DOCSLIB.ORG

Lorenzo Rennie Harris P.H.D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

LORENZO RENNIE HARRIS P.H.D. Rennie Harris Puremovement 1500 Market Street 12th Floor East Tower Philadelphia, PA 19102 Rennie Harris born and raised in an African- American community in North Philadelphia. Since the age of 15, Harris has taught workshops and classes at universities nationally & internationally and is known as a powerful spokesperson for the significance of "street" origins in any dance style. Harris founded Rennie Harris Puremovement in 1992. RHPM, a hip-hop concert dance & theater company are dedicated to preserving and disseminating hip-hop culture to the masses. Harris grew up entrenched in hip hop as an African American and Latino art form, in all its forms-music, dance, language- At the turn of the century Harris was voted one of the most influential people in the last one hundred years of Philadelphia history and has been compared to twentieth-century legends, Alvin Ailey and Bob Fosse. "Rennie Harris is the Basquiat of the US. Contemporary dance scene, Lorenzo Rennie Harris has literally embodied the history of hip-hop dance." ~London Times~ 2011-Bureau of Education and Cultural Affairs US Department of State chose Rennie Harris as one of four companies to represent the USA. Dance Motion USA is a cultural diplomacy program, which shares the United States' rich dance culture with international audiences, sends four American dance companies on cultural exchange tours to four world regions beginning in early 2012. In 2012 Rennie Harris Puremovemnt will go to Egypt, Israel/ Palestine, and Jordan, where they will engage in workshops, training, master classes, and performances. Rennie Harris Puremovement will represent the US as Cultural Ambassadors. 2011- Guggenhiem-Rennie Harris the Founder/Artistic Director of Rennie Harris Puremovement has been awarded a Guggenheim Fellowship for 2010 in recognition of his work as a hip hop choreographer. Edward Hirsch, the president of the John Simon Guggenheim Memorial Foundation, announced that Rennie Harris was among the 180 awarded fellowships to artists, scientists and scholars chosen from a group of some 3,000 applicants. –The Dance Journal- 2011-Creative Ambassador of Philadelphia-Rennie Harris is voted "Creative Ambassador" of Philadelphia. Greater Philadelphia Tourism Marketing Corporation's (GPTMC) newest initiative for the African American market spotlights trendsetters— musicians, visual artists, dancers, poets, designers and producers—who are in touch with what's cool, hip and hot in the city and region. These Creative Ambassadors, led in 2009 by Grammy-winning hip-hop group The Roots and in 2010 by singer/songwriter Marsha Ambrosius, use their social networks to build buzz about Philly as a travel hotspot and encourage a younger, affluent, tech-savvy crowd to visit. Rennie Harris is this years recipient. 1 Rennie Harris Puremovement 1500 Market Steet 12th Floor East Tower Philadelphia, Pennsylvania 19102 T: 215 665 5718 F: 215 689 2727 www.rhpm.org 2010 -Honorary Doctorate-Philadelphia choreographer Lorenzo "Rennie" Harris received an honorary Doctor of Fine Arts degree at the Bates College 144th commencement ceremony on May 30, 2010. Founder and Artistic Director of Rennie Harris Puremovement, Harris was one of five honorary degree recipients this year. Honorands included: Dr. James McCarthy, Harvard professor of biological oceanography; Jane Pauley, veteran journalist and television anchor; Elizabeth Strout '77, Pulitzer Prize- winning novelist; and Dr. Teresa Woodruff, an obstetrics and gynecology researcher at Northwestern University. –The Dance Journal- 2008-William Shakespeare Award- Rennie Harris, Peter Martins and Chita Rivera Honored with!the William Shakespeare Award for Classical Theatre: The Will Award is an annual honor given by the Shakespeare Theatre Company to a person (or persons) who has made a significant contribution to classical theatre in America. 2007-United States Artist Fellowship- Rennie Harris receives US Artist fellowship. United States Artist honor 50 of America's finest artists with individual fellowships of $50,000.00 2007-Governors Artist of the Year Award-Rennie Harris receives The Hazlett Memorial Award, which recognized Pennsylvanians who contributed their creative talents to their communities, were named the Hazlett Memorial Awards for Excellence in the Arts, after the late Theodore L. Hazlett Jr. of Pittsburgh, the first chairman of the Pennsylvania Council on the Arts. Fellowships, Honors and Award/Citations Dance Motion USA 2011 Creative Ambassador of Philadelphia Pa 2011 Honorary Doctorate in Arts and Humanities 2010 Recipient of the Guggenheim Award 2010 Black Theater Alvin Ailey Award 2009 Rutgers University Honorary Committee "Launch Pad" 2009 Nominated for the Guggenhiem Award 2009 