So all I can say is thank you Eamonn, for finding this track and its producer. I'm sure I've heard his tracks before, but most recently, one of 'em was really the HIGHLIGHT of tearing up the dance floor with Charles Feelgood spinning at Spring Massive.
Not only is the music tight, but loving the music video for his track "Illmerica". Okay, not really sure if "loving" is the right description, but it engaged me on so many levels, with a full spectrum of emotions.
I recommend you check it out, and let me know what you think. For me, it's just a great intersection of performance and visual art.
- J Street Jr
Thursday, March 17, 2011
Sunday, March 13, 2011
Urban Artistry at Intersections
Have I mentioned I love my job (at Class Acts Arts).
Not only do I have a lot of opportunities for professional development, but it is just another way I'm aware of different opportunities to see art in the area.
For example, no less than 5 of the artists on our roster participated in the closing weekend of the Intersections Festival, at the Atlas Performing arts Center. These included Adventure Theatre (with their production of Mirandy & Brother Wind, the Spilling Ink Project, Step Afrika & Urban Artistry.
That being said, the performance I could afford to catch, both monetarily and temporally, was Urban Artistry, performing with Sylvia Soumah's company, Coyaba Dance's Youth Ensemble, and the Goot Foot Dance Company as well.
Small world just keeps getting smaller...Mama Soumah has actually been a guest choreographer at the school I teach, and she's back this year. Not only that, but one of the guests, who narrated the collaborative concert, is one of my favorite house DJ's, Sam "The Man" Burns (who will be spinning at U Hall on my 30th birthday this Friday!!).
At one point, at the top of Urban Artistry's piece towards the end, they kicked off with a slideshow homage of urban dance music dj's and venues, as well as other world and cultural dances from African to Tap, overlaid with the My House vocal.
Accompanied by my buddy Eamonn, and his girlfriend/my student, Caroline, it was a great to start off a day that would end up dancing the night away at day 2 of Spring Massive, at Bourbon Street Live in Baltimore.
Anyway, it was just very reaffirming on one hand, to see a culture that I very much identify with continue to grow in legitimacy and visibility. However, it was slightly discouraging that more people weren't there, but that's a topic for another day (trying to tell that Arts Management lens to stop wondering about marketing, seating optimization, the audience for dance in DC, etc).
Regardless, it was the execution of a wonderful event, featuring collaboration (which needs to continue to happen, not just within the Dance community, but across all the performing arts communities in the area), at a great festival that really shows DC is a place to be for arts and culture, for both audience members and professional artists.
- J Street Jr
Related Links
Not only do I have a lot of opportunities for professional development, but it is just another way I'm aware of different opportunities to see art in the area.
For example, no less than 5 of the artists on our roster participated in the closing weekend of the Intersections Festival, at the Atlas Performing arts Center. These included Adventure Theatre (with their production of Mirandy & Brother Wind, the Spilling Ink Project, Step Afrika & Urban Artistry.
That being said, the performance I could afford to catch, both monetarily and temporally, was Urban Artistry, performing with Sylvia Soumah's company, Coyaba Dance's Youth Ensemble, and the Goot Foot Dance Company as well.
Small world just keeps getting smaller...Mama Soumah has actually been a guest choreographer at the school I teach, and she's back this year. Not only that, but one of the guests, who narrated the collaborative concert, is one of my favorite house DJ's, Sam "The Man" Burns (who will be spinning at U Hall on my 30th birthday this Friday!!).
At one point, at the top of Urban Artistry's piece towards the end, they kicked off with a slideshow homage of urban dance music dj's and venues, as well as other world and cultural dances from African to Tap, overlaid with the My House vocal.
Accompanied by my buddy Eamonn, and his girlfriend/my student, Caroline, it was a great to start off a day that would end up dancing the night away at day 2 of Spring Massive, at Bourbon Street Live in Baltimore.
Anyway, it was just very reaffirming on one hand, to see a culture that I very much identify with continue to grow in legitimacy and visibility. However, it was slightly discouraging that more people weren't there, but that's a topic for another day (trying to tell that Arts Management lens to stop wondering about marketing, seating optimization, the audience for dance in DC, etc).
Regardless, it was the execution of a wonderful event, featuring collaboration (which needs to continue to happen, not just within the Dance community, but across all the performing arts communities in the area), at a great festival that really shows DC is a place to be for arts and culture, for both audience members and professional artists.
- J Street Jr
Related Links
- Urban Artistry - Facebook | Twitter
- Intersections: A New America Arts Festival - Facebook | Twitter
- Atlas Performing Arts Center - Facebook | Twitter
- Class Acts Arts - Facebook | Twitter
- Adventure Theatre - Facebook Group | Facebook Page | Twitter
- Coyaba Dance Theater - Facebook | Youth Ensemble Facebook
- Step Afrika - Facebook | Twitter
Tuesday, March 8, 2011
Auditions for KAT 2nd Stage's Once On This Island
Oh boy...auditions. Or, as I like to reform to them, the SAT's of the performing arts world, or (with the dance part) speed-dating with movement.
