Category: Cultural Events

8 Dance Performances to See in N.Y.C. This Weekend

AMERICAN BALLET THEATER’S NEW YORK SUMMER INTENSIVE at Frank Sinatra School of the Arts (July 26, noon and 2:30 p.m.). Curious about the next generation of dancers? Two afternoon performances wrap up Ballet Theater’s 24th annual training program, directed by Kate Lydon, for dancers ages 12 to 20. Students of the five-week intensive, under the instruction of former company members including Cynthia Harvey, Leslie Browne, Lupe Serrano and Cheryl Yeager, will perform selections from “Coppélia,” “Don Quixote,” “Giselle,” “La Bayadère,” “Swan Lake,” “The Sleeping Beauty” and August Bournonville’s “Le Conservatoire.”
212-477-3030, ext. 3416; abt.org

BOY BLUE at Gerald W. Lynch Theater (Aug. 1-3, 7:30 p.m.). This East London hip-hop group, last seen at the 2018 White Light Festival, returns to Lincoln Center for an encore of its acclaimed political and virtuosic “Blak Whyte Gray.” Presented this time by the Mostly Mozart Festival, the company explores themes of oppression, identity and transcendence. Michael Asante (also known as Mikey J) is credited with creative direction and music, while Kenrick Sandy (who goes by H2O) is the piece’s choreographer.
212-721-6500, lincolncenter.org/mostly-mozart-festival

YOSHIKO CHUMA AND THE SCHOOL OF HARD KNOCKS at the Invisible Dog (July 26, 7 p.m.). Chuma, a veteran experimental choreographer and conceptual artist, presents the final presentation of “My Diary: Secret Journey to Tipping Utopia.” In it, musicians, dancers and designers interact, but never directly as fragments of sound, text and action — a metaphor for the cycle of life — fluctuate between states of utopia and war. Chuma has been in residency at the Invisible Dog since July 1.
theinvisibledog.org

COMPAGNIE HERVÉ KOUBI at Prospect Park Bandshell (July 27, 8 p.m.). For the BRIC Celebrate Brooklyn! Festival, this company led by Koubi, a French-Algerian choreographer, presents his evening-length “What the Day Owes to the Night.” With a cast of 12 French-Algerian and African dancers, this vibrant production combines capoeira, martial arts, hip-hop and contemporary dance; it’s Koubi’s signature work and his second collaboration with street dancers from Algeria and Burkina Faso.
718-683-5600, bricartsmedia.org

JACOB’S PILLOW DANCE FESTIVAL in Becket, Mass. (through Aug. 25). This weekend, the festival hosts the Paul Taylor Dance Company in repertory works and the tap choreographer Caleb Teicher with the composer and pianist Conrad Tao for their collaboration “More Forever” (both performances run through Sunday). In the coming week, “The Day,” an anticipated piece by the cellist Maya Beiser, the dancer Wendy Whelan and the choreographer Lucinda Childs, has its premiere; the production, which features music by David Lang, explores memory and resilience (Wednesday through Aug. 4). Also, A.I.M. by Kyle Abraham offers a mixed repertory program, which includes his own works as well as one by Andrea Miller (Wednesday through Aug. 4).
413-243-0745, jacobspillow.org

MADE IN N.Y.C. 2.0: NEXT GENERATION TRADITIONS at Hearst Plaza (July 28, 1 p.m.). As part of its Heritage Sunday series, Lincoln Center Out of Doors presents this free, mixed bill featuring Redobles de Cultura, a collective of three New York City Afro-Puerto Rican bomba practitioners; Sri Lankan Dance Academy of New York, an intergenerational group based in Staten Island; Michael Winograd & the Honorable Mentshn, a Brooklyn klezmer group; and Inkarayku, an Andean band that performs Quechua folk songs and dance music. This presentation highlights the art and culture of first- and second-generation New Yorkers.
212-721-6500, lincolncenter.org

92Y MOBILE DANCE FILM FESTIVAL at the 92nd Street Y (July 27, 4, 5:30 and 7 p.m.). How often have you lost track of time watching dance videos on your smartphone? Here’s an opportunity to see three programs’ worth — 48 films in all — at the 92Y’s second annual festival celebrating works shot on mobile devices. Its international jury considered more than 100 submissions from 14 countries, including Argentina, Cuba, France, Greece and Japan. The selected films include David Fernandez’s “The Clock,” Rebecca Gillespie’s “The French Girl,” and Roma Flowers and Nina Martin’s “Secondary Surfaces Redreamed.”
212-415-5500, 92y.org

