White Bird Presents: Camille A. Brown & Dancers

Photo s by Christopher Duggan

Artistic Director, Camille A. Brown

COMPLETING A TRILOGY, AT LAST

Thank you for joining us tonight as we continue our White Bird Dance Series with ink, performed by Camille A. Brown & Dancers. ink is the final installation of Camille A. Brown’s trilogy about identity. White Bird has been proud to present the first two works in this trilogy, Mr. TOL E. RAncE and BLACK GIRL: Linguistic Play, and so it is particularly meaningful for us to be sharing ink with you this evening, finally. If the title sounds familiar, you’re onto something - we were originally meant to present this impactful work in April 2020.

When Camille A. Brown & Dancers made their Portland debut in 2012, Brown had just recently made her Broadway debut as a choreographer on the revival of Tennessee Williams’ A Streetcar Named Desire. To say that she didn’t stop there would be an understatement. Just last year Brown made her Broadway directorial debut for the revival of for colored girls who have considered suicide/when the rainbow is enuf. The year before, she was the first Black director of a Metropolitan Opera mainstage production. Camille A. Brown’s unique blending of African, ballet, and modern dance with theater has earned well-deserved honors over the past several years, including Tony and Bessie Award nominations.

Equally important to the vision of Camille A. Brown & Dancers is the work you won’t see on stage. Since the company’s last visit to Portland in 2016, they have made tremendous progress in developing initiatives that utilize social dance as a powerful tool for social change. Last weekend, White Bird was thrilled to partner with Camille A. Brown & Dancers to share a series of workshops, called EVERY BODY MOVE, introducing people across Portland to the rich history and cultural significance of dances that have shaped the African American community. We invite you to discover this equally important side of the company’s work. Please join us next month as we kick off the 2023-24 Uncaged Series with the Pacific Northwest premiere of Ephrat Asherie Dance. The company will perform ODEON, featuring an exhilarating mash up of street and club dances including breaking, hiphop, house, and vogue. ODEON will be performed to live music, composed by the famed Brazilian musician Ernesto Nazareth. Uncaged Series subscriptions and single tickets are on sale now at www.whitebird.org

Graham Cole, Executive Director

Board of Directors

Walter Jaffe & Paul King, Co-Presidents

Ken Edwards, Vice-President

Kim Allchurch Flick, Treasurer

Sandra Holmes, Secretary

Leroy E. Bynum, Jr.

Graham Cole

Lisa Mangum

Shawn K. Mangum

Nancy & George Thorn, Founding Board Members Emereti

White Bird Team

Graham Cole, Executive Director

Christopher Carvalho, Director of Patron Services and Communication

Noelle Simone, IDEA Director

Jeff Forbes, Technical Director

Deanna Reeves, Communication Manager

Gretchen Westlight, Operations Manager/Executive Assistant

Mia Chavez Lysaght, Administrative Assistant

Natalie Anthony, Graphic Designer

Alexandra Kuhle, Graphic Designer

Photo by Jingzi Zhao

ink

(2017)

Directed and Choreographed by Camille A. Brown in collaboration with the originating musicians and members of CABD

Dancers: Quilan Arnold, Dorse Brown, Starla Edwards, Onyxx Noel, William Roberson, Courtney Ross, and Asya Shaw

Original Music by: Allison Miller, Music Director, Juliette Jones, Scott Patterson and Wilson R. Torres

Additional Music: Selections from Jilltro, by Darren Henson & Andre Harris Henson, sung by Jill Scott; & Time Travelin’ by Common, D’Angelo, ?uestlove, James Poyser, J Dilla