National Endowment for the Arts 2009 New England Foundation for the Arts 2009 Dance Place Honors Rennie Harris 2008 William Shakespeare Award 2008 Master Choreography 2008 United States Artist Fellowship 2007 Governors Artist of the Year Award 2007 Philadelphia Rocky Award (Peer recognition) 2007 Kulu Mele "African rooted Dance, Arts and Culture" Award 2007 Ford Foundation/Future Aesthetics 2006 Artography Award/Ford Foundation 2006 Ford Foundation/Preservation 2005 2 Rennie Harris Puremovement 1500 Market Steet 12th Floor East Tower Philadelphia, Pennsylvania 19102 T: 215 665 5718 F: 215 689 2727 www.rhpm.org Master of African American Choreography-The Kennedy Center 2005 Awarded key to the City of Philadelphia 2005 Ford Foundation/ Research & Preservation 2004 Pennsylvania Council on the Arts 2004 Awarded key to the City of South Beach 2004 Herb Alpert Award in the Arts-Fellowship 2003 Best of Philly Philadelphia Magazine 2003 Pennsylvania Council on the Arts 2003 Penn Foundation 2003 Creative Capital 2003 Samuel Fels Foundation 2003 Stockton Rush Bartol 2003 Alvin Ailey Black Theater Award 2002 Alvin Ailey Black Theater Award 2001 Bessie Award 2001 Lawrence Olivier (nominee) United Kingdom 2001 Voted most influential Philadelphian in 100 years 2000 National Endowment for the Arts 2000 National Dance Project 2000 Cultural Fund 2000 Dance Advance Pew Charitable Trusts 1999 Ethnic Dance Award 1997 Certificate of Achievement 1997 Dance Advance Pew Charitable Trusts 1997 Pew Charitable Trusts Fellowship 1996 City of Philadelphia Cultural Fund Grant 1996 Dance Advance Pew Charitable Trusts 1995 Philadelphia Repertory Development Initiative Grant 1995 Philadelpia Repertory Development Initiative Grant 1993 Most Exciting Dancer/Choreographer 1993 City of Philadelphia (citation) 1988 Best Of Philadelphia (citation) 1984 Special Invitation/Performance Presentation Dance Motion USA (Egypt, Israel, Jordan) 2011/12 Caine Park 2011 Michigan University 2011 Dance Place Theater 2011 Freed Center for Performing Arts 2011 Dianne Wortham Theatre 2011 Wells Fargo Center 2011 August Wilson 2011 Kimmel Center 2011 3 Rennie Harris Puremovement 1500 Market Steet 12th Floor East Tower Philadelphia, Pennsylvania 19102 T: 215 665 5718 F: 215 689 2727 www.rhpm.org Wesleyan University 2011 International Association of Blacks in Dance (LA) 2011 Adrienne Arsht Center (MIA) 2011 Freeman Stage ((Delaware) 2011 The Kimmel Center (Philadelphia Pa) 2011 Stanford University (Palo Alto) 2011 Mahaiwe (MA) 2011 Contact Theater (United Kingdom) 2011 Jacobs Pillow 2010 Kimmel Center 2010 Florida State University 2010 Montgomery Community College 2010 August Wilson Center Pittsburg 2010 Artist Collective CT 2010 Edinbourough Fringe Festival Scotland 2010 Jacobs Pillow MA 2010 August Wilson Pittsburgh Pa 2010 Georgia State University 2010 IBIAD Philadelphia Pa 2009 Yerba Buena Center 2009 La Pena Arts Center 2009 Kohler Arts WI 2009 Lafayette College Easton Pa 2009 Reicold Center St Thomas 2009 Jacobs Pillow MA 2009 Kimmel Center Philadelphia Pa 2009 Summer Stage New York City 2008 Queens Bridge Park Performance 2008 Royal Theater UK 2008 Univerisity of Wisconsin 2008 The Kimmel Center, Philadelphia PA 2008 The Kimmel Center, Philadelphia PA 2007 Yerba Beuna, San Francisco, CA 2007 Majestic Theater Gettysburg PA 2007 Wells Fargo Center Santa Ana CA 2007 Piedmont Virginia College, Piedmont VA 2007 University Of Virginia 2007 Alabama Dance Council Birmingham AL 2006 Painted Bride Arts Center, Philadelphia PA 2006 New Jersey Performing Arts Center, Newark, NJ 2006 Montclair State University, Montclair, NJ 2006 Red Cat Theater LA 2006 Mryna Loy Center Helena, MT 2006 Winston Salem State University 2006 City Parks Foundation New York NY 2006 Southeast Alabama Dance Company 2006 4 Rennie Harris Puremovement 1500 Market Steet 12th Floor East Tower Philadelphia, Pennsylvania 19102 T: 215 665 5718 F: 215 689 2727 www.rhpm.org Overture Center for he Arts Madison WI 2006 World Music Crash Arts Cambridge MA 2006 City Center St Louis, MO 2005 University at Buffalo Center for the Arts 2005 Kravis Performing Arts West Palm Beach Florida 2005 Queen Elizabeth Hall London England 2005 Krannert Center for the Performing Arts 2005 University of North Carolina 2005 Dance & Theatrica Modena Italy 2005 Contemporary Dance Theater Inc, Cincinnati OH 2005 Moore Theater Seattle, WA 2005 Luther Burbank Santa Rosa, CA 2005 University of Michigan Ann Arbour, IL 2005 Carver Community Center San Antonio, TX 2005 Sheppard College Virginia 2005 Cornell University Ithica, NY 2005 Jarson-Kaplan Theater Cincinnati, OH 2005 Queen Elizabeth Theater London, England 2005 University of Illinois Urbana, Il 2005 Luther Burbank Center for the Arts Santa Rosa CA 2005 Fort Wayne Dance Collective Fort Wayne, IN 2005
Recommended publications
  • Exodus (World Premiere – 2015)

