The JUXTaPOSE Series ReturnsSep 24th, 2012 | By Steven Weisz | Category: Archived Articles
The JUXTaPOSE series will return to West Philly’s Studio 34 on Saturday, October 13, 2012. The focus of this installment within the JUXTaPOSEseries, will be on the work of female artists. Jaamil Kosoko will present an evening of female artists exploring what it means to exist as artists in feminine flesh. Inspired by the books, Black Feminist Thought by Patricia Hill Collins and Rock My Soul by bell hooks and the research of multiple female artists on the African continent, the female perspective as it relates to performance is the current focal point of the JUXTaPOSE series.
The women performing in JUXTaPOSE la deuxieme partie are Marjani Forté, Jasmine Hearn, Lela Aisha Jones, Deneane Richburg, Danielle Currica, and Liana Conyers. These artists will come from neighboring communities and cities of New York, Philadelphia, Pittsburgh and Atlanta to share their work – some brand new and some revisited.
EGO, a solo being performed by Marjani Forte, explores the plague one’s Ego unleashes on the multiple dimensions of the self- the imploding nature of it all. This piece is a visceral search – a gasp, a silent scream – examining the transformation in seeking to capture the process of living in one’s authentic and present self, as opposed to a caricature of the self. A collaboration with artist and composer Everett V. Saunders.
Airlooms, will be premiered in JUXTaPOSE as a solo performance by Lela Aisha Jones. This work has formerly been performed with a cast of five women and in this solo reincarnation will dig into the fleeting ways in which we keep history and memory in the body. It is not linear and static; past traditions sometimes merge with current living practices oddly and unconventionally. The movement exudes a physical investment in multiple genres of social experience, movement culture, and ritual. These elements intersect to form fresh possibilities of archiving and honoring the historical holdings and cultural memories within the moving body through artistry.
JUXTaPOSE began as an idea while curator, Jaamil Kosoko was in residence in Wesleyan University’s Institute for Curatorial Practice in Performance. It is a performance platform that through engagement of leading practitioners in the field has developed a clear curatorial identity and mission. At its core, there is something innately political about JUXTaPOSEIts goal is to provide an alternative model for presenting, producing, touring, and creating community and discourse around contemporary performance. By providing artists with a safe space to exchange ideas among each other and local scholars and audiences, JUXTaPOSEaims to push conventional standards of performance presentation into an arena more focused on the communicative dialogue between viewer and performer.
la deuxième partie
anonymous bodies || art collective in partnership with Studio 34
Running Time: 75 minutes. Mature content and themes.
WHERE: Studio 34, 4522 Baltimore Ave, Philadelphia, PA
WHEN: October 13th 2012, 7:30PM & 9:30PM (TWO PERFORMANCES ONLY)
Hosted by Saroya Corbett
Post Performance Discussion moderated by Brenda Dixon Gottschild
Performances by Marjani Forté, Jasmine Hearn, Lela Aisha Jones, Deneane Richburg, Danielle Currica, and Liana Conyers.
Curated by Jaamil Olawale Kosoko, Co-Director of anonymous bodies || art collective
About the Artists:
Marjani Forte is a Los Angeles, CA native and Harlem resident. She graduated with a B.A. in Marketing and Dance from Loyola Marymount University and attended Los Angeles High School for the Arts. She was a member of Urban Bush Women Dance Co. for 5 years, and has worked with Garth Fagan, Blondell Cummings, and Nia Love’s BSD|dance. She is now co-founder of LOVE|FORTÉ A COLLECTIVE- a research/process, performance, and teaching geared collective with a commitment to social and politically conscious art making, that connects the human experience through time. www.loveforte.org
Liana Conyers received her B.A. from Bennington College in 2003, where she concentrated in dance. There she studied under the direction of Dana Reitz, Susan Sgorbati, Terry Creach and Peggy Florin. Liana has studied at the Martha Graham School of Contemporary Dance and The Merce Cunningham Studios. She has completed internships with The Merce Cunningham Dance Foundation, the Joyce Theatre SoHo, N.Y., and has performed with Keith Thompson, Jhon Stronks, Wayne Smith, and CORE Performance Company. Liana has choreographed for Spelman College Dance Theatre, and has taught movement classes for Several Dancers Core, Dynamic X-Change Program and the Ballethnic Summer Dance Intensive. Most recently Liana was a guest instructor at the American College Dance Festival NW Conference. Her work “I know this much…” was presented at the ACDF Adjudication concert in 2011 and performed at the Big Range Festival in Houston, TX 2011. She was a guest instructor for the Big Range Festival Summer Dance Intensive 2012.
