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Wednesday, August 16, 2017

About the Other Weekend: Paul Thomas Anderson at BAM

BAMcinĂ©matek was honored to host director Paul Thomas Anderson for the beginning of the Jonathan Demme: Heart of Gold film series. He was joined by producer Edward Saxon, actor Paul Lazar, and Demme biographer Louis Black. We had four packed screenings of Something Wild, Melvin and Howard, Married to the Mob, and Citizen’s Band.

In in-depth Q&As, guest speakers shared personal and professional anecdotes about the late filmmaker, including some eclectic and hilarious behind-the-scenes knowledge. Some of the highlights involved the casting of Demme’s features.
 

Monday, August 7, 2017

Beautiful Game: An Interview with /peh-LO-tah/’s Marc Bamuthi Joseph

Soccer—as both an intricate, euphoric choreography and an exploited corporate cash cow—is the subject of /peh-LO-tah/, an electric meditation on the racial dimensions of the sport from multi-talented theater artist and performer Marc Bamuthi Joseph (red, black & GREEN: a blues, 2012 Next Wave). Using spoken-word poetry and fĂștbol-inspired footwork, Joseph and four performers dribble and pass their way from the pickup games of rural Haiti to the mega stadiums of Rio and Johannesburg, parsing the social justice of soccer to the sounds of hip-hop and samba. Against his own childhood memories of the game as a race-transcending source of happiness, Joseph posits a global reality in which black joy is all too often co-opted for financial gain, yet perseveres nonetheless. We sat down with Joseph to discuss the work in anticipation of its New York premiere this fall during the 2017 Next Wave Festival.

Photo: Bethanie Hines



Can you discuss the idea of soccer as a universal language?

Soccer isn’t just the world’s most popular sport, it is the activity to which we globally assign the most value as an emblem of cultural aesthetics. It isn’t just success on the pitch that communicates a nation’s character, it’s how the game is played, from Ghanaian grace to Brazilian flair to Spanish polyrhythm to German focus and consistency. That universality then is more pronounced against the stark contrast of political monocultures and repressive regimes. How do we register that universal joy in the shadow of South African apartheid? How do we reconcile with a country that meddles in the elections of other sovereign nations and also invites the planet to roam freely within its borders during the World Cup? In this case the sport reveals that joy is universal, as are the contradictions inherent among the men and women who passionately engage in it.

Friday, July 28, 2017

Jonathan Demme: Heart of Gold

Demme at work on The Manchurian Candidate. Photo: Paramount Pictures/Photofest


by Lindsay Brayton

Jonathan Demme: Heart of Gold is the most comprehensive retrospective to date of the late director’s work. The series showcases the depth of Demme’s cinematic genius with screenings of his classic films, such as the Talking Heads concert-documentary Stop Making Sense (screening Aug 18—24) and the Academy Award-winning The Silence of the Lambs (Aug 12), along with a number of Demme’s lesser-known documentaries.

When asked which of his films he felt was underappreciated, Demme responded Cousin Bobby (Aug 17), his 1992 documentary about his Harlem-based, politically passionate, Episcopalian minister cousin with ties to the Black Panthers. It’s a film about political awakening and crusading for civil rights—but with Demme’s trademark gentle touch.

Wednesday, July 26, 2017

A Portrait of Pina (in 35 Objects)

In 1984, Tanztheater Wuppertal made its New York debut at BAM, performing what would become the two most iconic works of Pina Bausch’s extraordinary repertoire—CafĂ© MĂŒller and The Rite of Spring. More than three decades later, the company returns with a landmark restaging of that historic double bill this fall as part of the 35th annual Next Wave Festival.

How fitting, then, that back in 2012 we asked illustrator Nathan Gelgud to illustrate a list of 35 objects that evoke her and her work—portraiture by association. Peruse the pictographs below, but be sure to let us know if we left anything out!


Friday, June 23, 2017

Edgar Wright Presents Heist Society

Reservoir Dogs.





By Edgar Wright

Newsflash, BAM: Crime does not pay! Don’t let this criminally entertaining series of heist films influence you to go a-robbing and a-looting when you leave the theater. Avoid the sticky ends and time in the slammer by simply living vicariously from the cinematic thrills of these robbing hoods. Getaway this summer with 22 solid gold heist movies curated by the team at BAMcinĂ©matek and myself:

Thursday, June 22, 2017

Eat, Drink & Be Literary: Jacqueline Woodson



On April 5, acclaimed author Jacqueline Woodson came to BAMcafĂ© for the third installment of this season’s Eat, Drink & Be Literary series. She read from both her novel Another Brooklyn and her New York Times bestselling memoir Brown Girl Dreaming, which also received the 2014 National Book Award, a Newbery Honor Award, and the NAACP Image Award. After the reading, she chatted with The New Yorker's Deborah Treisman. Listen to the full reading and conversation after the jump:

Tuesday, June 20, 2017

Reflecting on the Refugee Crisis

This past February, BAM and PEN America brought together writers from around the world to address the many refugee crises facing the world today. South African author Jonny Steinberg (whose book was adapted for Isango Ensemble’s A Man of Good Hope) joined Ethiopian-American novelist and writer Dinaw Mengestu for a conversation moderated by Iranian-American writer Roya Hakakian.

