audiences connect completely differently
he emerged, and a Consortium meeting
with the work when they feel like they know
built around his performances at the World
the person, when they’ve had an opportunity
Performance Project at Yale University
to understand the process and the story, and
in November 2008, was furthered by the
that’s something we will continue to try and
invitation of Yerba Buena Center for the Arts
find ways to do more successfully.�
in May 2011. There, in addition to presenting a work-in-progress showing of Body
To combat the isolation many African artists
Evidence, which invited community members
face, TACAC also makes a point of creating
into his creative process, he also participated
opportunities for artist-to-artist exchanges.
in Inside The Africa Contemporary Arts
During the 2008 U.S. tour of Compagnie
Consortium, a public reflection on TACAC
Heddy Maalem’s Le Sacre du Printemps,
projects, partnerships, and research since
MAPP International Productions arranged a
the Consortium’s inception in 2004. Okach
meeting with New York City choreographers
shared his nuanced perspective about
Reggie Wilson, Blondell Cummings, David
the ongoing challenges he and fellow African
Gordon, Susan Marshall, and Keely Garfield,
contemporary artists face at home and
among others, for Maalem and the members
abroad to create outside of stereotyped
of his company, many of whom are dance
definitions of what makes their work
makers, educators, and arts organizers
“African� or “contemporary.�
in their home communities. In a circle of chairs on the Dance Theater Workshop stage, artists from both sides of the Atlantic
BUILDING & SHARING KNOWLEDGE
introduced their work, shared it on DVD, and talked about their successes and challenges. The artists discovered commonalities and
FACILITATE WORKSHOPS AND
explored differences as they learned about
DISCUSSIONS FOR THE FIELD.
have known. TACAC humanities events and contextual
HOST CONSORTIUM WEBSITE AND CREATE ONLINE MATERIALS. COMMISSION ESSAYS AND RELATED
materials seek not only to situate artists in
MATERIALS PROVIDING HISTORICAL
relation to their artistic work, but also to their
BACKGROUND TO SUPPORT ARTIST
roles as citizens and leaders in contemporary
RESIDENCIES AND PERFORMANCES.
society. For example, Kenyan artist Opiyo Okach’s multifaceted relationship with
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TACAC, which has included a residency at
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Bates Dance Festival, engagement through
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multiple trips to Kenya by Consortium
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members to The GoDown Arts Centre to
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learn firsthand about the artistic community
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that Okach has spurred and from which
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42
COURTESY SEATTLE THEATRE GROUP
artists and works they would not otherwise