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The Music Center Celebrates Ailey’s 60th Anniversary

PRECINCT REPORTER GROUP NEWS — Each of the four programs will feature Alvin Ailey’s American masterpiece Revelations. Since its creation in 1960, Revelations has been seen by more audiences around the world than any other modern work, inspiring generations through its powerful storytelling and soul-stirring spirituals.

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By The Precinct Reporter News

The Music Center welcomes one of America’s most popular dance companies, Alvin Ailey American Dance Theater, back to Los Angeles with the dance company’s 60th anniversary celebration tour at The Music Center’s Dorothy Chandler Pavilion through April 7. Led by Artistic Director Robert Battle, Ailey’s remarkable dancers – including Danica Paulos of Huntington Beach and Rehearsal Director and Guest Artist Matthew Rushing of Los Angeles, who has been with the Company for more than 25 years – will perform four different programs of diverse repertory featuring West Coast premieres, new productions and returning classics. Part of the 2018/2019 season of Glorya Kaufman Presents Dance at The Music Center, which is curated by The Music Center’s artistic division The Music Center Arts (TMC Arts), the engagement includes four special programs: Trailblazers, featuring the West Coast premiere of Lazarus by Rennie Harris – the company’s first two-act ballet; Bold Visions, featuring West Coast premiere of Wayne McGregor’s Kairos and the Los Angeles premiere of The Call by Ronald K. Brown, alongside Jawole Willa Jo Zollar’s Shelter; a Timeless Ailey program with rarely seen gems by one of America’s greatest cultural leaders; and a Musical Inspirations program featuring the Los Angeles premiere of Ailey star Jamar Roberts’ Members Don’t Get Weary, a new production of Robert Battle’s Juba, and his tour-de-force duet Ella.

Each of the four programs will feature Alvin Ailey’s American masterpiece Revelations. Since its creation in 1960, Revelations has been seen by more audiences around the world than any other modern work, inspiring generations through its powerful storytelling and soul-stirring spirituals. Springing from Ailey’s childhood memories of growing up in the South and attending services at Mount Olive Baptist Church in Texas, Revelations pays homage to the rich African-American cultural heritage and explores the emotional spectrum of the human condition.

“Alvin Ailey forever changed the American landscape by raising up the lives and cultural heritage of African Americans for all to see, opening the hearts and minds of people of every background and elevating the world of the performing arts,” said Robert Battle. “During this milestone season, we are thrilled to return to Los Angeles, the city that was home to Mr. Ailey for many years, and where he fell in love with dance and launched his career. We honor Alvin Ailey’s storied legacy with performances across North America, educational programs that enlighten young people and develop the next generation of performing artists. What Mr. Ailey gave us is more than a repertory and a tradition. It is a movement, a direction, a desire, a conviction that if the spirit is to live it must rise. We dedicate our 60th anniversary to the next ascent.”

Audiences will experience Ailey’s first ever two-act work with the West Coast premiere of Rennie Harris’ Lazarus. Inspired by the life and legacy of Alvin Ailey, and addressing the racial inequities America faced in 1958 when the company was founded and which continue to challenge today, Lazarus is an ensemble work featuring a soundtrack that melds Nina Simone, Terrence Trent D’Arby, Michael Kiwanuka, Odetta, original music by Darrin Ross, and the voice of Alvin Ailey. The New York Times said, “… Mr. Harris gives us something like heaven,” and “… the style has a spiritual force that’s uplifting, and the pleasure of it is mixed with a revelation of the past in the present, of black history in the body language.”

Wayne McGregor’s Kairos, the second piece the choreographer set on the company following

Chroma in 2013, is performed to a reimagined Vivaldi’s The Four Seasons by experimental composer Max Richter in the Bold Visions program. The Dance Enthusiast described the company’s performance of Kairos as “the dancers of Alvin Ailey American Dance Theater stay true to Wayne McGregor’s intellectual brilliance without sacrificing the trademark spirituality of Ailey.” The Music Center opened its current season of Glorya Kaufman Presents Dance at The Music Center with Company Wayne McGregor/Autobiography and will again present McGregor’s work during its upcoming presentation of Adès & McGregor: A Dance Collaboration this coming July. Richter was at the helm of another Music Center presentation, The Music Center Presents Max Richter’s SLEEP, this past summer in Grand Park.

