|
 The
company has performed and toured widely throughout the U.S. and
abroad. In addition to regular appearances at Aaron Davis Hall
and the Apollo Theater in Harlem, Forces of Nature Dance Theatre
Company has been presented by the Joyce Theater; the Brooklyn
Academy of Music's DanceAfrica Festival; the American Dance
Festival; the Cathedral of St. John The Divine; and the
International Association of Blacks in Dance (IABD) conference,
among other venues.
Forces of Nature
has also been presented as part of the First International Black
Dance Festival (UK); the International Dance Festival in Aruba;
the 2nd International Grand Festival of Mexico, receiving the
National Critics and Theater Award for Best Dance Company and
Most Outstanding New Choreographer; and the 12th Annual Festival
for Peace in Moscow, as the only African American dance company
to engage in historic cultural exchange with members of the
Bolshoi Ballet. Some of Forces of Nature's other significant
historic milestones include being the first American dance
company to engage in a cultural exchange with the Bolshoi Ballet
in Moscow since the Alvin Ailey American Dance Theater in 1969,
and leading the historical procession for Nelson Mandela during
his first appearance in the United States (1990).
Forces of
Nature was recently featured in the 3-part PBS “Great
Performances” special on the history of Black dance in the
20th Century entitled "Free To Dance”.
Forces of Nature was also the featured dance company in a
film project with the National Association of Black Museums on
the influence of African American dance in Western culture
entitled, "When the Spirit Moves”, culminating in an
exhibit at the Smithsonian Institution in Washington, DC.
In
addition to performing and touring widely throughout the U.S and
abroad, Forces of Nature has gained national and international
recognition for its work with youth of all ages through
workshops, master classes, and training seminars. Through the
development of ongoing programs offered to schools, community
service organizations and cultural art institutions, the company
has found that the arts coupled with informative, stimulating
academic presentations and creative participation, serve as one
of the best tools in educating our young and redirecting them
toward a progressive alternative path.
"Dance
is a language. We
have a three-fold mission.
One, to take dance and music of the African diaspora and
to communicate its histories, legends and political events.
Two, to create work that helps people understand harmony
with our ecosystem. Three, to create work that enables people to be more socially
responsible toward each other and to live together in diversity.
I felt it was important for our work to not only be
entertaining but to also have a purpose, a position about
something." Abdel
Salaam, Artistic Director
2008-2009
TOURING PROGRAMS:
1.)
"Eclipse: Visions of the Crescent and the Cross"
(Evening-length performance)
“Eclipse:
Visions of the Crescent and the Cross” is a full
evening dance theater work that explores some of the cultural,
historical and mythical conflicts, as well as confluences
between Christianity and Islam from the Crusades to the present
day. By combining
modern dance, ballet, hip-hop, martial arts, traditional Irish
and West African dance, Abdel R. Salaam takes the audience on a
choreographic journey through the Moors in Ancient Britain, the
visions of Nostradamus, the role of Christianity and Islam in
the Middle Passage, the teachings of Malcolm X and Martin Luther
King, Jr., Armageddon and beyond. The dance will be to set to
the music of composers M’bemba Bangoura, Salif Keita, Wojciech
Kiliar, Nóirín Ni Riain, Arto Tuncboyaciayan, Michael Wimberly,
Paul Winter and Vickie Winans, as well as traditional Gregorian
chants and Islamic prayers.
“Eclipse: Visions of
the Crescent & the Cross” is funded in part by the
National Dance Project of the New England Foundation for the
Arts (NDP). NDP is
generously supported by the National Endowment for the Arts, the
Doris Duke Charitable Foundation, the Ford Foundation, the
Andrew W. Mellon Foundation, and Altria Group, Inc. Additional
support is provided by 651 Arts, the Aaron Davis Hall Partnering
Program and the Caribbean Cultural Center touring artist
program.
"Eclipse..."
Description: Like an eclipse, the darkness is only temporary as
it always yields to the emergence of light. As the symbols
of the world's two largest religions in the title indicates,
"Eclipse: Chapters of the Crescent and the Cross" is a
dance theater epic that explores Islam and Christianity.
