Hey everyone,
So I'm getting back into my blog, with a vlog about living in the Brookland Artspace Lofts. Yes, this is a shameless plug, as most of my J Street Jr content will not be focused on living here.
It was pretty neat, me and my roommate were the first to move into one of the live/work units brought to DC by developer Artspace USA, who worked with local community partners Cultural Development Corporation and Dance Place.
Anyway, look out for more of what's happening, both in the Brookland Lofts, and out and about DC, where the arts are DEFINITELY happening :-)
- J Street Jr
Other links:
Monday, August 8, 2011
Saturday, April 23, 2011
7 tips when seeing Too Much Light Makes the Baby Go Blind
Hey folks,
So for the third year in a row, I caught The Neo-Futurists at Woolly Mammoth, with their production of Too Much Light Makes the Baby Go Blind (here's the FB event).
It's just a fun show.
Not sure how else to describe it, other than they attempt to perform 30 plays in 60 minutes, and it depends on us (the audience) to help them do it. And the plays range from comic to experimental, interactive to dance, and then some. Between each, the audience chooses their collective destiny and if the audience hesitates for even a moment, it could lead to entire plays being left out when the timer hits 60 minutes.
So here are 7 tips to making sure you get the most out of your menu, and see all 30 shows:
Anyway, that's it for now. Until next ti-
Oh WAIT!! My favorite quote from the night (here's the arts administrator in me) came from a piece called "About a buck-seven", and I'm paraphrasing:
"...I'm offended that I live in a country that values commerce over culture"
I think I need to mention that fact that after the final show of every evening, they roll a die and replace that many shows with others, so the performance you see any another day could be completely different from the one I saw.
Good times,
- J Street Jr
Related Links
So for the third year in a row, I caught The Neo-Futurists at Woolly Mammoth, with their production of Too Much Light Makes the Baby Go Blind (here's the FB event).
It's just a fun show.
Not sure how else to describe it, other than they attempt to perform 30 plays in 60 minutes, and it depends on us (the audience) to help them do it. And the plays range from comic to experimental, interactive to dance, and then some. Between each, the audience chooses their collective destiny and if the audience hesitates for even a moment, it could lead to entire plays being left out when the timer hits 60 minutes.
So here are 7 tips to making sure you get the most out of your menu, and see all 30 shows:
- Don't clap loudly and extensively; you won't hear them call "curtain"
- When yelling out a number, make it loud, keep it short, hit the consonants, and don't dwell on the vowels.
- If an actor is near a number when "curtain" is called, yell out the closest number.
- If you're waiting for something to happen (like, a legitimate amount of time, not just a little bit because you're impatient) it probably means you (or another audience member) needs to get up on stage
- Don't call out numbers that have already been called (this means you have to watch the plays and not get lost in the menu)
- Definitely WAIT until they say "curtain" to call the next number. As they explained in their introduction, a blackout doesn't mean they play they're doing is over
- Have fun :-)
Anyway, that's it for now. Until next ti-
Oh WAIT!! My favorite quote from the night (here's the arts administrator in me) came from a piece called "About a buck-seven", and I'm paraphrasing:
"...I'm offended that I live in a country that values commerce over culture"
I think I need to mention that fact that after the final show of every evening, they roll a die and replace that many shows with others, so the performance you see any another day could be completely different from the one I saw.
Good times,
- J Street Jr
Related Links
Wednesday, April 20, 2011
The Tenleytown Starbucks: An Artist Hub apparently
So I met up with a colleague from American University, DonMike (currently in 42nd Street w/ the Arlington Players), at the Tenleytown Starbucks. He also finished at AU last year, but for undergrad.
I was running a little late so I say hi to him outside (it's a beautiful day) and go in to order my drink. As I'm waiting for it, who walks in, but Kelly, another dancer in the area. And you know what's funny, not only do I not remember the last time I saw him, but I can't even remember how we met.
He dances with Dana Tai Soon Burgess & Company, as well as teaches at GWU.
And if you're free next weekend, the company actually has a performance coming up.)
Anyway, so that was an unexpected and pleasant surprise.
So DonMike and I are meeting to catch up, about everything we've been up to, which (being artists) means that it's a weird mix of work & play...the things we do for a career, and then the things we do for a living to subsidize the career.
Incidentally, DonMike is the theatre programmer at Bloombars, and part of the discussion includes possibly doing workshops for my summer show there.
Over the course of catching up he, being Filipino, asks about the show I'm producing with production company, which was successful with its Kickstarter Campaign. And twice, some friends of his (theatre folk from AU) I believe, walk up and say hi to them. I say hi myself, and we're back to our conversation.