Mengustu spoke about his new acceptance of the term "immigrant writer:"


Wednesday, June 14, 2017

Portraits and Process: BAMcinemaFest 2017

The 9th annual BAMcinemaFest kicks off tonight with the New York premiere of Aaron Katz's Gemini in the BAM Harvey Theater at 7:30pm. Earlier this season, BAM had the pleasure of partnering with photographer Robin Holland to create a series of portraits depicting this year's filmmakers. During the shoot, we asked each director a series of short questions about process, inspiration and this year's festival. Their answers follow:

Photo © Robin Holland
Lauren Wolkstein & Christopher Radcliff

1. Describe your film in three words:
Lauren: Atmospheric road mystery.
Chris: Sad-boy-secrets.

2. What movie(s) made you want to become a filmmaker?
L: Blue Velvet is one of many for me.
C: I honestly don't remember.

3. What film(s) are you looking forward to seeing at this year's festival?
L: A Ghost Story.
C: Golden Exits. Also we both really want to see I Am Another You for a second time.

Friday, June 9, 2017

BAM 1968: Merce Cunningham’s First Major New York Season




This summer, in the Natman Room off of BAM's main lobby, a moment in BAM's history is celebrated—the first major New York run of Merce Cunningham Dance Company in May 1968. Stop by and check out the photos and artifacts that document the first run of many to follow by this renowned company.


In May 1968, as the Vietnam War raged on and the civil rights movement gained momentum, the cultural scene was undergoing a revolution of its own in Brooklyn. That month, choreographer Merce Cunningham and his company performed 12 dances in eight performances at BAM in his troupe’s first major New York season. It was part of the first full season of programming curated by Harvey Lichtenstein, the impresario who would go on to lead BAM for 32 years. That inaugural season emphasized dance and included runs by the companies of Alvin Ailey, Paul Taylor, and JosĂ© LimĂłn, as well as poetry and symphonic and jazz music programs. (The following year, BAM presented the Festival of Dance, comprising Martha Graham, Anna Sokolow, Erick Hawkins, Twyla Tharp, Meredith Monk, and Yvonne Rainer, as well as the above.)

Wednesday, June 7, 2017

BAM R&B Festival

The Suffers. Photo courtesy of the artists
On June 8, the BAM R&B Festival at MetroTech Commons in Downtown Brooklyn begins its 23rd season with a dynamic slate of live R&B, soul, and jazz. It includes familiar names—Ramsey Lewis, or the legendary Preservation Hall Jazz Band—plus new finds, chosen by longtime producer Danny Kapilian. Here’s a brief overview of the series lineup, which takes place on Thursdays from noon to 2pm, free of charge.

Jun 8—Ramsey Lewis was named a Jazz Master by the NEA. He has 80 albums, seven gold, and three Grammys. He became a fixture on the 1950s Chicago jazz scene, and worked with Earth, Wind & Fire, who appeared on his 1974 album Sun Goddess.

Jun 15—Raul MidĂłn sang backup for Shakira and worked with Stevie Wonder. This emotionally powerful singer is known for his improvisational mouth-horn technique, performing a “trumpet” solo with his mouth.

Jun 22—The Suffers of Houston, TX comprises 10 members. Its “Gulf Coast Soul” braids in threads of rock, Latin, country, and southern hip-hop. Its big horn section and vocals by Kam Franklin have earned accolades and TV appearances.

Jun 29—John Hammond, acoustic guitar legend, had Eric Clapton and Jimi Hendrix in his band—at once. This Blues Hall of Famer and Grammy winner has 33 albums to his name.

July 6—Sinkane, a four-piece led by Ahmed Gallab, offers Afrobeat cadences, funky guitar, and slinky grooves, celebrating life with a generosity of spirit.

Jul 13—Tank and The Bangas blend rhythmic soul and spoken word. This New Orleans outfit, with intriguing lyrics, funky synth, sax, and flute won the 2017 NPR Tiny Desk Contest.

Jul 20—Preservation Hall Jazz Band is the house band of New Orleans’ Preservation Hall. Now in its 50th year, the group combines a reverence for deep tradition with fresh explorations.

Jul 27—El Septeto Santiaguero of Cuba explores and updates traditional son music. Its seven players won the 2015 Latin Grammy (Best Traditional Tropical Album), honing their chops at the famed Casa de la Trova nightclub.

Aug 3—Cory Henry & The Funk Apostles are a six-piece led by Henry, who debuted at the Apollo. Henry has won two Grammys with Snarky Puppy and has a huge fanbase.

Aug 10—Liv Warfield, Judith Hill, and Shelby J: Love 4 One Another are proteges of Prince, and continue his incomparable legacy under his charity’s namesake.

Need more? Check out a playlist of this year's artists over on Spotify.



Forest City Ratner Companies is Presenting Sponsor of BAM R&B Festival at MetroTech.

Tuesday, June 6, 2017

A World of Emotions

A World of Emotions. Photo courtesy Onassis Cultural Center New York
By William Lynch

The humanities are the exploration of aspects of human culture—that which makes us human—often expressed in the arts, literature, and philosophy. BAM’s formal programmatic focus on the humanities goes back decades. Given its 156-year history and place in Brooklyn and American culture, BAM has roots in the pursuit of those genres going back to its founding. From its earliest days, the Academy offered lectures for local seamen’s and tradesmen’s associations, while well into the 20th century many great thinkers, explorers, and leaders held sway before a populace eager for civic engagement. Indeed, the Academy’s founders directly alluded to the concept and place of the academy in ancient Greece when selecting a name that would imply the notion of “ideas.”

