danceJournal » Philadanco

PIFA moves in time

Whittington — Fri, 19 Apr 2013 18:28:18 +0000

by Lewis Whittington for The Dance Journal At the Philadelphia International Festival of the Arts, dance and physical theater are providing intriguing time-traveling moments. The opening dance event, Savion Glover’s DANCE SPACE, left audience members angry because they couldn’t see his whole body in motion for much of the time, but no such concerns in other shows where dance and physical theater artists took full advantage of the PIFA spotlight. Pasión y Arte Flamenco and Fresh Blood Fleisher Art Memorial April 7 The medieval stone arches and stained glass lighting at the Fleischer’s chapel created dramatic setting for “1096” The Artistic Journey with the audience was invited to follow the dancers around. Flamenco choreographer-dancer Elba Hevia y Vaca collaborated with choreographer KC Chun-Manning in a narrative that symbolized, explored and expressed women roles. The piece was an electric dialogue of between the flamenco and contemporary dance, which was not only artistically satisfying, it packed a visceral punch.. Vaca ignites the precision patterning of flamenco and, circling around her Jennifer Morley moves in convulsive and writhing movements, expressing the interior lives full of despair and hope. The choreographic styles are studies in contrasts, the staccato patterning and taut phrases and lightning releases in flamenco contrasted with the psychological and social context of Fresh Blood’s contemporary template. Just as engaging is the rare opportunity of dancers and musicians in close contact with the powerful vocals by Spanish singer Ismael de la Ross and the sterling classicism of guitarist Raphael Brunn. The musicians also moved in close to the dancers creating indelible moments. The Cante (songs) are lyrical, emotional and insistent, they conjure the essence in flamenco footwork, the counterpart to the structured improvisations. Olive Prince, several months pregnant, which added dramatic content in key moments as did flamenco dancer Amelia Hernandez, whose carriage and deportment is just luminous. The scenario builds to scenes of liberating and ultimately, joyous communal dance. Applied Mechanics' preparation for entrechat guillotine in dancey theatrical spectacale Vainglorious Applied Mechanics VAINGLORIOUS Christ Church Neighborhood House April 9 26 of the region’s most accomplished physical theater artists comprise the cast of Vainglorious ~ The Epic Feats of Notable Persons in Europe After the Revolution by the performance collective Applied Mechanics. The cast regulated in theatrical entourages led by Napoleon, Josephine, Beethoven, Talleyrand and Germaine and the supporting characters play out the French Revolution. The troupe turned the French Revolution into a spectacale par excellence. A moveable visual feast of wall-to-wall history in simultaneous mis-en-scenes that are enacted in every inch of the Neighborhood House Theater Space and gallery. The audience is in the action (and sometimes forced to scurry out of the way of the action). It is interactive and immersive theatrical experience. Just to mention a few unforgettable moments- beheadings are depicted with ballet moves of Adam Kerbel‘s black boots, as he entrechats to depict the fall of the guillotine blade, as prostrate citizens roll away. Josephine (a floating voluptuary as played by John Jarboe) moves through a Busby Berkeley geometric line. As armies mobilize in a balcony, sardonic minuets break out in another part of the room, and in you peripheral vision, you realized people are being bound and pleading for their lives. With very few words, Mary Toumanen’s portrays Napoleon with a signature, turned out stance and movement that winningly defines his emperor aura. Credit goes to the inspired multi-visual design of Director Rebecca Wright and the refined physical theatrics of these players. Erin Fleming channel jazz great Dizzy Gillespie in a preview of Last Call at the Downbeat which featured choreography by Germaine Ingram Jazz Bridge Last Call at the Downbeat Red Room, Society Hill Playhouse April 13 Germaine Ingram choreographed moves on Erin Fleming for the bio-musical Last Call at the Downbeat, which recounts jazz titan Dizzy Gillespie’s life and career in Philadelphia. Gillespie started out performing as a teen in North Carolina as a band and novelty dancer. There were still minstrel shows staged in the south in the 30s and Ingram deft reconstructions of Buck dances, snake hips and adagio soft tap is historically precise but shows how they foretell the future of pop culture show dance. Gillespie talks about hearing plantation stories where slave-owners would separate blacks who spoke their native language and that drums were part of the way they communicated, the same historical threads through this restoration of period show dance. Germaine Ingram Project Where Heaven’s Dew Divides Innovation Studio, Kimmel Center April 17 Ingram herself performed with Leah Stein for their collaboration/ improvisational ‘Where Heaven’s Dew