As the Philadelphia International Festival of the Arts takes place in venues throughout the city, the internationally acclaimed Philadelphia Dance Company (Philadanco) returns to the Kimmel Center’s Perelman Theater April 19-21 in response to the festival’s 2013 curatorial theme, “If You Had a Time Machine…”
The company will take patrons back “13 Billion Years Ago” with “The Big Bang,” choreographed by Christopher L. Huggins. “It was commissioned by the Kimmel and the National Endowment for the Arts, and it’s about ‘The Big Bang theory,’” said Joan Myers Brown, founder and artistic director of Philadanco. The program will also include Milton Myers’ “Love n’ Pain,” set to music by Aretha Franklin, and Ray Mercer’s “Guess Who’s Coming to Dinner.”
When initially informed of the festival’s “Time Machine” theme, Brown contemplated the formative years of her world-class company, which she established in 1970.
“They said, ‘Where would I want to go if I had a period in time that I could go to?’ I said, ‘I would like to go back to the beginning, when I didn’t have to pay anybody, when the dancers wanted to dance all day and all night, when I had to put them out the studio - people look at their watches and everything now and want overtime every time they breathe. And the commitment the dancers made in the beginning to make sure that Philadanco happened.”
Brown will present the dance company’s first ballet, “Time/Space” (1971), choreographed by Harold Pierson.
“I brought in all the dancers that had been in that ballet, and we put it back together, and then afterward, on opening night, we’re going to do a panel with those same dancers to talk about where they went after Philadanco, and how was their experience in making the contribution to Philadanco,” she said.
“I’ll give you an example,” she continued. “One of the boys (Michael Harrison), for 14 years, he was Big Bird — ‘Sesame Street’s’ Big Bird, on tour. Then we had like five dancers who spent 10, 12 years with (Alvin) Ailey. And then some of the boys, I put in a program to train them how to be paperhangers and painters to supplement their income, and one of the boys is still doing that. So these are interesting things that they went through. One of the girls, Pat Scott, I sent her to Freedom Theater for two weeks, and she’s been there for years. Those kind of things, we’re going to talk about after the show.”
Tickets are available for purchase at PIFA.org, (215) 546-PIFA (7432), or at the Kimmel Center box office lat Broad and Spruce streets (open daily from 10 a.m. to 6 p.m., later on performance evenings). Ticket prices vary for performances and events.
Renowned dance historian Brenda Dixon Gottschild explores the history of African-American dance in the United States through the story of Joan Myers Brown, the legendary and determined founder of the Philadelphia School of Dance Arts and PHILADANCO, Philadelphia’s historic dance school and performance company. “Joan Myers Brown & the Audacious Hope of the Black Ballerina — A Biohistory of American Performance” (Palgrave Macmillan, $27) explores how Brown’s personal and professional history reflects the hardships and the accomplishments of African Americans in the artistic and social developments through the 20th century and into the new millennium.
“When I first met Joan, or JB as I like to call her, there was a little bit of apprehension because her manner is straight forward, straight talk, right on and on point, and it kind of makes you sit up and take notice and be on point yourself,” recalled Gottschild. “Born in 1931, JB began studying dance as a youngster in the same Philadelphia dance classes that spawned the likes of Judith Jamison and Billy Wilson. In order to give Black dancers quality training, she founded the Philadelphia School of Dance Art in 1960, at a time when racial discrimination kept African Americans out of white classes. Dance was her passion, and over time became her mission.
Gottschild uses Brown’s career to leverage an exploration of the connection between performance, society and race, exploring a concert dance tradition that has had no voice to tell its story. “In 1960, we were coming out of the era of segregation, so most of the dance schools in the area were segregated, and I had a population of Black youngsters that were friends of my family,” said Brown. “I started the school mainly because I wanted to stop dancing myself and probably try and give the youngster and opportunity I had missed. I worked at night, taught in the day and commuted 60 miles every day for six years.”
Since opening the Philadelphia School of Dance Arts in 1960 and the company (PHILADANCO) in 1970, Brown (known affectionately to students and alumni as “Aunt Joan”) has opened dance worlds for Black dancers at a time when they were marginalized and access to dance schools and careers was extremely limited. “There is a need in the community for dance and for activities for African-American youngsters,” explained Brown. “When I started my school. When I started my school, I was a little young, so I didn't want to be called Miss Joan, so I had all the kids call me Aunt Joan, and that still happens, they still call me Aunt Joan, and I think that makes us feel like family and feel interrelated.”