Musicians : Deah Love Harriott, Juliette Jones, Mike Ramsey and Nyemba Seales

Dramaturgs: Daniel Banks, Kamilah Forbes, and Talvin Wilks

Lighting and Scenic Design: David L. Arsenault

Lighting Supervisor: Jane Chan

Sound Design: Justin Ellington

Costume Designer/Stylist: Mayte Natalio

Costume Supervisor: Amy Page

*Castingsubjecttochange

The lead commissioners for ink were Peak Performances @ Montclair State University, NJ and The John F. Kennedy Center for the Performing Arts (Washington, D.C.), with support from LUMBERYARD Contemporary Performing Arts. ink also received co-commissioning support from ASU Gammage. The creation and presentation of ink was made possible by The New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and the Mellon Foundation; The MAP Fund, supported by the Doris Duke Charitable Foundation and the Mellon Foundation; New York State Council on the Arts with the support of Governor of New York State and the New York State Legislature; and the Howard Gilman Foundation. ink was given its original creative development residency by The Sharon Disney Lund School of Dance in partnership with The Evelyn Sharp/CalArtsSummer Choreographic Residency. The development of ink was made possible, in part, by the Maggie Allesee National Center for Choreography at Florida State University, with support from the Princess Grace Foundation. The work was also created, in part, during a production residency at ASU Gammage, University of Iowa’s Hancher Auditorium, 2017 Off-Shore Creation Residency at The Yard and creative residencies at Peak Performances @ Montclair State University, NJ, Jacob’s Pillow, Hobart & William Smith Colleges and CUNY Dance Initiative at Kingsborough Community College.

The revival of ink was made possible, in part, with public support from the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs. Lead funding for the revival of ink was provided by the Mellon Foundation, with additional support from the Harkness Foundation of Dance, and Jody and John Arnhold. ink was revived (in part) during a residency at Kaatsbaan Cultural Park.

Music Credits: Jilltro by Jill Scott, Universal Music Publishing Group, recorded by Jill Scott, Hidden Beach Recordings; Time Travelin,’ by Common D’Angelo, ?uestlove, James Poyser, and J. Dilla, Universal Music Publishing Group, lead vocals Common and featuring D’Angelo, Roy Hargrove, Jeff Lee Johnson, Femi Kuti, Melena, Vinia Mojica, MCA Records.

ABOUT THE PROGRAM

“Iseeblackpeopleassuperheroesbecausewekeeprising.”

—Question Bridge: Black Males in America

Propelled by the live rhythms and sounds of traditional African and handmade instruments, Camille A. Brown’s ink celebrates the rituals, gestures, and traditions of the African diaspora. Through self-empowerment, Black love, brotherhood, exhaustion and resilience, community and fellowship, ink depicts the pedestrian interactions of individuals and relationships as grounds for accessing one’s innate super powers and finding liberation. The work seeks to reclaim African-American narratives and is the final installment of Brown’s dance theater trilogy about identity.

CULTURE CODES

BALANCE

MILKSHAKE TURF SHEDDING MIGRATION

CHOREOGRAPHER’S NOTE

“I write to create myself.”

—Octavia E. Butler

After the creative process for BLACKGIRL:LinguisticPlay, I held a desire to dig even deeper and tell more stories of ritual, gestural vocabulary, and traditions of the African Diaspora. Our ancestors live inside of our bodies, because of this I began to investigate what accessing that power looks, sounds, and feels like. For inspiration, I was immediately drawn to two albums that had a significant impact on me when I was growing up. TheMiseducationofLaurynHill by Lauryn Hill, and, Like Water for Chocolate by Common. I tasked myself with creating a movement language that embodied the same raw authenticity, and vulnerability that fuels those lyrics and music.

As I began to develop the concept for ink, I wanted the dancers to represent superheroes. I couldn’t figure out why I had the urge to play with this idea until I read QuestionBridge:Black Males in America*. One of the men interviewed said, “I see Black people as comic book heroes because they always keep rising.” That was it! It is about showing that in our basic survival, and natural attributes we have superhuman powers. Powers to shift, overcome, transform, and persevere even within an often hostile environment. The seven sections of ink represent superpowers of spirituality, history and heritage, the celebration of the Black female body, Black love, brotherhood, exhaustion, and community.