    Exodus (World Premiere – 2015)

    Exodus (World Premiere – 2015) Choreography by Rennie Harris Assistant Choreographer/Rehearsal Director: Nina Flagg Music by Various Artists Costumes by Jon Taylor Lighting by James Clotfelter Choreographer's Assistant: Millie Heckler The world premiere of Exodus is made possible with leadership support from Melinda & Paul Pressler. Acclaimed hip-hop choreographer Rennie (Lorenzo) Harris creates a highly-anticipated world premiere that explores the idea of “exodus” – from one’s ignorance and conformity – as a necessary step toward enlightenment. Set to gospel and house music along with spoken word, the work underscores the crucial role of action and movement in effecting change. Exemplifying his view of hip hop as a “celebration of life,” Exodus marks Harris’ latest invitation to return to spiritual basics and affirm who we are. His previous contributions to the Ailey repertory include Home (2011) and Love Stories (2004), an acclaimed collaboration with Judith Jamison and Robert Battle. “Harris has become the Basquiat of the US contemporary Alvin Ailey American Dance Theater in Rennie Harris’ Exodus. dance scene.” Photo by Paul Kolnik The Sunday Times, London "...the virtuosic footwork, the marvelous undulations of the hips and, above all, the intricate patterns of Mr. Harris's choreographic formations. He knows how to move bodies in space, how to layer his phrases and, above all, how to make dancers look good." The New York Times “Hip-hop is about the celebration of life.” — Rennie Harris Rennie Harris Rennie (Lorenzo) Harris has been known to mix Shakespeare with hip hop, poetry, rap music and movement. He is a pioneer in performing, choreographing, teaching and introducing this African- American dance form hip hop to a worldwide audience and revolutionizing contemporary concert dance.
  • Fall Repertoire 2020

