DOCSLIB.ORG

For Immediate Release Contact: Elizabeth Cooke, Communications Manager [email protected] (212) 691-6500 X210

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
For Immediate Release Contact: Elizabeth Cooke, Communications Manager Ecooke@Newyorklivearts.Org (212) 691-6500 X210 For Immediate Release Contact: Elizabeth Cooke, Communications Manager [email protected] (212) 691-6500 x210 New York Live Arts Announces the World Premiere of The Watershed and When the Wolves Came In Created by 2012-2014 Resident Commissioned Artist Kyle Abraham Works Feature Visual Design by Glenn Ligon and Original Music Performed Live by Robert Glasper, and Celebrate 150 Years of the Emancipation Proclamation and 20 Years of the Abolishment of Apartheid in South Africa September 23 – 27 and September 30 – October 4, 2014 at New York Live Arts Photos by Steven Schreiber New York, NY, March 21, 2014 – New York Live Arts today announced the world premiere of works created by 2012-2014 Resident Commissioned Artist Kyle Abraham. Presented in two programs at New York Live Arts from September 23 through 27 and September 30 through October 4, 2014, this new repertory pays homage to the 150 year anniversary of the Emancipation Proclamation and the 20 year anniversary of the abolishment of apartheid in South Africa. The two programs will include the evening length work The Watershed, and When the Wolves Came In, a mixed repertory program including the ensemble work The Gettin’, featuring original music performed live by world renowned jazz artist Robert Glasper; and a solo work Hallowed. Each of the works will feature visual design by acclaimed conceptual artist Glenn Ligon and take inspiration from Max Roach’s protest album “We Insist: Max Roach’s Freedom Now Suite,” which celebrated the centennial of the Emancipation Proclamation and shined a light on the growing Civil Rights Movement of that period in South Africa and the U.S. The powerful themes inherent in these historical milestones—in tandem with Abraham’s choreography and Roach’s music—connect ideas postured in a cross-cultural exploration of freedom and its progression from the 1960s to present day. Additional collaborators and performance details will be announced at a later date. New York Live Arts’ Resident Commissioned Artist (RCA) program identifies and supports outstanding mid- career artists and is one of the most generous and supportive awards offered to a choreographer in the United States, providing nearly $280,000 in direct support, including a salary each year for two years plus full health benefits, two years of residency time and a commission of a new work or works to premiere at New York Live Arts. Launched in 2011, the RCA program was created to help address a field-wide lack of infrastructure for mid-career artists and to support the evolving needs of the next generation of artists. The program is by invitation only and artists are selected by Live Arts Executive Artistic Director Bill. T. Jones and Artistic Director Carla Peterson. “Kyle has an incredible choreographic voice and is a true leader in the field,” said Jones. “He represents exactly what New York Live Arts is—the exploration of culture and ideas through movement in a way that engages audiences of all kinds—and we’re thrilled to have him as our second Resident Commissioned Artist.” “The fact that the RCA award gives mid-career artists the opportunity and breathing room to take a step back, thoughtfully reflect, and delve more deeply and courageously into their artistic ambitions and process is a very important one,” said Peterson. “With the too common story of ever-dwindling resources for the arts and artists in today’s world, I’m so pleased that we, as an institution, can continually provide artists with this substantial opportunity to hone their craft and bring their singular visions to audiences.” "I look forward to premiering The Watershed and the mixed repertory program, When the Wolves Came In at New York Live Arts this fall,” said Abraham. “As I continue to develop these works I am grateful for the support the Resident Commissioned Artist program offers me. It pushes me to challenge myself