I am actually choreographing Once on This Island, with Kensington Arts Theatre 2nd Stage, courtesy of the Director, as well as the Artistic Director, Heather Latiri. I actually met her performing in a production of The Merry Widow with the Washington Savoyards. A little more recently, I worked with her as a director, when I was cast as one of the Wickersham siblings, in KAT 2nd Stage's production of Seussical the Musical.
Now I get to work with her again, but in a creative/production role!!
And it's always interesting being on the other side of the casting table.
I forget who, but one of mentors likes to remind performers that auditors are not looking for them to fail, but to fulfill their dreams. I know, maybe it's a little glass-half-full, but I believe that, and like that attitude.
But there are somethings which I observed, that reminded me how lucky I've been to have worked with the mentors I've worked with. I definitely don't claim to know everything, but there are some things that I can speak to.
For one (and this is for the ladies), if there's a dance portion to an audition, definitely try to avoid a pattern that has too much going on, as it can possibly get distracting when moving. For guys and girls, if you only do three things when you sing your song, first prep the accompanist with what you want them to play (particularly any intro) and the tempo, breath (especially breathing in), and focus (I've heard above the auditors heads is a good place, but just don't jump all over the place with your eyes).
I know this is a bit nit-picky, but it's not basic, and not meant to put down or judge. If anything, I was definitely proud of everyone who have the guts to show up to an audition (especially if it isn't your livelihood) and put themselves out there. One mentor, when I just got back to stage in college, said that if you couldn't handle rejection, then to find another occupation.
But it's all about making choices and taking chances, right?
In that sense, I'm just glad Heather took a chance on me to choreograph this show, which by the way, I'd never seen and I'd only heard one song, a song I actually thought was the opening. Turns out "Why We Tell the Story" is the Finale. The opening song "We Dance" is pretty awesome too, and I actually found a YouTube clip of a Filipino production. Jerking and jumping aside, the performance is definitely worth it, 'cuz that's how we Pinoys do!!
I can't wait to see what choreography I come up with, for this show :-)
- J Street Jr
Related Links
I am actually choreographing Once on This Island, with Kensington Arts Theatre 2nd Stage, courtesy of the Director, as well as the Artistic Director, Heather Latiri. I actually met her performing in a production of The Merry Widow with the Washington Savoyards. A little more recently, I worked with her as a director, when I was cast as one of the Wickersham siblings, in KAT 2nd Stage's production of Seussical the Musical.
Now I get to work with her again, but in a creative/production role!!
And it's always interesting being on the other side of the casting table.
I forget who, but one of mentors likes to remind performers that auditors are not looking for them to fail, but to fulfill their dreams. I know, maybe it's a little glass-half-full, but I believe that, and like that attitude.
But there are somethings which I observed, that reminded me how lucky I've been to have worked with the mentors I've worked with. I definitely don't claim to know everything, but there are some things that I can speak to.
For one (and this is for the ladies), if there's a dance portion to an audition, definitely try to avoid a pattern that has too much going on, as it can possibly get distracting when moving. For guys and girls, if you only do three things when you sing your song, first prep the accompanist with what you want them to play (particularly any intro) and the tempo, breath (especially breathing in), and focus (I've heard above the auditors heads is a good place, but just don't jump all over the place with your eyes).
I know this is a bit nit-picky, but it's not basic, and not meant to put down or judge. If anything, I was definitely proud of everyone who have the guts to show up to an audition (especially if it isn't your livelihood) and put themselves out there. One mentor, when I just got back to stage in college, said that if you couldn't handle rejection, then to find another occupation.
But it's all about making choices and taking chances, right?
In that sense, I'm just glad Heather took a chance on me to choreograph this show, which by the way, I'd never seen and I'd only heard one song, a song I actually thought was the opening. Turns out "Why We Tell the Story" is the Finale. The opening song "We Dance" is pretty awesome too, and I actually found a YouTube clip of a Filipino production. Jerking and jumping aside, the performance is definitely worth it, 'cuz that's how we Pinoys do!!
I can't wait to see what choreography I come up with, for this show :-)
- J Street Jr
Related Links
Friday, March 4, 2011
Capital Fringe Festival Application Due
Not much to report here...except that I turned in my Capital Fringe Festival application for Pinoy: A' merican Tale!!
This will be the second piece created and presented through my performing arts company, AWoL Productions.
