performance


V.22 No.25 | 6/20/2013
Voces students line up to share their Twitter handles on the Twitter wall
Courtesy of @Voces2013
Voces students line up to share their Twitter handles on the Twitter wall

Art Magnified

Rhyme and Reason

Urban Verbs trio transforms Voces

By Shawna Brown

What began as a three-man hip-hop performance group has morphed into a 21st century creative learning model for Albuquerque youth. Hakim Bellamy, Carlos Contreras and Colin “Diles” Hazelbaker collaborated in 2009 to create a show called Urban Verbs commemorating their life experiences and how hip-hop brought them together. Fast forward to 2013 and they’re still together, but with an exciting variation on their initial performance theme.

Today the goal of Urban Verbs is to create community and encourage dialogue through the use of hip-hop, poetry and mixed media. “At the root of what we do is create a lot of talk about identity, place and culture. To us, all of those things really revolve around the common ground that we found which is hip-hop,” says Urban Verbs member Carlos Contreras.

The evolution from a performance theater group to an innovative community engagement model has been a source of sustainable funding. “Last month we did a project with Bernalillo County and ABQ Safe Schools’ ‘Don’t Just Stand There’ anti-bullying conference,” says Hakim Bellamy, Albuquerque Poet Laureate and Urban Verbs member.

This trio currently serves as facilitators at a four-week writing and performance intensive workshop for youth called Voces. Each incoming class begins their first day in “The Cave,” a dark classroom with boardroom seating, desktops and a projection screen. This is where most of the creative magic materializes, but these energetic students can’t be confined within four drab walls all day. Early on, the entire National Hispanic Cultural Center (NHCC) becomes their creative workspace. Most mornings begin with calisthenics in the outdoor corridor, and afternoons include stage time that prepares students for their individual end-of-program presentation.

According to NHCC Education Director Dr. Shelle Sánchez, Voces’ purpose is to encourage youth to find their voice on the page or on the stage. “We want kids to write, appreciate other people’s writing and stand up and speak powerfully,” says Sánchez.

According to Sánchez, in past years, during a day at Voces you would see and hear students sharing poetry with one another, but not with the world. But 2013 called for an upgrade. “This year, students will improve their writing while incorporating social media, audio and video.” The purpose, she says, is “to create a fusion of writing and mixed media that makes sense for how the next generation of artists will express themselves and share their work.”

Contreras is a testament to the Voces Institute, having begun as a Voces student in its first year. He is now a skilled poet who teaches poetry and literature as a tool to connect with and educate an incarcerated population at Gordon Bernell Charter School in Albuquerque.

Urban Verbs has attracted a new source of funding from an organization called ArtBar by Catalyst Club, an organization that supports edgy local arts organizations and projects. Julia Mandeville, their director of programs and community relations, tapped Urban Verbs for funding at the end of this fiscal year because, she says, they're “going into classrooms and community centers, organizing summer programs for young people in our community and often doing so as a community service or with very limited funds to support their innovative programming.”

Diles, the third member of Urban Verbs, says we should expect to see Urban Verbs working toward creating their own “non-traditional school for the arts where students can come by before or after their normal school day. It will be a space where people can come in, take workshops, hold events, host conferences that cater to the interests of youth—an urban arts academy.”

Voces will hold an end-of-program performance on June 28 at the NHCC Bank of America Theatre. The program is free and open to the public.

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V.20 No.35 | 9/1/2011
The cast left to right: Rebekah Wiggins, Alex Knight, Patrick Gozur, Kathleen Fontaine, Melissa Heiman, Devin Antonelli, Kara Clem, Will Toledo and musical director Seymour Muchmore
Frank Frost Photography

Performance Review

Funny Bunches of Jokes

Show up for The Show

By Summer Olsson
Naming an improv troupe The Show means it’s destined for many, many Abbott and Costello “Who’s on first?”-style jokes. That bit was a classic, polished routine, but the new comedy team at The Box Performance Space & Improv Theatre lives in the unscripted and unexpected.
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V.20 No.32 | 8/11/2011
James T. Shields (clarinet) and Conor Hanick (piano) take a breather at Club Beethoven’s June 5 debut.
photo courtesy of Club Beethoven

Performance Review

Ludwig’s Hotspot

Church of Beethoven’s older, cocktail-swirling brother

By Summer Olsson
When I found out I could hear live classical music and drink a beer and not get up “really early” on Sunday morning, I was totally in. Club Beethoven is the afternoon version of Church of Beethoven, the long-running Sunday morning event featuring classical music and a bit of spoken performance, usually poetry. The Club is held in the afternoon, at Casablanca, inside the Hotel Andaluz.

