May 17, 2018
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May 18, 2018

Shared Evening: Parijat Desai | Paz Tanjuaquio | Angie Pittman

a black arrow pointing downward
performer in red sitting in a pile of newspaper

O.O.F. (studies in the opposite of fear)
Choreography by Parijat Desai
Performed by Parijat Desai

woman with her arms raised in the ruins of a building

Station II Station
By Paz Tanjuaquio
& Topaz Arts Dance Productions

performer wearing brown with their eyes closed and arms outstretched

Leaning On
Made by Angie Pittman
Performed by Angie Pittman


ABOUT THE PERFORMANCES

O.O.F. (studies in the opposite of fear)
Choreography by Parijat Desai
Performed by Parijat Desai
Music/Sound by Samita Sinha, Seth Warren-Crow, Hemant Chauhan
Sound Editing by Seth Warren-Crow and Parijat Desai

O.O.F. is an evolving movement practice exploring ways to cultivate alternative emotional states to the pervasive anxiety spawned by xenophobia and our current political moment. Parijat asks, what processes can I create to invoke new energies? The performance features a collage of news audio and music by experimental vocalist Samita Sinha, composer Seth Warren-Crow, and Gujarati folk singer Hemant Chauhan.

Station II Station [World Premiere]
by Paz Tanjuaquio/Topaz Arts Dance Productions
Choreographed and Performed by Paz Tanjuaquio
Sound and Film by Todd B. Richmond
Text and Spoken Word by George Emilio Sanchez

Station II Station new work by choreographer & performer Paz Tanjuaquio, travels through stations of the mind – with spoken word by George Emilio Sanchez, visual design & sound by Todd B. Richmond. A journey that takes the solo dancer across visual fields, the piece explores movement inspired within changing landscapes. Incorporating dance “on the road”, from abandoned gas stations to a conceptual city, the choreography is at the crossroads of dance and design – a synthesis of movement, text, film, sound, and colors.

Leaning On
Made and Performed by Angie Pittman
Costume in collaboration with Athena Kokoronis of The Domestic Performance Agency

Leaning On is a work by Angie Pittman that continues to investigate leaning as a necessary action that has always been in conversation with Black liberation. Her solo body of work investigates what resilience looks like through embodied African Diasporic performative practices. Using the hymn “Leaning on the Everlasting Arms” as a point of departure, this work specifically investigates her experiences of praise dancing in her church as a child.  In this work, Angie lives in the connection of her feet to the ground coupled within the context of never really knowing where home is. Thinking of herself as being destined to be a sixty year old aunty, leaning on explores speaking deep truth from a place of love while also having the space to say “go ask yo’ mama”. This is an expansion of the work presented by Danspace Project’s Dancing Platform Praying Grounds: Blackness, Churches, and Downtown Dance.

performer surrounded by paper

Parijat Desai is an India-born, U.S.-raised choreographer who creates hybrids of contemporary and Indian classical dance, theater, and other movement forms yielding a “seamless blending of the new and old” (New York Times). An autodidact in Indian classical music, Parijat has collaborated with various musicians to create new compositions based on the classical tradition, including several leaders of the Brooklyn Raga Massive movement. Parijat also interfaces with architecture and public space to explore human/social issues through the performing body. Parijat is a 2016–17 Movement Research Artist-in-Residence, a 2013–14 Fulbright-Nehru Grant recipient, an artist-in-residence at Dance Center of Columbia College (2013), Tribeca Performing Arts Center (2010–2013), and Stanford University’s Institute for Diversity in the Arts (2009). Parijat is a recipient of the Lower Manhattan Cultural Council’s Creative Communities Grant, Asian American Arts Alliance SOAR Grant, Durfee Foundation’s Artist Fellowship, and Lester Horton Dance Award for Individual Performance. Parijat’s work has been presented at venues including Danspace Project, Asia Society, Queens Museum, and PioneerWorks (NYC); Skirball Cultural Center, California Plaza, and J. Paul Getty Center (LA); ODC Theater and Asian Art Museum (San Francisco); Northwestern University (Chicago); The Dance Centre (Vancouver); and National Centre for the Performing Arts (Mumbai).

