DALLAS BLACK DANCE THEATRE • FULL REPERTORY

… And Now Marvin (1994) Angelitos Negros (1972) Choreographer: Darryl B. Sneed Choreographer: Donald McKayle This work pays tribute to the legendary artist Marvin Gaye. He was an Angelitos Negros is an excerpt from the ballet, Songs of the extraordinary singer, composer and arranger. Through his music he Disinherited. Translated to English, the lyrics read: Painter born in my expressed despondency over key issues of his generation: politics, the native land with the foreign brush; Painter that continues the course war in Vietnam, the ecology and human conditions. of all the painters of old; Though the Virgin may be white, paint black angels for me; For the good ones also go to heaven; Painter indeed you paint with love!! Why do you deprecate those of your color, if you know A Boundless Journey (2007) that in heaven God also loves them? Painter of saints in alcoves, if Choreographer: Dianne McIntyre you have a soul in your body; Why have you forgotten blacks in your “A journey has no bounds…keeps on going…never stops. There’s a paintings? Every time you paint a church you paint beautiful angels, freedom about the journey.” –Dianne McIntyre but never do you remember to paint a black angel.

A Rag, A Bone, and A Hank of Hair (1984) At the Edge of My Life… So Far (2010 DBDT Premiere) Choreographer: Talley Beatty Choreographer: Bruce Wood This ballet was a gift from Mr. Beatty for Dallas Black Dance Theatre’s I’m all things at all times, and always have been. 15th Anniversary.

Awassa Astrige/ Ostrich (1932) Absolute Rule (1994 DBDT Premiere) Choreographer: Asadata Dafora Choreographer: Elisa Monte and David Brown The ostrich is not the comic bird, burying its head in the sand, Absolute Rule examines the power and intensity of male and as typically portrayed in cartoons, but it is a large, stately and female relationships. Each dancer manipulates the other to create sensuous human sculptures. This ballet was made possible by a potentially lethal bird should you suffer a blow from one of its grant from IBM. powerful legs. The ostrich commands our respect, and in this portrayal, a warrior imitates the graceful but powerful movements of the King of the birds. Ain't Dat Good News (2011) Choreographer: Mel A. Tomlinson Beams From Heaven (2010) “A deeply, delightful spiritual calling” Choreographer: Christopher L. Huggins —Winston-Salem Journal An uplifting suite of dances set to traditional and contemporary gospel music. Allegro Choreographer: Dr. Baba Chuck Davis Camouflage (1983, 2007 DBDT Premiere) With chorography by Baba Chuck Davis, this Lamban displays Choreographer: Ben Stevenson, O.B.E. rhythms and movements from traditional Mandinka sources. This project is supported in part by an award from the National Endowment for the Arts, which believes that a great nation deserves great art.

Doll House (2015 Premiere) Choreographer: Sean J. Smith A magical journey of five dolls coming to life and discovering what it means to be human. DALLAS BLACK DANCE THEATRE • FULL REPERTORY

Dundunbah Etudes & Elegy (1990 Premiere) Choreographer: Dr. Baba Chuck Davis Choreographer: Gene Hill Sagan The young male initiates return from the sacred forest and display Choreographed by the late Gene Hill Sagan, this modern classic their physical and spiritual strength in from of the ELDERS. clearly shows the lyrical style behind the motif of Mr. Sagan’s ballets. Choreography made possible by a grant from AT&T.

Egungun Choreographer: Nycole Ray Foli Kan The most widespread masquerade is the Egungun of the Nigerian Choreographer: Delia Watters Yoruba people. The Egungun masquerade is designed to honor This modern day adaptation of “Foli Kan”, which translates to the dead; and a wide variety of masks and costumes are used to “Sound of Rhythm”, features the doundouns which are played communicate with ancestral spirits. Some masquerades impersonate upright on their sides by the musicians, who also dance while the spirits of the recently departed and serve as a receptacle for a playing. returning ancestral spirit; the spirit takes possession of the masker.