Divides’ a dance-song-narrative that tells the story of depiction the walk out of black parishioners in 1787 from St. George’s Methodist church in Philadelphia as a statement against discrimination and segregation in the white controlled religious institutions. The opening tableau by Stein has the ensemble moving in sculpture communal of despair and solidarity. Later, Stein depicts the yellow fever outbreak in Philadelphia that claimed thousands of lives. Ingram is just as narrative with jazz tap dance- her opening trio with Corrine Karon and Khalil Munir, as Ingram sings the 23th psalm, in arresting jazz leif motifs and tap responses communicate images of oppression, spirituality and courage. The story builds to the whole ensemble in a in tap march, led by Ingram. In a stunning duet, Adrienne Abdus-Salaam moves in tap unison with Munir, but then breaks to movement that unearths and reflects the dance’s Africanist roots. In contrast a duet with Stein and Ingram, about a woman’s memoir of despair, became too literal and overwrought. But, mostly, ‘Divides’ had many moments of transcendence within the historical concept and real-time performance by this cast of dancers, singers, musicians and actors. Fine original music by pianist Dave Burrell scored the piece, and violin virutoso Diane Monroe, joins Burrell for some of the performances. Tribe of Fools emerging from their PIFA time machine Tribe of Fools SHUT YOUR WORM HOLE Commonwealth Plaza, Kimmel Center One of the PIFA Commonwealth Plaza events that is running throughout the festival is Tribe of Fools’ Shut Your Worm Hole, which might sound like a three stooges line, but Terry Brennan and company investigate the scientific possibilities of time-travel as they were explored by scientists at Penn. The Tribe is a dynamic physical theater company and true to form Brennan is not above stoogey shenanigans, for starters, his gold lame harem pants and space mullet (wormholey up front, death star extensions in back). As it turns out, it is closer to comic book mayhem than science, although the physics of physical comedy take over with pratfalls, tumbles and vaults off of the time machine box. Of course, this is all designed to be goofy for kids and with TOF’s signature lampoon of Philly culture for the adults to groan at. Philadanco The Big Bang! (Time and Time again…) Philadanco embraced the PIFA time-traveling theme, opening their program with Time/Space their first commissioned work from the 70s that played a part in defining their style and ending with a new piece by Christopher Huggins called The Big Bang! that is, without doubt, destined to be signature Danco piece. This program had an electric sense of dance occasion. Time/Space is set to Nina Simone’s epic full version of ‘Sinnerman’ (where you gonna run to) and choreographer Harold Pierson’s created so many indelible images that helped establish ’Danco’s aesthetic. And it still displays their classicism, edge and athleticism with those jete variations and pulsing ensemble chasse that keep evolving. And even with several younger dancers on the roster, this piece is just as joyous. Love in Pain is choreographer Milton Myers’ set to iconic songs by Aretha Franklin (Think, Natural Woman, Ain’t No Way, et al) unfolds as a meditation and celebration of the company women. Each dancer given something memorable and interpretive. Myers makes it more than a fav dance play list; he threads in narrative with silent and compelling transitional movement- the triumphant saunter en attitude across the stage, or the ensemble women comforting a devastated friend after a lover breakup. He also makes the most of those Aretha phrases that are hardwired on the American consciousness- When the Queen of Soul, spells out Respect, the ensemble froze then the dancers executed the most gorgeous group plie. Guess Who’s Coming To Dinner by Ray Mercer has the dancers over, under, sideways, down in a large table that functions half the time as an Olympic apparatus for vaulting, slides, low to the ground and strength moves. This piece also has sensual and inventive duets that There are a lot of newer dancers in Danco’s roster and this piece requires mach-speed precision and these dancers showed how much they are ready to be the standard bearers into their future. Huggins is another choreographer who knows how to tap ‘Danco’s versatility and The Big Bang! resonated in this festival. The music by Max Richter’s lost-in-space atmospherics over a somber chamber sting piece. Huggins makes the most of the somber and elegant violin line in this choreography on these dancers, who are dressed in unitards with sparkling panels so they can represent the birth of the universe via The Big Bang. Within that imagery, Huggins creates very human duets, with inventive lift patterns and narrative line, which has moments that are so dynamic that they have a hypnotic effect of floating in this space. Huggins has the dancers in socks and it gets a bit to ice skatey in the middle, but, mostly, the poetic communals, and those dynamic duets, make this stellar.

