Join the final
December 19, 2018
(Dance Class – 7:00 – 8:30/ CJ Workshop – 8:30 – 10:00/Music & Dance – 10:00 – Midnight)
Location: Brooklyn Commons, 388 Atlantic Avenue, Brooklyn, NY 11217
Join the final
Location: Brooklyn Commons, 388 Atlantic Avenue, Brooklyn, NY 11217
Thank You Camille A. Brown
For more: https://www.camilleabrown.org/home
Colloquium on African Diaspora Dance, February 2018 Honored to have been a part of this amazing gathering!! Proud to have delivered my workshop Ecstatic Reasoning -blackness protracted: Migration and Constructed Identities. https://www.cadd-online.org/2018-conference.html Looking forward to 2020
Though embodied practices that center on African Diasporic (Black) body technologies of reasoning in and through ecstatic joy, CJ/ER workshop is an exploration and examination of critical joy that is embodied and thereby potentially resurrective. In CJ/ER workshop the body’s abilities are directed to manufacture (real and/or imagined) spaces/place for reconstruction, reconfiguration, and realignment of self-to-self, self-to-community, and self-to-divine. CJ/ER workshop participants will be guided through techniques and experience processes for igniting Critical Joy/Ecstatic Reasoning into daily life, and discovery and re/imagine inner embodied resources for navigating through and making sense of life in a problematic world.
When: 8:30 – 10:00 pm Wednesday, September 19, 2018
Where: BROOKLYN COMMONS, 388 ATLANTIC AVENUE, BETWEEN BOND & HOYT STREETS, NYC 11217
REGISTER at the door. More information HERE
Some years ago (no need to mention how many), I began a journey with the explicit translation of text to movement/dance. If I am being honest, my choreographic process, for as far back as I can remember, always began with the translation of the images in my head and/or sensations in my body to text. I would then, through numerous studio sessions, translate the text to movement/dance and in the process sculpt out the essence of a story. It is for this reason, I have journal loads of choreo-text, some became fully realized dance works, while others await their dance life.
My collaboration with Joanne Kilgour Dowdy began in the latter years of the 1990s when we were both based at Georgia State University. In that first collaboration we translated her PhD dissertation to dance. During subsequent years we collaborated on other projects, one of which was Carmen Montana: a story of literacy on the move. Base on the true story of an adult literacy student’s struggle to gain literacy and self actualize, the making of Carmen Montana took Dowdy and I on our own powerful journey. On this video the then Dr. Dowdy, now Professor of Literacy Studies School of Teaching, Learning and Curriculum Studies at Kent State University, Ohio, interviews me about the rehearsal process of Carmen Montana: a story of literacy on the move.
My interest is in the lives and life stories of African Diaspora women, with particular attention to expressions/articulations of identity and belonging. Michaela DePrince is an extraordinary artist and survivor of war. Please share your thoughts on the May 2017 interview.
Workshop: Isadora Duncan’s Study of Ancient Greek Art, Mythology, and Philosophy Informed Her Work This workshop was exquisitely delivered by Lori Belilove; it was detailed packed, drawing heavily on the body knowledge of Isadora Duncan’s methodology. Emi Yagistita (right), guest demonstrator … Continue reading
I am in the process of relocating back to the United States, a process I have been engaged in for several months now. I left the U.S. in 2002, returned for 18 months in 2007, and have been more or less happily away since. When I say happily way, I don’t mean to say that I have had an easy time of it. In fact, of all my close friends I seem to have the most unpredictable and at times precarious life. But one thing has been different the past 10 or so years, I have not had to wake each morning under deadly weight of being black in a land that has culturally (and legally) sanctioned the genocide of all people who look (in one way or another) as if they could be related to me.