YOUNG DANCEMAKERS COMPANY at various locations (July 26, 7 p.m.; July 28 and 31 and Aug. 1, 2 p.m.; July 30, 1 p.m.; through Aug. 3). This dance ensemble, which comprises students from New York City public high schools, continues its 24th annual touring season, taking place at different locations across four boroughs, from the 92nd Street Y in Manhattan on Friday to the Kumble Theater in Brooklyn on Tuesday. Since the end of June, the young dance artists have developed original choreography under the guidance of Alice Teirstein and Jessica Gaynor, as well as the 2019 guest artist John Heginbotham, and now present the end result in these free public showings.
youngdancemakerscompany.org

Strippers Are Doing It for Themselves

Around 10 most nights, Nikeisah Newton hops into her car for a 10-minute drive into downtown Portland, Ore., so that she can deliver healthy meals that include ingredients like massaged kale to strippers working the evening shift. “One of the best forms of activism is feeding people,” Ms. Newton said. Her company is called Meals 4 Six Inch Heels, and it’s intended to support a community that she feels has been shunned and taken advantage of for too long.

Ms. Newton, whose ex-girlfriend is a former stripper, has joined a wave of dancers and their allies across the nation who are fighting to reform labor practices; put an end to sexual harassment and discrimination in their workplaces; and stifle the stigma around what they believe is as legitimate a profession as any.

Members of this movement are sharing their experiences with the public through podcasts, books and visual arts; using technology to spread information about their industry; and protesting injustices in the streets. They are also finding ways to care for each other, with meal-delivery services, yoga classes, book clubs, clothing lines with slogans of solidarity, financial planning lessons and comedy workshops.

When you use the word “platform” now in the stripping community, it’s as likely to refer to social media as shoes. At V-Live in Los Angeles, guests are encouraged to use their phones to take videos and photos of the dancers. On a recent evening, a photographer circled the dancers, taking images that they could later buy to use on their Instagram accounts.

The water-cooler conversations in the 1980s and ’90s, with the mainstream movies “Flashdance,” “Showgirls” and “Striptease,” may be coming back, as strippers return to the big screen in September with “Hustlers,” about dancers who steal money from their rich customers.

The film features the celebrities Jennifer Lopez, Lizzo and Constance Wu. Cardi B, a megastar, takes pride in and has spoken positively about her experiences with stripping. Beyoncé’s best-selling album, “Lemonade,” has a song called “6 Inch” about working as a stripper. Magic City and other clubs in Atlanta are well known among hip-hop fans as places where musicians test out new songs.

And across America, the face of stripping, and its audience, is changing. No longer the domain solely of finance bros and the like unwinding after hours, strip clubs these days are also frequented by couples and friends.

“Our audiences in the last 10 years, specific to my home club, have become more diverse, younger, more gender broad,” said Elle Stanger, 32, who has worked as a stripper for a decade and lives in Portland. “It’s not just middle-aged white men anymore.”

What is the summer solstice? The answer might surprise you.

This year, the northern summer solstice falls on June 21 at 11:54 a.m. ET. South of the Equator, this same moment marks the unofficial beginning of winter. Solstices occur at the same time around the world, but their local times vary with time zones.

Solstices occur because Earth’s axis of rotation is tilted about 23.4 degrees relative to Earth’s orbit around the sun. This tilt is what drives our planet’s seasons, as the Northern and Southern Hemispheres get unequal amounts of sunlight over the course of a year. From March to September, the Northern Hemisphere is tilted more toward the sun, driving its spring and summer. From September to March, the Northern Hemisphere is tilted away, so it feels autumn and winter. The Southern Hemisphere’s seasons are reversed.

On two moments each year—what we call solstices—Earth’s axis is tilted most closely toward the sun. The hemisphere tilted most toward our home star sees its longest day, while the hemisphere tilted away from the sun sees its longest night. During the Northern Hemisphere’s summer solstice—which always falls around June 21—the Southern Hemisphere gets its winter solstice. Likewise, during the Northern Hemisphere’s winter solstice—which falls around December 22—the Southern Hemisphere gets its summer solstice.

You can also think about solstices in terms of where on Earth the sun appears. When it’s a summer solstice in the Northern Hemisphere, the sun appears directly over the Tropic of Cancer, the latitude line at 23.5 degrees North. (That’s as far north as you can go and still see the sun directly overhead.) During the Northern Hemisphere’s winter solstice, the sun appears directly over the Tropic of Capricorn, the Tropic of Cancer’s southern mirror image.

