Anne Teresa De Keersmaeker
NYLA
September 24-28 & October 1-5
Keersmaeker will be at NYLA for two weeks with with two early Fase (September 24-28) and Rosas danst Rosas (October 1-5).  Premiering in 1982, Fase, to the Music of Steve Reich was Keersmaeker’s first choreographic work, and Rosas danst Rosas is “…considered a benchmark in postmodern dance history,” notes the release.  Find out more here
 
Ayodele Casel + Arturo O’Farrill
The Joyce Theatre
September 24 – 29
Award-winning tap dancer, Casel pairs with GRAMMY winner Arturo O’Farrill for a world premiere that will bring to life their “…shared musical lexicon in Afro-Latin jazz.”  Known for “…honoring artists who have paved the way for her work and moving the artform to new.”  Find out more here 
 
Martha Graham Dance Company
Martha Graham Studio Theater
September 24 – 25
The Studio Series opens with GrahamDeconstructed featuring Graham’s Steps in the Street.  For this event, excerpts of the early film and dancer demonstration will illustrate the reconstruction process before a performance of the complete work. Find out more here
 
Maria Bauman-Morales/MBDance
BAAD!
September 25-28
BAAD! and The Chocolate Factory will co-present evening-length (re)Source, Bauman-Morales’ “…dance and spoken artwork performed inside an installation crafted by Bauman-Morales in consultation with Zimbabwean-born interdisciplinary artist Nontsikelelo Mutiti,” according to the release. Find out more here 
 
The School for Temporary Liveness – The Library
Philadelphia Art Alliance at University of the Arts
September 25-October 1
The Library is home to nora chipaumire's #PUNK 100% POP N!GGA, a three-part live-performance album inspired by chipaumire's formative years in Zimbabwe during the '70s, '80s and '90s. It explores the sonic ideologies of punk, pop and Congolese rumba, through the iconic artists Patti Smith, Grace Jones and Rit Nzele, respectively. Each part is embedded with a lecture or history lesson that explores how knowledge can be shared through live performance. The Library is FREE and open to the public. Find out more here 
 
Germaine Acogny
La Mama
September 26–28
As part of the French Institute Alliance Française’s (FIAF) “Crossing Line Festival,” the Senegalese and French performer, choreographer and teacher, Acogny, known as the “Mother of Contemporary African Dance,” returns to New York with the premiere of SOMEWHERE AT THE BEGINNING “…tracing African history interwoven with her own life narrative.”   Find out more here 
 
Liz Gerring
BAC
September 27
In just one evening (two showings) Gerring offers Installation III: red green blue & grey (Work-in-Progress), a new phase in her exploration of physical effort and its innate capacity to provide meaning. Sound design is by Ryan Seaton.  Find out more here 
 
Ronald K. Brown/EVIDENCE
The Billy Holiday Theatre
September 27-28
Brown and EVIDENCE celebrates the 20th anniversary Gatekeepers and Water, both made in 1999, featuring Brown’s signature fusion of African and contemporary dance with spoken word. Find out more here 
 
Dance Theatre of Harlem
The Guggenheim
September 30
The Guggenheim building's 60th and Dance Theatre of Harlem's (DTH) 50th anniversaries, coincide for the Works & Process series, and DTH will pay tribute to its history in a restaging of TONES II, by former DTH principal ballerina Lorraine Graves, set to music by Tania León.  Find out more here 

VIMEO

Co-Commissioned and Co-Presented with BAAD!
Performances will take place at BAAD! 2474 Westchester Avenue, Bronx NY.
(re)Source is an evening-length live danced and spoken artwork performed inside an installation (crafted by Bauman-Morales in consultation with Zimbabwean-born interdisciplinary artist Nontsikelelo Mutiti) of taut strings and framed images which immersively surrounds and implicates the audience. Creator Maria Bauman-Morales dances through, with, in, and in spite of the visual, sonic and human landscapes which house (re)Source. The performance-ritual is unique and steeped in immediacy every time Bauman-Morales inhabits it; (re)Source is a scored improvisation wherein Bauman-Morales dances, sings, and speaks through the assets in her family (both the Blackfolks and whites), what it takes to make it in Trump’s U.S., and what her research into maroonage and her own ancestors have to do with all of that. She employs some of her families’ histories as a complex microcosm of race relations in the United States, digging in to the process of other-ing, being other-ed, and reclaiming radical connection.
Created and Performed by Maria Bauman-Morales. Dramaturg: Melanie George. Lighting Design: Tuçe Yasak. Sound Engineer: James Lo. Contributing Musician: Shea Rose. Scenic Consultation: Nontsikelelo Mutiti.
The development of (re)Source was supported by the Artist in Residence program at Brooklyn Arts Exchange and by the Urban Bush Women Choreographic Center Initiative.