Monday, June 5, 2017

Next Wave of Stagecraft

Joshua Leon, Michelle Aguda, and Victoria Inguanta.
Photo: Adriana Leshko
By David Hsieh & Adriana Leshko

One came from Washington State after deciding a career in social sciences was not for her. Another got a wake-up call when she entered the carpentry shop of MoMA PS1 to encounter machines she didn’t know how to operate. Yet another was told by a mentor that it might be a good way to channel his penchant for public speaking. What they now have in common is their participation in the inaugural BAM Apprentice in Stagecraft (BAS) program. Thanks to a grant from the New York City Theater Subdistrict Council, BAS allows BAM to train young people from under-represented communities as stagehands and production managers in four-month periods. As Victoria Inguanta, one of this highly selective and enthusiastic group of trailblazers, put it: “I get paid to get an education and then hands-on experience? Are you kidding me?” Here, she and fellow apprentices Michelle Aguda and Joshua Leon talk about their experiences at BAM after a month in the program.

What is your earliest and/or most powerful memory of the performing arts?

Michelle Aguda: My earliest memory of performing arts is when I chose to learn to play the trumpet at 11 years old. 

Joshua Leon: My first experience with theater was in the second grade. I played John Henry.

Victoria Inguanta: When I was a kid, I was lucky enough to see The Nutcracker at Lincoln Center several times. It definitely was a formative part of my childhood. When I grew older, my family would get tickets to Broadway shows for special occasions, so I was privileged enough to see a lot of theater growing up.

Friday, June 2, 2017

Jimmy D’Adamo Lights Up BAM

Jimmy D'Adamo in his natural habitat, stage left. Photo: David Hsieh
By David Hsieh

Jimmy D’Adamo, the head electrician at BAM, once ran the spotlight for his high school plays. “I was hooked,” he said. A short post-college stint at American Express confirmed that “I was not a suit-and-tie person.” So when one of his classmates from Brooklyn College (major: technical theater) asked him to make a change, he immediately went down to the union office (Local 4, International Alliance of Theatrical Stage Employees [I.A.T.S.E.], AFL-CIO), filled out a card, and started working at BAM in 1977. And now, after 40 years, he is saying goodbye.

In Context: Limits



Sweden’s Cirkus Cirkör offers an acrobatic exploration of an EU in flux, equal parts high-flying spectacle and trenchant critique. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #CirkusCirkör.

Thursday, June 1, 2017

2017 BAMcinemaFest

Marjorie Prime. Photo: FilmRise
By Maureen Masters

In just nine years, BAMcinemaFest has established itself as a leading American independent film festival. With an annual slate of around 30 New York premieres of features, documentaries, and shorts, plus special events like the 25th anniversary of Spike Lee’s Do the Right Thing in 2014, and 2015’s 20th anniversary cast reunion of Larry Clark’s Kids, the festival provides an invaluable platform for emerging artists and holds an important place in the Brooklyn film community, making it an ideal hometown premiere spot for New York and Brooklyn-based filmmakers. Plus, films don’t get lost in the shuffle at BAMcinemaFest with the tightly curated selection screening only at two venues on the BAM campus (the BAM Rose Cinemas and the Harvey Theater) during the 12-day festival, from June 14 to 25.

Wednesday, May 31, 2017

In Context: Tom ZĂ©



Music legend Tom ZĂ©, the avant garde conscience of Brazil’s 1960s TropicĂĄlia movement, exuberantly channels the spirit of Salvador and SĂŁo Paulo with an evening of samba and bossa nova reimagined as only he can. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #TomZĂ©.

Circus—an inclusive art form

Honorary Ringmaster Isabella Rossellini at the Big Apple Circus in 1978.
Courtesy BAM Hamm Archives.
by Chris Tyler

The circus is many things: an experience, a practice, a lifestyle, an education, a culture. But, above all else, it is an inclusive art form. “There’s no exclusion,” remarked Duncan Wall, co-founder and former national director of Circus Now, during a 2013 talk on contemporary circus. “Audiences of any class, race, or culture can enjoy the form and participate in it.” For denizens of a visual society, there’s something uniquely accessible about the circus and its focus on the physical body. People are not shut out from understanding the experience.

Yet, “because circus enters our lives so early in our lives as children...we become fixed in our thinking” about the form, as noted by Executive Producer Joseph V. Melillo in the Beyond Physical Theater podcast (embedded below). The term itself summons images of elephants, clown cars, and bombastic ringleaders alongside the requisite smells of popcorn and cotton candy. But the circus itself is not codified—it is a non-verbal bodily practice. It’s a vehicle for expression, a delicate marriage of risk and virtuosity. It’s theater, dance, music, sport, and visual art—and the sky is (quite literally) its limit. Circus is an inclusive art in this sense then, too, in that it readily incorporates multiple forms while simultaneously blurring genre boundaries.

Thursday, May 25, 2017

Reflecting on DanceAfrica

"DanceAfrica 2002: 25 Years of DanceAfrica: Africa, My Africa" during BAM Spring Series, 2002.
Photo: Richard Termine
As part of DanceAfrica 2017, BAM is partnering with StoryCorps to create a platform for you to share your experiences with the 40-year-old festival.

Please follow these simple instructions to share your story:

1. Download the free StoryCorps mobile app, available on iPhone, Android, and Kindle, and create a free account.

2. Record a conversation with a friend or fellow DanceAfrica fan. Follow the prompts in the app to begin recording, and let the conversation flow!

Here are some questions to get you started:
  • When was the first time you participated in or attended DanceAfrica?
  • What do you remember about the first time you attended or participated in DanceAfrica?
  • Do you have any memories of Baba Chuck that you would like to share?
NOTE: while you can record up to 45 minutes, recordings can also be as short as a minute.

3. Publish and share the interview to StoryCorps’ public online collection at StoryCorps.me using the keyword DanceAfrica40.

4. Listen! Search StoryCorps.me for DanceAfrica40 to find more conversations about the memories of 40 years of DanceAfrica at BAM.