    Fall Repertoire 2020

    Dance Department presents Fall Repertoire 2020 Artistic Director Chair of Dance Nancy Lushington Technical Director Philip Treviño Costume Coordinator/ Wardrobe Supervisor Production Sound Designer Mondo Morales Dan Cooper Historical Images (in sequence) Bill T Jones/Arnie Zane Company Blind Date 2005 Workers Theater Poster 1933 Pearl Primus Strange Fruit 1945 Maori Haka New Zealand (traditional) 1. PER TEMPUS Irish Dance Ensemble St Patrick’s Day Parade 2019 Choreographer Alberto del Saz Martha Graham Deep Song 1937 in collaboration with Dancers Kurt Jooss Green Table 1932 Music Daphnis 26 New Dance Group Open class 1933 Lindy Hop 1920s Composer Biosphere New Dance Group Poster 1932 Film Editing Alberto del Saz Vesta Tilley 1890’s Drag King Sound Design Dan Cooper Sankai Juku 2015 Bill T Jones and Arnie Zane Photo by Lois Greenfield 1981 Bill T Jones Body Paint by Keith Haring 1883 Dorrance Dance Elemental 2018 Taylor Mac 24 Decade History of Popular Music 2017 Alice Sheppard/Kinetic Light Descent 2019 Rennie Harris Funkedified 2019 Trisha Brown Walking on the Wall 1971 2. Rennie Harris Puremovement 2011 Dance and Civic Engagement Bill Shannon 2010 Facilitator Catherine Cabeen Camille A. Brown Ink 2017 Movement Meditation Written and Led by Lauren Aureus, Emily Dail, Molly Hefner, Todd Shalom & Niegel Smith Take Care 2016 Kayla Kemp, Heather Kroesche, Frankie New Orleans Highschool Dance for Change 2018 National Dance Institute Dream Project 2019 Levita, Kate Myers, Zion Newton, Remi Dance to be Free 2019 Rosenwald, Lily Sheppard, Payton
  • Lazarus (World Premiere – 2018)

    Lazarus (World Premiere – 2018)

    Lazarus (World Premiere – 2018) Choreography by Rennie Harris Rehearsal Director: Nina Flagg Rehearsal Associate: Millie Heckler Music & Sound: Darrin Ross Costumes: Mark Eric Rodriguez Lighting: James Clotfelter “Hip-hop is about the celebration of life.” — Rennie Harris Inspired by the life and legacy of Mr. Ailey, hip hop choreographer Rennie Harris – the organization’s inaugural Artist-in-Residence in 2018 – connects past and present in a powerful ensemble work that addresses the racial inequities America faced when Mr. Ailey founded this company in 1958 and still faces today. The Company’s first two-act ballet, Lazarus is set to a soundtrack produced by Darrin Ross, with his original music, and featuring Nina Simone, Terrence Trent D’Arby, Michael Kiwanuka, Odetta, spoken text written and adapted by Rennie Harris that is performed by Wadud Ahmad, Rennie Harris, as well as the voice of Alvin Ailey. Harris’ previous contributions to the Ailey repertory include Exodus (2015), Home (2011), and Love Alvin Ailey American Dance Theater in Rennie Harris’ Lazarus. Photo by Paul Kolnik Stories (2004), an acclaimed collaboration with Judith Jamison and Robert Battle. As Ailey’s inaugural Artist-in-Residence, Harris led a large range of activities including serving as an artistic advisor to the New Directions Choreography Lab, conducting master classes and delivering lectures about choreography and the history of hip-hop to Ailey II and students and instructors at The Ailey School and Ailey Arts-In-Education, and teaching workshops open to the public through the Ailey Extension. “an exhilarating celebration of life, dance, and the body in motion.” The New Yorker “America’s hottest ballet” The Philadelphia Inquirer “… brings Ailey back to life by showing why he still matters to a living artist of Mr.
  • MASARYKOVA UNIVERZITA Fakulta Sportovních Studií Rozvoj A

    MASARYKOVA UNIVERZITA Fakulta Sportovních Studií Rozvoj A

    MASARYKOVA UNIVERZITA Fakulta sportovních studií Katedra gymnastiky a úpolů Rozvoj a historické aspekty tanečního stylu street dance Bakalářská práce Vedoucí práce: Vypracoval: PaedDr. Dagmar Šimberová Marcela Holasová Animátor sportovních aktivit PROHLÁŠENÍ Prohlašuji tímto, ţe je tato práce mým autorským dílem, které jsem zpracovala svědomitě a samostatně. Veškeré pouţité prameny a zdroje jsou řádně citované a uvedené v seznamu literatury. V Brně dne podpis ……………. PODĚKOVÁNÍ Ráda bych co nejsrdečněji poděkovala vedoucí mé bakalářské práce PaedDr. Dagmar Šimberové za její velkou trpělivost, vstřícný přístup, podporu a cenné rady a připomínky. OBSAH: ŮVOD ...................................................................................................................... 6 1. Definice tance ...................................................................................................... 8 1. 1 Rozdělení tance .................................................................................... 10 1. 2 Pohybové schopnosti v tanci ............................................................... 10 1. 3 Tanec jako sport a umění ..................................................................... 12 2. Street dance - charakteristika ......................................................................... 14 2. 1 Nejznámější soutěţe a akce street dance. ....................................... ….15 2. 2 Street dance - historie .......................................................................... 17 2. 3 Street dance - rozdělení .......................................................................
  • How the History of Hip Hop Dance Has Led to a Struggle for Integration Into Collegiate Dance Programs

