School for the Movement of the Technicolor People

project photo

Installation images:

2015

Collaborators: WXPT (Joy Angela Anderson, Charmaine Bee, Heyward Bracey, Rebecca Bruno, Erin Christovale, Loren Fenton, Maria Garcia, Kloii “Hummingbird” Hollis, Meena Murugesan, taisha paggett, Sebastian Peters-Lazaro, Kristianne Salcines, Ché Ture, Devika Wickremesinghe and Suné Woods), Ashley Hunt and Kim Zumpfe

Site: Curated by Robert Crouch, Los Angeles Contemporary Exhibitions (LACE), Hollywood, CA.

The School for the Movement of the Technicolor People is made possible by The MAP Fund, a program of Creative Capital, primarily supported by the Doris Duke Charitable Foundation. Additional funds come from the Andrew W. Mellon Foundation.

This program is sponsored by a grant from the University of California Institute for Research in the Arts.

Development support of School for the Movement of the Technicolor People was given through Show Box L.A.’s Los Angeles Dance & Research Residency Program, which is supported in part by an award from the National Endowment for the Arts.

Please visit wwww.schoolforthemovement.com for more information on this project. The curriculum book is available for download here.

2016

Collaborators: WXPT (Joy Angela Anderson, Maria Garcia, Meena Murugesan, taisha paggett, Sebastian Peters-Lazaro, Kristianne Salcines, and Turay Turay), Ashley Hunt and Kim Zumpfe

Additional Collaborators: Celestina Billington, Brittani Broussard, Adam Cataneda, Caleb Fields, Rosine Kouamen, Eternal Lokumbe, Norola Morgan, and Kenneth Owens

Site: DiverseWorks, Houston, TX.

In April 2016, the DiverseWorks gallery was set up as a rehearsal studio, photo shoot and experimental classroom, where The School for the Movement of the Technicolor People researched their ongoing question, “What is a Black dance curriculum today?” within the context of Houston. Convened in the memory of an erased Black school in East Texas, the School built a curriculum responding to the limited positioning of Black and queer movers in the dance and art worlds, seeking new relationships and possibilities, freedoms and sovereign spaces. Through performances, workshops, and conversations, curriculum activities included wanderings, gatherings, dispersions, the lifting of people, the staging of images and other embodied practices, developing scores that were taken out into different communities throughout Houston.