Learn more at StoryCorps.me. Need help? Email contactus@storycorps.me

Behind the Scenes at BAM–Stacey Dinner, Artist Services Manager

Stacey Dinner (standing, 3rd from left) with friends including DanceAfrica artist directors Abdel Salaam to her left,
and Chuck Davis, seated, at right. Photo courtesy Stacey Dinner.
By David Hsieh

Stacey Dinner is hard to miss, even in a crowd of dancers. Her dark, shoulder-length hair flies in every direction. She keeps in sync with the most complicated African drum rhythms. She is also part of the four-people artist services team at BAM, which takes care of visiting artists' every need. She and her colleagues—Mary Reilly, Britney Polites, and Jeannine Baca—are the "frontline” between BAM and the artists it presents. We ask her what the job is like and her personal connection to DanceAfrica.

Q: Who are you? 

A: My name is Stacey Dinner and I am the BAM artist services manager. My background is in dance and arts administration. I first studied West African dance in college and then studied abroad in Mali, West Africa. I then traveled six more times to Africa, visiting 13 countries in total, and I ended up working at a world dance and music studio in Colorado, where I’m from, and also co-leading a study abroad trip to Senegal. These experiences made a significant impact on my life, and I continue to study West African dance to this day.

Tuesday, May 23, 2017

In Context: DanceAfrica 2017



Forty years after its inauguration under the artistic direction of the late Chuck Davis, the nation’s largest festival of African dance returns for a special anniversary celebration. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #DanceAfrica.

Oh, the Stories You'll See!

Tanztheater Wuppertal Pina Bausch in The Rite of Spring. Photo: Zerrin Aydin Herwegh
By Susan Yung

An abundance of the 31 events comprising the 35th Next Wave Festival tell stories. There will be renditions of historical tales, classics from the cultural canon, and intriguing personal narratives. A number are based on diaries and journals kept by protagonists or observers such as Walt Whitman and Samuel Pepys. A few recount seismic events of geopolitical import. Several cherished companies make return visits, and as always, new talents will be introduced. Here’s a brief overview of the 2017 Next Wave, curated by Executive Producer Joseph V. Melillo.

Monday, May 22, 2017

BAM Illustrated: The Story of Tom ZĂ©

Brazilian music legend Tom ZĂ© presents an evening of samba and bossa nova at BAM on June 3. Illustrator Nathan Gelgud explores the Brazilian musician's career:


Thursday, May 18, 2017

Eat, Drink & Be Literary: Maggie Nelson

   

On March 23, genre-defying writer and 2016 MacArthur fellow Maggie Nelson came to BAMcafĂ© as part of the second installation of this season’s Eat, Drink & Be Literary series. Nelson works at the nexus of memoir, theory, poetry, and autobiography. She is the author of The New York Times bestselling book The Argonauts, which won the 2016 National Book Critics Circle Award, and eight other books, including The Art of Cruelty: A ReckoningBluetsThe Red Parts: Autobiography of a Trial, and Jane: A Murder. Following a reading from The Argonauts, Nelson spoke with Lorin Stein, editor of The Paris Review, about the book and the process, ethics and considerations that come with writing from lived experience.


Monday, May 15, 2017

Baba Chuck Davis, In Memoriam



With the passing of Baba Chuck Davis this past weekend, we lost one brilliant star—no, supernova—from the sky. Thousands and thousands of audience members knew Baba Chuck as the artistic director and founder of DanceAfrica, which began in 1977. With great flair, he hosted each year’s performances until his retirement in 2015, returning to assist his successor, Abdel R. Salaam, at last year’s shows. “Ago, amĂ©e!” was his signature call-and-response, a participatory gesture which was perennially peppered throughout the performances.

We who had the fortune of working with Baba Chuck over the 40 years of DanceAfrica festivals will miss his tremendous energy, which at times really did feel like our own sun. We’ll miss his heartwarming bear hugs and his unmatched generosity of spirit, and the unending amount of work he put into every detail of DanceAfrica. We pay tribute to the countless hours he spent teaching, choreographing, and rehearsing the BAM/Restoration Youth Dance Ensemble and the visiting companies, as well as the highly popular master classes he led each year.

Between DanceAfrica festivals (which grew to include other cities), Baba Chuck traveled the world—primarily throughout Africa but also to African diasporic locations such as Peru and Cuba—seeking out indigenous dance companies to bring to BAM’s stage. A multitude of American and New York-based troupes also participated, including Abdel R. Salaam’s company, Forces of Nature Dance Theatre, which has performed at BAM nine times. Baba Chuck was responsible for an unimaginable amount of cultural exchange, which was stealthily educational while being awesomely celebratory. He was beloved, but he also taught discipline, tradition, and respect not only for the Elders, but for all of humanity.

A shadow passes over our collective heart with the loss of Baba Chuck, but we honor the ways he changed each and every life he touched.

Ago, amée, Baba Chuck.

—Susan Yung, senior editorial manager at BAM

Thursday, May 11, 2017

Exceeding Limits

By Susan Yung

Cirkus Cirkör performs Limits, a physical theater piece about confronting and soaring above boundaries, at the Howard Gilman Opera House from June 7—10. We spoke with Cirkus Cirkör artistic director Tilde Björfors and set designer Fanny Senocq about the piece.

Anton Graaf in Limits. Photo: Mats BĂ„cker

Was there one moment or news event that inspired you to make Limits?

Tilde Björfors, artistic director, Cirkus Cirkör: When I read about the drownings near Lampedusa in 2013, it turned my life upside down and I needed to know more. We as members of EU guard our borders, and the consequence for thousands of migrants whose only chance to survive is a dangerous journey with life at stake. So I created Borders, the first of a trilogy on circus, risk, and migration. Limits is the second part.

