Friday, July 6, 2012

To Begin The World Over Again


Delirious Dances and Numinous invite you to join them on September 27 – October 6, 2012 at the Irondale Center in Fort Greene, Brooklyn, NY to celebrate Thomas Paine and The Promise of America.


To Begin The World Over Again explores the ideals of Liberty, Equality and Democracy that Thomas Paine fervently advocated and fought for, and celebrates those ideals through music, dance, panel discussions and an art exhibition.

Thomas Paine (1737 – 1809) was an immigrant, an author, an inventor, a revolutionary, and one of the founding fathers of the United States. Paine was a free thinker and a visionary. He called for an end to slavery, for the rights of man and woman regardless of property or wealth, and for a democratic program of aid to young people and pensions for the elderly – concepts and rights that we now too often take for granted. Paine was vilified by the propertied, powerful and pious for his radical-democratic beliefs, and especially for his critique of institutionalized religion.

Paine’s pamphlet Common Sense, published in 1776, was a best seller. It challenged the authority of the British government and the royal monarchy. It was the first work to openly insist on independence from Great Britain and convinced many people that America should be an independent nation, and inspired them to support and join the Revolutionary War.

Paine believed that America could begin the world over again as the first democratically governed nation; 

“We have every opportunity and every encouragement before us, to form the noblest, purest constitution on the face of the earth. We have it in our power to begin the world over again. A situation, similar to the present, hath not happened since the days of Noah until now. The birthday of a new world is at hand.” - Common Sense, Thomas Paine.

How would you begin the world over again?


To Begin the World Over Again 
Dance Performance, Panel Discussions, Art Exhibition, Teach-in's



September 27, 28, 29
October 4, 5, 6
2012

By Edisa Weeks and Joseph C. Phillips
Performed by Delirious Dances and Numinous
Co-produced by the Irondale Center

Irondale Center
85 South Oxford Street
Brooklyn, NY 11217


Performance #2 at Occupy Wall Street – November 5, 2011


The energy at OWS has evolved. The tents change the feel of the occupation - a hunkering down. It reminds me of shanty-towns that I had seen in the Philippines, Sri Lanka and in sections of New York City that people choose not to know of or go to. However these tents, for the most, part are not occupied by the destitute. While there are actual homeless and people who prefer to live on the fringes in Liberty Park, for the most part the occupiers have resources, families and homes to go back to. Listening to the conversations floating around me, many people commented on the quality and/or size of the tents.

There is a cynicism at OWS that wasn’t there two weeks ago. Profiteers have arrived, selling 99% t-shirts and OWS buttons. In the past I had to ask where to give a donation, now there are many people with a bucket/cup/pitch attempting to cash-in on the support coming to OWS:
  • A skinny woman in a deflated looking Santa suit with a cardboard sign asking for money to help Santa’s elves
  • A college student asking for funds to support his education
  • A Homeless couple with baby asking for change
  • Occupants inside the tent city with their own bucket asking for donations

New concerns and agendas have emerged: A flyer with a picture of a man who was expelled from the occupation for sexual assault; Many signs in support of the anti fracking movement; a poster being prominently displayed throughout the camp that says “occupy for innocence” with the image of a young white girl-child relaxing or sprawling in the street with a wall of nondescript protesters on the sidewalk behind her. I felt my heartstrings being tugged like a hallmark card and I resented it. Why does a young white girl-child represent innocence?

The individual requests for donations have nothing to do with the demand for equality and for a change in how America governs itself and the world. The irony of the situation is that the people selling t-shirts and buttons are African-American; are there to make money; and are not concerned about the ideals or the goals of the occupation. So if they are asked to take their merchandise elsewhere and stop profiteering off the occupation, are the people asking them to cease and desist in this location being racist, classist, and stopping a marginalized person from trying to make a living? Or are the profiteers providing a service as people buying the buttons will hopefully wear them and spread the message to other locations?

Money co-opting an occupation that is in protest of the co-option of money, in the symbolic center for the making of money…

A few feet from the people selling OWS merchandise, there is a table making and giving away OWS buttons for free (with a box for donations), and in the art section of OWS people are silk-screening and giving away T-shirts for free. They are countering the profiteers, however I had to accidentally find or know to look for the tables with free OWS stuff, as they are not as prominently displayed as the people selling merchandise.