Blending ballet, modern dance,West African dance, and even a bit
of hip-hop and martial arts, "Eclipse..." examines the
cultural similarities and conflicts between people of
Islamic and Christian faith dating back to the Crusades of the
eighth century. The evening-length performance examines
topics such as the "Black Irish" and Moorish ghettos
of ancient Britain, the fall of Grenada, Islamic tradition in
western masonry, Black Muslim/Christian dialects in America,
professional boxing, and the events of September 11 and its
aftermath. "Eclipse..." extends well beyond the
mission of artistic expression and embraces the global
issues and needs that impact millions of people in the modern
world. Muslims, Christians, ballerinas, and African
dancers are making music, dancing and talking together--a
reminder, as Oscar Wilde said, "The stage is not merely the
meeting place of all the arts, but the return of art to
life." In a troubling era of world history, artists
continue the quest for the best of what it means to be
human. Applications in arts-education are also
obvious: "Eclipse..."opens the door for discussion of
history and current events as it promotes the unity of diverse
people.
2.)
"Rhythm Legacy" (Evening-length performance)
Rhythm Legacy,
a dance theatre journey that traces and explores the impact of
African sounds and rhythms on movement, provides an opportunity
for the cultural origins of existing dance forms to be revealed
and greater knowledge to be made accessible to future dance
makers and the public.
 The
work generates a deeper respect and a greater understanding of
America's African legacy in American dance and rhythm.
This was ultimately defined and transferred through African
American culture, ultimately enriching, feeding, and enhancing
the evolution of American culture at large. This
clarity of inheritance creates the possibility of opening new
doors with clearer lines of cultural origins. For example, the
Fon dances of the Don in Dahomey developed into the Yanvalou of
Damballah in Haiti, which in turn became the Snake Hips of the
Swing era, and the Bogle in Jamaica and Brooklyn.
New hybrid
forms such as the Dun Dun Hop (Guinean Doundounba with Lindy
Hop) have attempted to develop partnering styles with a
traditional and hybrid African centered movement and rhythm,
making a new contribution to the Neo African dance movement in
21st century America. Rhythm Legacy is funded in part by grants
from the National Dance Project of the New England Foundation
for the Arts, with additional support from 651 Arts, the
Aaron Davis Hall partnering program and the Caribbean Cultural
Center touring artist program.
Original music
was created for Rhythm Legacy through collaborations with
Composer/Pianist Michael Wimberly, the musicians of Spirit
Ensemble and Heritage O.P., and the Vibe Chameleon Poet Jasiri
Kafele. Mr. Kafele composed a phonic score of sounds,
rhythms, and lyrics for sections of the
Rhythm Legacy. Rhythm Legacy continues the mission of the
company and expands the boundaries of traditional dance forms in
a contemporary modem context, thus fulfilling the intrinsic
purpose of any cultural matrix: creation, birth, invention, and
reinvention.
3.) Company
Repertory Performances (may include a combination of the
following works):
"From The
Mud Below"
"The Life & Legend of Marie LaVeau"
"Passion Fruit"
"Night Predators"
"October Ashes, Fallen Doves"
"Terrestrial Wombs"
RESIDENCY
ACTIVITIES:
The
Forces of Nature's arts-in-education programs engage diverse
student populations through a series of performances, workshops,
master classes and training seminars. Students are exposed
to a rich cultural heritage through association with community
elders in the arts and education fields who are committed to
transmitting the positive values, traditions and beliefs of the
people and cultures of the Americas (north, central and south).
Through
the development of ongoing programs offered to schools,
community service organizations and cultural arts institutions,
the company has found that the arts (music, dance, theatre,
visual arts, oral tradition, etc.) coupled with informative,
stimulating academic presentations that educate
through creative participation, serve as one of the best tools
in educating our young and redirecting them to a progressive
alternative path.
Ancestral
Earths
Ancestral Earths is a
program designed to expose the participant to the historical and
cultural bridge between Native Americans, African Americans and
Latino Americans, and to remove the misconceptions which have
alienated people of color in the United States. The program
includes songs, dances, drumming, folktales and a historical
overview which demonstrate the cultural bonding between these
three people. Study guides and videotapes are available for
teachers and students upon request.
Maatye's
Journey
Maatye's journey
transports urban youth from the streets of the city into the
world of self-knowledge by taking them on a journey through the
African Diaspora. The participants travel to Africa, the
Caribbean Islands and back to the Americas through music, dance,
song and storytelling. At each point in the journey, the
students encounter cultural experiences connecting them to the
omnipresence of African culture and to the common heritage they
share through a linkage to African ancestry.