Over the decades, Brown has made significant contributions to the national and international arts communities served a broad range of regional and national organizations. She has convened four International Conferences of Black Dance Companies, facilitated the Smithsonian Institution’s Conference of Black Dance Companies and served as a consultant to East Coast Committee of Festival 2000, the San Francisco Bay Area Cultural Initiative, the NEA “Dance on Tour” ad hoc committee and the Kennedy Center Adult Education Task Force. Brown was honored as one of the “Dance Women; Living Legends” during a four-day series sponsored by New York area presenters, in tribute to five African-American pioneer women who founded distinguished modern dance companies with deep roots in Black communities around the country. In 2005, The Kennedy Center honored her as a Master of African American Choreography. Most recently she received the Philadelphia Award.
The success of her seemingly unending energy has been appreciated and recognized by the numerous requests for her keen input from such notable organizations as Pennsylvania State Council of the Arts, Ohio State Arts Council, New Jersey State Arts Council, National Endowment for the Arts, National Association for Female Executives, Port of History Museum (Ad Hoc Committee), Media Associates (Washington, D.C.), Greater Philadelphia Cultural Alliance, Wade Communications, Spruce Family Planning, Minority Arts Resource Council, West Philadelphia Chamber of Commerce, Mayor’s Cultural Advisory Council, Advisory Panel for NEA, Expansion Arts Program, Executive Council of the Philadelphia Dance Alliance, Arts Administration for the Pennsylvania Council on the Arts, Women’s Heritage Society, Painted Bride and Dance/USA and the Philadelphia Arts Alliance. Brown’s efforts on behalf of dance excellence belie a much larger contribution to the arts and the community. The grandmother of six remains a tireless advocate and spokesperson and is a model of tenacity, hope and discipline.
“Founded by Joan Myers Brown, a steelwilled visionary, Philadanco has grown from a grass-roots enterprise to a nationally recognized institution,” noted Jennifer Dunning, former dance critic of The New York Times. “With Ms. Brown, it has played an important role in promoting dance by predominantly Black troupes like hers and in helping to give them a stronger voice as shapers of American dance today.”
“Joan Myers Brown & the Audacious Hope of the Black Ballerina — A Biohistory of American Performance” is available in bookstores, on Amazon and as an e-book. The Literary Café presents “A Conversation With: Joan Myers Brown and Brenda Dixon Gottschild” on Monday, Jan. 9, 2012 from 6 p.m. to 8 p.m. at The African American Museum in Philadelpia, 701 Arch Street. For more information about this free public event, call (215) 878-BOOK.
The internationally acclaimed Philadelphia Dance Company (Philadanco) will present its inaugural Founder’s Day performance, taking place Aug. 17 at 7 p.m. at the Dell Music Center, 33rd and Dauphin streets. The open air fundraiser is an effort to save the company, which has been struggling financially for a number of years.
“The Dell offered me an opportunity to bring dance back to the Dell, and I was trying to think of something that would make people want to respond to helping Philadanco,” said founder and Executive Artistic Director Joan Myers Brown. “[But] they would say, ‘What’s the occasion? It’s not a gala. It’s not an anniversary.’ So I came up with Founder’s Day, which is the first time they’re celebrating me. But it’s definitely a fundraiser, because I need some money.
“They stopped funding me in this town,” Brown said of Philadanco, which is one of the Kimmel Center’s eight resident companies. “I’m not getting any support out of Philadelphia. Philadelphia’s just not supporting me the way they should. When the opera [company] gets in trouble, and the ballet [company], they write the big checks. “They tell me that I’m mismanaging funds or not operating correctly or I need a COO, or I need all this other stuff. It’s really difficult.”
Brown disclosed that Philadanco is in grave danger of closing and that the dancers are “all on unemployment.”
“I’ve got two people in the office,” she said. “I’m the development director, the marketing director, the executive director and the artistic director.”
Brown’s colleagues from the arts community are stepping in to help, and Broadway/tap icon Maurice Hines will co-host the Founder’s Day program with Khaliah Ali, daughter of boxing great Muhammad Ali.
