelle Dorrance and Nicholas Van Young with Ephrat “Bounce” Asherie and solo improvisation by the dancers Original Music Composition and Improvisation Gregory Richardson, Donovan Dorrance, Nicholas Van Young, Aaron Marcellus, and Warren Craft, with Michelle Dorrance Additional Music Adele Adkins, Karin Dreijer Andersson, Olof Dreijer, Justin Vernon, Patrick Watson Lighting Design Kathy Kaufmann Costume Design Amy Page and Shiori Ichikawa Dancers Ephrat “Bounce” Asherie, Elizabeth Burke, Warren Craft, Michelle Dorrance, Gabe Winns Ortiz, Leonardo Sandoval, Byron Tittle, Nicholas Van Young Musicians Piano/Controllerist Donovan Dorrance Vocals Aaron Marcellus Bass/Guitar Gregory Richardson Drums/Percussion Nicholas Van Young Drums/Percussion Warren Craft Drums/Percussion Michelle Dorrance 1 hour, 45 minutes | Performed with one intermission Dorrance Dance 55 Program 2 June 6, 7:00pm; June 7, 6:00pm; June 8, 8:00pm; June 9, 5:00pm Jungle Blues (2012) Choreography Michelle Dorrance with solo improvisation by Christopher Broughton Lighting Design Kathy Kaufmann Costume Design Amy Page Music “Jungle Blues” by Fred “Jelly Roll” Morton Courtesy of Edwin H. Morris & Company, A Division of MPL Music Publishing, INC. (ASCAP) Dancers Ephrat “Bounce” Asherie, Christopher Broughton, Elizabeth Burke, Warren Craft, Michelle Dorrance, Gabe Winns Ortiz, Claudia Rahardjanoto, Leonardo Sandoval, Byron Tittle, Matthew “Megawatt” West Three to One (2011) Choreography Michelle Dorrance Lighting Design Kathy Kaufmann Costume Design Michelle Dorrance and Mishay Petronelli Music “Nannou” by Richard D. -
Dorrance Dance Sponsored by Sherman Capital Markets, Llc
48 DANCE DORRANCE DANCE SPONSORED BY SHERMAN CAPITAL MARKETS, LLC SOUNDspace Memminger Auditorium May 31 and June 7 at 8:00pm; June 7 and 8 at 2:30pm Artistic Director and Choreographer Michelle Dorrance, with improvisational solo work by dancers Production Manager/Technical Director Tony Mayes Lighting Designer Kathy Kaufmann Assistant Stage/Production Manager Ali Dietz Costumes Mishay Petronelli Original Live Music Greg Richardson Original Body Percussion Score Nicholas Young Dancers Megan Bartula Elizabeth Burke Warren Craft Ali Dietz (Understudy) Michelle Dorrance Karida Griffith Logan Miller Demi Remick Caleb Teicher Byron Tittle Nicholas Young PERFORMED WITHOUT AN INTERMISSION. Originally a site-specific work that explored the unique acoustics of New York City’s St. Mark’s church through the myriad sounds and textures of the feet, SOUNDspace has been adapted specifically for Spoleto Festival USA and continues to explore what is most beautiful and exceptional about tap dancing—movement as music. DORRANCE DANCE 49 DELTA TO DUSK Memminger Auditorium June 1, 2, 5, and 6 at 8:00pm; June 3 at 7:00pm Artistic Director and Choreographer Michelle Dorrance, with improvisational solo work by dancers Production Manager/Technical Director Tony Mayes Lighting Designer Kathy Kaufmann Assistant Stage/Production Manager Ali Dietz Costumes Mishay Petronelli, Michelle Dorrance, Andrew Jordan Music Toshi Reagon, Etta James, Muddy Waters, Chris Whitley, The Beatles, Regina Spektor, Fiona Apple, the Squirrel Nut Zuppers, Manu Chao, Radiohead,Stevie Wonder. Dancers Megan Bartula Elizabeth Burke Warren Craft Ali Dietz (Understudy) Michelle Dorrance Karida Griffith Logan Miller Carson Murphy Claudia Rahardjanoto Demi Remick Caleb Teicher Byron Tittle Nicholas Young PERFORMED WITHOUT AN INTERMISSION. -
JAZZ TAP ENSEMBLE: Tap Roots Live!