ink is the culmination of my trilogy on Black identity following, Mr. TOL E. RAncE (2012) and BLACKGIRL:LinguisticPlay (2015). The opening solo, “Cultural codes” begins with a call to Elegba - a Yoruba deity that opens and clears the space as guardian, protector, and communicator. Through the various revolutions of a structured phrase, the grio pulls out all the manifestations of Blackness. This solo makes possible “Balance,” a duet inspired by the Hustle and Lindy hop that displays the beauty of Black love and intimacy. Black love moves to Black beauty, inspired by Saartje Baartman’s ample curves, “Milkshake,” transposes the objectification of the Black female body into a rhythmic celebration and glorification of her form. It’s where “pattin Juba” meets “Go Go”. If BLACKGIRL:LinguisticPlay was a call, “Turf” is the response illustrating the Black male rite of passage propelled by “the dab.” Two innocents are hit with the reality of navigating being Black Men in America while protecting one another

through it all. For those who bear the burdens of others, “Shedding,” evokes the story of those who keep us lifted even in the midst of their own enervation. We are led to “Migration,” a community of love, support and enduring vitality moving with the sound of the violin- a reference to the Kora, a West African instrument. With musical references ranging from Ancestral rhythms, Go Go, Dancehall, The Notorious B.I.G. (Sky’stheLimit), Mary J. Blige ( Real Love), Common ( Time Travelin’) and Jill Scott (Jilltro), ink uses the power of the past and present to propel us into the future.

Iliftupourreal-lifesuperheroesofthepastwhopavedthewayforustoflyand“befly”. Inflight,weseethesuperpowerofBlackpeopleinAmerica. Wekeeprising.

~ Camille A. Brown

* “Question Bridge: Black Males in America” is by Dr. Deborah Willis (Author, Editor), Chris Johnson (Author), Hank Willis Thomas (Author), Bayeté Ross Smith (Author), Kamal Sinclair (Author), Delroy Lindo (Author), Rashid Shabazz (Author), Natasha L. Logan (Editor), Jesse Williams (Preface), Andrew Young (Introduction)

ABOUT THE COMPANY

Camille A. Brown & Dancers (CABD) is a Bessie award-winning, NYC-based dance company that soars through history like a whirlwind. Recognized for blending modern, hip hop, African, tap, and social dance to forge riveting works that ripple with energy, urgency, and powerful theatricality, CABD reclaims Black narratives with historically informed and thought-provoking repertory on race, culture, and identity.

The Company has toured its repertory with live music to 74 cities in the US and internationally. CABD performs for 20,000+ people, and serves 5,000+ engagement participants annually through free community programs that elevate African diaspora aesthetics. In May 2020, CABD launched its Social Dance for Social Change virtual school, offering free online artist/ scholar lectures by notable speakers and social dance classes, led by Company dancers. To date, the virtual school has 98,000 participants and continues to grow.

Last season, the Company was thrilled to perform at the Apollo and Joyce Theaters in New York City, in a historic two-week celebration of Brown’s Trilogy of dances on race, culture and identity,including ink. We are delighted to bring the culminating production in the Trilogy to White Bird and Portland audiences and are grateful to White Bird for having presented all works in the Trilogy

CABD’s2023-24activitiesaresupported,inpart,bytheMellonFoundation,theTidesFoundation,TheFord Foundation,The Howard Gilman Foundation,the RockefellerBrothers Fund,the Shubert Foundation,The PierreandTanaMatisseFoundation,ThePrincessGraceFoundation,theNewEnglandFoundationforthe Arts’NationalDanceProject, theFanFox&LeslieR.SamuelsFoundation,ThePrincessGraceFoundation, theHarknessFoundationforDance,andwithpublicfundsfromtheNewYorkStateCouncilontheArts,the NewYorkCityDepartmentofCulturalAffairs,andtheNationalEndowmentfortheArts.

SPECIAL THANKS

CABD would like to express its deep gratitude to Walter Jaffe & Paul King, Graham Cole and the White Bird administrative and technical staff for all of their hard work, dedication and support!

Camille A. Brown & Dancers 2023-2024 touring season is supported, in part, with public funds from the National Endowment for the Arts, with additional support from the Ford Foundation, Howard Gilman Foundation and the Shubert Foundation. Community engagement residencies on tour are supported with funds from the Mellon Foundation.

CAMILLE A. BROWN, ARTISTIC DIRECTOR & CHOREOGRAPHER

Brown is a prolific Black female choreographer who brilliantly combines multiple genres to create a theatrical, pulsing experience that reclaims and elevates AfricanAmerican cultural identity to new and important levels of presentation.