Earth is not the only planet with solstices and equinoxes; any planet with a tilted rotational axis would see them, too. In fact, planetary scientists use solstices and equinoxes to define “seasons” for other planets in our solar system. READ MORE: https://www.nationalgeographic.com/science/space/what-is-summer-winter-solstice-answer-might-surprise-you/

Morehouse Graduates’ Student Loans to Be Paid Off by Billionaire

Not even Morehouse College administrators knew the announcement was coming.

Addressing the college’s class of 2019, Robert F. Smith, a man who is richer than Oprah Winfrey, made a grand gesture straight out of the television mogul’s playbook.

“My family is going to create a grant to eliminate your student loans,” he said on Sunday morning, bringing the approximately 400 students in caps and gowns to their feet.

“This is my class,” he said.

In January, Mr. Smith, a billionaire, donated $1.5 million to the college to fund student scholarships and a new park on campus. He received an honorary degree at the graduation on Sunday.

[Who is Robert F. Smith? Read more.]

The value of the new gift is unclear because of the varying amounts the students owe, but the money will be disbursed through Morehouse College and will apply to “loans students directly have for their college education,” a representative for Mr. Smith said.

Because Morehouse was not informed of Mr. Smith’s plans before the ceremony, details about how the money would be distributed were not immediately available.

A private equity titan, Mr. Smith founded Vista Equity Partners in 2000.

After making a fortune in software, he was named the nation’s richest African-American by Forbes. According to that financial magazine, Mr. Smith’s estimated net worth is $5 billion, making him richer than Ms. Winfrey, who previously held the title of the wealthiest black person.

Mr. Smith studied chemical engineering at Cornell University and finance and marketing at Columbia Business School. Although he shunned the spotlight for many years, Mr. Smith has recently embraced a more public role, speaking at the World Economic Forum in Davos, Switzerland, and making major charitable contributions. Cornell named its chemical and biomolecular engineering school for him after he announced a $50 million gift, and he has made major donations to the National Museum of African American History and Culture. He started the Fund II Foundation, which is focused in part on preserving African-American history and culture, and signed the Giving Pledge, a campaign through which wealthy individuals and families commit more than half their wealth to charitable causes, either during their lifetimes or in their wills.

Anand Giridharadas, the author of “Winners Take All” and a frequent critic of big philanthropy, said Mr. Smith’s offer was “generous.” But, he added, “a gift like this can make people believe that billionaires are taking care of our problems, and distract us from the ways in which others in finance are working to cause problems like student debt or the subprime crisis on an epically greater scale.”

Sunday’s announcement came amid growing calls to address the crushing burden of student loan debt in the United States, which has more than doubled in the past decade.

Over the past 20 years, average tuition and fees at private four-year colleges rose 58 percent, after accounting for inflation, while tuition at four-year public colleges increased even more, by over 100 percent, according to research from the College Board.

According to federal data, the average federal student loan debt is $32,000. The standard repayment plan for federal student loans is up to 10 years, but most students, according to research, take far longer than that to pay off their balances.

For the students at Morehouse, an all-male, historically black college in Atlanta that costs about $48,500 per year to attend, the gift could be transformative, especially in the unsettled years after graduation.

In an interview with the The Atlanta Journal-Constitution, Elijah Dormeus, a 22-year-old business administration major carrying $90,000 in student debt, said: “If I could do a backflip, I would. I am deeply ecstatic.”

Mr. Smith’s prepared speech did not include his plan to pay off the students’ debts.

“Now, I know my class, who will make sure they pay this forward,” Mr. Smith said on Sunday morning. “And I want my class to look at these alumni, these beautiful Morehouse brothers — and let’s make sure every class has the same opportunity moving forward — because we are enough to take care of our own community.”

John Singleton: Revisit His Storied Career Through Photos

A few weeks ago, it was announced that groundbreaking filmmaker John Singleton had passed away following a stroke that he had earlier this month.

Singleton, the first Black filmmaker and the youngest director to ever be nominated for the Academy Awards’ Best Director trophy, had a storied career, helming films such as Boyz n the Hood, Poetic Justice, Higher Learning, Baby Boy and Four Brothers. He also jumpstarted the acting careers of names like Taraji P. Henson, Cuba Gooding Jr., and numerous others.

To honor the acclaimed director, Shadow And Act has gathered select photos from many different phases of his prolific career.