After walking around Liberty Park my gut feeling was this was not the place for a performance. It was a place to educate and inform the curious and the gawkers about the issues behind the occupation and how to address the increasing and glaring inequalities in America. It was a place to come and be in solidarity with the people doing the hard work of occupying the park and help generate a tension so “power” will have to come to the negotiation table.

Martin Luther King on April 16, 1963 in his Letter from a Birmingham Jail wrote:

“You may well ask: "Why direct action? Why sit ins, marches and so forth? Isn't negotiation a better path?" You are quite right in calling for negotiation. Indeed, this is the very purpose of direct action. Nonviolent direct action seeks to create such a crisis and foster such a tension that a community which has constantly refused to negotiate is forced to confront the issue. It seeks so to dramatize the issue that it can no longer be ignored. My citing the creation of tension as part of the work of the nonviolent resister may sound rather shocking. But I must confess that I am not afraid of the word "tension." I have earnestly opposed violent tension, but there is a type of constructive, nonviolent tension which is necessary for growth… The purpose of our direct action program is to create a situation so crisis packed that it will inevitably open the door to negotiation.”

I decided to go ahead with the performance as I had promised Andrea I would. There were two key differences in the performance: 1. Paloma was unable to join us, so just Andrea and I did the movement score. Three was more powerful than two. Two people implied individuals on a journey, whereas three people implied a community on a journey. 2. Because so many people are asking for donations and selling merchandise, the symbol of a dollar bill across our mouths, was hollow. People in the occupation were not silenced by money. They were actively asking for it.

Comments that I remember in response to our performance were:
  • “Can you give me a dollar” - Tourist.
  • “What’s wrong with making a dollar?” Street vendor selling OWS buttons.
  • “That’s profound. Do you get it? They are silenced by money, struggling against the dollar.” - CUNY student for OWS
  • “What are you saying?!! This is why they call us crazies” - OWS organizer












  

As a performer I felt empty and adrift. I felt that I wasn’t contributing to the movement. I couldn’t find a way to take the negativity and transform it into positivity. I could become an abstract modern dancer and become the “craziness” and interact with the crowd, occupying space with them, challenging them with my presence and silence, or I could choose to become stoic. I choose stoic as I felt that it allowed Andrea to engage with the crowd’s energy and I became a base for her to return to. After the “What are you saying!!!” comment by the OWS organizer, I wanted to cry. I wanted to immediately stop the journey/performance, but I had made the commitment so continued feeling spiritless inside.

A dance performance – because it is open to interpretation and thus confusion - diffuses the core intent of the occupation. I can say I am there to support, however is a dance performance the type of support that the occupation actually needs? When the occupation is already being derided as a bunch of crazies, I feel doing an abstract dance performance at Liberty Park makes us one of the crazies and gives critics ammunition to use against the occupation. I can argue that my intensions are pure, however the road to hell was paved with good intentions. We become a distraction from the message. Our performance does provide compelling visual images – but do those images generate a tension that will bring “power” to the negotiating table and cause people to reflect, or do those images diffuse the tension by allowing people to dismiss and deride OWS and the 99% movement.

I felt our performance was about a need for catharsis, a desire to contribute to the occupation as a dancer/choreographer, and an exploration of concepts regarding crowd engagement. It came from an individual artist centered perspective as opposed to a communal activist centered perspective. Instead of imposing our art on the occupation, we need to meet with organizers of OWS and discuss how dance can support what endeavors are already in place, as well as create its own initiatives.

Our performance and the occupation needs to spread out and happen all over the city. How can we as performers help to apply pressure and draw attention to the issues: for example by taking dance actions to Goldman Sachs, Moody’s, Bank of America, and Bedford Stuyvesant where I live. Bed-Stuy was badly hit by sub prime and predatory loans. (The sub prime mess is the biggest drain of wealth out of the African-American community in American history). As we perform, have people with literature and video cameras who can interview and talk with observers - “What do you think the performance is about, takes this flyer for more information, etc...” How can each of us occupy our own block, our neighborhood, and get people communicating, invested and involved. I don’t care if you are a tea-party member, a libertarian, an OWSer, a 99%er, a democrat, a republic, WE all need to be involved in the political process and hold our representatives accountable. Not just at elections, but as an on-going part of living in a “free” society.