Ms. Brown has received numerous honors for her powerful body of concert dance work. She is the recipient of the 2021 ISPA/International Society for the Performing Arts Distinguished Artist Award, a 2020 Dance Magazine Award, and the 2020 Obie Award for Sustained Excellence in Choreography. She is a Ford Foundation Art of Change Fellow, Guggenheim Fellow, and a 2020 Emerson Fellow, and the recipient of a Jacob’s Pillow Dance Award, a Doris Duke Artist Award, and a United States Artist Award. She is a 5-time Princess Grace Award-winner and a Bessie Award-winner. Most recently she was named one of The Kennedy Center’s Next 50 artists. Her work has been commissioned by renowned dance organizations such as Alvin Ailey American Dance Theater, Urban Bush Women, and Complexions, to name a few. Her work, CityofRain, originally created on Camille A. Brown & Dancers in 2010, entered the repertory of the Alvin Ailey American Dance Theater in December 2019. Brown has created 13 dances for her Company, including the three evening-long works that comprise The Trilogy. On September 29, 2022, Brown premiered a new work, Journey,Movements I,II,III, created for her dancers to an original score by Wynton Marsalis, to celebrate the opening of the David R. Rockefeller Creative Arts Center. Her work, Mr. TOL E. RAncE received a Bessie nomination for Outstanding Revival in 2023.

A three-time Tony nominated Director and Choreographer, Brown became the first Black female to direct and choreograph a Broadway show since Katherine Dunham, over 65 years ago, with the 2022 Broadway revival of Ntozake Shange’s  for coloredgirlswhohaveconsideredsuicide/whentherainbowisenuf, and she’s the first Black female to be nominated for a Tony Award as both director and choreographer of a play on Broadway. The production received 7 Tony nominations and multiple award nominations from the Outer Critics Circle, the Drama League, Drama Desk, and the Chita Rivera Awards. And she is the 2023 winner of the Broadway Black award for Best Direction/Broadway for for coloredgirls...  Brown also recently made history as the first Black director of a mainstage production at the Metropolitan Opera for her work as co-director, with James Robinson, of Terence Blanchard’s FireShutUpinMyBones (fall of 2021), for which she received a 2022 Bessie Outstanding Choreographer nomination.

Other Broadway, Off-Broadway theater, opera, film, and television choreography credits include: Tony Award-Winning Broadway revival  Once On This Island (Drama Desk, Outer Critics, and Chita Rivera nominations),  Toni Stone (Drama Desk, Lortel nominee), Emmy Award-winning JesusChristSuperstar Live on NBC, Broadway’s  A Streetcar Named Desire,  The Fortress of Solitude (Lortel nomination),  Much Ado AboutNothing (Broadcast live on PBS) for The Public Theater’s Shakespeare in the Park, MaRainey’sBlackBottom (Netflix), and Tracy Oliver’s television series  Harlem (Amazon Prime). She is the choreographer of The Metropolitan Opera’s PorgyandBess, and the forthcoming production of  Soul Train, directed by Kamilah Forbes and written by Dominque Morisseau.

Brown began her professional career as a dancer with Ronald K. Brown/EVIDENCE, a dance company from 2001-2007. Ms. Brown is a graduate of the LaGuardia High School of the Performing Arts and received a B.F.A. from the University of North Carolina School of the Arts. She holds Honorary Doctorates from the North Carolina School of the Arts and Drew University. Brown is grateful for the incredible opportunities she has had in both concert and commercial dance and their mutual influence on her ability to create the work you are seeing this evening.

CABD DANCERS

QUILAN “CUE” ARNOLD is based out of Union City, NJ. Quilan currently dances for CABD (NY), and has been a member of Rennie Harris Puremovement (PA), Netta Yerushalmy Dance Company (NY), and more. Quilan was a New Directions Choreography Lab artist at The Ailey School in 2022. His works True Move: Quilan and Club KINGDOM were presented at Green Space Theater (NY) and University of Texas, Austin in 2022. Quilan hosts The Good Foot Podcast, and is the executive director of the Street/Club Dance documentary, Build’NShop

DORSE BROWN, a native of Little Rock, AR, holds a Bachelor’s in Dance and Music from the University of Memphis. Dorse was selected for Mojuba Dance Collective’s Emerging Black Choreographer Incubator and received a Young Artist Talent Scholarship for the American Dance Festival. Dorse trained with the Dayton Contemporary Dance Company and has performed with the Metropolitan Opera, as a soloist for Royal Caribbean Cruise Line, and appeared on So You Think You Can Dance Season 5. This is his third season with CABD.