Forces End of Time (1984) Choreographer: Jamel Gaines Choreographer: Ben Stevenson, O.B.E. Forces of Nature: Earth, Air, Fire, Water: Dedicated to those who End of Time pas de deux was performed by Li Cunxin and Martha Butler at the 1984 International Ballet Competition in Tokyo, with endured Hurricane Katrina. both dancers receiving a silver medal for their performances and Ben Stevenson, O.B.E., his third gold medal for choreography. H.I.M. (Healing in Motion) (2012 DBDT II Premiere) Choreographer: Dianne Maroney-Grigsby H.I.M. was made possible by a grant from the Carl B. & Florence E. Escapades (1983 World Premiere, 1993 US Premiere, 2012 DBDT King Foundation. Premiere) Choreographer: Alvin Ailey When Escapades premiered in the United States in 1993, The New Here's to Michael (2015 Premiere) York Times called it “...breathtaking in its invention.” This ballet was Choreographers: Nycole Ray, Milton T. Tatum, Jr., & DBDT originally choreographed by Mr. Ailey for the Aterballetto – Centro Company members, past and present Regionale Della Danza of Italy in 1983 and set to a score by jazz legend Connecting the past and present of Dallas Black Dance Theatre II. Max Roach. A suite of four dances, this piece tells a love story through a fluid combination of modern, jazz and ballet techniques. The central couple is continually surrounded by duets and quartets of dancers who His Grace (2014 Premiere) effortlessly move in and out of earthy sensuality and graceful lyricism. Choreographer: Christopher L. Huggins Nelson Mandela… His grace exalts us all! Essence (2005 DBDT Premiere) Choreographer: Christopher L. Huggins “This piece is dedicated to the women in my life, like Ann Williams, who Honoring Our Elders have inspired me with their strength, passion, humor, commitment, and Choreographers: M.B. Olatunji and Dr. Baba Chuck Davis unconditional love.” We celebrate our elders whose contributions to the world prepared –Christopher Huggins us for greatness.

in•ter•pret (2005) Choreographer: Hope Boykin v. to establish…, to ascribe…, to perform…, to translate…, to convert… DALLAS BLACK DANCE THEATRE • FULL REPERTORY

Instinct: 11.1 (2010 Premiere) Jondon/Wolosodon Choreographer: Francesca Harper Choreographer: Christopher Johnson Dedicated to my mother, Denise Jefferson Traditionally, the structure of Mande society consisted of three main groups: the freeborn, which included nobles and commoners; the artisans who worked with leather, iron and wood and the captives, Isicathulo Jon or Woloso. The Jon were people who were held captive, either The “Gumboot” dance originating in Jo’ Burg, South Africa, honors the because they were prisoners of war, or because they had committed men who work in the gold mines. an infraction or crime. The Woloso were captives who worked in the household or in the field. Captives would often serve the royal courts of the Mandinka Kings and their families. The movements of the Jalidon dance introduces the family honor and solidarity. Modern explanations Choreographer: Amamansa Whitten of these dances symbolically relate them to enslavement and the Jalidon is one of the dances included in the Lamban family of dances struggle for freedom. from Mali Empire. It dates back to the 14th Century and was originally done by the sacred dancers of the king's court. Later, the dance was performed by the village historians (griot) for the king. Jali means Kpanlogo (Kpan_Lorgor) griot or oral historian. Don means dance. Thus, Jalidon is the dance Choreographers: Georgina Kotoka, Adjetey Klufio of the oral historian. Originally danced to a stringed instrument called The Ga People's Turning Dance that originated in Accra. It is essentially a kora often while a griot would sing, it is now performed to jembe an urban youth dance-drumming and a symbol of the commitment of (also djembe) orchestration by the Malinke, Kasonke, and Bamana a rapidly growing Ghanaian urban neighborhood youth in advocating (also Bambara) people of Mali and Senegal and the Susu people of their perspective in shaping the political vision of post colonial Africa. . The dance is done to celebrate rites of passage of life such as Kpanlogo became the favorite social and celebratory dance now births, marriage, birthdays, initiations, weddings, funerals, and also performed by young and old alike. good harvest.

Kuku Jansa Originally Kuku was a circle-dance for the woman, celebrating the Choreography: Dr. Chuck Davis return from fishing. The Beyla region is where the rhythm comes from. Jansa is another rhythm included in the Lamban family of rhythms The rhythm was originally played with one low-tuned djembe and one from the Mali Empire. It is from the Kayes and Kita region of southern very large solo-djembe. Nowadays Kuku is very popular all over West Mali associated with the Kasonke and Bamana ethnic groups. Africa and played on many occasions. Originally played for a competitive dance for young men, it is now a popular rhythm played all over . Kuumba Choreographer: Katricia Eaglin Jazz Course 101 (2009) Kuumba (creativity in Swahili) is a celebration of movement. Choreographer: Christopher L. Huggins Presented here are themes derived from various cultures located in Jazz Course 101 embodies traditional and classic jazz dance with red, West Africa. Ase! Ase! Ase! hot energy.