Dance at PIFA 2013

Steven Weisz — Mon, 01 Apr 2013 21:20:07 +0000

March 28^th through April 27^th, Philadelphia embarks on an month-long adventure as the Philadelphia International Festival of the Arts (PIFA) asks audiences “If you had a time machine…” PIFA’s 2013 theme asks a diverse group of artists to make daring explorations of a specific moment in time and create exciting, thought provoking new works that will time travel the audience to that moment. Some are reflective of future cultures, while others reinterpret the past. A seamless thematic strand connects the known and the unknown. A complete schedule of dance performances can be found on the PhiladelphiaDANCE.org Calendar at http://tinyurl.com/ccrp7me Dance highlights for this year’s festival includes – The Big Bang – Philadanco “When Philadanco tours the world, it’s an art ambassador from the City of Brotherly Love.” (Philadelphia Inquirer). When they are at home, they are a mirror to the essence of the city, a Philadelphian rite of passage. They return to the Perelman stage for two engagements after a phenomenal, sold out 2011-2012 season. Commanding, accessible, powerful, faithful, global — this is the time to experience Philadanco. Dance Space – Savion Glover Legendary tap dance prodigy Savion Glover presents a world premiere work for the Philadelphia International Festival of the Arts. Dance Space immerses the audience in the ethereal atmosphere – complete with low lights, fiber optic stars, and environmental sounds – as Glover’s solo choreography taps through the darkness, drawing people closer to a connection with the early universe. The performance opens with an exciting performance featuring CeCeLia Birt, J. Donald Dumpson, Justin Guarini and Elisabeth Stevens. Reviewed by Lewis Whittington and Kat Richter. 1096 - Pasión y Arte Flamenco Company / Fresh Blood 1096 is a collaborative new performance installation work between Pasión y Arte and Fresh Blood, a Flamenco and postmodern dance company. The two all-female-companies will interweave women's stories through the layering of text, song and dance while investigating the dialogue between the distinct languages of its two artistic collaborators, flamenco and post-modern. We begin in 1096, Salerno, Italy, at the birth of the first female gynecologist, Trotula of Salerno. She is the first woman to publish on the female body. Her textbooks became a reference for many centuries of male doctors. This ongoing journey from 1096 to the future will visit pivotal periods of women's history with a timeline that twists, coils and digs into contemporary questions of women’s self-knowledge, complicity, complacency and ultimately, “how do we reclaim our history?" 1492, Music and Dance from Spain to the Americas - Latin Fiesta / Concilio Maria del Pico Taylor and international guest artists take you on a time traveling journey inspired by Columbus arrival in the New World. Beginning in 9th century Spain experience the mélange of exotic coexistent cultures. Hear a beautiful melody sung by Zyriab, the famous Moorish singer, as you pass by the vocal school he founded in Cordoba, Spain; let a poignant Jewish song reach your ears as you approach the Mezquita. Turn the corner and become mesmerized by the passionate sounds of a Gypsy Juerga, a festive gathering of singing, guitar playing, and flamenco dancing. Next stop is Mexico in the 1400 Century. where you will experience an Aztec dance in full costume. While in Mexico fast forward to the 1800 Century and experience the joy of Mexican Mariachi music . Get back on your time machine, move forward a few years and visit a classical music concert in Spain. Compare the parallel experiences and rejoice in the richness of our folklore. Our final stop will be 19th century Cuba ,where sounds will range from nostalgic Cuban melodies to irresistible hip swaying Salsa Finally join the Conga line with our authentic Comparsa which showcases fiery percussion, including the “frying pan” and twirling “Farolas” (lanterns). A unique multimedia music and dance stage show about our musical roots and their transformation as a result of the multicultural encounters unleashed by Christopher Columbus journey in 1492, a defining moment in history. This is a multifaceted project. Spain , Mexico and Cuba are the focus of this presentation. Other countries will be featured in subsequent presentations. This project is created in collaboration with CONCILIO of Spanish Speaking Organizations. Where Heaven’s Dew Divides – Germaine Ingram Project Where Heaven’s Dew Divides, a title derived from an 18th century Methodist prayer, is a multidisciplinary exploration of the politics of religion in Philadelphia in the first decades of the new nation. In 1790, Philadelphia had the nation’s largest population of free people of African descent---almost 1500, 15 times the number of free blacks living in Philadelphia in 1765. Another 200 people of African descent were still enslaved in Philadelphia. Where Heaven’s Dew Divides mixes dance forms, original music and song, improvised vocalization and video projection to capture the conflicts, motivations and activism of church-going African Americans, who challenged racial and gender conventions of Philadelphia churches and denominations, and fueled the fight for slavery’s complete abolition. Percussive dancer/choreographer and vocal improviser Germaine Ingram, modern ancer/choreographer Leah Stein and a company of dance and music artists channel key moments and personalities from the history and memory of Philadelphia’s religious life of the late 18th and early 