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 Post subject: Re: Urban Bush Women
PostPosted: Thu Oct 16, 2003 7:04 am 
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Location: Estonia
Quote:
Dance shows young women tapping their inner strength

By PALOMA McGREGOR
Special to The Cleveland Plain Dealer

"A lot of companies right now, given the current funding climate, have found it easier to go toward a simpler critique," said Chatterjea. "In the current landscape, it's easy to do the United Colors of Bennetton multiculturalism. Urban Bush Women doesn't do that."

Instead, the company strives for depth, significance and specificity in its work.
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 Post subject: Re: Urban Bush Women
PostPosted: Mon Oct 20, 2003 8:25 am 
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Location: Estonia
Quote:
'Shadow's Child's' dance corps charm, delight CCC audience

By STEVE SUCATO
Special to The Cleveland Plain Dealer

Sweet, touching and endearing are all words that came to mind Saturday night when experiencing Urban Bush Women's production of "Shadow's Child" unfold on the stage at Cuyahoga Community College Eastern Campus' Performing Arts Center.
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 Post subject: Re: Urban Bush Women
PostPosted: Wed Oct 13, 2004 10:19 am 
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Location: Estonia
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A 20th Anniversary Marked in Words and Movement

by JENNIFER DUNNING
The New York Times

Carlos created theatrical magic in a 20th-anniversary salute to the Urban Bush Women and Jawole Willa Jo Zollar, the founding choreographer of this company of black women that has become known for probing social issues.
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 Post subject: Re: Urban Bush Women
PostPosted: Sun Nov 07, 2004 1:58 pm 
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Location: Estonia
Quote:
Bush Women Gather to Celebrate Survival and Triumph

by EVA YAA ASANTEWAA
the Village Voice

"Voices from the Bush: Urban Bush Women," Jawole Willa Jo Zollar's 20th anniversary program, demonstrated how survival takes a certain toughness, focus, ingenuity, emotional sincerity, and serious purpose.
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 Post subject: Re: Urban Bush Women
PostPosted: Sat Feb 26, 2005 10:31 am 
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Location: Estonia
Quote:
In the tradition
Urban Bush Women celebrate 20 years

by JOHNETTE RODRIGUEZ
the Providence Phoenix

... the seven-member Brooklyn-based company will perform Zollar’s newest piece, Walking with Pearl — The Africa Diaries, which grew out of the journals kept by the seminal (but under-recognized) modern dance choreographer and anthropologist Pearl Primus (1919-1994).
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PostPosted: Wed Jun 15, 2005 2:28 pm 
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Urban Bush Women
by NANA EKUA BREW-HAMMOND for the Village Voice

It's been 20 years since Jawole Willa Jo Zollar founded Urban Bush Women to celebrate the "vulnerability, sassiness, and bodaciousness of the women" from her Kansas City upbringing. This season she choreographs a love letter to an "original bush woman," the late dancer-choreographer Pearl Primus.

published:June 15th, 2005
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PostPosted: Mon Jun 20, 2005 3:23 am 
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Location: Estonia
Quote:
Urban Bush Women: Rough, and Proud of It
by JENNIFER DUNNING for the New York Times

There are moments of great tenderness and raucous humor in the older dances. But what connects all Ms. Zollar's pieces most strongly is the fierce intensity she and her dancers have always poured into the work, performing as if it were not just their own lives but also the lives of those they portrayed that depended on them.

published: June 19, 2005
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PostPosted: Sat Jun 25, 2005 9:52 am 
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Location: Estonia
Quote:
Troupe Celebrates Spiritual and Geographical Journeys
by JACK ANDERSON for he New York Times

Idealism permeated the newer offerings. Jawole Willa Jo Zollar, the company's founding artistic director, choreographed "Walking With Pearl - Africa Diaries" in honor of Pearl Primus, an American dancer, choreographer and anthropologist who died in 1994. The accompaniment combined taped African music with recitations from Primus's diaries describing the wonders of a visit to Africa. The dreamlike manner of the dancers suggested that they were on a journey of exploration that was spiritual as well as geographical.

published: June 23, 2005
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PostPosted: Thu Jun 30, 2005 3:24 am 
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Location: Estonia
Quote:
The Glory of Power
Forging proud new identities, tracking ancestral footprints, seeking meanings in the dust
by DEBORAH JOWITT for the Village Voice

In Give Your Hands to Struggle, the gorgeous solo that opens the program, Rhea Patterson's resilient strength, fluidity, and big, soft jumps embody pride and joy.

published: June 28, 2005
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PostPosted: Sun Apr 09, 2006 11:17 am 
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Location: Estonia
Quote:
Urban Bush Women Perform Dance Works Inspired by Pearl Primus
by JENNIFER DUNNING for New York Times