Lambarena (2002) Choreographer: Troy Powell Mr. Powell takes us on a personal journey with him to Alaska where he was inspired by the way eagles survived- how similar their actions were to human beings. In creating Lambarena he uses dancers forms and shapes to capture the images. DALLAS BLACK DANCE THEATRE • FULL REPERTORY

Loss (Remixed) (2011) Mourner's Bench (1947) Choreographer: Jamal Story Choreographer: Talley Beatty Loss - Remixed is an exploration of how mementos conjure not just the This emotional solo portrays spiritual struggle through muscular devastation of losing loved ones, but also the joys of remembering them. interplay between a male dancer and a bench. The work was inspired The guest artist is sponsored by Morgan Stanley. by Howard Fast’s novel Southern Landscape, and refers to the tragic influence of the Ku Klux Klan on a mixed-race community in the rural South after the Civil War. The soloist asserts himself within and Maculele against the themes of oppression and transcendence in the highly Choreographer: Bridget L. Moore stylized, gestural vocabulary of the piece. The dancer, “sitting on the The students from Booker T. Washington HSPVA honor the Elders with mourner’s bench,” reflects upon the end of his community and the a presentation of Maculele: Cana in the Raw. Maculele is an Afro- horror of its slaughter. Set to the traditional spiritual There Is A Balm Brazilian dance and martial art form originating out the sugarcane in Gilead. plantation experience.

Nascimento (1990) Mandiani Choreographer: David Parsons Choreographer: Dr. Baba Chuck Davis This work was commissioned by the Festival in the Sun at the The final phase of their initiation allows the young females the University of Arizona at Tucson. Special thanks to Milton Nascimento opportunity to impress their elders. No longer will they be called girls. who composed this score as a gift to the company and to A. Alexandra Now they are young women. Jupin, Executive Director of the Festival in the Sun.

Memoirs (2014 DBDT Premiere) New Knowledge/New Visions Choreographer: Garfield Lemonius Choreographer: Christopher Johnson Memoirs recounts aspects of an individual’s life; the joys, the pains, Ekonkon, indigenous to the Jola or Djola people located in the the passion, and the calm. This work was first commissioned by area, West Africa, is performed sometimes as an the Conservatory Dance Company at Pointe Park University. initiation dance and at other times as a communal dance associated with festivals and events such as the "Kings Festival."

Memorial Choreographer: Dr. Baba Chuck Davis Night Run (2003) "Listen more often to things rather than beings; listen to the silence of Choreographer: Christopher L. Huggins OUR ANCESTORS which speak louder than the loudest sound." Night Run is a look at the interaction of social forces and their transformation as night falls and the run for time. When given the cue please call out the names of Ancestors you wish to remember. Thank you. Opaque (2015 Premiere) Choreographer: Nycole Ray Memory of a Memory Lost (2011) Not Transparent or translucent; not allowing light to pass through. Choreographer: Nycole Ray Sometimes we choose what to forget and remember, and sometimes we don’t. Oremus (2015 Premiere) Choreographer: Richard A. Freeman, Jr. Oremus, Latin for “Let us Pray,” is a contemporary work dealing with the quest to find inner peace. This journey to find answers leads the dancers down a path of frustration, sorrow, and a driving force to regain hope. DALLAS BLACK DANCE THEATRE • FULL REPERTORY

Our Existence Pigs and Fishes (1982, 2009 DBDT Premiere) The Egunguns demands honoring for the ancestors. This section is Choreographer: Elisa Monte inspired by folklore from Nigeria. This full company piece was the first major commission for Elisa Monte—commissioned by Alvin Ailey for his legendary troupe. It is a powerful, driving piece focusing on the coming together of Pacing (1986) forces in a communal triumph over society and culture. Pigs and Choreographer: Milton Myers Fishes is one of the most popular works from the repertoire of This suite is a juxtaposition of European and African-influenced over forty works created by Elisa Monte. movements—heavily rhythmic, featuring driving torso action and linear pattern accompanied by an elegant and scintillating musical composition. Polarity (2014 Premiere) Choreographer: Richard A. Freeman, Jr. A relationship between two opposing attributes. Paint the City Choreographer: Michelle Hebert The girls in the village get together and as they play, they share their Presto stories and dream about the future. They paint the city with hope. Choreographer: Mel A. Tomlinson 35th Anniversary Dance Movement.

Pas De Duke (1976) Choreographer: Alvin Ailey Prize Support for this production was provided by The Ellen Jewett & Richard L. Choreographer: Jamel Gaines Kauffman New Works Endowment Fund and Daria L. & Eric J. Wallach. Prize explores identity, race, political dissidence, war, peace and the The original Ailey production was made possible, in part, with public funds complexities of the modern-day political environment. from the National Endowment for the Arts and the New York State Council on the Arts, and by a grant from the Ford Foundation.