in new ways creatively, and gives me the time and encouragement to discover new facets of my artistry." Photo by Alex Escalante About the Repertory The Watershed is an evening-length work created for nine dancers, with a score ranging from a contemporary cello suite to the soulful sounds of Otis Redding. The movement highlights Abraham’s signature style of mellifluous fluidity juxtaposed with sharp accents. When the Wolves Came In features The Gettin’ and Hallowed. The Gettin’, an ensemble work of five vignettes created in collaboration with Glasper, incorporates movement influenced by kinetic references taken from Abraham’s love of social dancing, and movement exploration rooted in the themes of freedom and civil rights. Glasper’s original score, which he will perform live with several musicians, will directly source Roach’s “We Insist: Freedom Now Suite” album. Hallowed is a solo work that explores queer urban dance aesthetics and uses movement ranging from whacking to voguing to popping and locking, interspersed with traditional modern dance forms. The musical score is comprised of various church sermons as well as music specifically referenced throughout the Civil Rights Movement. Costumes for The Watershed, The Gettin’, and Hallowed will be designed by Karen Young. The Watershed, The Gettin’, and Hallowed are commissioned and produced by New York Live Arts through its Resident Commissioned Artist Program, which receives lead support from the Andrew W. Mellon Foundation. Additional support is provided by MAP Fund, a program of Creative Capital, and the New England Foundation for the Art’s National Dance Project, both with major support from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. The project is also underwritten, in part, by the New York City Department of Cultural Affairs, the National Endowment for the Arts, and by contributors to the Dance Theater Workshop Commissioning Fund at New York Live Arts. About Kyle Abraham Kyle Abraham, New York Live Arts’ 2012-2014 Resident Commissioned Artist and 2013 MacArthur Fellow, began his dance training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a B.F.A. from SUNY Purchase and an M.F.A. from NYU Tisch School of the Arts. Abraham was named the 2012 Jacob’s Pillow Dance Award recipient and the 2012 USA Ford Fellow. In December 2013, Alvin Ailey American Dance Theater premiered Abraham’s work, Another Night at New York’s City Center to rave reviews. Rebecca Bengal of Vogue wrote, “What Abraham brings to Ailey is an avant-garde aesthetic, an original and politically minded downtown sensibility that doesn’t distinguish between genres but freely draws on a vocabulary that is as much Merce and Martha as it is Eadweard Muybridge and Michael Jackson.” Abraham received a prestigious New York Dance and Performance “Bessie” Award for Outstanding Performance in Dance for his work in The Radio Show and a Princess Grace Award for Choreography in 2010. The previous year, he was selected as one of Dance Magazine’s 25 To Watch for 2009, and received a Jerome Travel and Study Grant in 2008. His choreography has been presented throughout the United States and abroad, most recently at On The Boards, South Miami-Dade Cultural Arts Center, REDCAT, Philly Live Arts, Portland’s Time Based Arts Festival, Jacob’s Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New York’s City Center, in Montreal, Germany, Jordan, Ecuador, Dublin’s Project Arts Center, The Okinawa Prefectural Museum & Art Museum located in Okinawa Japan, The Andy Warhol Museum and The Kelly-Strayhorn Theater in his hometown of Pittsburgh, PA. In addition to performing and developing new works for his company, Abraham.In.Motion, Abraham recently premiered The Serpent and The Smoke, a new pas de deux for himself and acclaimed New York Dance and Performance “Bessie” Award winning dancer and New York City Ballet Principal Dancer Wendy Whelan as part of Restless Creature at Jacob’s Pillow Dance Festival. In 2011, OUT Magazine labeled Abraham as the “best and brightest creative talent to emerge in New York City in the age of Obama.” About Glenn Ligon Glenn Ligon lives and works in New York. Ligon received a Bachelor