In fall 2015, I tried to welcome displaced people in a spirit of common humanity. I was involved in establishing a transitional housing facility and opened my home to hundreds of boundary-crossers, every encounter a personal tragedy. I became aware of limitations within society and myself. Several times, I felt I couldn’t take in any more; there was no room. But every time, a vulnerable soul showed me there was still hope. Suddenly there was room for more! Both our hearts and our brains have an innate capacity for growth.

It’s shocking to watch Europe close borders when our circus has dedicated 20 years to pushing boundaries. The word “circus” is often used disparagingly, but I think the opposite is true—the world should practice more circus!

Friday, May 5, 2017

In Context: Silent Voices



Silent Voices tackles systemic injustice in soaring soprano-alto harmony, entrusting the vital issues of our day to its most astonishing young singers. This powerful multimedia concert features music by Toshi Reagon, Nico Muhly, DJ Spooky, Caroline Shaw, and others, and texts by Hilton Als, Claudia Rankine, and Pauli Murray. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #BYCSilentVoices.

Thursday, May 4, 2017

Behind the Scenes at BAM—Evan Kutcher: production, carpentry, and rigging


Evan Kutcher. Photo: David Hsieh
Shows at BAM come in all genres, medium, forms, and shapes. So our amazing stage crew is used to tackling any technical requirement, including building a set from scratch when the occasion arises. Evan Kutcher, a production coordinator and the head of carpentry and rigging at the BAM Fisher since August, 2016, demonstrated his bona fide carpentry skills recently. When the team for Poetry 2017, produced by BAM Education, decided to transform the Fishman stage into a graffiti-splashed building façade, Evan was happy to pick up his chainsaw and don a hard hat. The result speaks for itself, seen in these photos. We chat with Evan about how it all came about.

Q: What does your job entail? 

A: I’m a production coordinator and the head of carpentry and rigging at the BAM Fisher. Rigging is the term we use when we hang things over somebody’s head, whether it’s lights, speakers, curtains, set pieces, or projectors. I’m the one who makes sure that that’s safe and operated in the way it should be.

Monday, April 24, 2017

Faces in DanceAfrica

Janice Hart-Brathwaite, 2nd from left, with Charles Moore Dance Theater.
Photo courtesy of the artist 
By David Hsieh

In February 1976, dancer/choreographer Charles Davis held three performances in the Lepercq Space in today’s Peter Jay Sharp Building at BAM. He constructed an African village to honor the ancestry of African-Americans. From there, a tradition and institution grew steadily. This year the DanceAfrica Festival celebrates its 40th anniversary (May 26—29). It is not only BAM’s longest running program, but also has wide-ranging elements for everyone—performances (including for students during schooltime), classes, a bazaar, films, community events, scholarships, and a Memorial Room. All contribute to spread Baba Chuck’s, and current Artistic Director Abdel R. Salaam’s, enduring central messages: love, respect, and tradition. Here are stories from a few people whose lives have been touched by DanceAfrica.


William Mathews, “Baba Bill”
Council of Elders

I met my future wife Mama Lynette [White] in 1981 and she invited me to an African dance class taught by Chuck. After a while sitting on the side, Chuck asked me to get up and dance with them. I was not a dancer and knew nothing about African dance. But his presence was so illuminating and his personality so inviting that I did as he said. After that, he said I was to come back next week, which I did. Some time after that, Lynette told me I was going to be on this “Council of Elders.” Since I was courting her, I did as told. That’s how I became involved with DanceAfrica. I remember asking Chuck once why he wanted me to be a member. He said, “Anyone that can make my premier dancer smile and look so happy is part of my family.” The Council of Elders is an important part of the festival. We instill the sense of respect for tradition, culture, and elders in all participants. I oversee arranging the Memorial Room and have set up two mentorship programs (Crowns and Seeds) at Bed-Stuy Restoration. Chuck really makes you want to participate. He makes you feel loved, like you’re in a family. I call it the magic of Chuck.

Wednesday, April 12, 2017

About the Other Night: The Alan Gala

The Howard Gilman Opera House transforms for The Alan Gala. Photo: Beowulf Sheehan

Brooklyn, New York—it’s a helluva town!

On Tuesday, April 4th, we celebrated the incomparable legacy of our very own "no-holds-barred, take-it-to-the-limit Chairman” Emeritus, Alan H. Fishman. After nearly 30 years of service on BAM’s Board of Trustees (14 of which he spent as chairman), the Brooklyn-bred Fishman stepped down at the end of 2016–leaving us no choice but to fĂȘte him in style.

Alan & Judith Fishman arrive. Photo: Elena Olivo

Silent Voices—Composers' Notes


In Silent Voices, the Brooklyn Youth Chorus will sing 10 commissioned songs by composers such as Toshi Reagon, Shara Nova, Nico Muhly, and DJ Spooky, giving powerful voice to the disenfranchised. Helga Davis hosts, writers Hilton Als (a recent Pulitzer Prize winner) and Claudia Rankine (2017 Guggenheim Fellow) contribute text, and the International Contemporary Ensemble will play as well. Silent Voices was conceived, and is conducted, by Dianne Berkun Menaker, and directed by Kristin Marting.

The following notes are by the composers, including some lyric excerpts:

so quietly
Music by Caroline Shaw
Text by Caroline Shaw


“so quietly” is an unfolding and an amplification of the voices of individuals who do not feel empowered to speak up, to contribute to a conversation, to perhaps point out an injustice or offer a solution. It could be a tendency to swallow words or backtrack when voicing an idea or opinion in a meeting, or a broader discomfort with engaging politically in society. This piece begins with text that is blurred, muted, and unsure of itself, eventually transforming into something focused, bright, strong, and joyfully outspoken.