19th centuries. All three performances will have a post-show discussion. Sounds & Rhythm of Resistance - Taller Puertorriqueño Taller Puertorriqueño travels back in time to celebrate Puerto Rico’s Emancipation Day; the day when slaves from African origin were set free on the island in 1873. The event, to be held at The Barnes Foundation’s new Parkway location, presents a glimpse of the dance and music with its roots in African heritage that are today an integral part of Puerto Rican and other Latin American cultures. Throughout the American continent, African and Latin American cultures interweave, producing unique dance and musical styles. From the beat of the drums of Africa to the Bomba dance of Puerto Rico, the audience will be taken back to this major turning point in history and its profound influence on Latino culture. Animal Animal Mammal Mine - Penn Dixie Productions On May 11th 1960, Searle received FDA approval to sell Envoid as a birth control pill - an event which has often been cited as changing the nature of human society forever. Suddenly the reproductive powers of women could be controlled in a way that had never existed before. Sex and reproduction were no longer correlated to the same degree, and the human-female-animal seemed to outsmart evolution itself. Animal Animal Mammal Mine is a devised theater piece that grows out of extensive interviews with women who have inherited the technology of the 60s. It weaves these characters together with dance, projections, and the breathtaking hybrid sculptures of Martha Posner. Posner’s sculptures embody an expression of transfiguration, of dueling natures, of the moment in which we jut into animality. Countdown to “BOOM” We All Fall Down - Kariamu & Company: Traditions The bombing of the 16th Street Baptist in Birmingham Alabama on September 15, 1963 was an unprecedented act of “domestic terrorism” long before the term would ever be applied. It would be decades before America’s violent racial society admitted that treatment of African Americans since the early days of the enslavement had always been predicated on a particular brand of “nationalized” terrorism. Few people remember their names; but Addie Mae Collins, Cynthia Wesley, Carole Robertson and Denise McNair’s senseless death became the turning point of the entire Civil Rights Movement. Filled with the passion of dance sequences, gospel, down-home blues and freedom songs, Countdown to “BOOM” We All Fall Down, takes a poignant look at a memorable day on the linear graph of history’s kaleidoscope that touched/changed a nation while capturing the music, the look, the feel and the movements of a Sunday morning in the south. Casual Friday - Stone Depot Dance Lab On Friday, April 15, 1966, Wilson P. Cannon Jr., Bank of Hawaii president, allowed employees to wear Hawaiian print shirts to work on Fridays, starting the tradition of “Aloha Fridays.” This is where Stone Depot Dance Lab begins the history of Casual Friday, a rollicking dance piece set in the Ruba Club cabaret, complete with live music, insight, humor, and telling commentary on the state of office politics and the rules of polite behavior. An Aquarian Exposition: A Trip Back to the Original Woodstock - SHARP Dance Company A night dedicated to the unique and controversial decades of the 60's and '70s. Aquarian Exposition: A Trip back to the Original Woodstock taps into the spirit of love, acceptance and exploration that made the hippie movement one that will transcend time. Enjoy some of the most prolific music in history performed live by Chelsea Dehner and Jennifer Hallman. Dancers Jill Turanski, Kate Rast, Sandra Davis, Carolyn Marcinkiewicz, Megan O'Hagan, Roger Lee, Joe Cicala, and Adrian Plascencia will embody this time period through new and original choreography set by Diane Sharp-Nachsin. Aquarian Exposition: A Trip back to the Original Woodstock debuts at "The Box" where audience members will feel like part of the performance… including a contest for the best dressed audience member in hippie gear! Don't miss this beautiful homage to Woodstock. That Time - Tongue & Groove Spontaneous Theater / RealLivePeople (In)Motion Tongue & Groove is a critically acclaimed theater ensemble that spontaneously performs unscripted scenes and monologues inspired by personal information anonymously submitted by the audience. Through this unique and honest artist-audience collaboration, T&G examines authentic relationships, and performs funny, thoughtful, physically dynamic, emotionally resonant theatre… that happens to be improvised. Especially for PIFA 2013, T&G is collaborating with dance company RealLivePeople(in)Motion, an ensemble that is similarly catalyzed by the audience’s true stories. RLPiM balances inventive, athletic movement with poignant and provocative real-life interactions. Both groups strive to create accessible, relatable work, both humorous and touching, reflecting the human experience. For this special PIFA production, the two companies ask “If you could go back in time to any moment in your own life’s story, where would you go and why?” The answers will inspire a one-of-a-kind, instantly-generated collage of dance, theater and music that will capture the unique spirit of each audience. The production is a collaboration of actors and dancers, as well as a musician and a visual artist. Each performance is enhanced by live improvised harmonica music. The set design is an interactive large-scale mural of a time-line, upon which audience members add their answer to the posed question. ***Cover Image: Sharp Dance Company from PIFA site