The Company will present works from its repertory including “Guess Who’s Coming to Dinner,” “Enemy Behind the Gates,” “By Way of the Funk” and “Pretty is Skin Deep,” and in addition to the principal company, there will be performances by D/2 (Second Company) and D/3 (Youth Company), as well as numerous “Danco” alumnae, including Anthony Burrell, who currently works with multiple Grammy-winner Beyoncé as her lead dancer. There will also be a presentation by hip-hop dance company Rennie Harris’ RHAW.
Tickets to experience the creativity, raw power and skill that are Philadanco range from $10 for lawn seats to $100 for VIP seating, and will help the world-class company, which Brown founded as a dance school in 1970, keep its doors open.
“The thing is that Black Philadelphia needs to help us,” she said.
For tickets and information call the Dell box office at (215) 685-9560 or visit www.mydelleast.com.
Matthew Rushing’s ‘Moan’ an N.Y. hit
The Philadelphia Dance Company, commonly known as Philadanco, presents "Back to Black," taking place at the Kimmel Center's Perelman Theater Dec. 7-9. This exciting program of fan favorites will also feature the Philadelphia pPremiere of Matthew Rushing's "Moan," set to the music of the late R&B/jazz diva Nina Simone.
Joan Myers Brown, Philadanco founder and artistic director, reflected on the intriguing theme of her company's latest theatrical presentation, saying, "When we were in New York at the Joyce [Theater], I did almost the same program, so a woman said to me, 'I'm so glad we are back to Black!' I said, 'What do you mean, back to Black?' She said, 'Black dance! 'Cause I just love it!' I said, 'Well, what is Black dance anyhow? Characterize to me, what is Black dance.' She said, 'What you do!' I said, 'What is Black dance? Black people dancing? Is it Black choreographers? Black music?' She said, 'Y'all do all that! That's Black dance!' So I'm like, 'Okay...I think I'll use that!'"
Philadanco is having quite a bit of success with "Moan," the new work by Matthew Rushing, rehearsal director for the renowned Alvin Ailey American Dance Theater. The piece makes its Philadelphia debut and features "I'm Gonna Leave You" and "Don't Explain" by Nina Simone, the unique artist known as the "High Priestess of Soul."
"I got a call from the Jerome Robbins Foundation saying they wanted to give Philadanco money to commission a ballet," Myers explained. "They had a list of choreographers if I wanted to pick one of their choreographers – or did I want to come up with a choreographer? Matthew was on the list, so I selected him, and it's a good opportunity for him. He's choreographed on Ailey, but I don't think he's done a lot outside, so it's a chance for him to step outside of his normal pattern of working.
"He came up with the Nina Simone [theme] and called it 'Moan.' It's an interesting piece, and I think it's a fitting tribute to Nina." The program also includes Milton Myers' "Echoes: A Celebration of Alvin Ailey," and Ronald K. Brown's "Exotica" follows with a "dramatic excerpt" from the larger piece entitled "Lessons." The evening concludes with "Suite Otis," a fan favorite based on the music of the late R&B great Otis Redding. Brown would like to encourage longtime patrons and first-timers alike to make a Philadanco performance part of their holiday celebration.
"We just had a very successful season in New York. We did nine shows in seven days, she said. "We got like seven great reviews. The only one that didn't give us a great review was the New York Times, but it wasn't bad, because they usually slaughter people. I think seeing that we just had a big run in New York's Joyce Theater, if they could go to New York (to see Philadanco perform), then they can come see them (in Philadelphia). We have some new dancers that the people aren't familiar with, and you'll get a chance to watch them grow with Philadanco."
The Samuel W. Pennypacker Elementary School in West Oak Lane is getting a new lease on life. It now has a full-time music teacher and a revived mentally gifted program —assembly programs are also back. The past year saw a full scale holiday program, a Black History Month assembly, and coming soon, a spring concert. The children participate in the Penn Relays, and some fifth-graders are even taking ballroom dancing.
In Robert Gold’s music classroom, the children were using drum sticks on large colored plastic buckets as they play “pass the bucket.” Yet the music room does have some more conventional equipment thanks to Gold securing a $5,000 grant to supplement his classroom. Now students from kindergarten to sixth grade are all experiencing the interdisciplinary lessons music has to offer.
“This is just a good school,” said Tara Williams, whose twin sons, Jahi and Jahim, are third-graders at Pennypacker. The Learning Key caught up with Williams in the hallway outside the main office. The 2011–2012 school year marks their first year at the school located at the corner of Thouron Avenue and Washington Lane.
