In case you missed it last week, here is the inspiring story and performance of Camden, New Jersey’s drill team, the Camden Sophisticated Sisters, formed twenty-six years ago by Camden native and CNN Hero Tawanda “Wa-Wa” Jones, on ABC’s “Dancing With The Stars”:
[youtube http://www.youtube.com/watch?v=VARCjIF1zhY&w=560&h=315]If you’d like to help, donate or follow the Sophisticated Sisters, click here.
article by Lori Lakin Hutcherson
Posts published in “Dance”
The New York Times reports today that Maria Tallchief, daughter of an Oklahoma oil family who grew up on an Indian reservation, found her way to New York and became one of the most brilliant American ballerinas of the 20th century, died on Thursday in Chicago. She was 88. Her daughter, the poet Elise Paschen, confirmed the death. Ms. Tallchief lived in Chicago.
Ms. Tallchief, a former wife and muse to the choreographer George Balanchine, achieved renown with Balanchine’s City Ballet, dazzling audiences with her speed, energy and fire. Indeed, the part that catapulted her to acclaim, in 1949, was the title role in the version of Stravinsky’s “Firebird,” one of many that Balanchine created for her. In addition to “Firebird,” Balanchine created many striking roles for her, including those of the Swan Queen in his version of “Swan Lake,” the Sugar Plum Fairy in his version of “The Nutcracker,” Eurydice in “Orpheus” and principal roles in such plotless works as “Sylvia Pas de Deux,” “Allegro Brillante,” “Pas de Dix” and “Scotch Symphony.”
A daughter of an Osage Indian father and a Scottish-Irish mother, Ms. Tallchief left Oklahoma at an early age, but she was long associated with the region nevertheless. She was one of five dancers of Indian heritage, all born in Oklahoma at roughly the same time, who came to be called the Oklahoma Indian ballerinas; the others included her sister, Marjorie Tallchief, as well as Rosella Hightower, Moscelyne Larkin and Yvonne Chouteau. Growing up at a time when many American dancers adopted Russian stage names, Ms. Tallchief, proud of her Indian heritage, refused to do so, even though friends told her that it would be easy to transform Tallchief into Tallchieva.
In 2007, PBS aired the documentary, “Maria Tallchief” about this Kennedy Center Honor recipient’s life and work. To read more about Tallchief, click here. To watch Tallchief narrate her stunning “Firebird” solo, click below:
[youtube http://www.youtube.com/watch?v=0y_tWR07F7Y&w=420&h=315]
article by Jack Anderson via nytimes.com; additional reporting by Lori Lakin Hutcherson
Virginia Johnson, the artistic director of Dance Theater of Harlem, with her dancers, at an open rehearsal. (Andrea Mohin/The New York Times)
In the early days of Dance Theater of Harlem its members, charged with proving to the world that black dancers could master ballet, needed a certain pluck. “It was a group of young dancers that went out and carried their own lights and did lecture-demonstrations and started performing,” said Laveen Naidu, 45, the organization’s executive director.
That scrappy image has served Virginia Johnson well. The elegant artistic director of Dance Theater of Harlem — and its star ballerina for 28 years — Ms. Johnson, 63, was reminded of such humble beginnings last spring, when she held auditions for the rebirth of the company. (It had been forced to go on hiatus in 2004 when it announced its $2.3 million debt.) As Ms. Johnson put it, she had stars in her eyes. But she was in for a surprise.
“I was really shocked at how few African-Americans auditioned,” she said. “And that was the moment when we were looking in this room, and it was like, ‘No, but where are the black people?’ ”
She laughed, as she often does when describing a seemingly hopeless situation. “I thought about Arthur Mitchell with all the hodgepodge of dancers that came to him back in 1969 that he had to make into a company. I said, ‘O.K., it’s the same thing again, and this is great.’ It was actually more exciting than taking top-level dancers and making them into a company. It meant that we had to have that inner-grit thing going again.”
Dance Theater, formed by Mr. Mitchell and Karel Shook, took on the barrier-breaking mission of training and presenting black classical ballet dancers to the world. For years the company was more than a thriving, internationally touring troupe. It showed that ballet was no longer just a white domain. But then the company disappeared, leaving a gaping hole. One year off turned into nine; disillusionment set in. Now Dance Theater is making a comeback. Beginning Wednesday the company, lean at just 18 members from 44 in 2004, will perform at the Rose Theater at Jazz at Lincoln Center.
The Hip-Hop community has influenced dance culture consistently for over 30 years and some of the best moves have been gleaned from the Eighties and are still celebrated in competition today. If you see a dance battle, nine times out of ten, break dancing will be a part of the show.
France puts on an annual dance battle called Chelles Battle Pro. The competition took place Saturday and the baby with the most swag and skill of the B-Boy crew The Soul Mavericks, was the electrifying 6-year-old dance phenom, Terra.
She broke it down with every difficult move from the hesistant crawl, to headstands with hops, and endless spins holding her leg, all with bold bravado that should’ve sent her opponent running off the stage with his tail between his legs. According to Digital Journal, she joined the all male dance crew last year along with her 8-year-old sister Eddie. Check her out for yourself. You won’t believe her explosive character and moves. You will be shocked that she didn’t win the competition.
[youtube http://www.youtube.com/watch?v=E5hQ-qOtPLU&w=560&h=315]
article by J.C. Brooks via eurthisnthat.com
NEW YORK — In honor of her “Let’s Move!” fitness campaign, First Lady Michelle Obama showed off her dance moves on “Late Night with Jimmy Fallon” Friday.