of Arts from Wesleyan University in 1982, and attended the Whitney Museum Independent Study Program in 1985. A mid-career retrospective of Ligon’s work, Glenn Ligon: AMERICA, organized by Scott Rothkopf, opened at the Whitney Museum of American Art in March 2011. The exhibition traveled to the Los Angeles County Museum of Art in the fall of 2011, and to the Modern Art Museum of Fort Worth in early 2012. Ligon has been the subject of solo museum exhibitions at the Power Plant in Toronto, the Walker Art Center in Minneapolis, the Studio Museum in Harlem, the Institute of Contemporary Art in Philadelphia and the Kunstverein Munich. His work was included in Documenta XI in 2002, and the 1991 and 1993 Whitney Biennials. Glenn Ligon has earned numerous awards and recognition for his work, including the Joan Mitchell Foundation Grant in 1997, the John Simon Guggenheim Memorial Foundation Fellowship in 2003, the Skowhegan Medal for Painting in 2006, and the Studio Museum’s Joyce Alexander Wein Artist Prize in 2009. Monographs of Ligon’s work include Glenn Ligon: AMERICA published by the Whitney Museum of American Art, New York; Yourself in the World: Selected Writings and Interviews published by Yale University Press, New Haven, CT; Glenn Ligon – Some Changes published by
Load more

Recommended publications
  • Baker Eastman School of Music [email protected] I
    A Cyclic Approach to Harmony in Robert Glasper’s Music Society for Music Theory Columbus, OH November 7, 2019 Ben Baker Eastman School of Music [email protected] I. Introduction Robert Glasper hip-hop R&B jazz neo-soul gospel I. Introduction Robert Glasper Blue Note releases: Canvas (2005) piano trio In My Element (2007) piano trio + R.G. Experiment Double-Booked (2009) Black Radio (2012) R.G. Experiment Black Radio 2 (2013) piano trio Covered (2015) R.G. Experiment ArtScience (2016) I. Introduction Robert Glasper “…probably the most prominent jazz musician of his generation. He’s gotten there by playing within and without jazz, and pushing the music to reconsider its boundaries.” -Russonello (NYT, 2018) I. Introduction Glasper’s Harmonic Language diatonic collections clear tonal centers tertian harmonies root motion by: 3rd (ex. Imaj7 - vi7 - IVmaj7 - ii7) descending 5th (ii7 - V7 - Imaj7) two primary chord qualities: major 7th chords + upper extensions minor 7th chords I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ &b∑ ∑ ∑ ∑ ∑ ∑ ∑ I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1.
    [Show full text]
  • 'Black Radio Is Like No Station You've Ever Heard, and That's Precisely Its
    JANUARY/FEBRUARY 2012 ISSUE MMUSICMAG.COM REVIEWS HOLE RNobody’sOBERT GLASPER Daughter EXPERIMENT [Universal] Black Radio [Blue Note] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sTo Robert Glasper, there’s no reason for traditional jazz, contemporary hip- second solo album—co-founder,hop and R&B not to be best friends. Glasper fuses those elements expertly songwriter and lead guitarist Eric Erlandson isn’t involved,on Black Radio; the keyboards include synths, Rhodes and piano, and nor is any other previous Hole member. So it’s Love andan three array of guests adds to the mix, from Meshell Ndegeocello and Musiq ringers on 11 new songs—10 of which Love wroteSoulchild with to rapper Lupe Fiasco. Glasper and collaborators offer a continually collaborators like Billy Corgan,shifting Linda sonic Perry landscape, and new from the smooth soul of “Afro Blue,” the Mongo guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) Santamaria-penned jazz classic sung here by Erykah Badu, to the harder, Much of the riveting intensity of the group’s 1990s heyday appears to havebeat-centric left along with pastiche her former that comprisesDaniel Jackson Mos Def’s title track. But the final two bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchtracks devastating are arguably effect back Black in the day.Radio they’s mostwere showcases intriguing: for harrowingcovers ofdisplays David of nakedBowie’s emotion, She spits out her vocals semi-obscurewith vengeful disdain “Letter on “Skinny to Hermione,” Little Love drivensounds bymore Bilal’s dispassionate sensual these vocal days.