Saroya Corbett is a certified Dunham Technique instructor and has a Masters in Fine Arts degree in Dance from Temple University where she additionally holds a certificate in Women’s Studies. Currently, she is a dance and teaching artist and founder of Saroya Corbett Dance Projects. Born in Guyana, South America, and raised in Memphis Tennessee, Danielle Currica graduated from Virginia Commonwealth University with a BFA in Dance and Choreography in 2009. Relocating to Philadelphia as a freelance dance artist, Danielle has worked with Charles O. Anderson of Dance TheatreX, Jumatatu Poe of IdiosynCrazy Productions, Antoinette Coward-
Gilmore of Dance4Nia Repertory Ensemble, Lela Aisha Jones of Flyground and the Requisite Movers, Meredith Rainey of Carbon Dance Theatre, and is ‘Sophie Sucre’ of Philadelphia’s neoburlesque troupe The Peek-a-Boo Revue.
Jasmine Hearn is a native Houstonian. She graduated magna cum laude from from Point Park University with her B.A. in Dance. She has had the wonderful opportunity to have performed premiere works by Helen Simoneau, Mark Dendy, and Robert Battle. She has danced with the Houston Met Dance Company, Dance Alloy Theater, the August Wilson Dance Ensemble, and the Pillow Project. Jasmine currently moves with the Staycee Pearl dance project and anonymous bodies, and she also creates her own work that has premiered in the Pittsburgh area.
Lela Aisha Jones is a native of Tallahassee, Florida and is at home when creating. While in movement she found her entry point as an artist, she cannot be defined by one discipline or practice; her experiences have lead to a more nomadic existence. She is the founder of FlyGround—her creative home, co-founder of The Requisite Movers, and development coordinator as well as a member of Mascher Space Co-op. Lela walks with her transitioned as well as living family; she is humbled and so thankful for all those who have nurtured her, especially her grandfather, mom, dad, and sister.
Deneane Richburg & Brownbody
Brownbody’s artistic work combines sound and movement that extends the translation of bounded realities to tell a story. Through modern dance, figure skating, and/or theater, Brownbody’s on ice and stage work acknowledges and explores issues typically relegated to the peripheries of mainstream consciousness. Via raising levels of socio-cultural and historical awareness, this work incites individuals to evaluate their relationship to self and their surroundings. As a part of The Requisite Movers, Richburg & Brownbody will present TBA—a work that plays with variances in speed and dynamic impulses to uncover our own personal and continually evolving truths.
Brenda Dixon Gottschild is the author of Digging the Africanist Presence in American Performance: Dance and Other Contexts (Greenwood Press 1996, paper 1998); Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era(Palgrave/St. Martin’s Press 2000, paper 2002 – winner of the 2001 Congress on Research in Dance Award for Outstanding Scholarly Dance Publication); and The Black Dancing Body-A Geography from Coon to Cool (Palgrave/Macmillan 2003, paper 2005 – winner of the 2004 de la Torre Bueno prize for scholarly excellence in dance publication). In 2008 she was awarded the Congress on Research in Dance Award for Outstanding Leadership in Dance Research; in 2008 and 2010 she received grants from The Pew Center for Arts and Heritage through Dance Advance to begin work on a new book, entitled Joan Myers Brown & the Audacious Hope of the Black Ballerina – A Biohistory of American Performance. She is Professor Emerita of dance studies at Temple University and a former senior consultant and writer for Dance Magazine. She performs with her husband, choreographer Hellmut Gottschild, in an innovative form of somatic and researchbased collaboration for which they coined the term, “movement theater discourse.”
Jaamil Olawale Kosoko is a curator, producer, poet, and performance artist. A 2012 Philadelphia Live Arts Fellow, and an inaugural graduate of the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University. With his long time collaborator Kate Watson Wallace, he is Co-Director of anonymous bodies || art collective, a performance company based in Philadelphia. As a performer, Kosoko has worked with Pig Iron Theatre Company, Keely Garfield Dance, Miguel Gutierrez and The Powerful People, Headlong Dance Theater, and The Philadiction Movement. In 2011, Kosoko published Notes on an Urban Kill-Floor: Poems for Detroit (Old City Publishing).