Tuesday, April 11, 2017

Eat, Drink & Be Literary: Walter Mosley



For the past twelve winter spring seasons, audiences have shared a meal with some of today's leading contemporary authors in BAMcafé. Proudly presented by BAM and the National Book Foundation, Eat, Drink & Be Literary features both long established and newer voices as they read from and reflect on their work to date. Each evening starts off with a seasonal, farm fresh dinner by Great Performances, wine from Seghesio Family Vineyards, and live music and features a reading, an interview, a Q&A, and a book signing with the featured author.

On February 21, the 13th season kicked off with Walter Mosley—author of more than 50 critically acclaimed books and the winner of numerous awards, including a Grammy and PEN America’s Lifetime Achievement Award. His iconic Easy Rawlins detective series celebrated its 25th anniversary this year with the publication of Charcoal Joe. He spoke with Lorin Stein, editor of The Paris Review, about his illustrious career to date:





While the series sells out quickly (though a few tickets for the remainder of the series were recently released—grab them fast!), we hope you'll stay tuned for highlights from the rest of this season's authors, which include Ben Lerner, Claudia Rankine, and Elif Batuman.

Monday, April 10, 2017

DanceMotion USA—A Lucky 7


Yeman Brown of Reggie Wilson/Fist & Heel Group with a student in Santo Domingo, DR. Photo: Ariana Hellerman
By Sarah Horne

The seventh season of DanceMotion USASM (DMUSA) has just been announced, with participating companies Bebe Miller Company, Dayton Contemporary Dance Company, and Ririe-Woodbury Dance Company. DMUSA, the US State Department’s cultural diplomacy program that is produced by BAM, fosters mutual understanding, acceptance, and community engagement through dance and movement exchange. Season seven companies will continue this work with residencies in Colombia, Kazakhstan, Mongolia, Peru, Russia, and South Korea in early 2018.

By the end of 2017, this partnership between the US State Department’s Bureau of Educational and Cultural Affairs and BAM will have sent 20 dance companies to 55 countries reaching more than 115,000 people directly in workshops and performances, and over 20 million people through digital platforms and social media.

Tuesday, April 4, 2017

Thank You, Alan Fishman

Judith and Alan Fishman address Merce Cunningham and company at a BAM gala in 2009. Photo: Elena Olivo
By Susan Yung

News flash: Brooklyn is riding a wave of popularity as a place to live, work, and play. BAM is central to this evolution both culturally and geographically, as it has been for much of its 156 years of existence. For the entire 21st century, Alan H. Fishman led the institution as chairman of the board until recently ceding the seat to Adam Max. During his tenure, attendance has grown to reach 700,000 visitors annually, and programming has blossomed in variety and reach. The Fisher building opened at 321 Ashland in 2012; its main performance space is named for Alan and Judith Fishman, and has drawn its own fan base for its intimate size and surprising versatility. Under Fishman’s watch, Katy Clark succeeded Karen Brooks Hopkins as president, and the BAM Endowment has grown to nearly $100,000,000.

Fishman was born and raised in Brooklyn. He attended Erasmus Hall in Flatbush, where he was a star and captain of the basketball team. While he has had an impressive career in the financial services industry, he has distinguished himself by supporting an astonishing number of Brooklyn’s philanthropic and cultural endeavors, as well as organizations that encourage growth and reinvestment in the borough and its citizens.

Monday, April 3, 2017

In Context: Sanam Marvi



Pakistani superstar Sanam Marvi presents an evening of folk and Sufi devotional music at its most intensely sublime, singing poetic texts in Urdu, Sindhi, and Saraiki. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #SanamMarvi.

Thursday, March 30, 2017

In Context: A Nonesuch Celebration


A stellar lineup of musical luminaries comes together for one night only to pay tribute to Bob Hurwitz, who for the past three decades has served as the visionary architect of Nonesuch Records, affectionately known as “the label without labels.” Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #NonesuchBAM.

Wednesday, March 29, 2017

A Galaxy of Stars

Caetano Veloso and Bob Hurwitz. Photo courtesy Nonesuch Records.

By Michael Hill

For 32 years, Robert Hurwitz not only served as president of Nonesuch Records, but also reinvented it from the ground up, along with his staff finding and nurturing the remarkably wide range of artists who make up its roster. A Nonesuch Celebration on April 1 at the Howard Gilman Opera House is a tribute to him. At the center of the evening is Twelve Pieces for Bob, a program of world premiere works for piano by Nonesuch artists—John Adams, Laurie Anderson, Timo Andres, Louis Andriessen, Donnacha Dennehy, Philip Glass, Adam Guettel, Brad Mehldau, Pat Metheny, Randy Newman, Nico Muhly, and Steve Reich—performed by the composers and others. The evening also will include performances by Kronos Quartet, k.d. lang, Mandy Patinkin, Chris Thile, Caetano Veloso, Dawn Upshaw, Stephin Merritt, and others who have worked closely with Bob. Hurwitz, who has studied piano since childhood, has always kept an upright piano in his office, which he finds time to play each day. This program, then, is as much an acknowledgement of Bob Hurwitz the musician as the music lover, the A&R man, the record business visionary—and, to those on stage, a beloved friend.

Monday, March 27, 2017

We Love You, Trisha

Diane Madden, Tamara Riewe, and Laurel Tentindo in Planes, 2009. Photo: Stephanie Berger
The work of choreographer Trisha Brown (1936—2017) has been well-known at BAM for her large-scale proscenium productions such as Set and Reset, Glacial Decoy, and Newark (Niweweorce), all of which included contributions by major artists and composers. But Brown's legacy at BAM began early in Harvey Lichtenstein's tenure, which started in 1967.