Danco leaps over fiscal cliffs

Whittington — Fri, 07 Dec 2012 15:12:46 +0000

by Lewis Whittington for The Dance Journal Joan Myers Brown brushed off rumors of her company’s demise earlier this year “well didn’t everybody struggle this year.“ Whatever was looming has been dealt with as the company continues on their heavy tour schedule, just back from North Carolina and back in town for the fall program at the Perelman Theater this week. In a phone interview from her studios earlier this week, Brown talked about the program and more. “When we were in New York at the Joyce last October, this woman rushed up to me in the lobby and was gushing and said ‘I’m so glad ‘black is back. I just love it.’ and I’m like, ‘black is back?” Brown responded, “Well, what is black dance? Are you talking about black people or black music or culture? And she said ’yes, all that.’ So, I said OK, back to black,” Brown said without a hint of sarcasm. So the exchange from this middle-aged white woman, however ironic, inspired Brown‘s program ...back to BLACK (so called 'Black' dance) of three minted Philadanco classics~ Ronald K. Brown’s Exotica, Milton Myers‘ ECHOES: A Celebration of Alvin Ailey, George Faison’s Suite Otis and the Philly premiere of Matthew Rushing‘s Moan, scored to music by Nina Simone. “I was approached by Jerome Robbins Foundation and they had a list of choreographers that they were interested in. It was surprising to hear the music Matthew chose; everybody loves this music and this is a sleeper hit.” Brown recalls seeing the legendary Simone perform in Philly and being “totally enamored of her.” ‘Exotica‘ Joan notes was originally titled ‘No More Exotica‘ and the choreography is so retro-cool not to mention those Afros. “Exotica, yes, I love Ron’s early work, some of his best work and certainly have loved the pieces he has done on ‘Danco. He has changed his style and has simplified some of his movement and it’s not quite for me now. But, yes things like Exotica, I want to bring back.” “I just got a grant from NEA to remount ‘Suite Otis.‘ This was from 1971 and anybody that has been around that long these days and still people love it. It’s an American masterpiece. Jay-Z just discovered him apparently and did a recording of his music. Well, we were doing Otis Redding long before Jay-Z.” Echoes is a tribute to the great Ailey, which in itself shows so much choreographic expansiveness. “Milton knows everything about Ailey works and he pulled sections from Ailey works and throws them all together to come us with this piece. The work is scored to John Adams music. Brown featured Echoes for her 30^th anniversary “I had to pay a lot of money to use that music,“ she remembered. Touching back on the subject of money. Brown acknowledged that “It feels like Philadelphia turned their back on the company. I find it different than New York, where foundations seem more interested in the artistic product. As long as I’m in compliance …just write a check. I’m not running a corporation, I’m running a dance company,” Brown said. Meanwhile, other resources line up. Brown is developing a project with Harlem’s historic Apollo Theater “the Apollo is commissioning dances from five ballets to the music of James Brown or work influenced by James Brown music. And they chose Philadanco to mount it. I’m calling it the black Riverdance. It’s going to premiere at the Apollo in 2013. They’ve picked up international partners and it could be a healthy tour schedule for us.” Brown is also getting ready for will again be presiding the 25^th anniversary the International Conference of Black Dance Companies in Washington DC this year. She recently had a conversation with Michael Kaiser, director of the Kennedy Center. “He stopped by to see Brown on his way to Washington. He told me not only have you done great with Philadanco, you changed the dance scene and helped a lot of companies. Brown notes that she started the organization in with a mere “$5,000 from Pew. No sometimes I can’t get a quarter, but, we’ll make it through the month,” she joked with assurance. Kimmel Center presents PHILADANCO ...back to BLACK (so called 'Black' dance) Perelman Theater Friday, December 7th at 7:30pm Saturday, December 8th at 2:30pm Saturday, December 8th at 7:30pm Sunday, December 9th at 2:30pm http://kimmelcenter.org/events/index.php?id=4458