Dance + OWS and The 99%


While my husband, Darryl Hell, was actively involved with teach-ins at Zuccotti “Liberty” Park, I was observing the occupation, trying to figure out a way that aside from donating money, I can be part of the change efforts. How much risk am I willing to embrace? How willing am I to be a part of the effort and take on any positivity, ridicule, hostility and consequences that might result from it? Am I willing to be arrested, physically attacked and like Rachel Corrie die for a cause?

 It was a relief when a friend and choreographer Andrea Haenggi contacted me and asked if I was interested in participating in a Human River movement score in support of OWS. Andrea had coordinated a Human River improvisation in Lagos, Nigeria to raise awareness of water issues and wanted to bring that same concept to OWS. We brainstormed and tweaked the score to fit the OWS movement. What struck me when I had gone to the occupation was seeing a person with a dollar bills across their mouth and another with a bill over their eyes. The metaphor of being blinded or silenced by money (greed) resonated with me and I suggested we have a dollar bill across our mouths. Andrea suggested elaborating on several of the gestures that were being used in the General Assembly to communicate agreement or dissent. The structure was simple. Follow each other in a line, everyone wear white, whomever was in front would initiate a movement that would be echoed by the group. The person in front leading the group would continually change. Andrea and I contacted about 100 dancers and choreographers, inviting them to join us on October 16 in a movement score at Liberty Park in support of OWS. Paloma McGregor (a dynamic choreographer and dancer who dances with Urban Bush Women and Liz Lehrman) was the only person who showed up…

The improvisation was a strong and emotional experience. It felt good to stop reflecting, observing and contribute as a dancer/choreographer to the effort to create change and more equality in America. The next day several people told me we were in the Daily News Paper, in addition to the Stephen Colbert Report and The Daily Show as one of the crazies at OWS…


Monday, August 8, 2011

INAPPROPRIATE





The Family Series at Boston’s Institute of Contemporay Art decided that my work Manufacturing Consent was not appropriate for a young audience because people rolling on the floor screaming intensely for three minutes, as well as people taking off layers of panties and crawling under the chair of an audience member might raise questions that parents may not be ready to answer or address. The work can be performed for the general “older” community, but not for the family program.

I was amused, annoyed, angered and saddened by the decision.

What is ironic is that the dance is inspired by Noam Chomsky’s book and movie, Manufacturing Consent, which proposes that corporate media tends to serve and further the agendas and interests of the dominant and elite groups in society.

What annoyed and angered me is that:

1. It is fine to see paintings, photographs or sculptures of naked people in museums, but not to have a dance where people remove layers of underwear or scream for three minutes.

2. I grew up watching bugs bunny, which is full of sexual innuendos that I didn’t understand, and I was not emotionally or mentally scarred by watching the cartoons. I find people often underestimate kids ability to understand and process complex issues.

3. Kids (people) ask questions in an attempt to understand life; and good parenting, teaching and mentoring is about providing answers.

4. Kids who have seen earlier iterations of the work have often laughed at the removal of the underwear (not been traumatized), as they know that you are not supposed to show your underwear. Also kids can and often do scream for long periods of time.

5. I recently listened to a conversation on the radio with Jeff Kinney about his book Diary of a Wimpy Kid. Some parents love the book as it got their kids to begin reading, other parents hate the book and feel it should be banned because it establishes a bad role model. Stating that the eleven year protagonist in the book is “a jerk. He repeatedly abuses his best friend, lies, blithely abandons a group of small children and attempts all sorts of desperate and dishonest ploys in the name of becoming popular." However does reading a book about an “odious” kid or seeing a movie that is violent, scary or sexual cause a person to behave inappropriately or to become violent, aggressive and sexually maladjusted? The real issue is not the scary, violent or sexual movie or book, it is the lack of parenting and resources to provide kids with tools to navigate a violent, sexual and challenging world. Japan has extremely sexual and violent video games, however Japan in proportion to its population has fewer cases of rape and murder than the United States.

6. American’s hypocrisy and prudery in regards to sexuality, violence and anger, will prevent us from having real discussions about the issues.