In 1968, going by Trisha Brown Schlichter, she performed Planes in an ambitious collective titled Intermedia '68. It included other notable performance artists such as Terry Riley, Remy Charlip, Carolee Schneeman, and Al Carmines, a key figure in the Judson Church Movement, of which Brown was a formative member. In Planes, dancers hung from, and moved between, holes in a wall, onto which was projected a film collage. It would be remounted at BAM in a 2009 repertory program.

In Context: Doug Varone and Dancers





Choreographer Doug Varone presents three works—featuring scores by Philip Glass, Julia Wolfe, and Michael Gordon—representing the past, present, and future of his peerless company. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #DougVarone.

Friday, March 24, 2017

Silent Voices Ring Out

Brooklyn Youth Chorus, 2014. Photo: Axel Dupeux for Brooklyn Magazine
By Robert Jackson Wood

If you are 15 years old and living in the United States, your life has been bookended by the unthinkable and the improbable. On one end is 9/11, whose cultural fallout—religious intolerance legitimized in the name of national security, for instance—you haven’t known a day without. On the other end is the recent election, which has only stoked those and other fanatical flames. There have been some good things in between: legalized gay marriage, for example. Yet as recent days have shown, progress is fragile. The pendulum has been yours to ride.

Luckily, though, tolerance is on the side of youth. In the Brooklyn Youth Chorus’ latest project, Silent Voices, the performers—whose average age is 15—offer an evening of newly commissioned and other choral works dedicated to those disenfranchised by the events of late (and not so late). In essence, it is a cri de coeur for understanding and empowerment, sung by those who understand the flip side of post-9/11 paranoia, multiculturalism, more intuitively than anyone. To all of those hushed by the recent hate, Silent Voices simply says—we hear you.

Tuesday, March 14, 2017

Iconic Artist Talk: Robert Lepage

Tonight's conversation between Robert Lepage and Paul HoldengrĂ€ber may be canceled thanks to Stella (the winter storm, not Kowalski), but you can still go behind-the-scenes with the visionary auteur thanks to archival footage from a 2013 BAM Iconic Artist talk. Peruse the clips below, and be sure to catch Lepage live in action in 887coming to the BAM Harvey Theater March 16–26.


Monday, March 13, 2017

The Quebec Liberation Front

Director and performer Robert Lepage has shown work everywhere from Japan to the Met Opera, but his roots are firmly in Quebec, Canada. In his intimate solo work 887 (Mar 16—26 at the BAM Harvey), Lepage delves into an adolescence shaped by a fraught time in Canadian political and social history. Illustrator Nathan Gelgud details the radical movement for Quebec liberation, the memories of which Lepage explores in 887 through childlike wonder, technological wizardry and masterful storytelling.

Sunday, March 12, 2017

In Context: 887

Renowned Quebec-born director Robert Lepage reconfigures spaces from his past and present in this deeply personal, tech-saturated solo work. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #ExMachina887.

In Context: Mark Morris: Two Operas
An evening of Britten and Purcell

The choreographer presents a double-bill: Britten’s Curlew River, featuring the MMDG Music Ensemble, and Purcell’s Dido and Aeneas, featuring mezzo-soprano Stephanie Blythe and the Mark Morris Dance Group. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #MMDG.

Friday, March 10, 2017

Sanam Marvi

Sanam Marvi. Photo: Jinsaar Kandhro
By Richard Gehr

Since its 2008 debut, the Pakistani version of India’s popular Coke Studio TV show has helped popularize Sufi devotional music throughout South Asia. Along with rock and hip-hop, the show delivers a slick yet uncompromising blend of traditional songs in contemporary arrangements played on acoustic and electric instruments by the sort of youngish, long-haired studio virtuosos you might see in Los Angeles.

For her 2010 Coke Studio debut, Sanam Marvi sang “Manzil-e-Sufi” (The Sufi’s Destination) by the mystic poet Sachal Sarmast (1739—1826), whose Sindhi verses described the great lengths the singer would go to in order to merge with the divine. “I’ll become a yogi,” she sang in her powerful voice, “an ascetic in pursuit of my beloved.”

Wednesday, March 8, 2017

On Benjamin Britten’s Curlew River

Choreographer Mark Morris, who has captivated audiences for over 35 years with his unwavering commitment to music, returns to BAM March 15—19 with a career-spanning double bill that perfectly embodies his trademark blend of emotion and rhythm, movement and music. In the first act, the vocalists and orchestra of the MMDG Music Ensemble unite onstage to tell Benjamin Britten’s haunting parable of maternal grief in Curlew River. Below, scholar Hugh Macdonald reviews the origins of Britten’s stirring (and oft-overlooked) music-drama.

TMC Fellows perform Curlew River at Tangelwood. Photo: Hilary Scott
Dictionaries of opera all have an entry “Curlew River,” but it is not really an opera. Britten called it a “parable,” along with its two successors The Burning Fiery Furnace and The Prodigal Son. Designed for performance in church and not in the theater, these three works fall in the sequence of Britten’s operas between A Midsummer Night’s Dream and Owen Wingrave, and belong to an important phase in his life when he was re-thinking the issues of music theater and, more broadly, the direction of his style. All three are presented in a Christian context, and although the two later works are based on biblical stories, the origin of Curlew River lies far from the Christian tradition in which Britten was brought up.

Friday, March 3, 2017

Working with a Visionary—Harvey Lichtenstein

Harvey Lichtenstein, who was president and executive producer at BAM from 1967 to 1999, recently passed away. Here are some memories from colleagues of the man who stoutly believed in Brooklyn, and whose actions would immeasurably transform and enrich both the borough's vibrancy and the world's cultural landscape.

