Magic rites in the jungle seal the fate of a love triangle in the long-forgotten opera of H. Lawrence Freeman restaged on Friday and Saturday at Columbia University’s Miller Theatre. Voodoo was composed in 1914 and had its last performance in 1928. The music and libretto come from a composer who was a friend of Scott Joplin. author of more than 20 operas, and founder of the Harlem Renaissance’s Negro Grand Opera Company. The revival features Gregory Hopkins of Harlem Opera Theatre conducting in a production that drew on collaboration with the Harlem Chamber Players and the Morningside Opera. Continue reading
Two Amsterdam clergymen had concerns and asked Mayor John Dwyer to do something about the situation. The Rose Hill Folly Company was planning to perform on Wednesday, November 6, 1889 at the Potter Opera House on Market Street.
The formidable Reverend John McIncrow of St. Mary’s Roman Catholic Church and Reverend Donald Sprague of St. Ann’s Episcopal Church told the mayor the company had an “immoral tendency.” The clergymen also asked Dwyer not to allow the “posting of indecent pictorial advertisements of shows” in the city. Continue reading
The Iroquois Indian Museum will have a Social Dance Saturday on July 12 at the Museum featuring Onota’a:ka (Oneida Nation Dancers), based in the central New York Haudenosaunee (Iroquois) community of Oneida.
Founded by Elder and Wolf Clan Mother Maisie Shenandoah for the purpose of cultural education, the troupe’s original purpose continues to be carried forth by daughter Vicki, granddaughter Tawn:tene (Cindy Schenandoah Stanford) and an extended family with common goals. Continue reading
With photographs by Jonathan Atkin, Hero Project is a selection from his on-going work-in-progress collaboration with dance artists aboard historic ships. His mission is to increase visibility of our maritime heritage by reaching new non-maritime audiences. In the exhibition, dancers athletically grace the gritty vessels in oversize photographs mounted throughout Lilac, from the bridge to the engine room. For more on the project, see http://www.heroproject.us Continue reading
After it first appeared in Paris, London, and Berlin from its starting place in Argentina, the tango soon came to New York where it became wildly popular in 1913. The tango’s rhythm has been described as “exciting and provocative” and the dance steps as “hot, passionate and precise.” Women often wore slit skirts when they danced the tango and there was full body contact with their partners, upwards from their upper thighs and pelvis. Routinely, the dancers’ hips were thrust forward and sometimes their legs were intertwined and hooked together. Continue reading
Supported by funds from the National Endowment for the Arts and the New York State Council on the Arts, the gatherings provide an opportunity for Latino artists residing in non-metropolitan New York State to come together to discuss issues and solve common problems. March’s theme will be “Challenges and Opportunities for Traditional Artists in Rural New York”, and we will hear of some of the current initiatives being tried to link artists across distances.
The Iroquois Indian Museum in Howes Cave, NY has announced the second in a series of three “Summer Dance Saturdays” featuring Iroquois social dance groups. This Saturday, July 31, will feature the Haudenosaunee Dancers from Onondaga. The group will perform three sets at approximately 11, 1, and 3. Visitors are encouraged and welcomed to join in with the dancers. Continue reading
The Iroquois Indian Museum is proud to present a weekend Dance Festival on July 11 and 12, 2009. This two-day event will feature international dancers as well as Iroquois Social Dance performers. On Saturday, July 11th the dance groups will include St.Adalbert’s Polish Dancers, St. Sophia’s Greek Dancers and the Irish dancers Iona Troupe. Continue reading
The Iroquois Indian Museum in Howes Cave, NY has announced the opening of their 2009 exhibition: “Native Americans in the Performing Arts: From Ballet to Rock and Roll.” America’s first Prima Ballerina, Maria Tallchief; Grammy winning singer/songwriter, Joanne Shenandoah; founding member of the Village People, Felipe Rose; and legendary Rock musician, Robbie Robertson are a few of the Native American performers featured in this dynamic new exhibition. Continue reading
Shortly after the assassination of The Reverend Dr. Martin Luther King, Jr., Arthur Mitchell was inspired to start a ballet school that would offer African American and Latino children — especially those in Harlem, the community in which he was born — the opportunity to study dance and the allied arts. In 1969, a year later, Mitchell and Karel Shook, founded the Dance Theatre of Harlem (DTH) which the New York Times called “one of ballet’s most exciting undertakings”. Now in its fourth decade, DTH has grown into a multi-cultural dance institution and national treasure. Armed with an extraordinary legacy of training exceptional artists, DTH continues to set the standard for artistic excellence in the performing arts.