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V.20 No.29 | 7/21/2011
The Third Thursdays crew
Bruce Ying Wong

Performance Preview

Punch Lines, Not Punches

Rusty Rutherford celebrates another year of underground comedy shows

By Summer Olsson
There is an “anything goes” vibe at the Third Thursdays Comedy Contest, a stand-up comedy night Rusty Rutherford has hosted monthly, in venues around Albuquerque, since 2007. At each event, he does a short set to kick off the night and then 10 other comics take turns performing. The audience votes to determine the night’s best three, and Rutherford invites these comics back the following month. He also schedules seven new performers. The anniversary show will feature the winning comics of the past year.

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arts

Smokes and Jokes

Stand-up at the hookah bar

 
 

If you're looking to do some heavy lounging and hearty laughing tonight, check out the Smokes and Jokes Stand-up Showcase. Terrene Hookah has a lot of pillows, smooshy chairs and other stuff you'd like to loll around on. The establishment allows in customers 18 years and over, but I have yet to see a giant crowd of dingbats wearing idiotic clothing flitting around in front, so you're probably safe from that. Smoke a hookah, play some cards and even surf the web if you want. And hear some jokes.
These fine comics will be performing:

Rusty Rutherford, who has performed across America, including on NBC's Last Comic Standing. He is known as a "comedic genius." By his mom.

Matt Peterson, who appeared on NBC’s Last Comic Standing and played a lead role in the comedic film Bigfoot Election.

Curt Fletcher who won the Great Southwest Laff Off in 2003, beating out 21 other comics. In 2007, he advanced to the semifinals of HBO's Lucky 21 contest. He also advanced twice to the semifinals of the New Faces contest at Comedy Works.

James Morrow has performed on multiple occasions at Terrene’s 3rd Thursdays Comedy Contest and is a regular at Hallenbrick Brewery’s Young, Dumb and Full Comedy show. Morrow can also be seen Saturday nights on My50 TV’s Duke City Comedy League.

The show starts at 7 p.m. and $10 gets you admission and bottomless hookah!
Terrene Hookah is at 106 Vassar SE.
TerreneHookah.com or facebook.com/Rusta

Arts

Urban Verbs

An autobiographical hip-hop intersection of Hip-Hop and humanity in five acts

DJ Diles
DJ Diles

Hakim Bellamy, Carlos Contreras, DJ Diles and Idris Goodwin: heavy hitters from the arts and music scene with many fingers in many pies at all times. Their newest confection, Urban Verbs, is a video, audio and physical performance piece that is dialogued entirely in poetic verse. Bellamy and Contreras play characters and interact, weaving over and under live electronic DJing from Diles—and under the sharp direction of Goodwin. The actor/creators call Urban Verbs an alternative to the brainless, heartless hip-hop of violence and exclusion. The Friday show also has live art creation, an auction and a DJ. Saturday’s show has a keg and musical guests BrokenBreadWinner.

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V.20 No.14 | 4/7/2011

Theater News

Right on q

Longtime ensemble theater group finds new home

By Sam Adams

The typical formula for theatergoing is pretty simple in the States: You buy a ticket, are ushered to a seat, eat your Toblerone, watch the show and are ushered out. Aside from clapping, the experience is about as interactive as a game of solitaire.

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V.20 No.10 | 3/10/2011
I Drink the Air Before Me
Sarah Silver

Performance Preview

World Movement

They just wanna dance, dance, dance

By Sam Adams

Marjorie Neset is a self-described "obsessive traveler and geographer." In 2008, a research grant landed her in Maputo, Mozambique, to investigate the local dance scene. There she connected with Panaibra Gabriel Canda—one of the country's foremost dance figures. A few weekends ago, Neset found herself on an 800-mile road trip from Los Angeles to Albuquerque, delivering Canda and his guitarist, Jorge Domingos, to the 11th annual installation of Global DanceFest.

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V.20 No.4 | 1/27/2011
Sean Christopher Lewis

Culture Shock

By John Bear

Murder in the City of Brotherly Love

Sean Christopher Lewis says he came to Philadelphia after graduate school to work at a local theater company. While he was in town, he was asked to participate in the mural program at Graterford Prison. The inmates, mostly people serving life sentences, constructed murals on cloth that were hung around the city.

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dance

Dance, Dance, Dance

 
 

A lot of you out there are already sold on flamenco. That's great. Get thee to the National Institute of Flamenco's "Festival Flamenco Internacional." You've probably already got tickets.