Review: New doc shows how Beyoncé changed Coachella, forever

Beyoncé is extremely private, and only lets you know what she wants you to know, when she wants you to know it — typically, in a surprise post be it on her website or Instagram.
But throughout the years, she’s slightly cracked open her door to reveal parts of her life and personality — apart from what she gives through strong singing and extraordinary dance moves — to help remind us that though she is epic and flawless, she is still mortal.
“HOMECOMING: A film by Beyoncé,” which premiered Wednesday on Netflix, captures the human side of the superstar singer with behind-the-scenes, intimate moments of a mother, wife and artist tirelessly working on what’s already become one of most iconic musical performances of all-time: Beyoncé’s headlining show at the 2018 Coachella Valley Music and Arts Festival.
The performance marked the first time a black woman headlined the famed festival and made Beyoncé just the third woman to score the gig, behind Bjork and Lady Gaga. Beyoncé took on the role seriously — as she does all live performances — giving the audience a rousing, terrific and new show highlighted by a full marching band, majorette dancers, steppers and more that is the norm at historically black colleges and universities (HBCUs).
The film takes it a step further to showcase what was happening to get to the historic moment: you see a mother bouncing back from giving birth to twins via an emergency C-section; an African American woman embracing her family’s history and paying tribute to black college culture and honoring black art; and the world’s No. 1 pop star defying the odds yet again and pushing herself to new heights, creating an even wider space between herself and whoever is No. 2.
Simply put, Beyoncé changed Coachella — forever — and performing after her is like trying to out-ace Serena Williams or dunk better than Michael Jordan: You won’t win.
Woven into the film are audio soundbites from popular figures to help narrate the story: Nina Simone speaks about blackness, Maya Angelou talks about truth, and Tessa Thompson and Danai Gurira explain the importance of seeing people who look like you on large screens.
Beyoncé speaks, too, saying that she dreamed of attending an HBCU, though she explains: “My college was Destiny’s Child.”
She also says the importance of her Coachella performance was to bring “our culture to Coachella” and highlight “everyone that had never seen themselves represented.”


So many people were represented during those performances last April — her stage was packed with about 200 performers, from dancers to singers to band and orchestra players. Beyoncé kicked of the performance dressed like an African queen, walking up the stage as the jazzy, soulful big band sound of New Orleans is played. After letting her dancers and backing band shine, she emerges again, this time dressed down — like a studious, eager, hopeful college student.
The musical direction and song selection flows effortlessly and was purposely crafted to tell a story: the first song is 2003’s “Crazy In Love,” a massively successful No. 1 hit and her first apart from Destiny’s Child. It also was Beyoncé’s first of many collaborations with Jay-Z. But then comes “Freedom,” representing the Beyoncé of today, unconcerned with having a radio or streaming hit, but more focused on the art, and the message.
And her message was loud and clear on “HOMECOMING”: Her performance is a homage to the culturally rich homecoming events held annually at HBCUs, but also showcases Beyoncé’s own homecoming — her return to her roots, and how she’s found a new voice by reinterpreting her music through the lens of black history.
Young, gifted and black, indeed.

“HOMECOMING: A film by Beyoncé,” a Netflix release, is rated TV-MA. Running time: 137 minutes. Four stars out of four.

At Nipsey Hussle’s Memorial, Los Angeles Comes Together to Mourn

LOS ANGELES — Thousands of mourners are expected to gather in downtown Los Angeles on Thursday to honor the life of Nipsey Hussle, the Grammy-nominated rapper who was fatally shot last month and whose success and commitment to redeveloping South Los Angeles made him a local hero.

The funeral, billed as a “celebration of life,” will be held at the Staples Center. All tickets for the event, which were free, were claimed online within minutes of being made available earlier this week. The arena’s capacity is 21,000.

Tens of thousands of fans are expected to gather around the venue, where a public memorial for Michael Jackson was hosted in 2009. The two-hour service will begin at 10 a.m. local time and will be followed by a procession from the Staples Center through South Los Angeles.

Hussle, born Ermias Joseph Asghedom, channeled his upbringing and adolescence as a gang member into music that spoke powerfully to many who live in Los Angeles’ most vulnerable neighborhoods. As his star rose in recent years, Hussle brought investments and attention back to the area, earning the adoration of his neighbors and fans.

Though he developed a following far beyond Southern California, his death last week struck a particularly painful chord among residents of the Crenshaw District, where he grew up. His clothing store on Slauson Avenue in South Los Angeles, The Marathon Clothing, had become a potent symbol of local success and black entrepreneurship, a theme he addressed regularly in his music. His fans clung to lyrics that melded familiar rap bombast with exaltations about self-discipline and long-term financial planning, a break from a music culture that often emphasizes flashy spending.

