AADH Day 18 Garth Fagan

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AADH Day 18 Garth Fagan. Focus on Jawole Willa Jo Zollar Donald Byrd Garth Fagan -. Jawole Willa Jo Zollar, Donald Byrd and Garth Fagan -. Emphasis on Community, Authentic Human Beings, Natural movers Communicating through language music and Dance - PowerPoint PPT Presentation

Text of AADH Day 18 Garth Fagan

  • AADH Day 18 Garth FaganFocus on Jawole Willa Jo Zollar Donald Byrd Garth Fagan -

  • Jawole Willa Jo Zollar, Donald Byrd and Garth Fagan - Emphasis on Community,

    Authentic Human Beings, Natural movers

    Communicating through language music and Dance

    Abstraction in Movement Create form any and all points of view

    Social and Political Awareness to Action

  • Jawole Willa Jo Zollar: A Self StudyEarly aesthetic:

    Grew up in all black community did not know about segregation had black role models teachers

    Performed for black social clubs as the floor shows

    College and grad school revealed dance as a possible career, dance became a total occupation for her.

  • Zollar - influence by black women dance artists and cultureNontsizi Cayou - uses African source material for contemporary expression

    Diane McIntyre - worked with live jazz music and an emphasis on improvisation

    Blondell Cummings - accessed personal history and gesture

    Kai Takai - trained people to move naturally

  • Urban Bush Women

  • Zollars personal aesthetic direction Seeks authentic people, variety in age

    Interest in folk art, draws on life experience of her dancers - seeks dancers who bring the power of their lives

    Respects age, most in company over 30

    Wants to use voices, dancers should be actors and able express verbally

    Company is run democratically all participate in decisions because all will be affected by them

  • Urban Bush Women

  • Jawole Willa Jo Zollar- Focus on improvisationImprovisation inspired by jazz music and group dynamics link to African process.

    Improvisation gives the individual a voice, collective individualism, used to express her political messages of a black womans experience

    Performance aesthetic lead to community outreach

    Improvisation workshops in communities for educational reform and social change - http://www.urbanbushwomen.org/current.html

  • Urban Bush Women

  • Urban Bush Women

  • Batty Moves - a celebration of the derierre. Zollar addresses body image

  • Urban Bush Women Current projectsBatty Parties

    Teaching Youth

    EMPOWERED YOUTH WORKSHOPS

    B.O.L.D., Builders Organizers & Leaders through Dance, is a program that develops participants' problem-solving, consensus building and leadership development skills through dance training and choreographic development.

  • Donald Byrd - backgroundFrom North Carolina, grew up in Florida,

    Went to Tufts and Yale Universities elite education institutions

    Cambridge School of Ballet and London Contemporary Dance

    Formal company in 1978, LA moved to NYC in 1983

    Has danced with Robert Wilson, Katherine Posin, Twyla Tharp, Gus Solomon, Karole Armitage (her work 2nd on bill at Ailey concert)

  • Donald Byrds workBola Blue, a duet created for video, emphasis on close-ups later on stagea. Wants audience to see real people expressing themselves (as does Fagan, Zollar) yet through stylized movement.

    b. Main inspiration relationships, how people interact and how theatre is a place of interaction between audience and performers

    c. Wants to communicate things that connect him to other people

  • Donald Byrd - Abstract Modern Ballet

  • Minstrel Show A look back on a US performance institution

    The agenda to surface the residual racism and stereotypes that are still with us.

    Incorporated audience participation to surface racist jokes in currency today

    Had his performers wear blackface

    With this work he addresses traditional African American performance tradition

  • Minstrel Show

  • Minstrel Show

  • Byrd addresses the question of being pigeon-holedByrd - labels are superficial, art is about expansion, possibility, opening upa. Artists who create to fit labels have stopped growingb. He seeks an audience interested in having an experience in the theatre, not sure what will happen - but open

    c. He is black - says it doesnt have anything to do with his work, he went to white mainstream institutions, worked to assimilate himself which changed him from his black culture origins

  • Garth Fagan (1940- )History1. From Jamaica, toured with Ivy Baxters National Dance Co. from Jamaica performed Afro-Caribbean dance2. American teachers include Lavinia Williams (Jamaica) Ailey, Graham, Limon, and Primus, in NYC. Graduate of Wayne State University3. Draws on eclectic music, jazz to classical4. Danced and choreographed for companies in Detroit before going to Rochester to teach5. Started Bottom of the Bucket, But in 1970 now known as Garth Fagan Dance Theatre

  • Fagan techniqueBased heavily in modern ,weightiness, passion, inner landscape

    Balletic speed with disciplined lean bodies

    Cultural roots in African sources, Ghana dancea. Concepts of African utilitarian - dance for self not viewer, strong fluid backs, poly rhythms, dance into and on the earth/floor

    Jamaica experience - dance from the inside out

  • Time After Before Place

  • Postmodern influences and Black DanceLikes the freedom, experimentation option of pedestrian movements range of concepts from postmodern

    Rejects distinction of modern/black dance - it is a cultural difference not a racial one. We dont speak of Jewish dance.a. He and dancers are black, but his white and Asian dancers do same movement based on their training (echo of Dunham)b. Black dance label, is a ploy to divide, conquer, limit artists

  • Post modern influences, Black Dance

    Appreciates recognition of the formal concerns in his work,

    a. Because bias in America assumes blacks choreographers dont understand formal concernsb. His work is about space, movement invention, redefining space and form

    c. Necessary to push the form, and to represent our time

  • Time after Before Place 1988A reflection of African trip with company in 1985a. Africa, a profound experience, different pace and point of view, different concept of time, and distanceb. Contradictions also profound

    The work reflects the meeting of the 3rd world and western culturea. His experience, black yet educated in western system in Jamaica - an island influenced by British rule

  • Griot New York 1993Collaboration with Milton Pryeur (sculpture) and Wynton Marsalis (jazz score)

    Griot village historian in Africa. Fagan plays the contemporary historian of contemporary urban life - the artists role.

    a. both celebrating the beauty and joy of life and the gritty unfortunate aspect The Disenfranchised.

    Includes communal dances with fresh individuality. Also the duet features complete trust and mutuality between the couple.

  • City Court

  • Fagan and Marsalis discuss the origins of the work

  • Spring Yaounde

  • The Disenfranchised

  • Orac Sea - Communal finale open to individual expression

  • City Court