As a choreographer and artist I am interested in creating work that people cannot be neutral about. I am interested in asking audience members to make choices. The Institute of Contemporary Art Family Series choice was to not have the work be performed for a young audience. I saw no point in arguing, as I am not the one who has to deal with the consequences if people are offended, complain or decide to no longer support the Institution. However, I am amused that the Institute of Contemporary Art, when you scratch the surface, is not that "contemporary"

Ultimately the dance, Manufacturing Consent, was performed on Saturday July 30th at the ICA, as part of Summer Stages Dance Festival Choreographer’s Project Showcase at 3:30pm (general audience).


LOLA & HER MASTER


The original plan was for Darryl to join me for the last week of Prodanza (I was excited as it was going to be his first time travelling overseas), following which we would spend several days relaxing in Firenze. When he was denied a passport (long story, tell you in person over a good drink), and it was going to be too expensive to change my ticket, I decided to use the time to hole up in a hotel room and do research for the upcoming Thomas Paine project.

A feature that bothers me about Firenze, especially in the old town around the Duomo, is there are no trees. Except for a few scattered parks, it is a completely stone city of narrow winding streets, ancient buildings, expansive plazas and imposing sculptures. The sculptures are predominantly of men and the few women depicted are either being abducted or rescued by a man. I consider trees a necessity in cities as they provide oxygen, filter polluted air, reduce stress, provide shade, lower the temperature and as a result help conserve energy. In the old town there is an occasional flowerpot or trellis of vines decorating the façade of an outdoor restaurant, but no dirt, no trees, no deeply rooted plants. I don’t know if the lack of trees is a result of the streets being narrow and the buildings densely packed, or because tree roots in search of water can displace the cobblestones lining the streets and wrap around water pipes, breaking them; Or if it is a form of pest control, i.e. making sure there is no exposed dirt where rats can burrow, propagate, and spread disease; Or perhaps it is a way to encourage people to go to church. None of the old buildings have air conditioning and churches are a cool place to sit and escape the heat. Whatever the reason, I miss seeing a tree and decide to explore the area east of the Duomo where several parks are listed on the map.

It is a long walk to Orto Botanico park. I find a bench to sit on, but Orto Botanico is a drab, uninviting park, without much foot traffic. I contemplate moving on, but want to give my feet a rest. As I am pondering my next move a small silky black dog approaches and plops under my bench. The man attached to the dog tells me her name is Lola. We talk. He is from southern Italy and just returned from a long bus ride visiting his mother and sister. I am surprised to learn that dogs are allowed on buses.

I find out the man is a philosopher, specializing in ethics and human behavior. He would like a job working as a professor in a European University. He is 38 years old. He is single. His last relationship ended six months ago. His father is dead. He doesn’t earn a lot of money. He has been in Florence for a year working a construction job, as he can’t find work in his field. He doesn’t like the Italian education system as it involves a lot of nepotism and waiting for a person to retire or die, so a position will open up. He is working on his third paper for publication; this one discusses whether people are a series of chemical reactions, as neuroscientists would propose, or an arrangement of memory, behavior, environment and spirituality, which is what he proposes.

I mention that I am in the park because I wanted to see trees. He informs me there is a nicer park, would l like to walk there? When I stand up he is taken aback by my height, and mentions a few times that without my danskos or “platform shoes” we would be the same height. Which is delusional. He is not a tall man. The sidewalks are narrow and it is hard to walk without occasionally touching, however nothing blatantly inappropriate. He mentions a few times that I can come back to his apartment, or that “he is my tree”, which I ignore. It dawns on me that he might think I am a prostitute. We cross Piazza San Marco and Piazza della Independencia and finally reach Firenze Fiera park by the central train station. It is a pleasanter park with a pond and fountain in the middle. There are children, dogs, people playing ping-pong, and several disabled people with their caretakers. The park features a small open-air cafe with a DJ spinning old school records (Run DMC, Jacksons, Prince). The man asks about the tattoo on my ring finger and I figure it is a convenient time to talk about Darryl, let him know I’m married and I’m not going to his apartment. He is quiet for a moment. He is especially taken aback when I tell him I am 44 years old. He thought I was about 27/28. He has a sister my age… It is getting dark, so we walk back to the Duomo area. He mentions that his neck is stiff, and asks if I am good at massage… No way am I massaging his neck. I tell him it is not my skill set. Lola is panting heavily and looks thirsty. He declares she is fine and can wait till they get back to the apartment. I pour water from my canteen into my hand for Lola to drink. She is hesitant and then drinks eagerly. We reach an area that I recognize so say good-bye. He gives an overlong hug, and tries to kiss me on the mouth. I decline. He suddenly holds my face and abruptly, forcefully sticks his tongue in my mouth. Disgusted I pull away and walk away feeling violated. Yuck, so much for principles and ethical behavior. Maybe that’s why he mentioned several times that he does not earn a lot of money, so as a “prostitute” I would not charge high fees.

