Don't Dare Underestimate Camille A. Brown
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
It is a testament to her strength: In a situation that could have been fatal, she literally never missed a beat. She is the unsinkable Camille A. Brown.
Like the old graffitied subway cars that rumbled through her hometown of Queens in the 1980s, Brown's work is tagged with cultural identifiers. Her strong technical modern dance foundation merges with African, topped with the social and theatrical dance that were staples in her home. (Her father teaches salsa; her mother loves musicals.) Hip hop, tap and step round out her distinctive choreographic portmanteau.
Growing up, Brown wanted to choreograph since before she even knew the word for it. "I always put things together, made up dances to cartoons," she says. She began training in neighborhood schools (Queens' Bernice Johnson Cultural Arts Center and DeVore Dance Center), then became a scholarship student at The Ailey School while also going to the famed LaGuardia High School of Music & Art and Performing Arts.
She was a standout: Her senior year she won a YoungArts' Presidential Scholar in the Arts award, the Young Artist Award and the Helen Tamiris Award, all for performance. But it was in composition classes at the University of North Carolina School of the Arts that she learned the language for the dancemaking she had been doing.
Hailey Kilgore in Once on This Island. Photo by Joan Marcus, courtesy Boneau/Bryan-Brown
Almost as soon as she came on the scene, she started turning out work that was recognized at the highest levels—four Princess Grace Awards, a Bessie Award, a Doris Duke Award, a TED Fellowship, residencies at places like Jacob's Pillow.
In the early years, her It-girl status generated a great deal of jealous "hateration." From the outside it looked like grants and commissions were being handed to her. Few knew the depth to which Brown descends into personal, artistic and cultural wellsprings to mine her choreographic gems.
Maybe she is underestimated because of her diminu-tive stature and distinctive, high-pitched voice. But she is a woman who knows her mind. There is nothing happenstance in her career or her creations. Audience members often assume the work is improvised, due to its spontaneous feel; she takes umbrage at that thought—every moment is carefully crafted.
"People have no idea how hard she works. She has always been willing to try, and unafraid to fail," says longtime dancer Juel D. Lane. Urban Bush Women artistic director Jawole Willa Jo Zollar, who commissioned her work early on, agrees: "She has a voice, a point of view. It's distinctive. You can see her dance history, all the techniques, in her vernacular, and it's compelling and original."
As a black person, watching her work feels highly personal, like you're sharing a secret, or reading a love letter. She escorts the beauty of our dance culture into a space where it has often been excluded—that of high art. In the vein of a Dunham or Ailey, she cuts us slices of life.
Brown and her company members in Mr. TOL E. RAncE. Photo by Christopher Duggan, courtesy Brown.
Mr. TOL E. RAncE takes us behind the mask of minstrelsy to reveal the weight of double consciousness. In BLACK GIRL: Linguistic Play she makes us recognize black girls as children, exposing their humanity and the genius in their play. Her newest work, ink—the last in the trilogy—reclaims ritualistic African-American gestural vocabulary, and highlights positive male relationships and black love.
Along the lines of television producer Shonda Rhimes and film director Ava DuVernay, Brown is a part of a cultural movement of black female artists who are redefining how African-American stories are told: with humanity, sensitivity, depth and intellectual sophistication.
Each of her evening-length works comes out of a one- to two-year process that includes extensive research and the composition of an original score. To foster a deeper under-standing of black history and culture, Brown offers reference guides in the programs and post-performance dialogues. Seeing, hearing and interacting with the artists make her dancers not just objets d'art; they have voices that she encourages them to share.
Yet the audience is not afforded an emotional release. For instance, in Mr. TOL E. RAncE, her use of disturbing images of minstrelsy set to the awards show "Who You Be, N****...That's Me!" makes viewers shift in their seats. In naming a show BLACK GIRL she was highly aware that she might well be shooting the production in the foot.
"I mean, it was a risk," she says. "People might not have wanted to book it, or see it because of a preconceived notion about what a production called 'Black Girl' was going to look like."
Beatrice Capote and Fana Fraser in Black Girl. Photo by Christopher Duggan, courtesy Brown
In recent years, Brown has been steadily laying track for a dual career in theater. Her first major theater commission came in 2011 when director Daniel Aukin tapped her to interpret the music of the '70s for The Fortress of Solitude. "I didn't know what I was looking for, but after I'd seen a bunch of Camille's choreography, I knew I'd found it," he says. "Her work is fierce, deeply personal, socially engaged and witty."
Brown quickly learned that musical theater is a different animal than concert dance. "In theater you have to be able to give the director options on the spot," she says. "It's not about your first idea, it's about your eighth. Concepts are constantly changing and you have to ride with the tide."
She also has to factor in more than the dancing. "Early on I helped her navigate jurisdiction of the director/choreographer roles in theater," says Broadway veteran Rickey Tripp, who's worked as her associate choreographer. "I'll also remind her, 'Okay, remember they have to sing after doing this.' " Theatrical lessons like always serving the story have only deepened her concert work.
Today, in addition to directing and performing in her own company, plus choreographing for Broadway, she also has developed two programs of civic engagement: The Gathering, a convening of women of color in dance; and Black Girl Spectrum, an initiative that works to establish "safe spaces for black girls to live as creative citizens."
