She stomps and claps, turns and leaps with focus and attitude briefly flashing of a sly smile. It is clear that this production delivers substance encompassing the experiences of black girls as they grow up through play.
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. Directed and choreographed by Camille A. A second duo of two young girls growing up is clever, well performed and relatable.
These fascinating music is full, sophisticated and sometimes pensive and restrained, which adds nuanced depth to the production. 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.
Nelson with dramatic lighting lighting design by Burke Wilmore. 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. 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 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.
Their world is enlarged with the distant sounds of grown ups.
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. 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.
They play beautiful original compositions by Patterson and Tracy Wormworth, that complement the dance and gestural storytelling perfectly. The fusion of emotive movement, gestures and the relationships of the two characters meld superbly into a wonderful scene with typical teenage competitiveness.
She revels in stamping on chalk dust, which billows over her head as she goes into a tap dance with unique abstract movements. Two musicians sit upstage right, Scott Patterson at the piano and Robin Bramlett on electric bass. The dance is complex expressivity extracted from these games and the look and sound is polished, free and raw.
Wearing a baggy orange sweatshirt, frayed denim shorts and sneakers Brown moves adeptly along the platforms kicking up the chalk. Christopher Duggan Camille 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. In BLACK GIRL: Linguistic Play, New York based Camille A. Brown & Dancers celebrate the journey black girls experience as they grow up playing rhythmic games – traditional and handed down such as Double Dutch, Red Light/Green Light Marco Polo, tap, gesture and social dancing, often without words.
Dec 03, · Camille A. Brown's "Black Girl: Linguistic Play" at REDCAT explores African American history and culture through childhood games.
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.
The Joyce Theater launched its new season last night with Camille A. Brown's BLACK GIRL: Linguistic Play, arguably the best thing that has ever happened on, and to, the Joyce stage.
An audacious 4/5. 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 .Download