The next morning in the vicinity of the train station, I walk by an African woman walking alone. A short distance behind her there is another African woman strolling down the street. Both have heavy make-up, high heels and wear tight short dresses. The two women assess me, and although I nod at them, they do not nod or smile back.

I find I am stared at a lot in Italy. As a tall black woman with a big fro and walking by myself – I am an unknown. I could be a tourist, a prostitute or “Brown Sugar” as several of the vendors called out to me.

I perused the web and found out that prostitution is legal in Italy, however organized prostitution and brothels were outlawed in 1959 in an effort to eliminate organized crime’s involvement. As a result prostitutes have to work the streets or out of their homes. I also found out that there are an estimated 20,000 African women, specifically Nigerians, working as prostitutes in Italy. Apparently, Nigerian women began appearing on the streets of Italy in the 1980’s, when the fear of AIDS rendered “drug-addicted Italian girls no longer attractive propositions on the prostitution market.” (From the United Nations Interregional Crime and Justice Research Institute report on the Programme of Action against Trafficking in Minors and Young Women from Nigeria into Italy for the Purpose of Sexual Exploitation). Nigerian women now constitute 60 percent of all immigrants working in the commercial sex industry in Italy. Albanian women are the next largest group.

According to the United Nations report and other sites I searched, Albania has high rates of poverty and unemployment, a crumbling infrastructure, and corrupt elected officials, which makes it fertile ground for trafficking in weapons, drugs and people. Nigeria has similar issues of overwhelming poverty, lack of education and job opportunities, inadequate infrastructure and corrupt officials. In addition Nigeria has a history of slavery and trafficking in people. In Nigeria trafficking is an industry. People are organized into specialties, such as recruitment, document forgery and transportation. Recruiters are often relatives or people known to the family, who enlist young women with promises of legitimate work and of providing a better life and salary payments to the family.

After the initial recruitment, a woman is put in contact with an Italian Madam who often becomes her sponsor and arranges a “pact” that obliges the woman to repay the cost of transporting her to Europe. The pact is frequently sealed by an indigenous priest, who traditionally also functions as a magistrate or registrar. The pact ensures the woman’s silence and compliance as it threatens her and her family with ‘curses’ or retaliation if she does not fulfill the pack.

When women arrive in Italy, the Madam keeps them in nearly slave like conditions. Their documents are taken away from them and kept as a guarantee. If they refuse to cooperate or attempt to escape, they are harshly beaten as examples or threatened with reprisals against their families. Women are made to work until they can pay off their debt, which is generally between $40,000 to $100,000 (women have to cover the cost of documentation, transportation, room and board and any other fees that traffickers add onto the debt). A woman working the streets can earn up to $3,700 a month for her “sponsor”. The Madam or the women send money and gifts back to the families in Nigeria, which allows families to buy cars, land, build grand houses, dig boreholes, and purchase material goods. As a result working abroad is seen as a “golden ticket” and the best strategy for escaping poverty and ensuring a better future for one’s family.

I am not against prostitution and believe it should be legalized, however it is one thing if a person has voluntarily chosen to enter the field - like sex worker and porn star Annie Sprinkle, Grisélidis Réal, Jenna Jameson or Tristan Taormino. It is a completely different scenario if a person is an illegal immigrant without resources and coerced into sex work. The risks involved with street prostitution for Nigerian women in Italy are huge! AIDS, lack of health care, no legal representation, deportation (which can result in retaliation against the woman’s family for not fulfilling the “pact”), social ostracization when they return home and people realize they have been working as prostitutes, and especially the chance of being raped, brutalized or killed by either a client or trafficker.