    [Show full text]
  • Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
    Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
    [Show full text]
  • 1435 2012 ^ Five Dollar 435
    BLACK RADIO - CLUSIVE BLACK ENTERTAINMENT'S PR '' 36YEARS ISSN in-1435 2012 ^ FIVE DOLLAR 435 o 'I-47 3500 4 Featuring the final recorded performances from the late music icon WHITNEY HOUSTON _LtBRATE ORIGINAL N^mON pirTI IPF SOUNDTRACK FEATURING NEW MUSIC FROM JORDIN SPARKSAND WHITNEY HOUSTON ON THE URBAN ADULT RADIO HIT PRODUCED BY R. KELLY "CELEBRATE" AND A SOUL -STIRRING RENDITION OF WHITNEY HOUSTON ON "Li le Mir IC cM TUC QPAPDOW" 13 -SONG SOUNDTRACK ALSO INCLUDES CEE LO GREEN ON "I'M A MAN," GOAPELE ON "RUNNING," AND CARMEN EJOGO AND TIKA SUMPTER JOINING JORDIN SPARKS ON "SOMETHING HE CAN FEEL" WITH THREE NEW SONGS BY JORDIN SPARKS AVAILABLE EVERYWHERE JULY 31 ON it,14 RECORDS/SONY MUSIC From the Movie Directed by SALIM AKIL in Theaters Nationwide AUGUST 17TH The state of magazines is sticky, 43 minutes per issue sticky. Media continues to proliferate. ',Attention spans continue to shrink. And free content is available everywhere, from the Internet to the insides of elevators. Why then are 93% of American adults still so attached to magazines? Why do so many people, young and old, spend so much time with a medium that's paper and ink, a medium you actually have to pay for in order to read? In a word, engagement. Reading a magazine remains a uniquely intimate and immersive experience. Not only is magazine readership up, readers spend an average of 43 minutes per issue. Further, those 43 minutes of attention are typically undivided. Among all media-digital or analog-magazine readers are least likely to engage in another activity while reading.
    [Show full text]
  • Dearest Home Kyle Abraham
    KYLE ABRAHAM/ ABRAHAM.IN.MOTION DEAREST HOME TUE–SAT MAY 16–20, 2017 YBCA FORUM YBCA.ORG #KYLEABRAHAM A NOTE Our organization was founded in 1993 as a citizen institution that would be home KYLE ABRAHAM/ to the diverse local arts community while FROM THE serving to connect the Bay Area to the EXECUTIVE world. YBCA’s mission is to generate ABRAHAM.IN.MOTION culture that moves people. We believe DIRECTOR that culture—a collection of art, traditions, DEAREST HOME values, human experiences, and stories— is what enables us to act with imagination and creativity, to act socially, politically, CHOREOGRAPHY: KYLE ABRAHAM and with conviction. Culture instigates IN COLLABORATION WITH ABRAHAM.IN.MOTION change in the world. MUSIC COMPOSITION: JEROME BEGIN We believe that more and different kinds LIGHTING AND SET DESIGN: DAN SCULLY of people need to be defining culture today TEXT DESIGN: GLENN LIGON and that more people need to have access COSTUMES: KYLE ABRAHAM to cultural experiences that are relevant to their lives and their communities. We need PERFORMERS: MATTHEW BAKER, new definitions and new experiences that TAMISHA GUY, CATHERINE ELLIS KIRK, MARCELLA LEWIS, JEREMY “JAE” NEAL, CONNIE SHIAU bring people together regardless of their differences in order to make the inclusive and equitable culture we need today. We ABRAHAM.IN.MOTION believe that the arts should be on the The mission of Kyle Abraham/ For more information, to get involved, or front line of change and that cultural Abraham.In.Motion is to create an to purchase AIM merchandise, please visit institutions exist to spur and support big evocative, interdisciplinary body of work.