Joan Myers Brown to Receive Lifetime Achievement Award

Steven Weisz — Wed, 11 Jul 2012 14:58:11 +0000

Joan Myers Brown, Founder and Executive Artistic Director of The Philadelphia Dance Company (PHILADANCO), will receive the lifetime achievement award from the Katherine Dunham Center for Arts and Humanities in East Saint Louis, Illinois at its 5th Annual Awards Gala on August 4, 2012. The award celebrates the 103rd birthday of Katherine Dunham and the release of the United States Postal Services stamps honoring Ms. Dunham, to take place on July 28th in Los Angeles. This award to Ms. Brown is in honor of her contributions “in keeping the Dunham spirit and legacy alive.” Ms. Brown is also the Founder of the International Association of Blacks in Dance (IABD) and the International Conference of Black Dance Companies. Ms. Dunham served as a mentor to Ms. Brown in the formation of Ms. Brown’s dance school, dance company, and the IABD. “Ms. Dunham’s favorite quote is one I live by,” says Ms. Brown, “Just do what you do.” Ms. Brown says, “I have been challenged with racism, sexism and classism but each day I am challenged I am inspired by Ms. Dunham’s legacy.” The 29th Annual Dunham Seminar will be held in East St. Louis with the 20th year of the certification of the Dunham technique. It also celebrates the 20th anniversary of Ms. Dunham’s 47-day fast against the Haitians’ repatriation. Ms. Dunham was an anthropologist, an activist, as well as a dancer, teacher, and choreographer. She and her company toured more than 60 countries in the 1930’s and 40’s, an unbelievable feat for a black artist at that time. About PHILADANCO Across the nation and around the world, The Philadelphia Dance Company (PHILADANCO) is celebrated for its innovation, creativity, and preservation of predominantly African-American traditions in dance. It provides world-class dance instruction, promotes emerging dancers and choreographers, and engages its many communities through performances and outreach activities. Founded in 1970, PHILADANCO is recognized for its artistic integrity, superbly trained dancers, and electrifying performances. For more information, please call 215.387.8200 or visit www.philadanco.org.

REVIEW: Philadanco: A Versatile Philadelphia Connection

Kat Richter — Sat, 21 Apr 2012 15:48:50 +0000

by Kat Richter, MA for The Dance Journal These days, there’s nothing unusual about a ballet company donning sneakers or a self-professed modern dancer performing a complicated petit allegro. Just last month the city of Philadelphia saw renown flamenco dancer Rosario Toledo trading her heels for pointe shoes but when it comes to blurring the genre lines, there are companies who try and companies who succeed; Philadanco is the latter of the two. The Philadelphia Connection, which premiered at the Kimmel Center’s Perelman Theater last night and runs through Sunday, featured an eclectic program; the dancers had to be sultry one moment and graceful the next, changing their personas as often as they changed their costumes. And yet they did it, despite the fact that extensive ballet training required so often strips a dancer of his or her ability to get down. The evening began with Gatekeepers, an ambitious ballet by Ronald K. Brown. The score felt a bit dated, as did the space age-looking costumes but the lighting design was superb and the dancing was flawless. The choreography, which blended Capoeira-like footwork with all the spinal articulations you’d expect from a company steeped in the many manifestations of African dance, was seamless—so much so that all of the “To dream is to be alive” voiceovers seemed like overkill. Picking up the pace, Tribute comprised a piquant homage to Philadelphia International Records. Dressed in blue crop tops and short skirts, the women of the company hustled, somersaulted and leapt their way across the stage while the men, in tight black pants and green tank tops, performed a series of effortless contractions. Tribute was high energy from start to finish with head bobs and jazz hands aplenty; the work was sexy (and possibly sexist considering all of the butt grabbing that took place, but the men were on display every bit as much as women so if there was any foul play, it was equal opportunist sexism at the very least). In complete contrast, Suite en Bleu opened with the men of the company dressed in navy blue unitards and the women in flowing, periwinkle gowns. An older work, Suite showed the dancers at their most lyrical; it was ballet no doubt, but the expected phrases were constantly interrupted by turned in port de bras or pendulum-like lifts. With chests raised towards the sky, the dancers seemed to bounce off the floor from one turning stag leap into another to the music of Handel and Bach providing a safe yet sophisticated contrast the each of the earlier works. The high point of evening, as expected, came with the world premiere of Rennie Harris’s Wake Up. In afro wigs, hoop earrings and skin tight jeans, the women of the company circled their hips in slow motion, daring the audience to not take them seriously. Framed by a gunshot and the horrific sounds of a dying man taking his last breaths, the work played with themes of death, resurrection, definition and defiance using hip hop as its medium. It was unexpected—this was not the melodramatic so-called “lyrical hip hop” of So You Think You Can Dance—but rather a distilled, crystallized version. The footwork was furious at times and controlled at others proving that the dancers of Philadanco are brilliantly trained yet still versatile enough to feel and make the audience do the same. Kat Richter is a freelance writer and teaching artist. Her work can be found at www.katrichter.com.