“My children used to go to other schools,” she said. “Last year they were at the Kinsey School (also in West Oak Lane). I just find this to be one of the best schools. It has one of the better learning environments, and the teachers are great. I am very pleased with the education the twins are getting.”
For Principal Wendy Baldwin, hearing comments from parents like Williams is why she loves her new job. This is her first year serving as principal. She previously spent a decade working at the George Washington Elementary School in South Philadelphia as a special education teacher. It was in January 2011 that she enrolled in the school district’s administrative training initiative, and by May of last year she had completed the program.
Originally, Baldwin hoped to take her experience in the classroom and other educational positions with her as she became an assistant principal. Yet she soon realized that the success she had in Learning Support and Emotional Support classrooms was a firm foundation to take over the helm at a neighborhood school. So, she accepted the principal’s slot at Pennypacker and began her new job in September.
“Working in special education helps me be effective because I have a clear understanding of differential instruction,” Baldwin said. “I think that there are many strategies that work on different levels. I frequently remind my staff that they should address the children’s strengths.”
Baldwin’s office is adorned with a large-scale, richly-hued globe that has shiny brass trim. It was a gift, she said, from state Rep. Dwight Evans who represents the district where the school sits. In many ways the globe represents the principal’s vision for the school.
“We are really creating an environment where children can become critical thinkers,” Baldwin said. “We are making sure that they are college ready. We know that they must compete in a global society. We are fortunate enough to have made AYP for the last few years, and we do have a student body that comes eager to learn.”
To this end, the students have been taking more trips around the neighborhood as well as to the many cultural venues that a cosmopolitan city like Philadelphia has to offer. There are treks to local museums, concerts and other places of interest. Occasionally the school may welcome a guest speaker.
Yet there is still room for improvement, according to Baldwin. One area that she would like to expand is the community involvement in the school through volunteering and other services. She is also working to encourage more parents to become active with the Pennypacker Home and School Association.
“I envision us connecting more with the faith-based organizations,” Baldwin said. “I would also like people from this community to come into the school to start a mentoring program. I think it is important that the community and school partner in this way.”
For 11-year-old Tiani Fitts of West Oak Lane, who transferred to Pennypacker this school year, from Hatfield Elementary School, it’s been a blessing. Tiani is quick to point out that before coming to Pennypacker she was a bit reserved and withdrawn. Because of the nurturing environment she has been able to come out of her shell.
In fact, Tiani is one of the more articulate members of the Leaders of the Pack club. She, along with several other fifth-graders, was recommended for the club because of their academic prowess, citizenship, good behavior and leadership potential. An aspiring singer, Fitts feels that Pennypacker “makes every student special” because of the quality teachers.
“I think this is a place that helps you to do the right thing,” said Jamar Simpson of West Oak Lane, another member of the club. “This is a great place to learn.”
Teacher LaTwyne Wise is the special education liaison and mentors the Leaders of the Pack club. She meets with the students every Wednesday and Friday. Together they’ve taken trips to see the Philadelphia Dance Company, also known as Philadanco, as well as tours of the campuses of Temple and Cheyney universities.
“We take the students who show the potential to lead and show them that they have choices in life,” said Wise. “We want them to know that academics is important and so is discipline, but it takes more than that to be successful. We want them to realize they must be positively driven. So even though they have aspirations like being an architect, to a pediatrician, we basically show them that relating to others is important.”
Rounding out the school environment is Mrs. Campbell, a mainstay in the office. Her official title is “school liaison” but basically it is a “catch all” type of position. She fills in the gaps that are needed whether it’s addressing a truant student, coordinating a fundraising drive to fill in the budgetary gaps, or ensuring that those who come into the building are directed to correct place.
“You can’t have a success school without someone like me,” said Campbell. “I am like the universal remote control because you have to have someone who is available for the parents, the students, the teachers and the principal.”
Baldwin concurred. She said that all parts of the puzzle at Pennypacker make it work for its nearly 500 students.
“We are always growing and trying new things,” Baldwin said. “We’re good and we’re always getting better. I am always looking at ways to be even more successful. It’s nice to make AYP each year, but I think it’s important to keep raising our standards. With exceptional students and staff, I think we’ll continue to do just that.”