Then who walks out, by Lala and Chris. Lala I met during my final year in the Arts Management program at AU. Part of our requirements included 6 credits of undergrad level arts classes, so I jumped back into dance (at AU), taking 3 classes my final semester. And she was probably one of the most adept, graceful, technically proficient, and overall fun dancer I have had the pleasure of studying with.
If you ever get to see her perform...you should. But I digress.
And then there's Chris, who I kinda met while I taught classes at CityDance Center at Strathmore. Often times company members would be in the lobby before or after, and over time at some point we were finally introduced, or maybe I introduced myself. I can't remember (notice a pattern?). It's not that I don't want to, it just often is so circumstantial that it almost doesn't necessitate remembering. The important thing is that the connection was made.
I do remember attending a behind the scenes, donor cultivation event, where he presented a piece with spoken word, and a fish tank which he poured rice into. Now you know the Pinoy in me perked up. Breakfast is pretty much the only meal I don't regularly eat with rice. Obviously the piece was much deeper than just using the rice as a prop, but describing it wouldn't do it justice. Let's just say that in addition to the auditory element of mixing rice in water, at some point he also took handfuls and patted the rice on his skin, adding a texture to his body, but also leaving this cloud in the water.
So Chris actually works at CityDance as Choreographer in Residence and Rehearsal Director AS WELL AS doing work in New York. I always run into friends, colleagues, and acquaintance, like him, when I start fretting about how busy I think I am, and then I remember what they do. I mean, I have time to reflect and write this blog, although considering I haven't really done that much over the past month, maybe I can be like that at times.
Anyway, another working artist I've had the privilege and pleasure of crossing paths with, and as little as we know each other, just a generally gracious and pleasant guy, from what I can tell.
I joked with DonMike after they left, that we should just start a blog about the two of us sitting there and the people we run into. But I stopped when I realized I was thinking that it wouldn't be a bad idea. All we would need is the time and money to do that.
- J Street Jr
Related Links
I was running a little late so I say hi to him outside (it's a beautiful day) and go in to order my drink. As I'm waiting for it, who walks in, but Kelly, another dancer in the area. And you know what's funny, not only do I not remember the last time I saw him, but I can't even remember how we met.
He dances with Dana Tai Soon Burgess & Company, as well as teaches at GWU.
And if you're free next weekend, the company actually has a performance coming up.)
Anyway, so that was an unexpected and pleasant surprise.
So DonMike and I are meeting to catch up, about everything we've been up to, which (being artists) means that it's a weird mix of work & play...the things we do for a career, and then the things we do for a living to subsidize the career.
Incidentally, DonMike is the theatre programmer at Bloombars, and part of the discussion includes possibly doing workshops for my summer show there.
Over the course of catching up he, being Filipino, asks about the show I'm producing with production company, which was successful with its Kickstarter Campaign. And twice, some friends of his (theatre folk from AU) I believe, walk up and say hi to them. I say hi myself, and we're back to our conversation.
Then who walks out, by Lala and Chris. Lala I met during my final year in the Arts Management program at AU. Part of our requirements included 6 credits of undergrad level arts classes, so I jumped back into dance (at AU), taking 3 classes my final semester. And she was probably one of the most adept, graceful, technically proficient, and overall fun dancer I have had the pleasure of studying with.
If you ever get to see her perform...you should. But I digress.
And then there's Chris, who I kinda met while I taught classes at CityDance Center at Strathmore. Often times company members would be in the lobby before or after, and over time at some point we were finally introduced, or maybe I introduced myself. I can't remember (notice a pattern?). It's not that I don't want to, it just often is so circumstantial that it almost doesn't necessitate remembering. The important thing is that the connection was made.
I do remember attending a behind the scenes, donor cultivation event, where he presented a piece with spoken word, and a fish tank which he poured rice into. Now you know the Pinoy in me perked up. Breakfast is pretty much the only meal I don't regularly eat with rice. Obviously the piece was much deeper than just using the rice as a prop, but describing it wouldn't do it justice. Let's just say that in addition to the auditory element of mixing rice in water, at some point he also took handfuls and patted the rice on his skin, adding a texture to his body, but also leaving this cloud in the water.
So Chris actually works at CityDance as Choreographer in Residence and Rehearsal Director AS WELL AS doing work in New York. I always run into friends, colleagues, and acquaintance, like him, when I start fretting about how busy I think I am, and then I remember what they do. I mean, I have time to reflect and write this blog, although considering I haven't really done that much over the past month, maybe I can be like that at times.
Anyway, another working artist I've had the privilege and pleasure of crossing paths with, and as little as we know each other, just a generally gracious and pleasant guy, from what I can tell.