In my mid-twenties I stopped my daily ritual of reading the newspapers. It was a matter of survival. Until the moment I stopped this ritual, I had gotten into the habit of reading the newspaper with my breakfast. It’s a commonplace habit. Many people do this simple activity without a second thought. Being up-to-date on current going-ons in the world and in one’s local space is an important adult ritual in which many in the U.S. and elsewhere take part. However, for me this ritual was unusually complicated as it was frequently accompanied with tears and heaving sobs: one more person shot dead, one more person raped, one more person physically or/and socially lynched. The news ‘wring mi belly,’ to use a phrase from my grandmother’s descriptive lexicon. There were days I cried so much that it was only through the emotional handholding of close friends that I was able to function in my then life as a dance artist. I knew I could not in some magical act change the world, but how could I survive in it when I was in a constant state of recovery, anxious and anticipating the next injustice.
Today, within only a few weeks of my return to this side of the Atlantic divide, and to the U.S. space, I am looking at ways I too can protest the recent killings, and the recent excuses as to why black genocide is possible and inherently necessary in the land of the free home of the brave.
I have walked in more protests than I care to say, my twenties and early thirties were spent protesting in whatever ways I could in the churches and universities and on the streets of New York City. Although I had stopped reading the newspaper I did not stop receiving the news. When it comes to Black Death, my twenties and thirties was a harrowing time, between accidental shootings and AIDS funerals were plentiful and I resented the ordinariness in which ordinary folk talk about the death and dying of people who look (in one way or another) as if they could be related to me. I took it all personally, for me it was personal. My attendance at funerals required a personal commitment to love and justice, love for those who had died and a promise to seek justice in whatever shabby corner of the land in which I had spent a significant portion of my life. My attendance at marches required a personal decision to bodily protest the bodily denigration so much a part of the cultural intuit of those less likely to be identified as related to on Black lives.
This year I spend my first holiday season in the U.S. in more than a decade and the stark reality of guns, righteous indignation, and daily violent deaths (particularly Black deaths) has saturated the air. I am called to remember that for Black bodies there has been, for as long as my memory and history can tell, a struggle to breathe in the land of the free home of the brave.
Delivering lectures and conducting seminars/workshops (see titles below) for the Anthropos Group and the Centre for Liberation Theology at the Faculty of Theology and Religious Studies at Katholieke Universiteit Leuven in Belgium.
Workshop 1 and 2
‘Body Matters: Somatic Conversations on Christianity, Love, and Justice’
‘Love and Its Public Significance – Questions and Challenges for Theology’
‘Migration and Constructed Identities – A Theological Engagement’
The womanist concept of Regardless, appropriated from Alice Walker’s initial womanist definition, is important to thinking through notions of new community building in which oppression and exploitation are part of the history and identity of those involved in this process. In point three of her four-point definition of womanist, Walker (1967 p. 1) implicates Love (capitalized to point to its political, religious and commonplace deployment), the creative imagination, and Regardless (also capitalized and italicized) in an endless and audacious network. Regardless in Walker’s usage stands alone as a sentence on its own after a consecutive series of two and three word sentences explicating the object of womanist Love:
Regardless is an essential partner to Love of the creative, of creation, Love of family and community (folk) and Love of self: Regardless. This notion of Regardless allows for thinking through and about survival from difficult histories and memories in a manner that is not laden with victim-ology, but articulated journeys of survival filled with dignity that demands Love towards one’s self. To Love Regardless is to accept all the broken, torn, and bruised pieces of one’s self and one’s history and nonetheless choose Love. Regardless empowers bent and broken persons to engage in loving acts without question and without conditionality. Regardless allow spaces for those caught up in webs of oppression and exploitation to find the courage to give and accept Love. Critical reflexivity, ethics and spirituality are core to womanist thought and theologies, and work to address structures of oppression without leading to additional displacement of the oppressed. In this context, the notion of Regardless methodologically points to alternative modes and lenses for locating, analysing, and negotiating power and oppression.
The building of new communities in which each body (in its physical materiality, historical fleshiness, somatic legacies and future imaginings) is valuable and valued requires the coming together of bodies in conversation about bodies, the body of individuals, the body of histories, the body of communities, the Body of Christ, and engagement with Regardless.