Since opening its doors eight years ago, Dance Journey has provided local kids with the opportunity to learn from some of the best dance instructors in the region.
Through dance, the students in the program, have learned the art of modern dance while evolving into young men and women.
Located at 718 Church Lane in Yeadon, this dance company is proving that there is no limit to what the kids in its program can do.
“Dance means something different for everybody,” said Denise “Nece” Lewis, artistic director of Dance Journey. “When our children walk through our doors we don’t know what their dealing with at home, but we’re not judgmental. While they are on our watch, we want to give them the value of everything that we have.
“Dance, for me, taught me patience, discipline, team work, how to be successful and [to] want to be the best,” she added. “These are all qualities that our students may be learning. We don’t want them to be the best dancer, but the best ‘them.’ We want them to succeed on the dance floor and in life. That is what our program is all about — giving them the tools to become the better them.”
The mission of Dance Journey is that through the art of dancing, students can prepare for life’s journey by helping them become better young people and helping them reach their dreams. Dance Journey offer classes in creative movement, pre-dance, ballet, toe, jazz, modern, tap and hip-hop.
The student’s ages range from 3 to 18. The program also offers Zumba and Zumba toning for adults. Some of the students are taught by instructors, Lewis, Tenniele M. Jenkins, Shavaun Swygert and Brandi M. Merritt. There are currently over 60 students participating in the program.
The adult program offers classes in creative movement, pre-dance, ballet, jazz, tap, hip-hop
modern, Zumba and Zumba toning.
“One of [the] goals for the program is that we want to get more young boys involved,” she said. “When we were at Eastwick we did have a few boys take tap and hip-hop, but it’s been kind of difficult to get boys into the program. Unfortunately, this season we did not have any boys participate in the program, so we want to get more boys by reaching out to them this summer.”
Lewis has spent over 42 years in the performing arts, beginning as a student, becoming a performer and later, an educator. She received her early training at the Philadelphia School of Dance Arts under the direction of its founder and director Joan Myers Brown.
She studied, trained, performed and taught at the school for over 33 years. In l970, she became one of the original members of the Philadelphia Dance Company (Philadanco) where she continued working even after retiring from performing holding many positions for Artistic Director Joan Myers Brown.
Lewis said while she’s grateful for everything that she has accomplished in dance, it’s the instructor’s mission to teach the younger generation about dance and the history behind it.
“In addition to teaching the kids the dance itself we also teach them about the history of dance,” she said. “You will be surprised at how many people do not know Joan Myers Brown of Philadanco, Judith Jamison of Alvin Ailey American Dance Theater, and Arthur Mitchell of Dance Theatre of Harlem.
“All of these wonderful people have contributed to the art of dance,” Lewis added. “In our classes when they get a certain age we talk to the students about the history, why the terminology is in French, and [about] some of the greatest African Americans who have contributed to the dance. We don’t expect all students to become professional dancers, but it will help all of students be disciplined and help them succeed in life. Their journey in dance will help inspire their journey in life.”
For more information on Dance Journey, call (484) 461-1966 or visit www.dancejourney.net.
PNC’s Black History Month Celebration on Thursday featured PhilaDanco’s founder Joan Myers Brown and author and Temple professor Brenda Dixon Gottschild telling the back story of how Brown mentored generations of African-American dancers. During the special luncheon held for 100 notable Philadelphians, both Brown and Gottschild discussed “Joan Myers Brown & the Audacious Hope of the Black Ballerina — A Biohistory of American Performance” (Palgrave Macmillan, $27) — the recently released book that explores how Brown’s personal and professional history reflects the hardships and the accomplishments of African Americans in the artistic and social developments through the 20th century and into the new millennium.
“Joan Myers Brown is a visionary, an entrepreneur, an educator, a mentor and a huge talent,” said J. William Mills III, regional president of PNC in Philadelphia and Southern New Jersey. “An individual, who like Jackie Robinson, broke through the color barrier in an industry that’s all about talent and determination. Joan Myers Brown is one of the first African Americans to perform in an all-white ballet company. Like Jackie Robinson, she was subject to racial slurs, hatred — and none of that stopped her. If Blacks could not share the stage with whites, she would create a new stage, so she founded a dance school for Black students — and a dance company, PhilaDanco, which today is world renowned.”