What angers me about the situation is the exploitation of the poor and disenfranchised, and that 195 years after Sarah Baartman died (Baartman was the “Hottentot Venus.” A Khoisan woman from South Africa who was exhibited as a “Freak” in 19th Century Europe for her large butt and elongated labia), the black female body is still being objectified, sexualized and de-humanized in Europe. What makes the situation insidious is there are no images in Italy of black women as educators, lawyers, doctors, mothers, architects, artists, business owners or politicians, to counter the image of black women as sexual objects or sexual deviants.

Reflecting on Lola and her owner, I was annoyed that the man’s needs and assumptions overrode any principles he may have. He was not at all concerned about who I am as an individual. If I had been paying attention, I would have recognized that Lola was a red flag. For a little dog, Lola didn’t have much personality. She had beautiful silky black fur, but no spunk other that an occasional stubbornness when she wanted to sit down or pee. She had no awareness of cars or traffic. I got the sense she is not played with or spoken to or what I would consider to be truly loved. She is taken care of, but not cultivated.

She is clearly attached to the man but I would propose out of necessity, not love. I wondered how much of what the man told me is true. He had never heard of Thomas Paine – which doesn’t mean much, but as a philosopher I would think Paine would be among the writers studied. Based upon his nebulous principles, I hope he never gets a teaching job.

In researching human trafficking and the commercial sex industry, it was disturbing to realize people are trafficked in America. According to CIA analysis, approximately 50,000 men, women and children (primarily from Mexico, East Asia, South Asia, Central America, Africa and Europe), are trafficked annually in the USA as sex slaves or as domestics, garment and agricultural slaves. It is also interesting to find out that overseas American military bases coordinate brothels for soldiers as a way to reduce the likelihood of civilians being raped, control the spread of venereal diseases amongst soldiers, and “boost” morale. In the 1940’s the military established Paradise and Shangri-La, brothels of local women for the soldiers guarding the Firestone rubber plantations in Liberia. (Firestone was the main supplier of rubber for the Allied Forces). The sex tourism industry in Thailand developed in the 1960’s as a result of the Vietnam War and an R&R contract between the United States and Thailand, where soldiers returning to the states after a years tour of duty, first stopped in Thailand for a week of R&R. Currently in Iraq, military contactors organize prostitution rings with women from Europe, Vietnam, Korea, China, and the Philippines.

What keeps human trafficking going is POVERTY, GREED and WAR. What also doesn’t help are the high profit margins and low risk in human trafficking. The penalties for trafficking in humans are much lower than the penalties for smuggling drugs or weapons. If as a global society we could reduce poverty (livable jobs, education), regulate greed (decrease the emphasis on high profit margins and stress that Chief Executives Officers can not earn more than 100 of their employees), and emphasize principles of respect for all people - the world would be a more equitable place to live in.

For more information on trafficking check out:

http://gvnet.com/humantrafficking/Nigeria.htm
http://www.migrationinformation.org/feature/display.cfm?ID=318
The United Nations Interregional Crime and Justice Research Institute report on the Programme of Action against Trafficking in Minors and Young Women from Nigeria into Italy for the Purpose of Sexual Exploitation

Summer 2010

In June 2010 I spent two days in Florence (Firenze), Italy teaching at Alambrado Dance Studio, and then all of July teaching technique, choreography, improvisation and partnering at Prodanza, a dance festival in Castiglioncello, Italy. Castiglioncello is a sleepy, seaside, resort town, which on Friday and Saturday nights becomes a hot spot with people cruising the cantinas, restaurants and nightclubs that line the seashore. Since I don’t drive and needed a way to get from the villa where I was staying to the dance studio, I rented a mountain bike. The seat was HARD and the handle bar low, but at the price (18 Euro or $23 a week) it was a good deal. It took a while to not be exhausted by the 20-minute ride up, down and over the hills or envious of the Italian bikers in their riding suits who would whizz by like colorful butterflies.

There is so much to savor in Italy:

• The freshness of the food (makes me aware how much processed food I consume in the States). I couldn’t eat enough nectarines, cantaloupes and figs.

• How people take time to be with each other.

• Inexpensive great wine (drank way to much of it).

• The wealth of history everywhere I went.

• The sea – At the end of a long day and bike ride, it was wonderful to plunge into the sea and be lulled by the waves.

• People working at the registrar in supermarkets are allowed to sit in chairs.