Through a rich and colorful mix of spectacular costumes, stage props, posters, programs, intimate photographs and video recordings, Dance Theatre of Harlem: 40 Years of Firsts traces the history of the company, its community outreach, renowned productions and cast of legendary dancers, fans and supporters. The free exhibition is on display in the Vincent Astor Gallery of The New York Public Library for the Performing Arts at 40 Lincoln Center Plaza, February 11 through May 9, 2009. The Library is also presenting related free public programs at the Library for the Performing Arts and the Schomburg Center for Research in Black Culture.
In a time when black dancers were all but invisible in mainstream ballet, Dance Theatre of Harlem, founded in 1969 by Arthur Mitchell and Karel Shook, brought ballet to the neighborhood and black dancers to the main stage. Since its inception the company has continued to cross social and geographic barriers by introducing the ballet world to a Creole Giselle, inviting audiences to a Caribbean wedding in Dougla, bringing black dancers to the international stage through programs such as Dancing Through Barriers® and bringing ballet to Harlem with education and community outreach.
Many of the stories behind the achievements of the company were artfully documented in photographs by Martha Swope, Marbeth and others. Those on display include photos of guests such as Hillary Clinton and Congressman Charles Rangel attending the company’s monthly open houses where performers of all arts and from other organizations showcase their talents to captivated audiences seated on folding chairs and sometimes on the floor.
One of the centerpieces of the show is an eight-foot-long three-dimensional puzzle that took artist Frank Bara two years to create. Completed in 1989, it was commissioned by Arthur Mitchell to celebrate the company’s 20th anniversary. Each layer of the puzzle, crafted entirely from wood, depicts a different aspect of the company’s first two decades in intricate detail, from ballet casts and music to floor plans and blueprints.
From the ceiling of the gallery hang original character costumes such as Firebird’s firebird and monster created by Geoffrey Holder and the wedding canopy from Dougla. Also on display are examples of tights and pointe shoes illustrating Mr. Mitchell’s ground-breaking insistence that they be dyed to match each dancer’s skin tones. Pictures from Footprints in Red document the stunning costumes designed by Salvatore Ferragamo, which needed to be such a specific blue that craftsmen were flown from Italy to Harlem to dye them just the right shade.
There are also many photographs that show rehearsals in churches and other borrowed spaces that were used before Dance Theatre of Harlem had a home of its own. Other pictures document the world-wide appeal of the company’s talent and show its famous fans like Nelson Mandela after a performance in South Africa and Princess Diana back stage in London.
Dance Theatre of Harlem’s dedication to dance and community has inspired support from a wide range of renowned figures from the world of dance. On view are pictures of candid moments in master classes being taught by such prominent dancers as Rosella Hightower and Carmen de Lavallade; William Dollar, who is coaching young ballerinas for Combat; Alexandra Danilova and Joseph Wyatt who are shown rehearsing Paquita; and Gregory Hines who is pictured tapping with children from the DTH school.
Throughout the gallery, cases exhibit show programs and tour materials including the Australian tour scrapbook that contains newspaper clips from the local press punctuated by negative stereotypes less commonly found in press coverage from the United States.
Also on view are a series of film clips including performances of Giselle and Streetcar Named Desire and a compilation of interviews with those close to the Dance Theatre of Harlem and press coverage the company has received over the years.
Free Public Programs Related to the Exhibition at the Library for the Performing Arts:
Thursday, February 12, 2009, 5:30 p.m.
Inspired by a Dream: The Dance Theatre of Harlem Story
Panel moderated by Anna Kisselgoff. With Robert Garland, Virginia Johnson and others.
Thursday, March 12, 2009, 3:00 p.m.
Dance Theatre of Harlem: Classically American
Panel moderated by Alastair Macaulay. With Frederic Franklin, Lorraine Graves, Suzanne Farrell, and others.
Thursday, March 12, 2009, 5:30 p.m.
The Stories I Could Tell: Arthur Mitchell at 75
The Founding Artistic Director of the Dance Theatre of Harlem in Conversation
with Robert Greskovic.
Thursday, May 7, 5:30 p.m.
African American Choreographers
Panel discussion on making work for Dance Theatre of Harlem
Free Public Programs Related to the Exhibition at the Schomburg Center for Research in Black Culture
Thursday, April 16, 2009, 7:00 p.m.
Where are the Black Swans?
A panel discussion.