TAKE ROOT, now in its 13th season, nurtures dance artists at established stages in their careers, pairing them in a split bill or full evening-length program. This monthly series supports dance makers’ experimentation and growth with support to present their work to the public. Take Root will present 20 aesthetically diverse artists among seven performances from July 2021 – June 2022.
About the Work
Alison Cook Beatty Dance’s MAHAWAY: SPRING ETERNAL is a two-act ballet that tells the story of a Mother Skunk named Akhushtal, her baby girl Mahaway, and a protective jaguar named Ix Chel. MAHAWAY: SPRING ETERNAL is a commemorative dance & musical celebration of the 100th anniversary of the Paris premiere of Igor Stravinsky’s and Vaslav Nijinsky’s “The Rite of Spring”. Cook-Beatty’s ballet premiered at The Schermerhorn Theater in Brooklyn, NY, on the century anniversary date May 29, 2013, in collaboration with composer Dorian Wallace, the co-artistic director of Tenth Intervention. In this virtual performance, 2019, Tenth Intervention performs live with 25 dancers from Alison Cook Beatty Dance and Infinity Dance Theater, a non-traditional dance company committed to expanding the boundaries of dance by featuring dancers with and without disabilities, under the direction of Artistic Director Kitty Lunn.
Anabella Lenzu’s The night that you stopped acting/ La noche que dejaste de actuar, confronts the absurdity and irony of life, while being an artist and a spectator in today’s world. The work reflects Anabella Lenzu’s experience as a Latina/European artist living in New York and comes from a deep examination of her motivations as a woman, mother, and immigrant.
Available July 16 – December 31, 2021. Tickets on sale now!
TAKE ROOT, now in its 13th season, nurtures dance artists at established stages in their careers, pairing them in a split bill or full evening-length program. This monthly series supports dance makers’ experimentation and growth with support to present their work to the public. Take Root will present 20 aesthetically diverse artists among seven performances July 2021 – June 2022.
About the Work
Hee Ra Yoo will present Almost There for Take Root. The Korean phrase “거의 다왔는데” means reaching for something that is just a little too far, but possible to obtain, roughly translated to English as “almost there.” Yoo and Dancers’ new work is about our collective dream to reach our desires in a modern, chaotic world. The dancers represent a crowd becoming a stampede, a warning of one possible outcome of our current path. ‘Almost There’ was developed during Yoo and Dancers’ three-month residency at Dixon Place.
N/N Dance Collaborative presents a selection of dance works crafted in situ, where movement and location are fully integrated. Nancy Brier’s Breezeblocks (2019), Mother Nature (2021) and Now Was Zen (2021) are works that submerge us in otherworldly environments and take us out into raw nature – searching for humanity’s delicate balance between social and environmental, between dysfunction and transformational change. Nicole Speletic’s DNA (2019) and Dis-Ease (2020-21) peer into internal spaces, the ones deep within ourselves and the ones that we intimately inhabit – places which quietly bear witness to the lived moments we nightly withstand or daily pass through. (created in Ljubljana, Slovenia)
Available through December 31, 2021.
“Put your hands where my eyes can see” is a group exhibition about imaging.
On view October 8 – October 22nd
Location: The Chocolate Factory Theater, 38-33 24th St, Queens, NY 11101
Chocolate Factory COVID-19 safety policies
Participating Artists: Tyler Davis || Jen Everett || Kearra Amaya Gopee || Terrance James Jr. || Komikka Patton || Sasha Phyars-Burgess || Brianna Robinson || Ricky Weaver
Curated by Cameron A. Granger in collaboration with Makeba Rainey & Haiba Hamilton as part of the Rhizome Project.
About the Exhibition
Let’s think about the shared history of Black Folks in the same way poet Hanif Abdurraqib describes the Soul Train Line: A narrow, writhing, seemingly endless tunnel of Black Folks smiling and clapping. Where, in the center, partners are brought together – sometimes by intention, many times by fate. And together, using what knowledge they have of themselves and their bodies, they must make their way out – to the other side – urged on by the blooming claps around them.
These shared stories become less visible as we move through the present and into the future. Our histories are often confined to the margins (a tunnel of its own) and redacted to a distorted past tense. In their place, a violent vernacular has been built, creating an imaging that finds Black Folks – to quote sociologist and scholar Ruha Benjamin: “trapped between regimes of invisibility and hypervisibility”
The work on view considers both the capacity that images have to influence our collective memory & imagination, and how, through maintaining control of images in the mainstream, the powerful have effectively privatized that imagination; distorting entire histories, presents, and suppressing our possible futures in the process. The work included moves to, like Ms. Toni Morrison said, “carve away at the accretions of deceit, ignorance, and sheer malevolence” embedded in the images & language of the powerful, of The Empire, so that new ways of imaging, and thus new futures are “not only available, but inevitable”
The exhibition will be archived in a zine created by Danielle and Kevin McCoy of Work/Play, to be released at the exhibition’s closing reception on October 22nd.
TAKE ROOT IS A MONTHLY CURATED SERIES THAT SUPPORTS DANCE MAKERS BY PROVIDING AN OPPORTUNITY TO PRESENT A PAIRED EVENING OF WORK. PARTICIPATING ARTISTS BUILD THEIR BODY OF WORK; NETWORK WITH FELLOW CHOREOGRAPHERS, DANCERS, AND COLLABORATORS; AND FIND NEW AUDIENCES.
Who Knows the Show presents a journey from East to West and beyond! From rural Japan to New York City, everyday life and extraordinary events are told through dance, theater, comedy and music. Directed and choreographed by Aya Jane Saotome in collaboration with the dancers and musicians.
A collaged duet performance work, O Fallen Angel utilizes the body and performance as a vessel – a container for meaning-making. Confronting our collective and personal assumptions, perceptions, desires and relationship to the moving body on stage; this work is expressed through a patchwork of images, rigorous repetition, stillness, and deep formalism. O Fallen Angel is a vase for the audience to fill and a vase for the performer to hold. It is a work about ghosts and Enya, Florida, deserted places, mundane tasks, Haint Blue, relationship, desire, shame, rigor, repetition and what we hide under the surface – just right under the surface.
Rooted in zapateado jarocho, the traditional dance from Veracruz, Mexico, Julia del Palacio premieres “Golpe de Mar” (Struck by the Sea). A reflection on son jarocho dancers’ intentional movement, agency, and individual style, “Golpe de Mar” unpacks this 300-year-old style and proposes new ways of approaching it, enhancing the role of the dancer within the musical ensemble and celebrating dancers’ contributions to the preservation and growth of the genre.
This concert is made possible (in part) by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
The Arts Grants for Queens program at Flushing Town Hall will administer over $100,000 in re-grants for artists and arts organizations based in Queens! Queens-based artists and community groups can apply through two grant programs: the Community Arts Grant for organizations, and the Artists in Queens Grant for individual artists of all disciplines.
Learn more about the program during a virtual info session throughout the fall. Please note: To be eligible for a grant, attendance at an info session is required. For a schedule of info sessions and to RSVP, visit: https://flushingtownhall.org/arts-grants-info-sessions
To view guidelines and access the application, visit: https://www.flushingtownhall.org/arts-grants-for-queens
This program is supported by the New York State Council on the Arts, Statewide Community Regrants Program (formerly the Decentralization program) with the support of Governor Kathy Hochul and the New York State Legislature.