Now, the rest of you. What's your problem? I hope it's not some kind of misguided idea that traditional equals boring. Here's the thing. You probably think you know something about flamenco, but there's a lot more to learn. That's right, grab your glasses and a notebook, it's time for a lesson.

First, flamenco isn't Spanish dance. It's an Andalusian musical style that's accompanied by movements with gypsy, Moor, Byzantine, Andalusian (and a few others) roots.

Wait, what? The Moors. Those are Muslims, right? Yuppers, you got it. Back in the day, when this little thing called the Crusades was going on, Muslim armies came to Spain where they got along pretty well with the Christian natives. (One big difference was that no one levied taxes on those of other faiths.) So the two groups shared music and art, making some really unique stuff. Like flamenco.

That's fascinating! What else?

So glad you asked. Flamenco flourished during the late 1800s, with guitarists and dancers performing in public, rather than the previous when-the-mood-strikes kind of get together.

In the 1920s Federico García Lorca, a huge flamenco fan, organized a festival called "Concurso de Cante Jondo," which featured flamenco from many different traditions, rather than just the popular ones that were seen by the public. After Lorca's fest, flamenco got all sort of theatrical and there is a plethora of academic drama about whether it lost its spark, which I shall spare you. Your welcome.

Today, flamenco is often known for its bright red costuming and dramatic style. It has these things, yes, but flamenco isn't just some stuffy performative art. It is style itself. So now that you've got your little history lesson, go check out some flamenco!

"Festival Flamenco Internacional" runs from Wednesday, June 9 to Sunday, June 13. Tickets range from $20 to $90, depending on the performance. A complete schedule is available right here.

arts

Kazuo Ohno (1906-2010)

 
 

After he lost his ability to walk, in 2001, Japanese dancer Kazou Ohno simply danced in his wheelchair.

Sadly, the dance is now over, as Ohno, at 103, passed away yesterday. Not exactly a household name, Ohno's image crept into pop culture early last year as he graced the cover of Antony and the Johnson's The Crying Light.

But avant garde art fans are likely to know Ohno as the emotional force behind butoh, a dance form that originated in Japan in the late 1950s and gained popularity in the west in the 1980s.

Ohno is one of those artists who lived life like it was art itself, which probably explains why his work is so captivating. Though he didn't begin to dance until he was nearly 30, once he did, he never stopped. In 1933 he began to study modern dance, an activity that was derailed by his being drafted into the Imperial Army during World War II. After his release from a New Guinea prisoner of war camp after the end of the war, in which he'd spent 9 years, he immediately returned to the artform.

 

In 1960 Ohno teamed up with dancer Tatsumi Hijikata, who had created controversy the year before with his new style of dance. Together the two created one of the most otherworldly styles to hit the stage.

To watch butoh is to see a dancer move with a ghostly presence. The action is sometimes so slow it's barely intelligible, though at other times dancers hop along a stage in a series of painful-looking movements.

Sometimes considered performance art rather than dance form, butoh's legacy is not without controversy. But lets not get into that. Lets, instead, just remember a master, one of the most graceful performers to ever take the stage. The man who, two years ago, said "On the verge of death one revisits the joyful moments of a lifetime. One’s eyes are opened wide-gazing into the palm, seeing death, life, joy and sorrow with a sense of tranquillity."

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V.19 No.2 | 1/14/2010
 

Feature

Long Live the Revolution

The 10th annual Revolutions International Theatre Festival

By Julia Mandeville

The mark of brilliance may just be that it stays with you. It affects the way you think about something or, perhaps, the way you look at everything. You contemplate it after you’ve engaged with it. Your future actions and interactions are, in some regard, altered by having experienced it. As it so happens, this is also the mark of revolution. Coincidence? Certainly not in the case of the Revolutions International Theatre Festival.

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Feature

Week Two

Excavations New Works Series: Four Interludes

See “Week One” description.

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Feature

Week Three

It’s Hell In Here

A prodigy named Max, the Secret Service, parallel universes, car chases, apologia, J.D. Salinger and Sen. Larry Craig. This is the fantastic stuff of It’s Hell In Here, a play written and directed by Tricklock (when Tricklock was still Riverside Ensemble) alum Abigail Browde, who developed the work during her present residency at Brooklyn Art Exchange in New York. Fusing elements of dance and theater to invent a curiously potent, seemingly allegorical reality, It’s Hell In Here provides an examination of modern uncertainty and, says Browde, a “meditation” on the blur between public and private. Talk about timely.

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