performer dancing in the ruins of a building


Paz Tanjuaquio is a choreographer, performer, and visual artist, based in NYC since 1990. Her work has been presented by 92Y Harkness Dance Center, Fisher Landau Center for Art, La MaMa Moves, Danspace Project, PS 122, among others; nationally, at Operation Unite in Hudson NY, San Diego Trolley Dance, American Dance Festival Int’l Screen Dance; and internationally at residencies in Cambodia, Japan, Korea and her birthplace, the Philippines. Recent awards include Dance/NYC’s Dance Advancement Fund, made possible by the Ford Foundation, National Endowment for the Arts, and is a member of NYS DanceForce since 2008. Paz received her MFA in Dance from NYU Tisch School of the Arts, and BA in Visual Arts from UC San Diego. As a dancer, she has performed for Dean Moss, Molissa Fenley, Carl Hancock Rux, Marlies Yearby, among others. In 2000, she co-founded TOPAZ ARTS, Inc. with Todd B. Richmond – a nonprofit organization and creative development center for contemporary dance and visual arts. www.topazarts.org

Todd B. Richmond, visual artist, composer and co-founder of TOPAZ ARTS, received his MFA at Otis College of Art & Design, and CalArts ; BA from City College of New York in Music & Audio Technology with Film Studies, where he received the ASCAP Foundation Warner/Chappell Award. As a visual artist, his large-scale paintings and installations have been shown in four solo exhibitions and numerous group shows in NYC & Los Angeles, and was artist assistant to Richard Artschwager from 1990-95. He has collaborated with Paz Tanjuaquio since 1994, forming TOPAZ ARTS, Inc. together in 2000. www.topazarts.org

George Emilio Sanchez is a writer, performance artist and educator. He has received two New York Foundation for the Arts Fellowships in Performance Art/Emergent Forms, a Rockefeller MAP Grant and is a Fulbright Scholar. As well as serving as chairperson at the City University of New York’s College of Staten Island Performing and Creative Arts Department, he also is the Performance Director of the Hemispheric Institute’s Emergenyc performance project that aims to explore the intersection of arts and activism.

performer wearing a brown shirt

Angie Pittman is a New York based Bessie award-winning dance artist, dance maker, and dance educator. Angie has performed her dances at Gibney Dance, BAAD!, Movement Research at Judson Church, Triskelion Arts, STooPS, The Domestic Performance Agency, The KnockDown Center, The Invisible Dog, Danspace Project, and Krannert Center for the Performing Arts (Illinois). Angie is currently working as a collaborator and dance artist with Ralph Lemon, Donna Uchizono Company, and Stephanie Acosta. Angie has had the pleasure of dancing in work by Tere O’Connor, Jennifer Monson, Anna Sperber, Kim Brandt, Tess Dworman, Antonio Ramos, Jasmine Hearn, and others. She holds a MFA in Dance and Choreography from the University of Illinois at Urbana-Champaign with a graduate minor in African American Studies. She was a 2015 DanceWEB scholar for Impulstanz Dance Festival in Vienna, Austria and is a 2016-2018 Artist-in-Residence with Movement Research. Her work has also been supported by a residency at Tofte Lake Center. Angie’s work resides in a space that investigates how her body moves through ballad, groove, sparkle, spirit, spirituals, ancestry, vulnerability, and power.

The show is produced under the following program(s):

La MaMa Moves! Dance Festival

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La MaMa Moves! Dance Festival continues to support La MaMa’s commitment to presenting diverse performance styles that challenge audience’s perception of dance by featuring performance/installations, experimental film screenings & public symposiums which address dance artists’ engagement with the current political climate, as well as honoring diasporic histories and legacy, ancestral inspirations and inter-generational dialogue.

Special Event