“By Way of The Funk”(2024)
From the 2023 Moving… Beyond Forward
To the 2024 Winter Program, Our Voices, Our Choices
Returning to the Perelman Theater in December 2024 with a program, “Our Voices, Our Choices…This Is Us!” in many ways prepared the audience to speak on the work of choreography that informs about what the channels for civilized society educate on evenly with difficult topics. The form of language through dance and interpretation of a theme borrows from Contemporary Art. Ethnographic research into titles like “An Acceptance for Necessary Endings,” in a means of cultural recognition and, an historical movement we have never seen before, “A Movement For Five,” taken from the history of black and brown people in terms of social justice, and injustice might we add. And the study of movement, looking at the liberty of these channels through PHILADANCO! for influence as well as Jazz in America with Somi Music.
“An Acceptance of Necessary Endings,” by Martha Nichols
The music of Laura Mvula was influential in the sound, and following the influence into other media, such as the influence of music videos. While, in my immediate reaction to the performance I was transported by a stylistic choice in costuming, beautifully well-lit, to communicate a Bollywood interlude of dance and singing, and pure joy.
EVERYTHING CONTROVERSIAL
Desire Under the Elms by Eugene O’neill
Co-produced by EgoPo Classic Theater and Abraham-Meyer Theater Co., 2017
BLACKSTAR FILM FESTIVAL, TONGO SAA, 2024.
An Investigative Essay
✓ Jazz Music in North America
✓ Musical Theater An American genre
✓ Atlas of the History of Africa
My Science
by Bebe Miller
“My Science,” by Bebe Miller from 2001 was as intentional as it was methodical in how the punk, brutally feminist punch introduced with music of La Voix and Led Zeppelin played in to this mood. Particularly, the intro of three ladies, and face to face with the male dancers, render with the switch of gender in heterogeneous politics. Both appear too, in the duets which strongly pointed toward this attitude from the way these ladies took up space, like a thriller scene of a bond between friends taking to the streets in spirits rarely captured in this genuine chase for the thrill. in life. An intrinsic matter of fact, I found myself unraveling this review of this choreography, in perspective to a relationship with writing, taking up space in my own mind, and reality set apart from the delusion these ladies instructed a fun loving space for creating.
A Movement For Five
Choreography by Dawn Marie Bazemore
“Yet our best trained, best educated, best equipped, best prepared troops refuse to fight. Matter of fact, it’s safe to say that they would rather switch than fight.
Thomas TNT Todd
This intro from the lyrics by Public Enemy, FIGHT THE POWER was upbeat for the breakdown in the beginning. The hype was real, and led the energy into a dramatic change in mood, from lightness to darkness. In a transition from section II-III, a powerful solo by Floyd McLean Jr. with Andrew Bryant, William E. Burden, Nathan McNatt Jr., and Israel Hilton.
BY Way Of The Funk
Choreography by Jawole Willa Jo Zollar
The final take on ethnographically, rooted in historical African American traditions, was in how gender becomes something fluid in By Way Of The Funk.
The dance was in spirit, to let go, really out of pocket. Effortless with dancers from the shadows to center stage, putting on sunglasses, thrusting, and lounging. It was sensational, in a group, the rave-party on stage had individuality in perfect harmony.