Generous support for this production was received from Laren and Jesse Brill. Prototype (2010) Choreographer: Tyrone C. Walker “Such Sweet Thunder” (1957), “Sonnet to Hank Cinq” (1957), “The Clothed Woman” (1948), and “Old Man Blues” (1930). To: A world sick with hate…Get well soon. Used with the permission of Tempo Music, Inc., Mercer Ellington Publishing, and G. Schirmer Inc.

The guest artist is sponsored by Morgan Stanley. Reflections in D (1962) Choreographer: Alvin Ailey This strong yet serene solo is a stunning, masterful expression of Peace For Our Planet Duke Ellington’s music. Choreographer: Dr. Baba Chuck Davis We respect each other as we honor the earth. Requiem (2009) Choreographer: Chang Yong Sung Phoenix (2008) This work follows two men who alternate between friendly and Choreographer: Zach Law Ingram antagonistic interactions. Phoenix is based on the different trials and tribulations of life; but one thing is for certain, the phoenix will come before it's too much to bear. Ritual/ Tribute Choreographer: Dr. Baba Chuck Davis ...life is change. Growth is optional. Choose wisely. DALLAS BLACK DANCE THEATRE • FULL REPERTORY

See the Rhythm/ Hear the Movement Soko Choreographer: Dr. Baba Chuck Davis Choreographer: Kimberly Ballard-Madison Each of us brings to the world unique talents, gifts, and abilities. Originating in the Faranah Region of Guinea, this Malinke rhythm Share your music, your dance, your compassion. and dance was originally associated with male initiation rites. Now, however, it is a popular rhythm played for weddings and other ceremonies. Shuffle (DBDT II) (2010 Premiere, Seoul Performing Arts Festival) Choreographer: Joshua L. Peugh Premiered October 15, 2010, Seoul Performing Arts Festival, Dark Soli Circles Contemporary Dance Choreographer: Mikoyienne Whitley The Soli rhythms accompany the initiation and circumcision rites, “Musick has Charms to sooth a savage Breast, To soften Rocks, or which are associated with the passage from childhood into adulthood. bend a knotted Oak.” Initiates are put through many tests and receive much advice. This —William Congreve, The Mourning Bride way, traditional values are transmitted from generation to generation.

“for the trumpet shall sound, and the dead shall be raised” —I Corinthians 15:52 Sorsoner/ Dundunbah Choreographer: Zanaida Bynum-Roberson Sorsoner is a women's rite of passage dance from the Baga people Simple Prayer of Guinea, West Africa. It assures the protection of young female Choreographer: Dr. Baba Chuck Davis initiates as they learn the secrets and responsibilities of womanhood Oh! What such power in MAN is great than the MIND? Celestial from their elder mothers, sisters, and aunties. It is also performed thoughts are thoughts of cosmic influences, and when united to form after the harvest. (Special thanks to Guinea Master dancer Youssouf ONE they are vast; The acuteness of these thoughts crystallize and Koumbassa.) Dundunba is a dance of strength from the Kouroussa PEACE is forthcoming. Now!!!! village in Guinea. It sometimes includes martial arts, wrestling and acrobatics and can be competitive. There are over fifteen Dundunbas.

Smoke (2001) Choreographer: Bruce Wood Southern Recollections: For Romare Bearden (2013 World “After working with the dancers from Dallas Black Dance Theatre Premiere) I noticed that they all have their own personal elegance and as Choreographer: Bridget L. Moore a company, they have a great sense of humor. I decided to take Dedicated to the life and work of Romare Bearden—Each collage those two elements and put them, in a dance for them to inhabit depicts a series of collected memories, forging the past and the and for the audience to enjoy.” —Bruce Wood present. Mr. Bearden left a legacy of art that is socially relevant, depicts beauty in color, revealing his love and passion for humanity. Romare Bearden once remarked “modern painting progresses Sofa through cumulative destructions and new beginnings.” Choreographer: Cassandra Hines Sofa is a very old Malinke rhythm that, according to legend, takes This choreography was sponsored by the Princess Grace Foundation—USA. you back to the time when warriors rode horses. This is also played to support the brave strong men who went to combat, as well as, praises for their success and bravery. When a great warrior or hunter passes SPE away this rhythms is sent across the land. Choreographer: Michelle N. Gibson With choreography by Michelle N. Gibson, this Lamban displays a more contemporary celebration. DALLAS BLACK DANCE THEATRE • FULL REPERTORY

Surface (2015 Premiere) Variations I (2003) Choreographer: Daniel Catanach Choreographer: Milton Myers Surface focuses on the experiences of young men growing up in Urban America Variations I has been a collaboration between choreographer, Milton who are celebrating their “coming of age” in very different ways. Though they Myers, and composer, William Catanzaro. The work is a structural are from various social and economic backgrounds, and are finding their composition of theme and variation. The movements develop from own unique voice through independent journeys, they still share one common beginning elements of walking and running. ground: growing up a “minority.”

