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BUILDING

Building is a dance performance that delves into the correspondence between constructing human identity and physical structures. Through choreographed movements and imagery, the dancers explore the interplay between the subconscious and the infrastructure of the mind, drawing parallels to the foundation of a building. Themes of resilience and transformation emerge as the performance navigates the challenges of personal growth and architectural creation, prompting the audience to contemplate the interconnectedness of human existence and the built environment. Accompanied by a poignant score, Building offers viewers a thoughtful reflection on inner struggles and external manifestations, all presented in unconventional and innovative ways that leave a lingering impression of curiosity, hope, and beauty.

This Production funded in part by

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Performance Garage DanceVisions Residency

Choreographer: Meredith Rainey

Sound Design: Majesty Royale

Costume Design: Martha Chamberlain

Lighting Design: Pamela Hobson

Assistant to Choreographer: Da'Von Doane

Dancers: Marco Emilio Bonnes, Mikale Gilbert, Chandr Moss-Thorne, Brandi Pinnix, Andrea Yorita

Premiere: May 16, 2024 

Length: 1 hour

SUPPLEMENTAL PROGRAMMING FOR BUILDING

HubChat -"When Yesterday Meets Tomorrow: Being Black in Ballet Today & Asking Questions"

Panel discussion, featuring Meredith Rainey in conversation with 2021 Guggenheim Fellow Tommie-Waheed Evans, a queer black dance maker, currently an Artist-in-Residence at Philadanco and a fellow faculty member at the University of the Arts; and panel moderator, Theresa Ruth Howard, founder and curator of Memoirs of Blacks in Ballet, a digital platform that preserves, presents, and promotes the Memoirs of Blacks in Ballet.

DanceFilm 2024 - The Body - by Alexander Diaz

In The Body, we embark on a journey where the body works as the canvas to illustrate the evolution of identity over time. This film is an intimate reflection on the societal influences that shape perception and self-worth. Guided by the central mantra “the body is not an apology,” found in Sonya Renee Taylor’s book The Body is Not an Apology, The Power of Radical Self-Love, the film unfolds as a multifaceted exploration, weaving together elements of satire, realism, drag, and dance.

The Body is a space of liberation. Where the artist says “yes” to themselves, their ideas, and their creative impulses. In stepping away from the relentless pursuit of financial stability and security, the artist seizes this film as an opportunity to focus on their creative practice, push the boundaries of their art, and invest deeply in the process. This film is not made to be a polished, finished product. Instead, it is a deliberate choice to embrace the journey, fall without fear, and learn from the process.

Through this exploration, The Body becomes a celebration of artistic passion, a rediscovery of self, and a profound source of inspiration for future creations. It is an unapologetic affirmation of the artist's identity, an ode to the body as a vessel for expression, and a testament to the boundless possibilities that arise when one embraces the transformative power of one’s art and life.

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