    How the History of Hip Hop Dance Has Led to a Struggle for Integration Into Collegiate Dance Programs

    How the History of Hip Hop Dance Has Led to a Struggle for Integration into Collegiate Dance Programs By Alexandra Rosen Center for Dance, Music and Theater Goucher College Baltimore, MD Abstract This essay, How the History of Hip Hop Dance has Led to a Struggle for Integration into ​ Collegiate Dance Programs, was written by Alexandra Rosen. Rosen is a senior (2020) at ​ Goucher College in Baltimore, Maryland where she has conducted this research through the Center for Dance, Music and Theater. According to the Merriam Webster dictionary the term hip hop is defined as, “a cultural movement associated with especially rap music.” Nonetheless, the term has always included 4 elements; breakdancing, rapping, Djing/MCing and graffiti writing. All of these individual art forms can be referred to as hip hop and each has its own rich history worth exploring (this research will solely focus on hip hop dance). Additionally, it is important to note that hip hop goes beyond art forms. It is a culture. With hip hop being known as a street born culture it has sometimes been difficult to gain the respect of academia. However, it is clear to those who have learned and lived hip hop that the genre is built on the preservation of history and political resistance. Hip hop dance has evolved over time and has become a big part of American culture within the last decade (Hazzard-Donald). Many students are becoming interested in the dance form and have embodied the movement into their social culture. However, it is important for those doing the movement to understand the history behind it.
  • B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H

    B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H

    B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5.
  • A Street Dance Toolkit

    A Street Dance Toolkit

    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 12-8-2020 FROM CONCRETE TO THE CLASSROOM: A STREET DANCE TOOLKIT Tarayjah Hoey-Gordon [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Hoey-Gordon, Tarayjah, "FROM CONCRETE TO THE CLASSROOM: A STREET DANCE TOOLKIT" (2020). Master's Theses. 182. https://digscholarship.unco.edu/theses/182 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2020 TARAYJAH HOEY-GORDON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School FROM CONCRETE TO THE CLASSROOM: A STREET DANCE TOOLKIT A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree Of Masters of Arts Tarayjah Hoey-Gordon College of Performing and Visual Arts School of Theatre Arts and Dance Dance Education December 2020 This Thesis by: Tarayjah Hoey-Gordon Entitled: From Concrete to the Classroom: A Street Dance Toolkit ​ has been approved as meeting the requirements for the Degree of Master of Arts in College of Performing and Visual Arts in School of Theatre Arts and Dance, Program of Dance Education Accepted by the Thesis Committee: _______________________________________________________ Christy O’Connell-Black, M.A., Chair, Advisor ___________________________________________ Sandra L. Minton, Ph.D., Committee Member Accepted by the Graduate School: __________________________________________________________ Jeri-Anne Lyons, Ph.D.
  • The Music Center Brings a Fusion of Hip-Hop Dance Experiences to Downtown L.A