Harvey feeling the dancing with his heart, 1985 Photo (crop): J. Ross Baughman

Robert Lepage at BAM

by Joseph Bradshaw

Robert Lepage
From his upturning of Wagner’s Ring Cycle at the Met to his reinvention of the hardboiled detective story in Polygraph (presented at 1990’s Next Wave Festival), Robert Lepage can always be found at the forefront of theatrical innovation. Also an acclaimed film director, Lepage’s work for the stage strikes an inventive balance between filmed and live action. His deep understanding of the potential of contemporary technology is used to reinterpret the past, and his results are always astonishing. What else would we expect from contemporary theater’s foremost Renaissance man?    

Since Polygraph, BAM has presented Lepage’s stage work on the regular. For the 1992 Next Wave a 35-year-old Lepage—who by that point was already an established figure on the international scene—performed his triumphal one-man show Needles and Opium. This piece, which Mel Gussow called “a chamber work marked by its absolute precision,” crosscut the lives of Miles Davis and Jean Cocteau with elements of Lepage’s own autobiography, in a gymnastic medley of musings on jazz, travel, Surrealism, and the act of creation itself.

Monday, February 27, 2017

Doug Varone's Passions

ReComposed. Photo: Nikki Carrara
By Susan Yung

Doug Varone and Dancers performs three works at the BAM Harvey from March 29 to April 1. Varone discussed the varied repertory and some sources of inspiration.

Susan Yung: Can you reflect on the fact that Doug Varone and Dancers is celebrating 30 years? And does the BAM repertory reflect that?

Doug Varone: I feel incredibly grateful for the opportunity and support to do what I do everyday for the past 30 years. With the creative successes also come the disappointments, and as a result I’ve learned the great virtue of patience both in and out of the studio. I think mostly about the great and dedicated artists that I’ve had the honor to work with and how they’ve each left an imprint on the dances that have been created. The “and Dancers” part of the company’s name speaks to a family of artists and friends who have always allowed their passionate views to help shape the work and vision. 

Friday, February 24, 2017

In Context: Teknopolis



This luminous showcase of interactive technology features three floors of innovative installation pieces that bridge the arts and digital media. Learn more about the artists and the technology behind their works through our series of curated links, videos, and articles. After you’ve attended the exhibit, let us know what you thought by posting in the comments below and on social media using #BAMTeknopolis.

In Context: Dreaming of Lions



Malpaso Dance Company, the reigning standard-bearers of Cuban contemporary dance, find inspiration in Hemingway’s The Old Man and the Sea, with music by Arturo O’Farrill and the Afro Latin Jazz Ensemble. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #MalpasoDance.

In Context: Dadan 2017



Japan’s preeminent taiko drum ensemble Kodo showcases the spectacular sonic possibilities of traditional time-honored instruments in this tightly choreographed pageant of percussion. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #DadanKodo.

Tuesday, February 21, 2017

Rigorous Rhythm: Kaoru Watanabe on Taiko

Kaoru Watanabe, courtesy the artist's website.

Drawing on the images, sounds, and techniques of ancient Japanese ritual, taiko drum ensemble Kodo melds rigor with grace in Dadan, coming to the BAM Howard Gilman Opera House March 1—4. Led by artistic director Tamasaburo Bando, Kabuki theater giant and a national treasure of Japan, the troupe showcases its legendary drumming alongside virtuosic dance and instrumental performance.

To get a better sense of this athletic musical tradition, we sat down with Kaoru Watanabe—founder of the Kaoru Watanabe Taiko Center in Crown Heights. In 1997, after graduating from the Manhattan School of Music, Kaoru moved to Japan and joined Kodo—touring across the globe with the ensemble and even serving as one of its artistic directors from 2005—2007. It was, in the artist's words, "a truly transformative experience."

A Moveable Hemingway

Photo: TM Rives
By Robert Jackson Wood

As inspiration for a dance work, Ernest Hemingway’s The Old Man and the Sea might seem strange. For much of the book, a fisherman sits nearly motionless in his skiff, waiting—for a fish to bite, for a fish to tire, for a fish to surface, for sharks to eat the fish. There is occasional shifting, knot-tying, and harpooning, but it’s largely the fish that moves—an 18-foot marlin, hooked but tenacious, slowly pulling the boat out to sea.

The dance muse needn’t be bound to movement, though. For Havana-based Malpaso Dance Company—which based its forthcoming BAM commission, Dreaming of Lions, on the novel—there were the book’s cultural resonances to consider. Hemingway was American, for example, but wrote the book during an extended stay at Finca Vigia, his Cuban home. The story is itself something of a Cuban-American amalgam, mixing the experiences of a real-life Cuban fisherman with Hemingway’s own maritime exploits. Add in the book’s themes—perseverance, loneliness, destiny—and its attraction becomes clear.

Friday, February 17, 2017

The Life of a Kodo Apprentice

Ajara, Kodo. Photo: Takashi Okamoto
There’s much to love about Kodo: the ritualistic precision, the subterranean sounds, the tensed, muscular bodies poised with impossible control. But beneath the surface of those displays lies an entire lifestyle devoted to a holistic folk ethos of which drumming is an integral part. Before a performer can officially join the group (which comes to the BAM Howard Gilman Opera House March 1—4), they must be vetted through an intensive, two-year-long apprenticeship on Sado Island. As touched on in our interview with former Kodo member Kaoru Watanabe, the daily routine of an apprentice involves drumming, dancing, singing, tea ceremony, woodworking, growing rice, and more...