Brown is very aware of what she represents to younger black women. "Most of the time we don't see ourselves in the front of the room, in power. I want to normalize that," she says. "I feel that when you get that door open, it is your responsibility to keep it open for others."
Brown in ink. Photo by Christopher Duggan, courtesy Brown
Her team—CABD's managing director Indira Goodwine, manager Lakey Wolff, concert agent Pamela Green and theater agent Michael Moore—works like air traffic control around her, performing a constant dance of scheduling. "There is no way I could do any of this without them," Brown says.
As she's hit her stride, she has decided to pull back on commissions. "Look, I don't have a million ideas for pieces, but I do have a million ideas that can fit into one work!" she confesses. Right now, the place she wants to put most of those ideas is into her own company and theater work.
She speaks frankly about being black and female in the world, the struggle to be seen and acknowledged, embodying the old adage about having to be twice as good to get half as much. However, she represents the by-product of that imbalanced reality in her endurance, ingenuity and creativity.
A thought that anchors her latest CABD work, ink, is a quote from the transmedia art project Question Bridge: Black Males in America: "I see black people as superheroes because we keep rising." This encapsulates Camille A. Brown: She keeps rising, unsinkable.
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
I want to make an apology because, in my opening speech at the Dance Magazine Awards on Monday, I inadvertently left out one awardee. I said, "Tonight we are honoring four outstanding dance artists who have contributed to the dance field over time." But then I named only three. How could I have forgotten Lourdes Lopez?!?!
We had all been hearing about Lourdes's taking the helm at Miami City Ballet with grace, intelligence, compassion and new ideas. I was planning to say, "Lourdes Lopez, who has brought new life to Miami City Ballet" because I thought that would cover a lot of ground. (My only quibble with myself was whether to say "brought new life" or "gave new life.")
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
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On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
Gennadi Nedvigin is not the only early tenure director breaking out a new production of The Nutcracker this season.
We love The Nutcracker as much as the next person, but that perennial holiday classic isn't the only thing making its way onstage this month. Here are five alternatives that piqued our editors' curiosity.
The Nutcracker is synonymous with American ballet. So when Gennadi Nedvigin took the helm at Atlanta Ballet in 2016, a new version of the holiday classic was one of his top priorities. This month, evidence of two years' worth of changes will appear when the company unwraps its latest version at Atlanta's Fox Theatre Dec. 8–24. Choreographed by Yuri Possokhov and produced on a larger-than-ever scale for Atlanta, the new ballet represents Nedvigin's big ambitions.
Ballet Hispánico returns to the famed Apollo Theater in Harlem with its full-length ballet, CARMEN.maquia. Spanish choreographer Gustavo Ramirez Sansano has reenvisioned the story of Carmen to emphasize Don José, the man who falls in love with Carmen, suffers because of her infidelity, then murders her in a "fit of passion." Their duets are filled with all the sensuality, jealousy and violence you could wish for—in a totally contemporary dance language.
Sansano's previous piece for Ballet Hispánico, El Beso, bloomed with a thousand playful and witty ways of expressing desire. He has a knack for splicing humor into romance.
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks:
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
What does it mean to be human? Well, many things. But if you were at the Dance Magazine Awards last night, you could argue that to be human is to dance. Speeches about the powerful humanity of our art form were backed up with performances by incredible dancers hailing from everywhere from Hubbard Street Dance Chicago to Miami City Ballet.
Misty Copeland started off the celebration. A self-professed "Dance Magazine connoisseur from the age of 13," she not only spoke about how excited she was to be in a room full of dancers, but also—having just come from Dance Theatre of Harlem's memorial for Arthur Mitchell—what she saw as their duty: "We all in this room hold a responsibility to use this art for good," she said. "Dance unifies, so let's get to work."
That sentiment was repeated throughout the night.
Choreographer Val Caniparoli started his ballet career by performing in Lew Christensen's The Nutcracker with San Francisco Ballet in 1971. Today, he still performs with SFB as Drosselmeir, in the company's current version by Helgi Tomasson.
It takes Caniparoli a lot of concentration to stick to the choreography.
"I have the four versions that I choreographed of the role in my head, plus the original I danced for years by Lew," he says. "That's a lot of versions to keep straight."
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
When I read last month that Jessica Lang Dance had announced its farewell, I'm sure I wasn't the only dancer surprised. In the same way that many of us, when reading an obituary, instinctively look for the cause of death, I searched for a reason for the company's unexpected folding. It was buried in the fifth paragraph of The New York Times article:
Her manager, Margaret Selby, said in an interview that Jessica Lang Dance's closing showed how difficult it is to keep a small dance company running these days. "You have to raise so much money, the smaller companies don't have enough staff, and Jessica was running the company for the last seven years without a day off," she said. "She wants to focus on creative work."
Whereas the announcement itself may have come as a shock, the root cause certainly doesn't. All of us in the field are familiar with the conditions to which Selby refers. But that these problems can topple the success of a company like Lang's, which boasts seven years of national and international touring that include commissions from Jacob's Pillow and The Joyce, among others, is sobering.