The event was part of the PNC’s diversity and inclusion initiatives, which help create a more engaged workforce that is better able to support and serve the individuals, families, businesses and communities PNC serves. Earlier in the day, 300 PNC employees were captivated by a special performance by PhilaDanco as the dancers presented their signature blend of classical ballet, African classical and Afro-Caribbean traditions.
Brown’s career demonstrates the connection between performance, society and race when the concert dance tradition had no voice to tell its story. “None of the schools during that time would take Black dancers. After I danced for a while, my goal was to make sure Black youngsters got the opportunity. I had the privilege to dance with Pearl Bailey, Sammy Davis, Cab Calloway and Billy Daniels — I could dance on my toes, so every time they would have a show I would be the girl that could dance on her toes — I thought that when I woke up one morning and said ‘this is not what I want to do with my life,’ so I went back to Philly. That’s how I started teaching, and that was 1960.”
During the post-talk discussion, several of the audience members marveled at the vivacious Brown, who gleefully shared that she was 80 years old. Gottschild opened her book and read a comment: “When God made her, they threw away the mold.”
For more information on PNC celebrations during Black History Month 2012, visit www.pnc.com/diversity.
Waheed Works presents 'Black Rose'
On Sunday, September 23 at 7:30 p.m., Waheed Works, the brainchild of Philadelphia Dance Company (Philadanco) principal dancer Tommie-Waheed Evans, presents the premiere of “Black Rose,” taking place at the University of the Arts – Gershman Y Gym, 401 S. Broad Street.
A full-length piece featuring four male and five female dancers, “Black Rose,” choreographed by Evans and set to original music and sound design by Jordan Shannon, borrows from several genres, but is built largely on ballet and jazz technique.
“I came up with ‘Black Rose’ after just seeing a picture on Instagram of someone’s black roses,” said Evans, a charismatic Los Angeles native who is on the faculty of the University of the Arts and is the resident choreographer for Eleone Dance Theatre. “So then I did some research on ‘Black Rose,’ and basically what ‘Black Rose’ is about is an array of occurrences — about different situations and how sometimes a situation can tie in together, but how a situation’s very different. I based it like a movie. You know, a movie like ‘Colored Girls’? How all the stories were different, but some kind of way, they all intertwine. They all came back to a meeting place.
“So basically, that is what ‘Black Rose’ is about. It’s about different situations — one about devotion, one about growth, one about dealing with love, one about vengeance, one about sadness, one about farewell, one about existing — but they all are based around love, and they all come back to this very common place.”
Now in his 11th year with Philadanco, the effervescent, talented and entertaining Evans believes that his tenure with the internationally acclaimed company has contributed greatly to his development as a choreographer.
“I learn from every choreographer that comes into that building,” he said. “I learn either the good or the bad, and what I’ve trained myself to do is I treat it as a classroom for myself as a choreographer. I see what they may have done or how they may build the piece, and sometimes I take in a concept [and think] ‘Well, I would have done this...’ or sometimes I take it in and I’m like, ‘Wow! I’m amazed!’ Either way, I’m learning.”
Joan Myers Brown, founder and executive artistic director of Philadanco, has watched and nurtured Evans’ growth over the years, and now views him as a respected and capable leader of her company.
“He started experimenting with choreography in the program that we call ‘Danco on Danco,’ and then he started getting invested in the work,” she said. “Now that he’s getting some recognition, I’m kind of proud of him — the fact that he’s still keeping his ties with Philadanco. Sometimes people, when they start doing other things, they want to step away. As a key member of the company, his responsibilities in the company, outside of being a dancer — he does a lot of keeping track of other people and the choreography. He’s a very responsible and endearing person for us.”
As Tommie-Waheed Evans, who would love to ultimately see his work on the popular reality/competition show “So You Think You Can Dance,” carves out a place for himself and his artistic endeavors, his objective is quite clear.
“I’m really trying to do work that’s different, work that’s new, work that’s full of energy, work that’s cutting edge,” he said in conclusion. “I’m really trying to do work that is not of the norm of what we see in our genre of dance, as African Americans. Doing full-length productions is kind of different. It’s kind of unique, so I definitely want to build on that. I’m trying to build on my voice.”
Tickets for “Black Rose” will be sold at the door: $20 for general admission and $10 for students with ID.