    The Music Center Brings a Fusion of Hip-Hop Dance Experiences to Downtown L.A

    Contact: Bonnie Goodman For The Music Center [email protected] 213-308-9539 FOR IMMEDIATE RELEASE The Music Center Brings a Fusion of Hip-Hop Dance Experiences to Downtown L.A. Over Four Days in June -- Glorya Kaufman Presents Dance at The Music Center’s Engagement of Compagnie Käfig Complemented by Live Performances, International Dance Competitions, Demonstrations and the Return to L.A. of Beat Swap Meet -- The Music Center’s Walt Disney Concert Hall to Stay Open Overnight for Hip-Hop Special Edition of Sleepless: The Music Center After Hours Events Run from June 16-19, 2016 at The Music Center and at Grand Park LOS ANGELES (May 5, 2016) – The Music Center will break new ground as it surrounds its upcoming dance engagement of Compagnie Käfig presented by Glorya Kaufman Presents Dance at The Music Center with four days of Hip-Hop dance experiences (#hiphop4days) from June 16-19, 2016, on The Music Center campus and in Grand Park. Working closely with a number of highly respected members of the Hip-Hop community, including academics, artists, dancers and curators among others, the performing arts center will examine the culture, artistry and evolution of Hip-Hop dance through live performances, international dance competitions, discussions, demonstrations, late-night dance parties and more. The public can choose from ticketed and free events. The four days of events include a free panel discussion called “Ain’t No Half Steppin’: Dance from Soul Train to B-Boys” on June 16, 2016 from 6:00 p.m. – 8:00 p.m. at Grand Park; three ticked performances of Compagnie Käfig on June 17 and 18, 2016 at 7:30 p.m.
  • Lorenzo Rennie Harris P.H.D

    Lorenzo Rennie Harris P.H.D

    LORENZO RENNIE HARRIS P.H.D. Rennie Harris Puremovement 1500 Market Street 12th Floor East Tower Philadelphia, PA 19102 Creative Philosophy It's Paris. It's 1913. It's Stravinsky's music to Nijinsky's groundbreaking new choreography. It's too much for the audience, and a riot breaks out. It's Philadelphia. It's 2011. It's Stravinsky's music mixed with Arvo Part's and funneled through the millenial mentality of Darrin Ross and, to top it off, the always new choreographic genius of our own Nijinsky, Rennie Harris. Audiences have seen so much since 1913 that nothing starts a physical riot. Nevertheless, Harris's genius sets off a riot in our minds and souls. As the choreographer continues to redefine hiphop with new movement invention and conceptual ideas, he also redefines what we call concert dance. We are invited into a world of myth where the tables are turned and the young virgin to be sacrificed is a beautiful b-boy. The power and agency of women doing this movement vocabulary opens up another level of truth and beauty and turns us around. We must see with the eyes at the back of our head. –Brenda Dixon Gottschild-2011 Born and raised in North Philadelphia, I am a dancer, choreographer and director of dance. I've danced, taught, lectured and performed professionally since the age of 14. At an early age I worked for the Smithsonian Institution teaching and lecturing about street dance i.e. Hip-Hop. Through the Smithsonian Institution and the Ronald Reagan administration I toured as part of the American Embassy good will tour.
  • JUMATATU POE Choreographer • Performer • Artist • Educator

    JUMATATU POE Choreographer • Performer • Artist • Educator

    JUMATATU POE choreographer • performer • artist • educator co-Director of idiosynCrazy productions Assistant Professor of Dance at Swarthmore College 1108 S. 47th St., apt D1 • Philadelphia, PA 19143 • (215) 868-7690 • [email protected] http://idiosynCrazy.org/ http://jumatatu.org/ EDUCATION 2007 MFA Degree in Dance, Temple University, Philadelphia, PA 2004 BA Degree in English Literature, Minor in Black Studies, Swarthmore College, Swarthmore, PA Additional Dance and Choreography Training 2010-present Teacher Training with Irene Dowd. Annual seven-day, invited workshop for dance instructors in somatic practices utilizing proprioceptive neuromuscular facilitation patterns (once each year, except 2013). 2009 – present Independent Training in J-Sette Performance. With Donte Beacham and LaKendrick Davis (Jackson, MS) 2011 – present Pole Dance Training. At Pole Haus (Philadelphia), Master J’s Studio (Philadelphia), Body&Pole (NYC) and PoleDanceNRW (Düsseldorf, Germany) 2015 – present African Dance classes with Cachet Ivey (Philadelphia, PA) 2016 Salsa and Casino de Rueda classes at Wokcano and Rueda in the Park, respectively (Santa Monica, CA) 2016 Continuum Movement weekly classes with Ellen Cohen (Ardmore, PA) 2013 - 2016 Classes with David Zambrano. Classes in Flying Low Technique for dance professionals at Danscentrum Jette (Brussels, Belgium), ImPulsTanz festival (Vienna, Austria), and Mascher Space Co-Op (Philadelphia) 2013 – 2015 ImPulsTanz. Workshops with Ziya Azazi (Dervish in Progress), Tommy de Frantz and Keith Hennessy (Get B(l)ack: Black Aesthetics and Contemporary Dance), Frey Faust (The Axis Syllabus and Elastic Recoil Potentials), Damien Jalet (Centrifugal Empowerment), German Jauregui (Advanced Tools for Partnering), Karine Label and Angela Vadori (Vodou Goes East: Challenging European Contemporary Dance), David Zambrano (Flying Low Technique), Karine Label (Afro-Haitian Dance, also a class demonstrator), Simon Mayer (Schuhplatteln – Austrian Folk Dance) 2013 Winter MELT Series, NYC, NY.
  • Dancing the Diaspora: Discovering the Influence of Traditional And