Ronald K. Brown’s seventh work for Ailey, The Call, will make its Los Angeles premiere at The Music Center and is included in the Bold Visions program. Brown, a 2018 Dance Magazine Award recipient, describes the work, which seamlessly blends modern and West African dance idioms, as “a love letter to Mr.

Ailey.” The music includes Johann Sebastian Bach (recorded by Chris Thile, Edgar Meyere & Yo-Yo Ma), Mary Lou Williams Trio, and Asase Yaa. Jawole Willa Jo Zollar’s Shelter, a passionate statement about the physical, is also featured on the Bold Visions program.

Honoring Ailey’s 60th anniversary, the company will showcase Timeless Ailey, a program that brings treasures by the company’s iconic founder back to the stage. Excerpts from rarely seen gems, including Blues Suite, Streams, Mary Lou’s Mass, The Lark Ascending, Hidden Rites, Phases, Opus McShann, Pas de Duke, and For “Bird” – With Love, will be joined by perennial favorites such as Memoria, Night Creature, and Cry.

The Musical Inspirations program includes Robert Battle’s first work for the company, Juba (2003), a quartet with a score by frequent collaborator John Mackey; Ailey dancer and 2016 “Bessie” Award recipient Jamar Roberts’ first work for Alvin Ailey American Dance Theater, Members Don’t Get Weary, set to the powerful music of the legendary American jazz saxophonist and composer John Coltrane; and Ella, a highenergy comical dance originally created as a solo and reinvented as a duet in anticipation of the legendary singer Ella Fitzgerald’s centennial in April 2017.  

One hour prior to each performance, The Music Center will host DANCETALKS featuring interviews with Ailey company members.  Ticketed guests can join this fascinating behind-the-scenes pre-performance discussion and also have the opportunity to learn a segment from the famed Ailey masterpiece Revelations.

This article originally appeared in the Precinct Reporter Group News

Art

Jean-Michel Basquiat, A Troubled Soul

Basquiat often said that he “felt friendless and misunderstood.” After his parents separated, Gerard moved with his children to Brooklyn’s Boerum Hill neighborhood. When he was 7, Basquiat’s mother was diagnosed as mentally ill and was eventually institutionalized. This part of his life troubled him greatly.

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Untitled, 1981 by Jean-Michel Basquiat. Wikipedia photo.
Untitled, 1981 by Jean-Michel Basquiat. Wikipedia photo.

By Tamara Shiloh

It was the early summer of 1980. More than 100 artists converged on an abandoned four-story building at Seventh Avenue and 41st Street in New York City that had once served as a massage parlor. Among those in the group was Jean-Michel Basquiat (1960–1988). His work on exhibit was believed to have been his first painting on canvas.

Although the exhibition, dubbed “The Times Square Show,” drew critical attention, it boosted 18-year-old Basquiat’s career as a painter. His contribution, a mural painted on a patch of wall, was described by Art in America as “a knockout combination of de Kooning and subway paint scribbles.”

The path to that shuttered massage parlor and his rise to success during the 1980s as part of the Neo-expressionism movement were not without difficulty.

Basquiat was born into a middle-class family in Brooklyn. His father, Gerard, a Haitian immigrant, was an accountant. His mother, Mathilde, was a homemaker. Despite her frequent hospital stays for depression, Mathilde spent countless hours in the Museum of Modern Art and the Brooklyn Museum with Jean-Michel, encouraging his interest in painting.

Gerard, physically abusive, wasn’t involved in his son’s career. Biographies and films have chronicled the strained relationship between the two, according to DNA Info.

Basquiat often said that he “felt friendless and misunderstood.” After his parents separated, Gerard moved with his children to Brooklyn’s Boerum Hill neighborhood. When he was 7, Basquiat’s mother was diagnosed as mentally ill and was eventually institutionalized. This part of his life troubled him greatly.

By age 17, Basquiat dropped out of high school. Gerard then threw him out of the house. He stayed with friends, slept in Washington Square Park, and lived-in run-down hotels.

It was then that he partnered with other graffiti artists and created the persona, SAMO, meaning “same old sh––.” For money, he panhandled and sold sweatshirts and postcards marked with his drawings. He got by on “cheap red wine and 15¢ bags of Cheetos.”

With no formal training, Basquiat created work that mixed graffiti and signs with the gestural and intuitive approach of Abstract Expressionist painting.

He expressed his personal angst in highly stylized self-portraits. In the early ’80s, race entered his work for the first time as a reflection of a “growing consciousness of his own position within the New York art world.”