    [Show full text]
  • Darling of the New York Scene Coming to Montreal
    Press RELEASE » United-States ABRAHAM.IN.MOTION THE PERFECT OUTING FOR SPRING BREAK Pavement Kyle Abraham MARCH 6 » 7 » 8, 2014 DARLING OF THE NEW YORK THÉÂTRE MAISONNEUVE SCENE COMING TO MONTREAL Montreal, February 10, 2014 – Danse Danse will be presenting a rising star of the American contemporary dance scene. Kyle Abraham’s company Abraham.In.Motion, will be making its Canadian première with Pavement on March 6, 7 and 8 at Théâtre Maisonneuve at Place des Arts. Praised as one of the brightest new talents in the age of Obama, the 36-year-old artist blends urban, modern and classical dance with theatre in this very moving portrait of 7 individuals in the black neighbourhoods of his native Pittsburgh. Presented in a highly personal style, his exploration of contemporary issues is accessible to a wide audience, and was rewarded in 2013 with a fellowship from the prestigious MacArthur Foundation. While major cultural institutions in the U.S. are in dire straits, sometimes a perfect gift comes our way during spring break. Urban, poignant, thrilling. PAVEMENT (2012) “In 1991, I was fourteen and entering the ninth grade at Schenley ”With his riveting blend of classical modern-dance styles, hip High School in the historic Hill District of Pittsburgh. That same year, hop and ballet, Abraham has the choregographic chops and John Singleton’s film, Boyz N The Hood was released. For me, the passion to move audiences with works that have emotional film depicted an idealized “Gangsta Boheme” laying aim to the state of staying power. “ (Pittsburgh City Paper) the Black American male at the end of the 20th century.
    [Show full text]
  • 2015 Ohiodance Fall Festival and Conference
    2015 OhioDance Fall Festival and Conference Dance Matters: Moving Forward #ohiodancefest October 23-25, 2015 Special Guest Artist Kyle Abraham Co-sponsored by Ohio University, School of Dance, Film, and Theater, Division of Dance in Athens, Ohio Kyle Abraham Photo by Celeste Sloman Photo Courtesy of Kyle Abraham/AbrahamIn.Motion Photo Courtesy of Ohio University Division of Dance www.ohiodance.org BFA in Choreography and Performance BA in Dance Dance Minors in Choreography DANCE and Performance, Dance History and Theory, and Somatic Studies For more info contact us at: Ohio University Dance Division 137 Putnam Hall • Athens, OH 45701 Office: (740) 593-1826 Fax: (740) 593-0749 Email: [email protected] www.ohio.edu/finearts/dance Photo Credit: Larry Coleman 2 www.ohiodance.org Dance Matters: Moving Forward OhioDance, the leading state-wide organization supporting diverse dance practices, will hold its fall festival October 23-25, 2015. This event is co-hosted by Ohio University, School of Dance, Film, and Theater, Division of Dance in Athens, Ohio. The theme and title of the conference, Dance Matters: Moving Forward, encompasses the idea that no matter what future changes may occur, dance and the arts will always forge ahead creatively, kinesthetically, and intellectually. Special events include Guest Artist Kyle Abraham will offer a master class and lecture. Abraham.In.Motion company members will provide a lecture demonstration. Over the three day weekend there will be a dance performance, a variety of master classes, dance film showings, a regional roundtable centered around the OhioDance Virtual Dance Collection, discussion on social media law and Ohio University dance division faculty will provide information Kyle Abraham about the dance program at OU for PreProfessional dancers as well as an audition by OU faculty for high school seniors.
    [Show full text]
  • A Rite Story/Time Play and Play: an Evening of Movement and Music
    Photos: Paul B. Goode A Rite A dance-theater collaboration with Anne Bogart and SITI Company. Story/Time Bill T. Jones returns to the stage in a critically acclaimed work of storytelling and dance. Play and Play: An Evening of Movement and Music “Take something and do something to it, and then do something else to it.” – Jasper Johns Body Against Body Program Seminal duets from the 1970s and 80s. Analogy: A Trilogy Three narratives in search of equivalences. Premiering June 2015. 2014–2015 Season The Bill T. Jones/Arnie Zane Dance Company was born out of an 11-year collaboration between Bill T. Jones and Arnie Zane (1948–1988). During this time, they redefined the duet form and Bill T. Jones/Arnie Zane foreshadowed issues of identity, form and social commentary that would change the face of Dance Company American dance. The Company has performed worldwide in over 200 cities in 40 countries on Kyle Maude Director of Producing and Touring every major continent and is recognized as one of the most innovative and powerful forces in 219 W 19th Street the dance-theater world. New York, NY 10011 t: 212.691.6500 ex 262 A Rite f: 212.633.1974 “...a serious, intricate, multidirectional centennial tribute to a work of art whose spell it deepens.” [email protected] – The New York Times newyorklivearts.org /#/BTJAZDC A Rite is the intriguing and powerful dance-theater collaboration between renowned artists Bill T. Jones, North American Representation Anne Bogart and their respective companies, the Bill T. Jones/Arnie Zane Dance Company and SITI Company.