I joked with DonMike after they left, that we should just start a blog about the two of us sitting there and the people we run into. But I stopped when I realized I was thinking that it wouldn't be a bad idea. All we would need is the time and money to do that.
- J Street Jr
Related Links
Saturday, April 16, 2011
It's a small Sulu DC world (at Artisphere)
Frickin' small world, I'm telling you.
First, one of the musicians tech'ing, with the group The Fourth Stream, after almost an hour of being in the space, asks, "Hey, do you know Zehra Fazal?" I say yes, adding a "I thought you looked familiar" afterward.
Turns out we met at a birthday dinner for one of the most self-actualized working artists I know, and I've had the pleasure of working with in various capacities (you should check out her website).
Later I see Megan, whom I had just grabbed lunch with a week or so ago, who has recently taken on the position of Communications with Sulu DC.
Then, halfway through the set of the closing performers, SNRG, my kuya Ricky greets me with a fistbump in one hand, while is filming with the other.
I've known this guy as long as I've been live, via my cousin Kat's side of the fam.
Anyway, that's the AAPI community for you.
And it's been fun, with two events down as Sulu DC's resident stage manager, with my trusty sidekick, Eamonn, ASM'ing for the evening again.
Performances were as diverse in disciplines as the audience was in heritage, as usual, which is the pretty neat thing. I hear artists and art forms that I might not normally be exposed to, due to my own predispositions, as well as limited resources temporally and financially.
And they include active local artists. The Fourth Stream, mentioned earlier, actually has another performance which the Pink Line Project has listed, coming up this Friday at Bloombars.
They also included out-of-the-area artists, like the amazing Jennifer Cendaña Armas, who bussed in from NYC.
Other artists included Poet José Padua (check out his blog) and one of Sulu DC's founders, Alex Cena, who not only is a coordinator at Asian American Lead, but also had a posse of youth he mentors and teaches, performing some pieces with him.
MC'ing the evening was another of Sulu DC's founders, Brian Wang, and bringing the whole evening together on the 1's & 2's was the Pinstriped Rebel. I'm sorry, but someone who can bridge the variety of artforms and heritage, mixing in everything from cultural classics to Filipino funk/rap...let's just say that she's pretty awesome.
Definitely check out the Event Calendar, and see if there's an evening you'd consider checking out. Just come with open mind and heart, and whether you're of the AAPI community, or affiliated with it in some other way, I promise you will not be disappointed.
- J Street Jr
Related Links:
First, one of the musicians tech'ing, with the group The Fourth Stream, after almost an hour of being in the space, asks, "Hey, do you know Zehra Fazal?" I say yes, adding a "I thought you looked familiar" afterward.
Turns out we met at a birthday dinner for one of the most self-actualized working artists I know, and I've had the pleasure of working with in various capacities (you should check out her website).
Later I see Megan, whom I had just grabbed lunch with a week or so ago, who has recently taken on the position of Communications with Sulu DC.
Then, halfway through the set of the closing performers, SNRG, my kuya Ricky greets me with a fistbump in one hand, while is filming with the other.
I've known this guy as long as I've been live, via my cousin Kat's side of the fam.
Anyway, that's the AAPI community for you.
And it's been fun, with two events down as Sulu DC's resident stage manager, with my trusty sidekick, Eamonn, ASM'ing for the evening again.
Performances were as diverse in disciplines as the audience was in heritage, as usual, which is the pretty neat thing. I hear artists and art forms that I might not normally be exposed to, due to my own predispositions, as well as limited resources temporally and financially.
And they include active local artists. The Fourth Stream, mentioned earlier, actually has another performance which the Pink Line Project has listed, coming up this Friday at Bloombars.
They also included out-of-the-area artists, like the amazing Jennifer Cendaña Armas, who bussed in from NYC.
Other artists included Poet José Padua (check out his blog) and one of Sulu DC's founders, Alex Cena, who not only is a coordinator at Asian American Lead, but also had a posse of youth he mentors and teaches, performing some pieces with him.
MC'ing the evening was another of Sulu DC's founders, Brian Wang, and bringing the whole evening together on the 1's & 2's was the Pinstriped Rebel. I'm sorry, but someone who can bridge the variety of artforms and heritage, mixing in everything from cultural classics to Filipino funk/rap...let's just say that she's pretty awesome.
Definitely check out the Event Calendar, and see if there's an evening you'd consider checking out. Just come with open mind and heart, and whether you're of the AAPI community, or affiliated with it in some other way, I promise you will not be disappointed.
- J Street Jr
Related Links:
Thursday, March 17, 2011
Wolfgang Gartner: Illmerica Music Video
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
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
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
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