Primal
Imagery
This unit focuses on
the uses of animal imagery in our society as symbols of power
and how these images have taught men and women about survival,
balance, and society since the beginning of time. The program
consists of dances, music, songs and visual arts from Nigeria,
Senegal, Haiti, Mexico and Puerto Rico. Study guides and a
video presentation are available for this unit.
Rhythms
of Mali
Rhythms of Mali
introduces audiences to the cultural riches of the ancient Mali
Empire. Through music, dance, and accompanying narration,
students learn about the history, traditions and belief systems
of the people of the powerful political empire that subsequently
evolved into the nations of Senegal, Guinea, Ivory Coast and
Mali. The lecture/demonstrations and concerts include a "Bantaba"
or "dancing circle" where the audience is invited to
join the company in a traditional African dance experience.
Study guides and a video presentation are available for this
unit.
Kwanzaa
Forces of Nature
holds the distinction of producing the largest Kwanzaa
Celebration Night in New York City. Special activities for
children, elders and the family are central to the event which
attracts a multi-ethnic audience from all over the
country. In order to educate and enlighten the general public,
educators and community leaders about this powerful cultural and
spiritual holiday, the company conducts lecture demonstrations,
workshops, mini concerts, lectures and performances focusing on
Kwanzaa and its importance as an institution empowering our
youth and strengthening our communities.
Living
Images
Living Images is
a series of short dramatic presentations for students and
teachers focusing on diversity and acceptance as tools for
cultural and racial harmony. The programs examine racism,
stereotyping, discrimination, values conflicts and overcoming
prejudice in a non-threatening and objective manner, allowing
participants to share feelings, reflections, experiences and
general perceptions without fear of judgment. Teacher training
is available for this unit.
Other
Residency Activities:
Concerts: The
concert presentation is chosen from the company's repertoire of
over 50 works. Full company or chamber company. 120 minutes
including a 15-minute intermission.
Mini-
Concerts: Works
are chosen from the main stage repertory, which can be performed
with minimal lighting and suited to the technical limitations of
the facility. Full company, chamber company, duets, and solos.
60 minutes with no intermission.
Lecture
Demonstrations:
Works
are chosen from the educational program repertoire in addition
to solo, duet and chamber works suited to the technical
limitations of the facility. 5-9 artists, including dancers and
musicians. 30-60 minutes.
Master
Classes:
Classes are offered in West African, Caribbean, and modem dance.
Musical instruction for percussion instruments is also offered
by the company. The levels of instruction range from beginning
to advanced, and are available for senior citizens, physically
challenged, and special needs populations. 2-4 artists. 60-120
minutes.
Residency
Options: Programs
featuring choreography, collaborative work, teacher training
(curriculum development) for public schools, colleges,
universities, civic and private organizations can be scheduled
(no more than 3 activities per day). Full company, chamber
company, education unit (2-8 artists). 2-21 days
Teacher
Training: Through
lectures, demonstrations, dance, songs, and stories, teachers
are given "movement language", information, and
materials to be used in their classrooms to teach African and
Native American (No., Central, So. American) history and
culture. Teachers are provided with study guides, basic movement
vocabulary, a bibliography of current titles, and instruction on
how to create a resource center for their classroom. 2
artist/instructors.
WHAT THE CRITICS
SAY:
"Abdel R. Salaam's new
'Eclipse: Visions of the Crescent and the Cross' is a sprawling,
visionary piece, astonishing in its ambition, hope and faith...a
one-of-a-kind piece that will likely come to be seen as a
signature work for Mr. Salaam and his distinctive way with
dance."
The
New York Times
"Trained
in modem dance, ballet, jazz and traditional African dancing,
Mr. Salaam works with traditional ritual and dance forms, moving
beyond reproduction or reanimation to dance that is not simply
African or Afro American but a vibrant expression of a newer
culture drawn in part from dance of the 1980s in New York. The
performers personify that newer tradition in their skill,
graciousness and lack of pretension."
The
New York Times
"Mr.
Salaam has become a sophisticated melder of dance forms.