The internationally acclaimed Philadelphia Dance Company (Philadanco) returns to the Kimmel Center with its annual spring concert, presenting “The Philadelphia Connection” from April 20 through April 22.
The program is a unique homage to the arts in the City of Brotherly Love, and will feature a revival of the 2000 abstract ballet by Dwight Rhoden titled “Tribute.” A salute to Philadelphia International Records, the high-energy piece is set to the celebrated soulful music of 2008 Rock and Roll Hall of Fame inductees Kenneth Gamble and Leon Huff. The company will also present “Wake Up,” a newly commissioned work by home-grown hip-hop icon Rennie Harris. Choreographed over the past year, “Wake Up,” is the second piece created for the company by Harris, and “articulates that it is our communal ties that shape our own individual and unique identities.”
The program will also include “Suite en Bleu” by the late Philadelphia choreographer Gene Hill Sagan, remounted by Philadanco icon Kim Bears-Bailey, as well as Ron K. Brown’s “Gatekeepers.”
Philadanco recently performed at the closing ceremonies of the 7th Annual Dance Fest Skopje at the Macedonia Opera and Ballet Theater in Skopje, Macedonia. The appearance marked the first-ever performance by a major American dance company at Dance Fest Skopje. The company was invited to perform at the festival following its performance at the opening ceremonies of the prestigious Tanzmesse Festival in Dusseldorf, Germany, in August 2010.
“This festival is a unique opportunity to share Philadanco’s American and African-American aesthetics with an entirely new international audience, opening the door to improved cultural relations between the two countries,” said Joan Myers Brown, founder/executive artistic director of Philadanco. “It is an honor to serve as the first-ever major American dance company to perform in Macedonia, as well as at Dance Fest Skopje.”
For ticket information, call the Kimmel Center box office at (215) 893-1999 or visit www.kimmelcenter.org.
Contemporary dance company Philadanco presents an evening of works titled “For Your Pleasure,” including the Philadelphia premiere of “Watching Go By, the Day,” a new work by choreographer and former Philadanco member Hope Boykin, at the Kimmel Center’s Perelman Theatre Nov. 4–6.
Boykin says although the title may sound a little strange, there’s actually nothing too deep or overly mysterious about it. “It’s just about a group of people or characters that you see doing everyday things. It’s about how we wake up, go to work, fight for a job. It’s about how we deal with the day we’ve just had and what happens when the day is over.”
This is Boykin’s second piece for Philadanco, the first being “Be Ye Not,” performed about three years ago. She says, “It’s wonderful to see your works come to life on stage, but what’s equally important is the support you get from the people who want to see you grow, and I’ve been very fortunate to have those people around me.”
One of the first people giving Boykin the kind of support she needed was Philadanco founder and artistic director, Joan Myers Brown, a choreographer and dancer who pioneered an alternative path for African Americans to become professionally trained dancers post-civil rights era.
“J.B., as we call her, is always there for me and never fails to express her opinions of me, even if she thinks my hair is cut too short,” Boykin says. “She’s become a mother figure to me. It’s great to know you can go to a place, unzip yourself, and be yourself, knowing you will not be judged for your choices but critiqued only to help you grow to another level.”
And, says Boykin, as soon as she got to Alvin Ailey, Judith Jamison picked up exactly where J.B. left off. “Both these women really did step out on a limb for me, and I will always be grateful to them both.”
Boykin is a three-time recipient of the American Dance Festival’s Young Tuition Scholarship. She attended Howard University, and while in Washington, D.C. she performed with Lloyd Whitmore’s New World Dance Company.
She was a student and intern at The Ailey School, and joined the Alvin Ailey American Dance Theater in 2000.
Today, she continues to dance as well as perform in the role of a choreographer. Additionally, she teaches in a BFA program where Ailey maintains a connection at Fordham University. Boykin explains that she’s working with a group of 27 freshman.
“Some choreographers are just choreographers, while I’m still dancing too, so I can give the students a very different idea of what a company member does,” she says. “My students are able to see me in this light as a teacher and a choreographer, but they’re also able to see me as a dancer, so it gives them a whole different aspect of the kind of life we can have.”
Today, Boykin concludes, dancers are able to dance as long as they want to, especially because of technology. “At Ailey I’ve worked with people who have been with the company for thirty years and they are still going strong. So dancers can dance as long as they want to, and have the need and the desire to make the sacrifices necessary to continue with their work.”
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