Brown performs a brilliant solo at the beginning embodying the essence of childhood play performing motifs based on skipping, hand-clapping and rhythmic group games. She revels in stamping on chalk dust, which billows over her head as she goes into a tap dance with unique abstract movements.
Christopher Duggan Camille A. The dance is complex expressivity extracted from these games and the look and sound is polished, free and raw. Another performer arrives and Brown sits on a step and watches, as if sitting on the doorstep of a home while her friend plays on the sidewalk.
Their world is enlarged with the distant sounds of grown ups. The fusion of emotive movement, gestures and the relationships of the two characters meld superbly into a wonderful scene with typical teenage competitiveness.
Brown take turns performing solos and duos, each conveying a different story that ranges from free joyful play to coming of age and sisterly quarrels. The set is impactful and charming, with a very large chalkboard crammed full of colorful chalk drawings, several narrow platforms at different levels in front of the chalkboard and seven mirrors hung at angles above the stage set design by Elizabeth C.
Next, they do a friendly fist bump, react to each other in fun, then they trip across the stage together with fast and nifty footwork and finger snaps. The inspiration for this work is The Games Black Girls Play by Kyra Gaunt, which resonated with Brown as an empowerment to honor and heal through play at any age.
Two musicians sit upstage right, Scott Patterson at the piano and Robin Bramlett on electric bass. She stomps and claps, turns and leaps with focus and attitude briefly flashing of a sly smile. Directed and choreographed by Camille A.
It is clear that this production delivers substance encompassing the experiences of black girls as they grow up through play. Wearing a baggy orange sweatshirt, frayed denim shorts and sneakers Brown moves adeptly along the platforms kicking up the chalk.
They play beautiful original compositions by Patterson and Tracy Wormworth, that complement the dance and gestural storytelling perfectly. These fascinating music is full, sophisticated and sometimes pensive and restrained, which adds nuanced depth to the production.
Other sounds heard are recorded voices of children chanting childhood games in the background and are very effective in their subtlety sound design by San Crawford. Nelson with dramatic lighting lighting design by Burke Wilmore.
A second duo of two young girls growing up is clever, well performed and relatable.Jacob’s Pillow Dance Award recipient Camille A.
Brown and her company, Camille A. Brown & Dancers, will present her evening-length work New York Dance and Performance (“Bessie”) nominated BLACK GIRL: Linguistic Play in.
Sep 24, · The choreographer Camille A. Brown may be tiny, but her latest dance isn’t the least bit diminutive. In “Black Girl: Linguistic Play,” which opened the Joyce Theater’s fall season on a.
Camille A. Brown, choreographer Scott Patterson, composer and piano Robin Bramlett, electric bass Tracy Wormworth, composer Innovative choreographer Camille A. Brown's BLACK GIRL: Linguistic Play draws on the games little girls play to tell a story of black female empowerment.
Brown uses African-American vernacular forms—social. Camille A.
Brown & Dancers: BLACK GIRL: Linguistic Play / ink Friday, December 1, - Saturday, December 2, Ballet & Contemporary Dance JFK Centennial Celebration. Prolific and highly acclaimed choreographer Camille A.
Brown makes her Kennedy Center debut with two full-evening works performed on separate nights: BLACK GIRL:. The black experience in America is one historically wrought with struggle and adversity. Through oppression, black culture has proliferated and carried on to become a signifying aspect of America’s own culture.
“BLACK GIRL: Linguistic Play” by Camille A.
Brown and Dancers adeptly portrays. Camille Brown uses the rhythmic play of African-American dance vernacular – including social dancing, double dutch, steppin’, tap, Juba, ring shout, and gesture – as the black woman’s domain to evoke childhood memories of self-discovery.Download