    [Show full text]
  • The Jazz Gene: Examining the Use of Jazz Aesthetics in Hip-Hop Music P
    The Jazz Gene: Examining the use of Jazz Aesthetics in Hip-Hop Music P. Thomas Francis A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JUNE 2017 P. Thomas Francis, 2017 ii ABSTRACT This thesis is made up of 7 original compositions that aid in exploring the common cultural traits and practices of African-American music — referred to using the metaphor of the Jazz ‘Gene’. These conventions are historically contextualized and analyzed through two categories of rhythm and harmony from a post-Jazz perspective. The compositions in this thesis also highlight influences and artists from various African-American genres whose active compositional styles create unique frameworks in their genres — such as James Brown, Joshua Redman, Roy Hargrove, Robert Glasper, and Dr. Dre. I surmise that without these common traits and practices found through these unique frameworks, Hip-Hop music would not persevere or evolve. These aesthetics exist in Hip-Hop just as much as they exist in Funk, Soul, R&B, Gospel, and Jazz music. iii DEDICATION This paper is dedicated to my family. Mom, Dad, Shelkah, and Sherma, thank you for your continued support and I hope this paper does you all proud. Catherine, you are reason the house is a home, the little volcanoes, and the dream that came to life to which my life becomes a dream. Thank you for ALWAYS being available and constantly reading, re-reading, and staring at these pages until I couldn’t take it anymore! You’re brilliant and wonderful.
    [Show full text]
  • Supergroup August Greene Featuring Grammy® And
    Tweet It! .@common, @robertglasper, and @karriemriggins aka @Augustgreenebnd come to the @KimmelCenter 11/29. More info @ Kimmelcenter.org Press Contact: Lauren Woodard Rachel Goldman 215-790-5835 267-765-3712 [email protected] [email protected] SUPERGROUP AUGUST GREENE FEATURING GRAMMY® AND EMMY® AWARD-WINNING MUSICIANS COMMON, ROBERT GLASPER, AND KARRIEM RIGGINS MAKE KIMMEL CENTER CULTURAL CAMPUS DEBUT THURSDAY, NOVEMBER 29, 2018 FOR IMMEDIATE RELEASE (Philadelphia, PA, September 5, 2018) – The Kimmel Center for the Performing Arts welcomes the groundbreaking new supergroup August Greene, featuring the Grammy®, Golden Globe, Emmy®, and Oscar® Award-winning artist Common; the Grammy® Award- winning musician Robert Glasper, and the Emmy® Award-winning producer Karriem Riggins. Developed in 2016, August Greene features a blending of rap, jazz, R&B, and soul – speaking to the feelings and emotions surrounding the black experience. For one-night-only, Thursday, November 29, 2018 at 8:00 p.m., this dynamic trio will take the Academy of Music stage performing their new peaceful and profound music. “The three incredibly talented musicians that make up August Greene are providing audiences with a soundtrack for the world we live in today,” said Ed Cambron, Executive Vice President of the Kimmel Center for the Performing Arts. “Music plays such an important role in how communities express themselves; this presentation is a first on the Kimmel Center Cultural Campus, and we hope it serves as a catalyst for conversation as well as an enjoyable evening of hybrid artforms.” Since 1992, the Chicago-born Common has uplifted listeners with his emotive blend of hip-hop and soul, releasing some of the genre’s greatest work, including 1994’s underground breakthrough Resurrection (featuring the classic “I Used to Love H.E.R.”) and 2000’s Like Water for Chocolate (a magnum opus featuring the Grammy® nominated single, “The Light”).
    [Show full text]