CPR’s Artist-in-Residence Open Call 2020

CPR – Center for Performance Research’s Artist-in-Residence (AiR) program seeks to support a wide range of artists from emerging choreographers to established companies, working within the various aspects of dance and performance. Since its inception in 2012, with the generous support of The Andrew W. Mellon Foundation, CPR’s AiR Program has provided up to 15 artists per year (selected by invitation) with 100 hours of deeply subsidized rehearsal hours at advanced booking. In an effort to create a more inclusive and equitable selection process, we are piloting an open call application by a peer artist committee this year. The committee will review applications, and through a scoring and discussion process, select CPR’s AiRs for 2020. Using this approach, CPR aspires to increase visibility, opportunities, and resources for a diverse range of dance artists in the field.

Our 2020 AiR Program will provide 10 artists with an increase of deeply subsidized rehearsal hours (150) with advance booking privileges and a $1,000 stipend. Artists will have opportunities to share their current practice with the larger CPR and NYC dance communities, have several informal opportunities for community engagement, and receive complimentary time in the large studio to share their practice with other AiRs. The 2020 AiR application and full description can be found here.
 
Eligible applicants include those who have had their dance work publicly presented, and have not been CPR AiRs more than once. 
Applications will be accepted until 11:59pm on October 4, 2019.

Email programs@cprnyc.org with any questions.
CPR’s AiR program is supported by Dance/NYC’s New York City Rehearsal Space Subsidy Program, an initiative made possible by the Andrew W. Mellon Foundation. Additional funding generously provided by the Howard Gilman Foundation, Mertz Gilmore Foundation, and the New York City Department of Cultural Affairs.
2020 Artist-in-Residence Application

At the end of the Manmade Earth, 600 Highwaymen’s most resent show, the young performers (high schoolers and first or second year college students): Nur Aisyah, Nasra Ali, Raiza Almonte, Dimyana Angelo, Amanda Barsi, Augustin Bonane, Jeanvier Nkurunmziza and Diaaeddin Zabadani sat on the benches near the exit of The Invisible Dog, grinning from ear to ear, with flowers in hand.  Their uncontained energy filled the space, and rightfully so because although they were mostly new to the stage, they drew the audience in with their maturity.  The master minds behind 600 Highwaymen, Abigail Browde and Michael Silverstone give credit to the performers, noting that Manmade Earth was created “in conversation” with them.  These teenagers from the Congo, Egypt, Malaysia, Somalia, Syria, and Tanzania tell their own stories, and it’s their forthright telling in the raw space, that is even more masterful.  Sure, they were well-directed and their presence and attention to the message at hand, was palpable, but it’s their delivery that supersedes all.  Along the length of the space, a drop cloth helped to contain the area as they ask questions: “Do you understand me...” or “Why do you talk like that?” They engage with the audience, they make eye contact, and as teens share their truth, “…all these eyes on you…so, so scary…”  Throughout, as a team, and with breathtaking care, they create an installation made from giant-sized cardboard pieces, ladders, and hefty supporting wood.  A surprising reveal of a solid structure made during the show, came at the end.  But, all this becomes undone by the end.  In their program note, the teens write: “We hope you enjoyed our performance. We hope we got the job done. We enjoy putting it on for you.”  A shorter evening would have really cemented the magic.

600 Highwaymen's Manmade Earth was presented as part of the French Institute Alliance Francaise's 2019 Crossing the Line Festival.

Marielis Garcia and Nicole Von Arx
Judson Memorial Church
September 21 - 22
In a shared evening titled "Objective Bodies," choreographers Garcia and Von Arx asks "can bodies of gender, color, or experience ever be neutral? Each artist will premiere two different dance works revolving around the social implications that directly affect the way we attend to, take notice of and develop within our own bodies.  Find out more here 
 
 

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Keiko Fujii Dance Company
Gibney
September 19 - 21
Japan’s Keiko Fujii Dance Company will premiere Tamashii No Tibiki II (Soul Vibrations), “an ensemble work that looks into peoples' minds to explore the vibrations in the silent inner sanctuary of the body,” notes the release. Find out more here
 
Freemove Dance
14th Street Y
September 19 – 22
In the premiere ...its time... by Jenn Freeman, five performers move to a drum score composed by Dani Markham.  Find out more here
 
Reigakusha Ensemble
Japan Society
September 21
To celebrate the beginning of Reiwa [令和], the new era meaning “beautiful harmony," Japan Society imports royal court music from Japan.  Find out more here
 
San Francisco's Flyaway Productions
Louis Engel Park
September 20 – 22
Jo Kreiter premieres the site work, The Wait Room, a performance installation that exposes the physical, psychic, and emotional burden of incarceration for women with imprisoned loved ones, to Sing Sing Correctional Facility in Ossining, New York. Find out more here

FLUID BLACK :: DANCE BACK - CALL FOR PROPOSALS​

The Collegium for African Diaspora Dance (CADD) fourth bi-annual conference aims to provoke enlivened discussions on the power and politics of global Black Dance by bringing together scholars, practitioners, educators, and other stakeholders for three days of intellectual and artistic inspiration. 

Fluid Black::Dance Back
Move between worlds - worldmaking in motion. 
Flip the Script.
Do what you need to do, dance towards truth.
Justice, Pain, and Black Resiliency.
IT MATTERS that we dance, and we dance back. ​

CADD 2020 takes place 21-23 February 2020. 

The deadline for submissions is October 11, 2019.