His painting, “The Death of Michael Stewart” commemorates the killing of the young Black artist by New York City Transit Police. “Black people are never really portrayed realistically…. I mean, not even portrayed in modern art enough,” Basquiat had said.

Basquiat died of a drug overdose in 1988. Toward the end of his life, his works were selling around $25,000 to the Whitney Museum and the Museum of Modern Art.

Earlier though, both museums had rejected his work.

Be inspired by Basquiat’s paintings, read “Life Doesn’t Frighten Me” by Maya Angelou, Jean-Michel Basquiat and Sarah Jane Boyers.

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Art

Marin Fair Competitive Exhibits Open for Entry

“We are thrilled to provide an array of online competitions for our community during our outdoor only 2022 Fair,” said Director of Cultural Services Gabriella Calicchio. “The Competitive Exhibits program is the heart and soul of the Fair and we’re excited to bring our talented community together again to participate.”

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Marin County Fair “So Happy Together!” returns June 30-July 4

Courtesy of Marin County

2022 Marin County Fair Poster depicting a variety of farm animals with the Marin County Civic Center and Marin Fairgrounds property in the background. San Rafael, California — With Marin County Fair’s June 30 opening day just around the corner, the Competitive Exhibits categories for the 2022 Fair are now available on the Fair’s website MarinFair.org.

The competitive exhibit program, which usually takes place indoors, will remain online for one more year and will include competitions such as fine art and photography, decorated cakes and cookies, wine and beer label design, clothing and textiles, cartoon art, exceptional art, poetry and creative writing, hobbies and crafts, and more. The Plein Air painting competition on the first day of the Fair will take place outdoors. The agriculture competitions will remain outdoors and will include poultry, rabbits, sheep dog trials, pocket pets, dog care and training, and small animal round robin showmanship, to name a few.

“We are thrilled to provide an array of online competitions for our community during our outdoor only 2022 Fair,” said Director of Cultural Services Gabriella Calicchio. “The Competitive Exhibits program is the heart and soul of the Fair and we’re excited to bring our talented community together again to participate.”

The full list of categories and entry guidelines is available online at MarinFair.org. Submissions will be accepted from May 6 to May 31 and winners will be announced online during Fair time.

The 2022 fair will also focus on outdoor entertainment including the headline concerts, performers roaming the grounds such as jugglers, unicyclists, and stilt walkers, and interactive art experiences for fans of all ages. Returning fair favorites will include traditional carnival rides, the Global Marketplace, the Barnyard, food and drinks, and fireworks every night over the Civic Center’s Lagoon Park.

Early bird tickets sold out within one day of release. Discounted Fair tickets are still available for adults and teens through June 29. The Fair is a one-price gate featuring 28 carnival rides, exciting exhibits, spectacular firework displays, first-rate concerts and exciting attractions are FREE with gate admission. Tickets are available online only at MarinFair.org.

Headline concerts will soon be announced, and reserved gold circle tickets will go on sale May 16. Reserved concert seating in a special section is $60 per person and includes Fair admission.

Special Admission Days:
Kids Day at the Fair – Thursday, June 30
Children 12 and under are FREE on Thursday, June 30.
Senior Day at the Fair – Thursday, June 30
Seniors 65+ are admitted FREE

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Activism

Installation Invoking Black Struggle for Justice in Opens May 14 at Oakland City Hall

Society’s Cage is an open air, accessible pavilion featuring 500 hanging steel bars that form a cavernous cube with a habitable void allowing visitors to experience the symbolic weight of institutional racism. This immersive experience offers the opportunity to consider the severity of racial biases within our institutional structures of justice and allows for moments of reflection and healing. 

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Support Oakland Artists Executive Director Randolph Belle atop the installation called ‘Society’s Cage’ as it was being assembled. Photo courtesy of Facebook.
View of ‘Society’s Cage,’ an immersive exhibit at Oakland City Hall. Photo courtesy of the organizers.

By Randolph Belle

A traveling exhibit that invokes the history of repression of Blacks in the United States arrived in Oakland for installation this week at Frank Ogawa Plaza.

Support Oakland Artists, an Oakland based 501(C)3, partnered with Society’s Cage to bring the acclaimed social justice art installation as a feature in front of Oakland City Hall from May 9-30, 2022.

Society’s Cage is an open air, accessible pavilion featuring 500 hanging steel bars that form a cavernous cube with a habitable void allowing visitors to experience the symbolic weight of institutional racism.