Tommie Waheed Evans at the Crossroads

Steven Weisz — Mon, 15 Aug 2011 18:12:29 +0000

Waheed Works, a dance project that goes beyond expectations is coming to the theater once more, bringing an electrifying and dynamic program embracing an all star cast. /Crossroads/ will be exploding at the Plays and Players Theatre located at 1714 Delancey St., Philadelphia, PA for one night only, September 25 at 7:30pm. This program reveals the masterpiece of choreographic wonder Tommie Waheed Evans. With a compilation of eight dynamic dancers from companies PHILADANCO! and Alvin Ailey American Dance Theater, Evans incorporates contemporary movement, with a quality that is not simply balletic, but also jazz. Tommie Waheed Evans, aspiring international choreographer, first began his creative excursion in an annual PHILADANCO! showcase called Danco on Danco. Now, as an esteemed instrument for artistic creativity, Evans is the current resident choreographer of Eleone Dance Theater. In 2006, Evans was successful in showing his first full program, containing only his choreography, entitled “Meetings Along the Edge”. Two years later in 2008, Evans creativity struck again as he flourished in his second full program, entitled “Redemption 1:12”. Evans debuted his third stream of choreographic compilations with his first all men program entitled “11:11…Stained and Untold” in 2010. Evans was honored to premier /Crossroads/ July 23RD at New York City’s Summer Stage. /Crossroads/ is designed to take the audience on a journey. Evans describes this work as a story of “natural impulses” in where one needs to decide which way to go, how to handle death, difficulties in relationships, abrupt change, standing with others, and then standing alone. Through this journey distinct crucial points arise in which the audience is bund to feel a need to surrender and then at another point an urgency to fight. In the end, the lasting question will be, what will be your path? Dancer, Lamar Baylor, current dancer of PHILADANCO!, described Evan’s choreography as “uncommon”. Lamar’s experience has been a pleasure because “Tommie’s work is musical, but not in the music and feels good on my body. Tommie’s work is not the impossible. He knows how to find what your body can do and expose it in the best light.” His artistry is transparent, his movement is dynamic, and this story is inspiring. Although Evans does not plan on building his own company, we can look forward to seeing his wonder performed around the world. /Crossroads/ is certain to awe Philadelphia. /Crossroads/ September 25, 2011 at 7:30pm Plays and Players Theatre located at 1714 Delancey St., Philadelphia, PA Tickets: http://www.brownpaperticke ts.com/event/192990 Information: waheedworks@gmail.com

Young Choreographers Star In Philadanco Finale

Mon, 04 May 2009 20:58:08 +0000

By LINDSAY WARNER, For The Bulletin Premiering four new pieces at the Kimmel Center’s Perelman Theater this weekend, Philadanco closed its 39th season on a bold, brash note — a sharp contrast to the company’s “Greatest Hits” performance last season, which felt like a recycled attempt to woo home audiences after many months spent on the road. With “New Faces,” Philadanco was back on the attack, presenting a program compiled of all-new pieces with a bold artistic statement to match. With strongly athletic, at times androgynous and aerobic dance, Zane Booker, Hope Boykin, Camille A. Brown and Tony Powell choreographed a program of works for the energetic company that pushed its limits and showcased its dramatic physical strength. Philadanco has had a harried few years, with budget cuts threatening to derail national tours and home performances, so it was especially gratifying to see the company stepping forward strongly. Mr. Booker’s “The Red Envelope” opened the performance with six dancers exploring the unrest, chaos and eventual catharsis of discovering a new fate or opportunity. READ FULL STORY