The first lady and the comedian appeared in a skit called “The Evolution of Mom Dancing.” In it, Fallon, disguised as a pink and green-clad suburban “mom” — was joined by Mrs. Obama in showing off dances like the “Go Shopping, Get Groceries,” the “Just the Hands Part of ‘Single Ladies,’” the “Where’s Your Father” (Get Him Back Here!),” the “Driving the Station Wagon” and the “Out of Sync Electric Slide.” But it was the first lady who wound up getting the better of Fallon’s hip swinging suburbanite when she launched into what has become one of her signature moves: “The Dougie.”
The skit was part of an appearance on the show in which the First Lady also challenged Fallon to a series of physical exercises, all designed to demonstrate the importance of keeping fit. The two even tweeted their pre-workout rivalry before the show, which was taped Friday afternoon in New York. Watch the dance skit below:
[youtube http://www.youtube.com/watch?v=Hq-URl9F17Y&w=560&h=315]
All eyes are on Baltimore this week as the Ravens took the Super Bowl title and Beyoncé cranked out perhaps the most electrifying halftime performance in history. It’s a great time to recognize that “Charm City” – a nickname created by then Mayor William Donald Schaefer and a bunch of ad agencies to boost the city’s national profile – is once again on the map as a vacation destination.
In honor of Black History Month, here’s a list of Baltimore’s events and exhibitions that pay tribute to the African-American men and women who helped shape the nation. Baltimore is a city shaped by the contributions of African-American visionaries including the likes of world famous jazz singer Billie Holiday; great orator Frederick Douglass, Supreme Court Justice Thurgood Marshall; and female abolitionist and “conductor” of the Underground Railroad, Harriet Tubman.
“Girl with Flag,” Bryan Collier
“The Mountaintop” and Beyond
“The Mountaintop”
CENTERSTAGE
Through Feb. 24
The Lorraine Hotel. April 1968. In room 306, Dr. Martin Luther King, Jr. unwinds and prepares. A visit from a hotel maid offers welcome diversion and a challenging new perspective – but also raises profound and surprising questions.
Already a worldwide sensation and recently hailed in a star-studded Broadway production, Katori Hall’s new play receives its Baltimore premiere.
(Misty Copeland/Photo: Hello Beautiful)
Ballet dancer Misty Copeland has a two-book deal. Copeland, 30, is working on a memoir for Simon & Schuster‘s Touchstone imprint and picture book for G.P. Putnam’s Sons Books for Young Readers, part of Penguin Group (USA). Copeland helped break ground as an African-American female soloist for the American Ballet Theatre. According to a release Wednesday by the two publishers, both of her books are scheduled for 2014.
In her memoir, Copeland is expected to describe the battles between her mother and her dance instructors while she was a teen over whether she should be allowed to pursue her career and who was her legal guardian.
article via blackamericaweb.com
Alvin Ailey American Dance Theater: Linda Celeste Sims and Glenn Allen Sims, with Jessye Norman, at right, at City Center. (Photo: Andrea Mohin/The New York Times)
On Wednesday evening Alvin Ailey American Dance Theater settled into City Center for its annual season with a nod to the past and a look to the future. Amid the din of shrill greetings — this was a gala, after all — Samuel Lee Roberts worked his way across the stage, jabbing the tips of his toes into the floor until his knees buckled and his spine contorted inelegantly. It was an arresting and, for Ailey, an unusual sight, yet few grasped that “Minus 16,” by the Israeli choreographer Ohad Naharin, had even begun.
This introduction requires a dancer to perform an improvised solo rooted in Gaga, a method of training that focuses more on sensation than technique. In “Minus 16,” based on excerpts from Mr. Naharin’s past works and a welcome addition to last season’s repertory, dancers trade their customary expressions of joy or sorrow for impassive stares.
Abraham, who is African-American, went to high school in the Hill District of Pittsburgh, a historically black neighborhood, and in several of his previous works he drew on his experiences there. For “Pavement,” he went back to 1991, to reimagine the film “Boyz n the Hood,” about gangs in South Central Los Angeles, which was released that summer. He used the film as a springboard for examining life in Pittsburgh’s African-American communities in the Hill District and East Liberty Homewood and reflecting on the state of the black American experience in the two decades since its release.
But Abraham’s conception was even more sweeping. He also wanted to look at the history that had preceded the strife represented in “Boyz n the Hood,” and found a pertinent source in “The Souls of Black Folk,” the 1903 book by W. E. B. Du Bois, whose essays became instrumental in African-Americans’ struggle for equality in the twentieth century. Du Bois’s text made no appearance in “Pavement,” but Abraham included a quote from it in the program, which hovered over the dance: “Men call the shadow prejudice, and learnedly explain it as a natural defense of culture against barbarism, learning against ignorance, purity against crime, the ‘higher’ against the ‘lower’ races.” In the light of Du Bois’s words from more than a century ago, the realities as depicted in the film are sobering. From the perspective of 1991, when the ravages of H.I.V., crack addiction, and gang genocide were entrenched, not much seems to have gone right.
The legendary Dance Theatre of Harlem Company is back after an eight-year hiatus and they are in top form. Almost a decade of re-organization, leadership building and increased fundraising efforts culminated into a dazzling preview performance in Manhattan at El Museo del Barrio.