DANCEMOTIONUSASM presents JAZZ TAP ENSEMBLE: Tap Roots Live! Artistic director Lynn Dally Dancers Maya Guice B’Jon Carter-Burnell Kenji Igus Sandy Vazquez Musicians Doug Walter, piano, alto saxophone Jerry Kalaf, drums David Dunaway, bass Music director Jerry Kalaf Lighting designer & technical director David Covey Managing director Gayle Hooks Trio Music Summertime Doug Walter, piano; David Dunaway, bass; Jerry Kalaf, drums Music: George Gershwin Improvisation by B’Jon Carter-Burnell Percussion #1 (Samba) Percussion #3 (Acapella) All Blues Choreography: Lynn Dally Song for My Father Music: Miles Davis Music: Horace Silver Performed by The Ensemble Improvisation by Kenji Igus St. Thomas Straight, No Chaser Music: Sonny Rollins Music: Thelonious Monk Doug Walter, piano; David Dunaway, bass; Jerry Kalaf, drums Doug Walter, alto saxophone; David Dunaway, bass; Jerry Kalaf, drums Doxy Interplay Choreography: Eddie Brown Choreography: Jimmy Slyde Music: Sonny Rollins Associates: Lynn Dally & Derick K. Grant Performed by Kenji Igus, B’Jon Carter-Burnell Lighting: David Covey Music: Special arrangement of jazz standards & originals by Jerry Kalaf Caravan Little Sunflower (Sonny Rollins): Maya Guice Music: Duke Ellington & Juan Tizol, featuring Doug Walter, alto saxophone I Remember You (Johnny Mercer): B’Jon Carter-Burnell Choreography & Performance by Sandy Vazquez Boogie Strut (Jerry Kalaf): Maya Guice & Sandy Vazquez Latin Episode (Percussion): Ensemble Percussion #2 (Afro Cuban) Jeannine (Duke Pearson): Kenji Igus Finale: Kenji Igus, B’Jon Carter-Burnell, Maya Guice, Sandy Vazquez Night in Tunisia Choreography: Lynn Dally We dedicate these performances of Interplay in Africa to our beloved Jimmy Music: Dizzy Gillespie Slyde. “There will never be another you…” Performed by Maya Guice, Sandy Vazquez, B’Jon Carter-Burnell Shim Sham Finale (Traditional) You Don’t Know What Love Is JTE Dancers & Musicians Music: Don Raye & Gene dePaul Choreography & Performance by Maya Guice Tap Roots Live! is 75 minutes in length with no intermission. -
Simon Schultz Von Dratzig Hildesheim
Simon Schultz von Dratzig Hildesheim Voguing in Cinema Kinematografische Entwürfe tänzeri- scher und sozialer Praxis Abstract: Jennie Livingstons Dokumentarfilm Paris is Burning gibt Zeugnis über die ballroom culture in New York, einem Phänomen der schwulen Schwarzen und Latin@-Szene, das Ende der 1980er Jahren in den Mainstream der Stadt gelangte. Spätestens seit Livingstons Film existiert für sie und den mit ihr verbundenen Tanz Voguing ein Kanon an Bildern und Narrativen. Die Repräsentation der Szene weicht dabei in den kanonisierten Bildern teilweise erheblich von der außerfilmischen Realität ab. Ziel dieses Textes ist, die diskursive Funktion des Tanzes Voguing innerhalb verschie- dener Dokumentarfilme zur ballroom culture herauszuarbeiten. Der Tanz bietet sich bietet sich dabei besonders an, da ihm durch die Protagonist_innen der Filme eine besondere Funktion zugespro- chen wird. Im Zentrum des Interesses stehen die Fragen nach den Mitteln und dem Interesse, mit dem Voguing im filmischen Diskurs thematisiert wird. _______ Simon Schultz von Dratzig (M.A.) studierte im kulturwissenschaftlichen Masterstudiengang „Inszenierung der Künste und Medien“ an der Universität Hildesheim. Seine Abschlussarbeit zum Thema Voguing in Cinema um- fasst ebenfalls ein filmisches Portrait des in Chicago ansässigen Tänzers Benjamin Hart. Zurzeit bereitet er ein Dissertationsprojekt zu Digitalkultur, spekulativem Design und Dokumentarfilm als sozialer Praxis vor. © AVINUS, Hamburg 2017 Curschmannstr. 33 20251 Hamburg Web: www.ffk-journal.de Alle Rechte vorbehalten ISSN 2512–8086 Simon Schultz von Dratzig | Voguing in Cinema 1. Intro Voguing, der Tanz der New Yorker ballroom scene, hat durch Jennie Livingstons Film Paris is Burning Anfang der 1990er Jahre relative Bekannt- heit erlangt. Doch schon seit Mitte der 1980er Jahren hat sich eine filmische Darstellungspraxis etabliert, deren Einfluss bis heute spürbar ist. -
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED GETTING LIFE IN TWO WORLDS: POWER AND PREVENTION IN THE NEW YORK CITY HOUSE BALL COMMUNITY by EDGAR RIVERA COLÓN A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Anthropology Written under the direction of Professor Louisa Schein And approved by __________________________ __________________________ __________________________ __________________________ New Brunswick, New Jersey May, 2009 ABSTRACT OF THE DISSERTATION Getting Life in Two Worlds: Power and Prevention in the New York City House Ball Community By EDGAR RIVERA COLÓN Dissertation Director: Dr. Louisa Schein This dissertation project is an ethnographic study of the House Ballroom community in New York City. The House Ballroom community is a Black and Latino/a queer and transgender alternative kinship system and dance performance circuit. Specifically, it follows the lives of HIV prevention workers who are deeply embedded in House Ballroom social networks. Based on four years of anthropological fieldwork, I document the way that these community activists fashion meaningful lives in the meeting point between the Ballroom world and the HIV prevention not-for-profit organizations in New York City. It is also an ethnography of the productive failure of the gay and lesbian movement's inability to include working class Black and Latino/a queer communities in developing a political infrastructure to combat HIV/AIDS in New York City. My informants have helped to develop an alternative civil and political infrastructure by combining material and symbolic resources found in the HIV prevention not-for-profit ii organizations and the House Ballroom community.