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"Gottschild, Brenda Dixon"
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A PERSONAL RECKONING
I open the Ananya Dance Theatre website, click on the link for Mohona, and find Ananya and one of her dancers simultaneously repeating these words and demonstrating the movements that accompany each line to a group of people who will participate in the Dance of a Thousand Water Dreams, a public performance/procession done in consort with indigenous activists for the Northern Spark 2013 project in Minneapolis.
For me not only do the words represent this dance, an ingenious way of teaching movement by using words and images rather than counting, but also they represent “the essential Ananya.” Who is she?
Book Chapter
The Black Dancing Body: An Interview with Sean Curran
Sean Curran, choreographer and performer, began his training in Boston with traditional Irish stepdancing and attended New York University's Tisch School of the Arts. He has performed with Bill T. Jones/Arnie Zane Dance Company and was a cast member of STOMP!. Known for works such as Folkdance for the Future, Curran formed his Sean Curran Company in 1997. Curran is interviewed.
Journal Article
The Black Dancing Body: An Interview with Seán Curran
BDG: Seán, I want to start with something that you said yesterday about never having been able to do Bill's [Bill T. Jones's] movement the way he did it—or was it the way he wanted it done? Could you talk about that? SC: The way he did it. Bill has a very inventive, deeply personal, and unique way of moving, perhaps because he didn't come up through the sort of modern dance training sought by many African-American dancers. People in college told Bill that he should go to New York to be “finished” by Alvin Ailey and he really did not have an interest in that. Bill studied dance with Percival Borde and contact improvisation with Lois Welk and was a track star in high school and college. He did a lot of musical theater in high school with an English teacher he loved very much. Bill was about dancing his own way.
Journal Article
Christy Adair and Ramsay Burt (eds.), British Dance: Black Routes
British Dance: Black Routes, edited by Christy Adair and Ramsay Burt, is reviewed.
Book Review
Between Two Eras
From 1933 until 1947, Margot Webb and Harold Norton performed on the Afro-American vaudeville circuits of night clubs and theaters in the Northeast and the Midwest. Known professionally as “Norton and Margot,” they were one of the few Afro-American ballroom teams in history.¹ Their career was emblematic of the frustrations, paradoxes, and double standards that existed for Afro-American artists in the United States. As a ballroom team, they faced the same obstacles as a Dean Dixon or a Marian Anderson: they were traveling on a white road posted with “No Trespassing” signs for the Afro-American. They followed on the heels
Book Chapter