This immersive experience offers the opportunity to consider the severity of racial biases within our institutional structures of justice and allows for moments of reflection and healing.

The designers, Dayton Schroeter, Julian Arrington, Monteil Crawley and Ivan O’Garro, created the installation to contextualize the contemporary phenomenon of police killings of Black Americans within the 400+ year continuum of racialized state violence in the United States.

It is a data-driven installation shaped in response to the question “What is the value of Black life in America?”

The Oakland installation will be the first on the West Coast as it travels nationally to sites of symbolic power related to justice, freedom & democracy. Originating in Washington, D.C. on the National Mall in response to the 2020 murders of George Floyd and Breonna Taylor, Society’s Cage has continued its journey as an interpretive lens highlighting the historic forces of racialized state violence in the United States.

Other sites have included War Memorial Plaza in Baltimore, Maryland, and the site of the Vernon AME Chapel in Tulsa, Oklahoma, for the 100th anniversary of the Tulsa Race massacre and destruction of the Greenwood District, known as Black Wall Street.

Oakland is an ideal host site for the installation as the home of the Black Panther Party, which was founded to combat the legacy of police oppression, inequitable incarceration practices, and remnants of slavery in the form of state-sponsored terrorism against Black people.

In 2009, the killing of Oscar Grant, a 22-year-old, unarmed Black transit rider by the BART police in Oakland set off local and regional organized protests that catalyzed a national movement.

Support Oakland Artists Executive Director Randolph Belle atop the installation called ‘Society’s Cage’ as it was being assembled. Photo courtesy of Facebook.

Support Oakland Artists Executive Director Randolph Belle atop the installation called ‘Society’s Cage’ as it was being assembled. Photo courtesy of Facebook.

“We were inspired to create the installation as a response to the murders of George Floyd and Breonna Taylor,” explains Dayton Schroeter, lead designer of Society’s Cage and design director at SmithGroup, which has offices in San Francisco. “The pavilion is a real and raw reflection of the conversations about racism happening now. It’s a physical manifestation of the institutional structures that have undermined the progress of Black Americans over the history of this country.

“The name Society’s Cage refers to the societal constraints that limit the prosperity of the Black community,” says Julian Arrington, who led the design with Schroeter, and is an associate at SmithGroup. “The pavilion creates an experience to help visitors understand and acknowledge these impacts of racism and be moved to create change.”

 

 

 

“It only took an instant for me to commit to this project,” said Randolph Belle, executive director of Support Oakland Artists. “In my over 30 years in Oakland as an artist and community developer, I’ve strived to utilize the arts to engage the public in thoughtful ways around important and timely topics. This project, this site, and these times are an unprecedented example of that.”

Visitors are encouraged to participate in a shared experience upon entering the pavilion. After holding their breath for as long as they can, evoking the common plea among victims of police killings, “I can’t breathe,” visitors then post a video reflection of their experience on social media using the hashtag #SocietysCage. This exercise is meant not only to build empathy but expand the installation’s impact online to allow anyone to participate in this shared exercise.

The pavilion was fabricated by Gronning Design + Manufacturing LLC in Washington, D.C., and Mejia Ironworks in Hyattsville, Maryland. A soundscape was commissioned from a pair of composers, Raney Antoine Jr. and Lovell “U-P” Cooper.

Comprised of four pieces, each eight minutes and 46 seconds in length in recognition of the time George Floyd suffered under the knee of police, they are themed to reflect each of the four institutional forces that sculpted the pavilion’s interior — mass incarceration, police terrorism, capital punishment and racist lynchings.

Early sponsors who have made the hosting of the Society’s Cage Oakland installation possible include the Akonadi Foundation, Tarbell Family Foundation, individual sponsors including principals from SmithGroup’s San Francisco office, corporate sponsorship including SmithGroup and many community partners including BIG Oakland.

Jeremy Crandall and Emax Exhibits were the Oakland Installation team.

A public unveiling is scheduled for Saturday, May 14, 2022, at 11 a.m., and a programmed event featuring local cultural artists is scheduled for Sunday, May 29, 2022, at 7 p.m. Participating individuals and organizations include original members of the Black Panther Party, the Black Cultural Zone, HipHopTV, and a host of local artists.

For more information, visit www.societyscage.com to find a link to the donation site. Additional donations will assist with programming and documentation related to the Oakland activation.

Randolph Belle is the executive director of Support Oakland Artists and RBA Creative studio in Oakland.

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