All posts tagged: bebe miller

A portrait of Tara Aisha Willis, the Associate Curator of Performance at the Museum of Contemporary Art Chicago. Tara is standing with elbows on a ledge, hands up toward her face and fingers intertwined. She stands in a space where there are plants and golden yellow lights hanging from the ceiling. Photo by Kristie Kahn.

Dance Manifold: A Conversation with Tara Aisha Willis

“…completely new yet familiar territory.” These words echoed after I revisited the accompanying publication for Relations, a performance that brought together pioneering artists Bebe Miller, Ishmael Houston-Jones, and Ralph Lemon on the MCA Stage in November 2018. In her introduction for the publication, curator Tara Aisha Willis offers a series of questions and propositions that draw from the historically-anchored yet generative tone set by Miller, Houston-Jones, and Lemon, while also honoring the shapeshifting and indefinable nature of Black dance and movement practices. When considered in full, Willis, too, is the “new yet familiar” manifested in many ways. As a returning Chicago native whose dance career has developed largely outside of the city, there’s a fresh familiarity to her perspective. The new is also visible through her role as a curator of performance and when considering the artists and projects she is bringing to the MCA Stage. Then, an additional familiarity is present within her work due to an awareness of historical context, a body of knowledge that is harnessed, in part, through her work as …

Review: Bebe Miller Company at The Dance Center of Columbia College Chicago

In a Rhythm begins with storytelling, a storytelling which gradually darkens into theater: Bebe Miller steps out onto the stage with her dancers, and begins a short narrative about hearing an audiobook of a David Foster Wallace story. As she continues talking, the lights dim and the bodies around her begin to move – a pleasing, calm split to the viewer’s attention. After all, the David Foster Wallace story, as Miller informs us, “is not a part of this dance.” Soon a single piano note chimes in, and the narrative is subsumed by the familiar structures of concert dance. But they are not so familiar here. Miller is explicitly interested in the choreographic potentials of syntax: in her words, “how we collide with meaning through the juxtaposed dynamics of action and context, in time and space.” Her work, however, doesn’t merely follow through with this curiosity – it explodes it with a rare breed of infectious joy and sharpness. In this world, the casual release-based grace of postmodern movement is immediately followed by jagged, awkward weight sharing; …