• People working in post offices do not have to wear uniforms. I was helped by a very sexy grandma in heels, which was jarring. I’m not used to thinking of postal workers as being sexy.

• In several public restrooms the water faucets in sinks are turned on by stepping on a pedal on the floor.

• Prodanza was started by Pola Chapelle (a former Cabaret singer with a wonderful husky voice)and run like a mom and pop organization – informal, slightly disorganized, generous and never dull. Pola is married to Adolfas Mekas who with his brother Jonas Mekas helped develop avant-garde film in America. I was delighted to learn that Adolfas had been involved in the
Fluxus Movement and knew George Maciunas (considred the founder of Fluxus). I couldn’t absorb enough stories or the lemoncello that Adolfas was mass-producing in the Villa’s tiny kitchen.

* Enjoyed meeting, working and performing with Amy Chavasse. An amazing woman, colleague and creative spirit. Also enjoyed working with the participants at Prodanza. A very focused and dedicated group.

What frustrated me:

• It is very hard to get a firm commitment about when, where or how an event will happen. I never received a contract for the two teaching jobs I did. It was all based on emails and phone calls, so I had to be patient, go with the flow and trust that everything will work out. Which it did, but not without some last minute turbulence and adjustments.

• The dance studio floor was HARD. No jumping.

• Not being able to speak Italian and fully communicate. Used a lot of hand gestures and bastardized Spanitalian.

• The HEAT. Totally understand why people take siestas!

• Being apart from Darryl for 4 ½ weeks was difficult. Helped that we skyped and video chatted practically every day, although sometimes I felt like I was in Midnight Express. Specifically the scene where the woman visits her boyfriend in prison and they are talking through glass and she lifts up her shirt and pushes her breasts against the glass while he tries to touch them… Was good to finally reconnect in Brooklyn. : )


Thursday, May 27, 2010

These Are The Times That Try Men's Soul









Dear Friends & Family,

I would like to invite you to the first informal workshop showing of “To Begin The World Over Again,” featuring original music by Joseph C. Phillips and his 15 member ensemble NUMINOUS, and dancing by DELIRIOUS DANCES.

WHEN: June 3 & 4, 2010 at 8pm

ADMISSION: Free

WHERE: Tribeca Performing Arts Center – Theater 2

Borough of Manhattan Community College
199 Chambers St. NYC 10007 / by The West Side Highway
Walk up the ramp and enter through the glass doors.
Theater 2 is on the right.

Joe and I are showing one section – “These are the times that try men’s souls” - followed by a Q & A. We would love to see you there, as your input is valuable in shaping the evolution of the work.

"To Begin The World Over Again" explores the writings of Thomas Paine and his spirited advocacy for freedom and democracy. Fusing the vision of composer Joseph C. Phillips Jr. and his ensemble Numinous, and choreographer Edisa Weeks and her company Delirious Dances, To Begin The World Over Again asks what is the relevance of Paine’s words to America today? What is the promise of America that Paine so fervently believed in and wrote about, and is America living up to that promise? "To Begin The World Over Again" will premiere in June 2011 at Irondale in Fort Greene, Brooklyn, and is commissioned by the American Music Center Live Music for Dance Program.

DANCERS
Cristal Albornoz, Paul Hamilton, Maxx Passion

MUSICIANS
Ben Kono, Dan Willis (woodwinds); Stephanie Richards (trumpet); Amanda Monaco (guitar); Mike Baggetta (guitar); Megan Levin (harp); Deanna Witkowski (keyboard); Aaron Kotler (keyboard); Charenee Wade, Sara Serpa, Melissa Stylianou (voices); Jared Soldiviero (percussion); Ana Milosavljevic (violin); Will Martina (cello); Shawn Conley (bass)

I look forward to sharing the work with you!

Big Hug,

Edisa










Numinous, an unique ensemble consisting of some of New York City's finest wind, brass, string, and percussion musicians, seeks to generate emotions in the listener that resonate with mystery, wonder, and beauty. Deftly and organically transmuting inspiration from contemporary classical, jazz, world, and popular music as well as literature, science, and cinema, composer and conductor Joseph C. Phillips’s “sonic poetry” is a distinctive and individual voice that draws listeners into its own musical universe in order to challenge, enlighten, and refresh. www.numinousmusic.com