The store transformed into a makeshift memorial on March 31 after Hussle was gunned down there over a “personal dispute,” according to the Los Angeles Police Department. The suspect, Eric Holder, was apprehended by authorities two days after the shooting.

For days outside the store, fans prayed, lit candles and left hand-written letters addressed to Hussle. One of the mourners was Candace Cosey, 32, who remembers him as Ermias from their time attending Hamilton High School together in the early 2000s, a magnet school on the West Side of Los Angeles. She recalled how Hussle would sell mix CDs to her and others at school, and how he later started selling music in the neighborhood out of his trunk.

She came close to tears as she pulled out a picture of him from the high school yearbook. “If you grew up here, you either knew him directly or you knew someone who knew him,” she said.

Even as his career took off, Hussle remained approachable and “big hearted,” she said. As he amassed fame and wealth, he continued living modestly while making investments in businesses in the neighborhood. And he could be very generous. When a colleague passed away several years ago, Ms. Cosey approached Hussle’s team to see if he could help with the funeral expenses. He contributed several thousand dollars, she said.

“He was about uplifting us. He hired people from the neighborhood who wouldn’t have had a job otherwise. He took care of so many people, and he invested in what he believed in, here, because he grew up here,” she said. “We have to keep that work going. It’s what he was about.”

[Read more about the community’s reaction to Hussle’s death.]

Hussle’s death has drawn attention far beyond the Crenshaw District. Celebrities and political leaders across the country have offered their condolences to Hussle’s family and friends. In an interview last week, Mayor Eric Garcetti of Los Angeles praised Hussle’s contributions to South Los Angeles, a community that he acknowledged has been historically overlooked by the city’s political establishment.

Mr. Garcetti said Hussle embodied the very idea of black entrepreneurship, a critical component of lifting the community and its residents.

“He represented redemption and hope. He had come from the world of gangs and gotten out,” he said. “This is a devastating shock to the stomach. He was really ambitious — he wanted to get African Americans into tech, on top of his music game, on top of his businesses.”

“Then to be killed in such a clichéd way, by guns, for a beef in South L.A., it feeds into too many stereotypes,” he said.

Velma Sanders, 60, said she did not listen to Hussle’s music but, as a lifelong resident of South Los Angeles, she felt pride watching his career grow in recent years. His presence, she said, was felt by everyone.

“He would be out here. He showed you that he didn’t fear where he grew up. He was proud of it,” she said. “He was building up this community, giving back to this community. He took that money and instead of buying something luxurious, a big home or whatever, he put it back in his community so these would not be vacant buildings. It’s just beautiful.”

[Read an assessment of Hussle’s music and its place in hip-hop.]

Manuel Pastor, a professor of American studies and ethnicity at the University of Southern California who has researched the demographics and culture of South Los Angeles, said Hussle’s killing “felt like a kick in the stomach.” He described Hussle as “a hometown guy lifting up his hometown.” Nothing illustrated this more, he said, than when Hussle and his girlfriend, the actress Lauren London, posed for a photo shoot in GQ in February at locations around South Los Angeles — not Hollywood, not downtown Los Angeles, not New York.

“This really hit hard. This was a hometown guy who stayed home,” said Mr. Pastor.

Mr. Pastor said Hussle had left the gang life but never rejected the culture of the community. Alienation and the search for identity amid violence and poverty often feed into gang culture, something Hussle spoke about openly.

“He did what many people ask of black celebrities, to come back to their community,” said Najee Ali, an activist in South Los Angeles who knew Hussle. He said the community is accustomed to feeling left behind when one of its own makes it big and finds fame.

“They all leave,” he said. “Hussle was the only one to stay in the community. He believed in the slogan, ‘Don’t move, improve.’ That’s what made him special.”

Hasani Leffall, 35, who knew Hussle, once worked for the rapper’s stepfather at a South Los Angeles restaurant called Bayou Grille. To emphasize the depth of feeling over Hussle’s murder within the black community of Los Angeles, he mentioned the murders of Tupac, Biggie Smalls, even Malcolm X and the Rev. Dr. Martin Luther King Jr.

Even with his fame, money and the support of the community, Hussle couldn’t escape the violence of the streets he rapped about.

Mr. Holder, the suspect in the killing, is an aspiring rapper who knew Hussle when he was younger. Mr. Holder, Mr. Leffall said, “represents a dark side about L.A., and a dark side about just men in L.A., in Crip life. There’s always somebody that just doesn’t like you, doesn’t like the fact that people love you.”