Celebration highlights the ways in which they feel they are moving forward in the world, Struggle exposes various obstacles they deal with and, Triumph Verses (2005) shows the inner spirit that pushes through and keeps one hopeful. Choreographer: Nathan Trice This work is based on the themes, ideas and movement inspired by This work was commissioned by the Dallas Symphony as part of the Nancy A. Nasher and David J. Haemisseger SOLUNA: International Music & Arts Festival, the sculpture and architecture of the Nasher Sculpture Center. This with additional support provided by The Hersh Foundation. modern ballet was commissioned and funded by The President's Committee on the Arts and Humanities through a National Endowment for the Arts Chairman's Extraordinary Action Award. Testament (2014 Premiere) Choreographer: Katricia Eaglin Nasher Tributes video created for North Texas Business for Culture Five themes from the bible abstractly depicted through dance. and the Arts by B.J. Taylor and the Communications Department on the occasion for the 2007 Obelisk Award Tribute to Raymond D. Nasher, Founder and Lifetime Chairman of NTBCA. Testosterone (2011 DBDT Premiere) Choreographer: Richard A. Freeman, Jr. Testosterone is a powerful thing. Controlling it can take years of Vespers (1986, 2011 DBDT Premiere) Choreographer: Ulysses Dove practice. Some embrace it and for some, it is an ongoing battle. Vespers captures the passion and spirituality of women who Who will win? have a faith and belief in God that sustains and supports them all their lives. The work is a recreation of the spirit Ulysses Dove The Nina Simone Project (2011) gained from watching these women in church and is dedicated to Choreographer: Dianne McIntyre his grandmother. Choreographer, Dianne McIntyre and DBDT Founder/Artistic Director, Ann M. Williams collaborate to escort the audience through the life and times For DBDT’s 35th Anniversary, Vespers was made possible by a of American singer, songwriter, pianist, arranger and civil rights activist grant from the National Endowment for the Arts, which believes Nina Simone. The ballet interprets the life and times of Ms. Simone from that a great nation deserves great art. early childhood, through civil rights, to her later life through dance and movement of the entire company. Welcoming Choreographer: Kayah A. Franklin Thinking of You (2012 DBDT Premiere) We welcome all to the “Dancing Ground” where life’s rhythms makes Choreographer: Rennie Harris Supported by Karen and Jim Wiley Advised Fund of the Dallas us whole and free. Foundation.

Treasured Reflections: Cultural Rejuvination Choreographer: Dr. Baba Chuck Davis Once someone dances a dance in the sea of your heart as a flower dances in the wind... you then begin to see that life is that which YOU are!! You are the Wind Blowing East. DALLAS BLACK DANCE THEATRE • FULL REPERTORY

What to Say? Notes on Echo and Narcissus (2010) Choreographer: Jamal Story This work is from a larger work exploring the permanence of mythology and folklore in contemporary storytelling. Though the evening length ballet is still in development, the emerging pas de deux provided for its creator a solid roadmap on how to integrate aerial apparatus into a concert dance narrative form. In it, the concept of movement as text is on display literally as pining Echo, stripped of the option to make her words by a vicious curse, can only repeat those of renowned beauty Narcissus. Still, his positioning both on the ground and in the air gives her chances to take risks, morph his vocabulary, and be heard. Legend tells us that Echo’s love is unrequited, that self-consumed Narcissus chooses instead his reflection as a source of ardor so great he starves to death staring at it. What to Say addresses the nuances that might have existed, the possibilities that the complexities of male/ female relationships may have changed very little since this ancient nymph/hunter bond.

The Dallas premiere of this work is made possible by NorthPark Center/ Nancy A. Nasher and David J. Haemisegger.

Dallas Black Dance Theatre • P.O. Box 131290 • Dallas, Texas 75313-1290 Phone: (214) 871-2376 • Fax: (214) 871-2842 • www.DBDT.com • [email protected]