American modem and African and Caribbean ethnic dance are
inseparable elements... "
The
New York Times
"Old
fashioned storytelling is not much in fashion today. But Abdel
Salaam marches to his own quiet drumbeat, has chosen to work in
that vein, and he is clearly onto something."
The
New York Times
"The
10 people that Mr. Salaam placed in his wilderness did more than
dance well: they did so in such a way that it was easy to forget
they were human beings. The intensity of both creations
("Passion Fruit" and "Night Predators") was
compelling."
The
New York Times
"[Passion
Fruit] in its lighting, costuming, music, pacing, choreography
and sizzling performance, was nothing short of sensational, yet
managed to avert sensationalism altogether."
The
Washington Post
"...Forces
of Nature proves the value of variety. Since traditional dances
are commonly performed during long celebrations, dynamics are
subtle and relaxed much of the time, with occasional explosions.
A range of qualifies is what gives African dance its texture and
contrast."
The
Village Voice
"The
scouts quieted down for this one although it was filled with
exactly the kind of exaggerated bits the girls honked at before.
Because the movement was made to serve the art, these exuberant
kids were carried beyond the tricks to something better before
they knew what had happened to them."
The
Village Voice
"Forces
of Nature ... provides an experience that rips through one's
ideas of what the body can express. The hallmark of the company
is its unity, a homogeneity and discipline which are able to
create an atmosphere of abandon and constant breakthrough."
Mexico
City News
WHAT
PEOPLE ARE SAYING ABOUT “ECLIPSE: CHAPTERS OF THE CRESCENT AND
THE CROSS:
Louis
Johnson: "Abdel is a consummate artist.
What he creates is beyond movement or steps.
It is dance that is a complete work of art.
I believe that Abdel is a choreographic genius and his
new work ‘Eclipse’ is just magnificent."
Eleo
Pomare: "Eclipse was engaging and exciting.
Some sections were extremely inventive.
I also found ‘Eclipse’ to be intellectually challenging."
James
Parks Morton (President, Interfaith Center of New York) Former
Dean of the Cathedral of St. John the Divine):
"Eclipse is absolutely exquisite.
It is one of Abdel’s best pieces of work.
I think that the world is going to love it."
Sarita
Allen (Former principal dancer, Alvin Ailey American Dance
Theatre): "This work was just amazing.
Abdel’s work should set the standard for what
choreography could be.
The solo (Dark Lights in a Gaelic Dawn) was beautiful.
I need to have you (Abdel) do some work on me."
TECHNICAL
INFORMATION:
The company is
flexible in its requirements. For concerts an optimum 30'x 40'
proscenium theatre with a sprung wood floor (not concrete or
wood set on concrete). Marley floors over waxed or badly
splintered floors are acceptable. The company manager will
confer with sponsor in advance.
Performance/Mini-Concert:
Minimum 24' x 36' proscenium stage with a sprung wood floor.
Performance space must be available for rehearsal a minimum of
five hours on the day of the performance and a minimum of three
days on the day of a Chamber performance.
Lighting plot must be hung before scheduled rehearsal time.
Solo, Duet and
Chamber Works:
Same as above requirements
Master Classes:
A mirrored dance studio, gymnasium, auditorium with sprung wood
floors
Cassette tape or CD deck, outlets, speakers
Workshops:
Same requirements as Master Classes
Staff
Development/Seminars:
Classroom, Studio, Theatre or Gymnasium depending upon size of
group
Microphone, Slide Projector, Cassette or CD deck
Sound and
Lighting:
Dual Cassette Deck, CD Player
A minimum of two onstage monitors and house speakers
Backstage Headsets
Microphones (minimum 3)
Lighting Instruments (Technical rider and lighting plot are
attached to all contracts with Specifications for each
performance agreement
Wardrobe:
Two clean, well lit, ventilated, totally secure chorus rooms and
three single principal dressing rooms with accessible toilets,
running hot and cold water, tables, chairs, iron, ironing board
and a minimum of three costume racks are required.
Ground
Transportation:
If the Company arrives by plane, transportation to the hotel and
from the hotel to rehearsal and performance site must be
arranged and provided for by sponsor. |
Executive
Artistic Director/Choreographer Abdel R. Salaam and Executive
Managing Director Olabamidele Husbands co-founded the Forces of
Nature Dance Theater Company in 1981.