Some dances were just good sassy fun, like "Batty Moves," a celebration of women's rumps. Some work by Ms. Zollar and company members refers overtly to social themes, like a new solo by Nora Chipaumire that will be performed tomorrow on a program with "Batty Moves." The Primus "Southern Diaries," a New York premiere, mines both rich veins but also has a simplicity and homespun plainness that recall Ms. Zollar's 1990 "Praise House," an evocation of the visionary folk paintings of Minnie Evans.

published: April 7, 2006
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PostPosted: Sat Apr 15, 2006 7:07 am 
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Location: Estonia
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The Power and the Beauty
Dancing humanity in a fine new space
by DEBORAH JOWITT for the Village Voice

Zollar delivers some of Primus's words, usually offstage or recorded, and doesn't introduce a character representing Primus the anthropologist observer (as she did in Walking With Pearl . . . Africa Diaries). We see a society of women, all clad in Trebien Pollard's costumes of dry-earth-brown pants with long tunics over them and, later, another layer: flowered boleros. In lighting by Susan Hamburger that's mostly warm sunshine, the eight women create an image of a community in which everyone is quick to pick up another's rhythm, to come into a circle, to clap and stamp the ground...

published: April 14, 2006
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 Post subject:
PostPosted: Wed Mar 26, 2008 12:51 pm 
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Location: El Granada, CA, USA
From the Contra costa Times.

Quote:
Urban Bush Women and all-male African dance troupe at Yerba Buena Center in San Francisco
Ann Murphy
Correspondent
Article Launched: 03/26/2008 11:29:01 AM PDT


MORE THAN 25 years ago, San Francisco's leaders began to implement plans to refurbish the conservative yet flamboyant city. They aimed at snazzing up downtown, increasing the number of high-rise office buildings, extending the light-rail system and bringing Market Street back to life.

For the arts world, one of the critical components of the plan was the creation of a new cultural hub downtown, designed to link South of Market with the business and shopping districts.



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PostPosted: Sat Apr 05, 2008 3:05 pm 
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Posts: 350
Location: San Francisco
I'll post a review in the next few days, but I saw Urban Bush Women and Compagnie Jant-Bi at YBCA last night, and I walked away with tons of images running through my head at high-speed. If I had one, I'd put "Les écailles de la mémoire (The scales of memory)" on my must-see list for the year.

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 Post subject:
PostPosted: Tue Apr 08, 2008 5:24 pm 
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Posts: 350
Location: San Francisco
I must apologize; I've been really sick since this weekend, and besides work, I've been too "goopy" to post a review. My goal, though, is tomorrow! I promise...

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 Post subject:
PostPosted: Wed Apr 09, 2008 6:06 pm 
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Location: San Francisco
Urban Bush Women and Compagnie Jant-Bi
Yerba Buena Center for the Arts
“Les écailles de la mémoire (The scales of memory)”
Friday, April 4, 2008

Urban Bush Women and Compagnie Jant-Bi have collaborated on “Les écailles de la mémoire (The scales of memory),” a full-evening length work centering on identity, family, and history. I’ve seen both companies before, albeit separately, and this unique union proved that collaboration is a good thing.

The dancers begin by reciting their names and their ancestors: parents, grand parents, great grandparents, etc. There’s a connection, even if just by blood, that we can’t deny. “Memory” tackles many of the same issues as Company Ea Sola’s “Draught and Rain, Vol 2” did, but with much more choreographic development and success.

The men of Compagnie Jant-Bi easily compare to Urban Bush Women’s dancers. These strong men display presence and fortitude. Had I not known these were two separate groups, I would have assumed the dancers formed one complete troupe. The men strutted across the stage early on wearing red shirts that they later pulled off and slapped the floor with. The images of the bright red striking against their backs and then the ground as they hovered in a low squat lingered in my mind, and while I consciously knew they were up on a stage, dancing, performing, I still cringed and tried to look away. These men were enjoyable to watch, but their shapes and motions felt haunting all the same.

Nora Chipaumire, a 2007 Bessie Performer Award winner, led the Urban Bush Women with fire in her belly. A tall and striking woman, Chipaumire may not have looked the sharpest at times, but her passion and full-bodied submission to the movement overwhelmed everything else around her. The women kicked high and thrusted their hips deep, sending excitement through the audience. They giggled and flirted with the men, looking happy or competitive at times and disturbingly trapped at times. No one’s past is a perfect image, and “Memory” explored this well.

The eclectic score sampled beat box by Babacar Ba, wolof flows by Pape Ibrahima Ndiaye (Kaolack), the Drummers of L’Ecole des Sables, Kinshasa Theme music by Frederic Bobin, and other vocals and sound score by Christine King. Each choice pushed the evening forward, while highlighting the ins and outs of Germaine Acogny and Jawole Willa Jo Zollar’s developed yet fun-to-watch choreography. Now if only the two companies could come back. That’d be an even better thing.

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