Last summer, the show was The Rave Scenes and was a bit of a personal homage to my own experience and eventual path to performing as a profession, through this urban dance scene. Definitely looking to produce it again, but more on that when I have more details. In the mean time, feel free to check out this "review" at DC Theatre Scene. It's actually fair, for the most part, until you get to the point where the critic starts to become prescriptive about what they would've rather scene, than simply describing it.
In my humble opinion, with a cast made of both ravers and non-ravers, my goals were to a) provide a place of reflection for the party kids, b) provide an opportunity for insight for the non-party kids, and c) get party kids that might or might not regularly see live performances come out and see a show that was relative to them.
On all three counts, I believe I was successul.
Anyway, more details will be provided about this summer's show through my blog for AWoL Productions.
- J Street Jr
This will be the second piece created and presented through my performing arts company, AWoL Productions.
Last summer, the show was The Rave Scenes and was a bit of a personal homage to my own experience and eventual path to performing as a profession, through this urban dance scene. Definitely looking to produce it again, but more on that when I have more details. In the mean time, feel free to check out this "review" at DC Theatre Scene. It's actually fair, for the most part, until you get to the point where the critic starts to become prescriptive about what they would've rather scene, than simply describing it.
In my humble opinion, with a cast made of both ravers and non-ravers, my goals were to a) provide a place of reflection for the party kids, b) provide an opportunity for insight for the non-party kids, and c) get party kids that might or might not regularly see live performances come out and see a show that was relative to them.
On all three counts, I believe I was successul.
Anyway, more details will be provided about this summer's show through my blog for AWoL Productions.
- J Street Jr
Thursday, March 3, 2011
Tech Trends Among People of Color at Fdtn Center
Okay, small world.
I haven't seen Rosetta Thurman since the first Social Justice Camp DC, last year, in 2010. I actually didn't even remember until she reminded me, and I felt like it'd been much more recent than that, which is only a testament to her social media presence.
If you follow her Twitter, for even a day, you'll know why. And if you don't follow it yet, and are involved in the nonprofit world, you should. In fact, even if you aren't, you should, just because I'm sure her insights could apply to your life in some way, shape or form.
So she's moderating this Foundation Center session, led by Aaron Smith of the Pew Research Center. He was sharing results from a recent study, which looked at technology trends across demographics, but highlighted trends among people of color, particularly Latino and African-American users. This was done through the lens of the Pew Internet & American Life Project.
Some of the information shared might have reinforced some individuals experiences, while some might've completely contradicted previously held beliefs about which demographics do what with technology and social media tools.
And all the research is available for free, online. These sessions are free and open to the public. And this particular one was actually full by the time I registered.
But they have wait-lists for a reason and I put my name on one the week before, just to get a call confirming my spot almost right away.
Ironically, as one of the field trips for a grad school class, Fundamentals of Fundraising, we had to do donor research at the Foundation Center because, AGAIN, you can have access to their tools and databases for free when you go there in person.
Just an amazing resource, when you think about how much of the work people do now is simply about making those connections, and finding people who believe in you enough to support you with time and money.
And social media is becoming ever more crucial to cultivating those relationships.
Just another reason I've made it a resolution, not necessarily a New Year's one, but a general one, to really use this blog to connect anyone who cares to read, with the city and people I care about as well as taking advantage of opportunities like this information session, to continue moving forward with every pursuit in life.
- J Street Jr
Other Twitter accounts:
I haven't seen Rosetta Thurman since the first Social Justice Camp DC, last year, in 2010. I actually didn't even remember until she reminded me, and I felt like it'd been much more recent than that, which is only a testament to her social media presence.
If you follow her Twitter, for even a day, you'll know why. And if you don't follow it yet, and are involved in the nonprofit world, you should. In fact, even if you aren't, you should, just because I'm sure her insights could apply to your life in some way, shape or form.
So she's moderating this Foundation Center session, led by Aaron Smith of the Pew Research Center. He was sharing results from a recent study, which looked at technology trends across demographics, but highlighted trends among people of color, particularly Latino and African-American users. This was done through the lens of the Pew Internet & American Life Project.
Some of the information shared might have reinforced some individuals experiences, while some might've completely contradicted previously held beliefs about which demographics do what with technology and social media tools.
And all the research is available for free, online. These sessions are free and open to the public. And this particular one was actually full by the time I registered.
But they have wait-lists for a reason and I put my name on one the week before, just to get a call confirming my spot almost right away.
Ironically, as one of the field trips for a grad school class, Fundamentals of Fundraising, we had to do donor research at the Foundation Center because, AGAIN, you can have access to their tools and databases for free when you go there in person.
Just an amazing resource, when you think about how much of the work people do now is simply about making those connections, and finding people who believe in you enough to support you with time and money.
And social media is becoming ever more crucial to cultivating those relationships.