STARLA EDWARDS originally from Birmingham, AL, began her dance journey at the Performing Arts Institute. She graduated from the Alabama School of Fine Arts in 2018 and earned her BFA in Dance with a Minor in Arts Management from George Mason University in 2022. Her performances featured works by renowned artists like Andonis Foniadikis, Lucinda Childs, Kyle Abraham, Hope Boykin, and Camille A. Brown. Starla’s unwavering dedication and limitless creativity continue to elevate her artistic expression, culminating in her joining CABD in 2022.

ONYXX NOEL, from Newark, DE, shimmied her way through her first dance class at the Christina Cultural Arts Center. The guidance from her teachers there led her to DCNS Dance, Eleone Dance Theatre, and the University of the Arts (UArts). Performance highlights include The Metropolitan Opera’s Porgy&Bess (2019), Ma Rainey’s Black Bottom (Netflix 2020), InTheHeights (HBO Max 2021), and Camille A. Brown & Dancers where she is entering her third season. @onyxxnoel ~ Philippians 3:14

WILLIAM ROBERSON, a Tennessee native, graduated with a B.F.A in Dance from Howard University in 2013. He has worked with Ronald K. Brown, Hope Boykin, Deeply Rooted Dance Theater, among others. He met Camille A Brown in college when she was a guest choreographer and has since performed in many of Brown’s productions such as PorgyandBess at the Metropolitan Opera and Shakespeare in the Park’s Much Ado About Nothin’.

COURTNEY ROSS, from New Orleans, LA, earned her BFA in dance, with honors, from The Ailey School/Fordham University. Courtney performed with Ailey II, Ronald K. Brown/EVIDENCE, Tank & the Bangas, Jon Batiste, Jemel McWilliams, Jeffrey Page, Ray Mercer, Darrell Moultrie, and The Dynamite Experience. Highlights include The Metropolitan Opera, Macy’sThanksgivingDayParade, BroadwayBares, POWERPLAY, and the 2016 VMA’s: Beyoncé. She founded BLOOM Dance, Inc, a non-profit that aims to fortify the mental/emotional health of youth. Courtney joined CABD in 2019.

ASYA SHAW, a Baltimore native, received her Master of Science in Dance/Movement Therapy degree from Sarah Lawrence College and is an alumna of the Baltimore School for the Arts and Towson University. She has performed nationally and internationally with Dallas Black Dance Theatre: ENCORE!, The Dallas Opera, and Norwegian Creative Studios. Through her movementbased work and teaching philosophy she advocates for the therapeutic benefits of dance performance and is dedicated to helping heal bodies of culture through her holistic movement practice.

MORA-AMINA PARKER (Rehearsal Director) began her training at the San Francisco High School of the Arts. She has danced with the Savage Jazz Dance Company, Robert Moses’ Kin, Philadanco II, Dallas Black Dance Theater, Jeanne Ruddy, Reflections Dance Company, and Philadanco. A founding member of CABD, she acts as rehearsal director/lead artistic associate for the company. Ms. Parker received her MFA in Performance and Performance Studies from Pratt Institute and is currently a third-year PhD candidate at Temple University.

CABD MUSICIANS

DEAH LOVE HARRIOTT (PIANO), a is a classically trained musician, pianist/organist, and composer/songwriter, arranger, vocalist, vocal coach, and music producer. She is the Minister of Worship & Fine Arts at the Bethany Baptist Church of Brooklyn, NY, former Music Director at NYC’s Marble Collegiate Church, and resident artist at Minton’s Jazz Club (Harlem, NY).  Deah graduated with honors from Nebraska Wesleyan University and is the musical director for  I AM, Camille A. Brown’s new work, as well as a composer/arranger for the collaborative score.