    Dancing the Diaspora: Discovering the Influence of Traditional And

    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 12-2018 Dancing the Diaspora: Discovering the Influence of Traditional and Tribal African Dance in the History of African-American Social and Concert Dance in the Caribbean and the United States Kerri-Noelle Humphrey Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Humphrey, Kerri-Noelle, "Dancing the Diaspora: Discovering the Influence of Traditional and Tribal African Dance in the History of African-American Social and Concert Dance in the Caribbean and the United States" (2018). Master's Theses. 73. https://digscholarship.unco.edu/theses/73 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 KERRI-NOELLE HUMPHREY ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School DANCING THE DIASPORA: DISCOVERING THE INFLUENCE OF TRADITIONAL AND TRIBAL AFRICAN DANCE IN THE HISTORY OF AFRICAN-AMERICAN SOCIAL AND CONCERT DANCE IN THE CARIBBEAN AND THE UNITED STATES A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Kerri-Noelle Humphrey, MBA College of Performing and Visual Arts School of Theatre Arts and Dance Dance Education December 2018 This Thesis by: Kerri-Noelle Humphrey Entitled: Dancing the Diaspora: Discovering the Influence of Traditional and Tribal African Dance in the History of African-American Social and Concert Dance in the Caribbean and the United States has been approved as meeting the requirements for the Degree of Master of Arts in the College of Performing and Visual Arts, School of Theatre Arts and Dance, Program of Dance Education Accepted by the Thesis Committee: ______________________________________________________________ Sandra L.
  • Rennie Harris Funkedified American Street Dance Theater

    Rennie Harris Funkedified American Street Dance Theater

    Presents RENNIE HARRIS FUNKEDIFIED AMERICAN STREET DANCE THEATER DIRECTED CHOREOGRAPHED WRITTEN & CONCIEVED Lorenzo Rennie Harris LIGHTING DESIGN MUSICAL COMPOSER Peter Jakubowski COMPANY MANAGER Darrin M. Ross Rodney Harris SOUND DESIGN, MUSICAL PROJECTIONS DIRECTION & PRODUCTION & VISUAL DESIGN Darrin M. Ross Jorge Cousineau RENNIE HARRIS PUREMOVEMVENT Katia Cruz Phillip Cuttino Jr. Tatianna Desardouin Joshua Culbreath Leigh Foaad Mai Le Ho Yuko Tanaka Danzel Thompson-Stout Shafeek WestBrook THE HOOD LOCKERS MUSICAL DIRECTORS Ricky “Glytch” Evans Joshua “J Peazy” Polk, Doron Lev & Matthew Dickey Andrew “Riot” Ramsey Marcus Tucker RENNIE HARRIS FUNKEDIFIED BAND Doron Lev (Drums) Matthew Dickey (Guitar) Nicholas Marks (Keyboard) Osei Kweku (Bass) Samir Zarif (Saxophone) Dave Levy (Trumpet) Rennie Harris Funkedified is presented in association with the Carolina Theatre. Free youth tickets are made possible by an anonymous donor. Subsidized tickets for Durham Public School studentsare made possible, in part, by Duke Energy Foundation. Wednesday, July 10, 2019 at 8:00pm Thursday, July 11, 2019 at 2:00pm & 7:00pm The Carolina Theatre Performance: 70 minutes, no intermission HADIKA Music Original Composition by RHF Band Musicians Doron Lev (Drums), Matt Dickey (Guitar), Nicholas Marks (Keyboard), Osei Kweku (Bass), Samir Zarif (Saxophone) Dave Levy, (Trumpet) Dancers The Hood Lockers, Phillip Cuttino, Joshua Culbreath, Katia Cruz, Leigh Foaad, Danzel Thompson-Stout, Mai Le Ho, Tatiana Desardouin, Yuko Tanaka, Shafeek Westbrook GIVE THE DRUMAH