Just another reason I've made it a resolution, not necessarily a New Year's one, but a general one, to really use this blog to connect anyone who cares to read, with the city and people I care about as well as taking advantage of opportunities like this information session, to continue moving forward with every pursuit in life.
- J Street Jr
Other Twitter accounts:
Saturday, February 26, 2011
Closing night of Landless' Mashup Festival
Another closing, another show...
It won't kick in until the following week, or the week after, but at some point I'll remember how this craft has socially and emotionally lobotomized performers to accept the complete disconnect for what can be very tight-knit community, in order to be ready to move on the the next one.
All that being said, this has truly been a unique and fun experience, and gave me an opportunity to play roles that have probably been the most challenging I've ever played, that of Black Girl in Gleam (a mashup of Glee & Scream) and Casey, a gay porn bottom, in TarXXXanadu...I don't think I need to explain that one.
And thus ended my premiere performance(s) with Landless Theatre Company, an organization I hope to work with more in the future.
In my ever ending quest to do work to get my non-theatre friends to come out and see live performances, I continue to make headway, although not as much as I would like.
And so I turn back to the eternal question that seems to stump me in most endeavors...how do you get people to care enough just to show up?
Yes, it's more of a rhetorical question, but if the friends that did make it out are any indicator, then I'm making progress. That's part of the reason I was really looking forward to working with Landless, because that's what they're about:
"Landless Theatre Company is committed to infusing vitality into the D.C. Arts by producing exciting and accessible alternative theatre to generate new and diverse audiences"
I love it!!
It won't kick in until the following week, or the week after, but at some point I'll remember how this craft has socially and emotionally lobotomized performers to accept the complete disconnect for what can be very tight-knit community, in order to be ready to move on the the next one.
All that being said, this has truly been a unique and fun experience, and gave me an opportunity to play roles that have probably been the most challenging I've ever played, that of Black Girl in Gleam (a mashup of Glee & Scream) and Casey, a gay porn bottom, in TarXXXanadu...I don't think I need to explain that one.
And thus ended my premiere performance(s) with Landless Theatre Company, an organization I hope to work with more in the future.
In my ever ending quest to do work to get my non-theatre friends to come out and see live performances, I continue to make headway, although not as much as I would like.
And so I turn back to the eternal question that seems to stump me in most endeavors...how do you get people to care enough just to show up?
Yes, it's more of a rhetorical question, but if the friends that did make it out are any indicator, then I'm making progress. That's part of the reason I was really looking forward to working with Landless, because that's what they're about:
"Landless Theatre Company is committed to infusing vitality into the D.C. Arts by producing exciting and accessible alternative theatre to generate new and diverse audiences"
I love it!!
And so I go further down the DC performing arts rabbit hole :-)
- J Street Jr
Monday, February 21, 2011
Letter to Obama at Busboys & Poets
Anyway, I was actually approached to create a piece for this event from Holly Bass, the host, and turned it down, but this was when the event was originally scheduled to happen in January.
The universe has a funny way of making things work out, sometimes.
For whatever reason, Letter to Obama, a collaborative piece of artistic citizenship developed and executed by Liz Andrews, was rescheduled. I was asked again, and I said yes.
The thought for my work was to create a piece of movement to Obama's spoken word. And as the day drew closer, I was drawn more and more to Will.I.Am's Yes We Can. It was a process unlike any I had done before in creating a dance, which was refreshing. I didn't sweat the details, and while it told a story, it was still wide open to interpretation.
Part of the journey, was revealed as I literally revealed layers. I started out the piece in a graduation gown, which when removed showed a shirt saying Filipino American (a bit of swag I got from the tour of The Debut), and under this was simply a navy blue sleeveless shirt that had U.S.A. on it.
Before the reveal of the second shirt, I actually turn around holding one of many Washington Post issues that I saved from Obama's first hundred days or so (including the 100 Days one). The one I held up was the Outlook section from November 30, 2008, with the two headliners, I'm Not Post-Racial and He's Not Black. It spoke to my own identity and path growing up as a mixed person.
Anyway, this article was the first of many Washington Post pieces from mostly early 2009, post-inauguration, I share in the piece. But why?
I don't know, honestly...it just felt right, the sharing of information, the reminder of what the news was barely two years ago, and inadvertently the feelings we had at such a historic time. I can't even really tell you what the audience got from it, or from the rest of the dance...but from the look in their eyes as I scanned the room at the end of the solo, making sure to make eye contact, with a hopeful smile on my face, with each person...well I just knew that everyone got something.
And I, through the invitation of Liz Andrews and Holly Bass, got to do something artistically that I couldn't have imagined on my own. That is one of the reasons I love living in DC, as an artist, and particularly a performer. The possibilities are numerous, and they will surprise you. :-)
- J Street Jr
Related Links
- Holly Bass - Twitter
- Busboys & Poets - Facebook | Twitter
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