Return of a ‘Danco Doll’

Thu, 23 Apr 2009 14:55:16 +0000

Choreographer Hope Boykin is back where she started, igniting Philadanco's dancers with a dance just for them. By Brenda Dixon-Gottschild For The Inquirer On a frigid February evening there's a sizzle in the air at Philadanco's West Philadelphia studios. Hope Boykin has kindled the dancers' fire. A drop-dead-dazzling mover who performed with Danco from 1994 to 2000, Boykin has been a member of the Alvin Ailey American Dance Theater for nine seasons. She is using a brief furlough from the Ailey 50th Anniversary Tour to rehearse Be Ye Not, the new work she choreographed for Danco, a highlight of the company's Kimmel Center program next week. "Make a decision, and stick with it!" "Just be clear about what you know, and the rest will fit!" So she exhorts the dancers as she prods them to move in her special style - taut, quick, asymmetrical, grounded, percussive, and at the same time ecstatic and exhilarating. In verbal and body language she relates to the Danco dancers like a big sister on leave from her day job, spending quality time with the family and showing them her stuff. READ FULL STORY

PHILADANCO Spring Concerts

Wed, 08 Apr 2009 17:21:19 +0000

Four choreographers who although are not new to the field of dance are now creating excitement with their work across the country. Some you might have seen or have heard of, others maybe not, but they have emerged into the limelight causing a stir with creations that challenge audiences and dancers alike. In a provocative program that puts the four of them on the stage together for the first time is an opportunity for you to watch them as they evolve into the “hit dance makers” of the future. With new movement vocabularies, innovative concepts and daring new music you will see dance without the trap-pings; (shocking but valueless nudity and, special effects that often disguises true art). With new music and clever costuming the excellence of the world renowned well-trained Philadanco dancers becomes even more apparent. In programs beginning April 30, through May 3, 2009 at their home theater, the Perelman Theater at the Kimmel Center, the company will bring this new excitement to Philadelphia dance aficionado and new audiences alike. Your favorite dancers will explode on the stage in new and interesting work. Also, new dancers to the company will bring a delightful energy with their talent and infectious anticipation of these upcoming concerts. Choreographers includes former company members, Hope Boykin (currently a member of the Alvin Ailey American Dance Theater), Zane booker (Artistic Director (SLJ Arts Initiative), Camille Brown, former member Rennie Harris, Pure Movement and Tony Powell. In ballets yet untitled but under construction the forecast is exciting, daring and innovative dance. PHILADANCO SPRING CONCERTS April 30, 2009 – May 3, 2009 Kimmel Center, Perelman Theatre PHILADANCO Presents the Work of Four Young And Exciting Upcoming Choreographers Tickets: http://www.kimmelcenter.org/ PHILADANCO celebrates 39 continuous years of dance. Joan Myers Brown founded PHILADANCO in 1970, in re-sponse to the need to provide professional level training and performance opportunities to talented area youth. The successes of its programs are recognized globally. PHILADANCO has performed to national and international acclaim, i.e., North America, Europe, Asia, and the Caribbean.

Dance As A Universal Language

Fri, 27 Mar 2009 16:03:16 +0000

By Andrea K. Hammer, For The Bulletin When PHILADANCO! performs internationally, audiences spring to their feet — expressing their deep appreciation of the arts. They bang on the floor enthusiastically during 20-minute ovations and reciprocally feed the dancers’ creative passion. With appearances in the Netherlands, Germany, Austria, Belgium and Hungary, company members vividly recall “rock-star” treatment during previous international tours. “The country I like most is Turkey,” says Joan Myers Brown, founder and executive artistic director. “I like the atmosphere and response; I like the people. I like the way they treat artists. You’re someone special. They appreciate your talent and that you came to them to share. They’re so honest in the way they treat you.” With positive audience response — in America and all over the world — as one of the most satisfying aspects of her work, Ms. Brown remembers telling the dancers to stop bowing after 10 curtain calls in Germany. She also describes the enthusiastic reception the company received in Korea. READ FULL STORY