JULIETTE JONES (VIOLIN), is a multi-genre violinist, BMI composer, and founder of Rootstock Republic. Under the company, she has scored, recorded, and contracted for the People’sChoiceAwards, NBC’s JesusChristSuperstarLive, and the Oscar-nominated film Mudbound. As a performer, she has worked with Beyoncé, Lady Gaga, Jon Batiste, Stevie Wonder, Aretha Franklin, Ms. Lauryn Hill, Justin Timberlake, Common, Lizzo, Robert Glasper, Janelle Monáe, Hans Zimmer, John Legend, Adele, and One Republic; and dancer-choreographers Camille A. Brown, Michelle Dorrance, and Marjani Forte-Saunders.

MIKE RAMSEY (DRUMS) is a Brooklyn based drummer/procussionist. Broadway credits include MJ, Ain’t Too Proud, TheLionKing, Once on This Island, On Your Feet, Cirque du Soleil’s PARAMOUR, and many others. Orchestral credits include The Philadelphia Orchestra, The Seoul Philharmonic, and The Philharmonic Orchestra of the Americas. Live music for CABD, Oyu Oro Afro-Cuban Experimental Dance Ensemble, The National Dance Company of Ghana, and Ballet Folklorico Cutumba. Guest clinician at Northwestern, MSM, NYU, NCCU and others. Mike is a BAM teaching artist and a founding member of AZAGUNO.

TYRONE NYEMBA SEALES (PERCUSSION) received Djembe drum lessons from his first instructor, Gene Osborne, and studied as a member of Preston Ridick’s Indoda Entsha Cultural Arts Center, under the tutelage of Master drummers M’bemba Bangoura and Gregory Ince. At the age of six, he performed with Gene Osborne’s company D’jole African, and has since graced the stage with legends Chief Bey, Papa Ladji Camara, Baba Neil Clarke, and Forces of Nature Dance Ensemble. He teaches drumming for The Department of Education in the City of NY, and is a percussionist for Preston Riddick’s Resura Arkestra.

CAMILLE A. BROWN & DANCERS STAFF

Camille A. Brown - Founder & Artistic Director

Diane Rosenblatt - Executive Director

Camille A. Brown & Dancers is a 501 (c)3 non-profit organization.

Donations are greatly appreciated and may be made payable to CABD, INC and mailed to:

CABD, Inc./Camille A. Brown & Dancers PO Box 340600, Jamaica, NY 11434 or online at: www.camilleabrown.org

FOLLOW US & SHARE YOUR THOUGHTS!

@CamilleABrown

#CABDTheater

#inkitup

Joseph P. Viglotti - Executive Producer

Leticia D. Baratta - Finance and Operations Manager

Michelle Rivera - Community Engagement & Education Director

Catherine Williams - Development Officer

Gwendolyn Baum - Social Media Manager

Malaika Holder - Every Body Move Program Associate

Patrice Golbourne – Administrative Assistant

Diego Quintanar – Interim Company Manager

Robert McIntyre - Production Stage Manager

Alex Fetchko – Lighting Supervisor

CAMILLE A. BROWN & DANCERS BOARD OF DIRECTORS

Kim Rosenfield, Chair

Mark Thomas, Secretary

Webster McBride, Treasurer

Courtney A. Bennett

Camille A. Brown

Alicia Graf Mack

Nadia Nascimento

The Lighting and Scenic Designer of ink are represented by United Scenic Artists, Local USA-829 of the IATSE.

DISCOVER OUR FLOCK OF HEROES

A Tribute to Those Who Soar with Us!

Our Flock List includes total gifts made between July 14, 2022, and September 14, 2023. Those with total gifts of $100 or more are honored online (linked through the QR code to the right), and those giving $250 or more are listed below. For questions or changes regarding our Flock List, please contact Executive Director, Graham Cole at graham@whitebird.org

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White Bird greatly appreciates the support of the following foundations and government arts agencies:

White Bird thanks all of our Community Partners:

THE VOLUNTEERS OF WHITE BIRD MEREDITH THOMPSON, PT

White Bird’s 2023-24 season is supported in part by the Regional Arts and Culture Council, the Western States Arts Foundation, and the James F. and Marion. L Miller Foundation.

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