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 Post subject: Ronald K. Brown
PostPosted: Tue May 01, 2001 8:58 am 
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Thomas Connors in the Chicago Tribune profiles the choreographer Ronald K. Brown: <P> <A HREF="http://chicagotribune.com/leisure/features/article/0,2669,SAV-0104300205,FF.html" TARGET=_blank>http://chicagotribune.com/leisure/features/article/0,2669,SAV-0104300205,FF.html</A> <BR>


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 Post subject: Re: Ronald K. Brown
PostPosted: Sat May 05, 2001 5:36 am 
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From the Chicago Tribune:<P><B>Frenetic moves of Evidence show refinement and variety</B><P>By Richard Christiansen <P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Ronald K. Brown is mining the same rich territory of tribal rite and urban funk that many of his fellow African-American choreographers are exploring today. What makes his work so special and exciting, aside from the all-out energy and superb conditioning of his company, is the discipline, style and stage imagery of his creations.<HR></BLOCKQUOTE> <P><A HREF="http://metromix.com/top/1,1419,M-Metromix-CriticsReviews-X!ArticleDetail-11834,00.html" TARGET=_blank><B>MORE...</B></A><P>


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 Post subject: Re: Ronald K. Brown
PostPosted: Sat May 19, 2001 7:30 am 
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A review of Ronald K. Brown at On the Boards in Seattle:<P> <A HREF="http://archives.seattletimes.nwsource.com/cgi-bin/texis/web/vortex/display?slug=brown19&date=20010519&query=Ronald+K.+Brown" TARGET=_blank>http://archives.seattletimes.nwsource.com/cgi-bin/t exis/web/vortex/display?slug=<BR>brown19&date=20010519&query=Ronald+K.+Brown</A> <P><p>[This message has been edited by Stuart Sweeney (edited May 19, 2001).]


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 Post subject: Re: Ronald K. Brown
PostPosted: Tue Jul 03, 2001 5:44 am 
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Location: SF Bay Area
A review of Ronald K. Brown's premiere at the American Dance Festival:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>American Dance Festival: A Ceremony Evokes Truth That Hides in Mourning</B><P>ANNA KISSELGOFF, NY Times<P>DURHAM, N.C. — As a modern-dance choreographer, Ronald K. Brown has moved over the last 15 years into a class by himself. The depth of his work lies in an original high-energy idiom drawn from various sources and in the way this vocabulary fuses with his themes.<HR></BLOCKQUOTE><P><A HREF="http://www.nytimes.com/2001/07/03/arts/03BROW.html?searchpv=nytToday" TARGET=_blank><B>More</B></A>


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 Post subject: Re: Ronald K. Brown
PostPosted: Mon Apr 15, 2002 2:33 am 
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<B>A Bold Step Inward From Ronald Brown</B> <BR>With 'Walking Out,' Choreographer Gets Personal <BR>By Sarah Kaufman for The Washington Post <P><BR>Grand themes are typically present in Ronald K. Brown's work: the primacy of God, the African American journey, the importance of individual responsibility and accountability. But Brown's newest piece, "Walking Out the Dark," which his company, Evidence, performed at the Kennedy Center Eisenhower Theater this weekend, has a narrower range, and is explicitly personal. Infused with the anger and frustration of a man seeking connections with his family, it was also the most successful of the three works on the program.<P><A HREF="http://www.washingtonpost.com/wp-dyn/articles/A48839-2002Apr14.html" TARGET=_blank><B>click for more</B></A>


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 Post subject: Re: Ronald K. Brown
PostPosted: Mon Apr 15, 2002 4:47 am 
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<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Ailey troupe includes heavenly `Grace' in mix<P>Theodore Bale, Boston Herald<P>Ronald K. Brown isn't ambivalent when discussing the intent of his own choreography. ``On some level,'' he said, ``all of the work is about God.''<HR></BLOCKQUOTE><P><a href=http://www2.bostonherald.com/entertainment/arts_culture/aile04152002.htm target=_blank>More</a>


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 Post subject: Re: Ronald K. Brown
PostPosted: Wed Jul 03, 2002 6:18 pm 
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Jennifer Dunning writes in the NY Times:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>BECKET, Mass., June 30 — Ronald K. Brown has gradually become one of the most quietly profound choreographers of his modern-dance generation. He and his company, Evidence, founded in 1985, open the door wide onto the history and culture of black Americans. His dances are thoughtful yet impassioned, addressing loaded themes with a wonderful imperturbability. "Who's going to tell your grandmother's stories?" a friend once challenged him. And Mr. Brown has challenged himself, it seems, with further questions. Who, for instance, will tell the stories of his grandmother's ancestors? Or the stories of gay Americans like Mr. Brown?<HR></BLOCKQUOTE><P><A HREF="http://www.nytimes.com/2002/07/03/arts/dance/03WALK.html" TARGET=_blank><B>Click for More</B></A><BR>


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 Post subject: Re: Ronald K. Brown
PostPosted: Fri Sep 13, 2002 9:05 pm 
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Location: Montreal, QC, Canada
CATHERINE THOMAS - The Oregonian, 09/13/02:
Quote:
Dance of redemption

The last time New York-based dance-maker Ronald K. Brown brought his choreography to Portland, he nearly brought down the house. "Grace," Brown's blending of Ivory Coast and hip-hop rhythms, was part of an already-explosive 2001 performance by the Alvin Ailey American Dance Theatre. When the curtain came down on this furious, kinetic storm, it was ovation time at the Arlene Schnitzer Concert Hall.
more...

<small>[ 09-13-2002, 23:06: Message edited by: Marie ]</small>


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 Post subject: Re: Ronald K. Brown
PostPosted: Tue Sep 24, 2002 5:51 pm 
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CATHERINE THOMAS - The Oregonian, 09/21/02:
Quote:
After a one-year delay, New York choreographer Ronald K. Brown and his seven-member modern dance company EVIDENCE made their Portland debut at Lincoln Performance Hall Thursday evening. Presented by White Bird, the performance was a firestorm of propulsive West Africa-meets-ballet-movement assaults woven into two tales of grief and redemption.
more...


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 Post subject: Re: Ronald K. Brown
PostPosted: Wed Sep 25, 2002 4:47 pm 
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I must say, I'm looking forward to Ron K. Brown/Evidence's performance here in the Bay Area. He's at Stanford for only one night! (Oct 26) Brown is such a talent and always thought-provoking!


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 Post subject: Re: Ronald K. Brown
PostPosted: Wed Sep 25, 2002 8:17 pm 
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A link to our previous topic on <a href="http://forum.criticaldance.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=5;t=000425">Ronald K. Brown / Evidence</a>


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 Post subject: Re: Ronald K. Brown
PostPosted: Tue Oct 08, 2002 7:18 pm 
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In the Village Voice:

Quote:
Ronald K. Brown/Evidence is the perfect group to inaugurate the space. All Brown's pieces—whether for the Alvin Ailey company or his own—embody ideas about history and transformation and spiritual journeying. more


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 Post subject: Re: Ronald K. Brown
PostPosted: Mon Oct 21, 2002 3:52 pm 
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Location: El Granada, CA, USA
From the San Jose Mercury News.

Quote:
His spirit soars
CHOREOGRAPHER'S INSTINCT LEADS HIM INTO INTRIGUING PIECES, WIDER ACCLAIM
By Anita Amirrezvani
Mercury News

At 36, Brown is on the rise. His work has been commissioned by the Alvin Ailey American Dance Theatre -- fulfilling one of his lifelong dreams -- and his own company of seven dancers, Evidence, has been touring more and more. Sponsored by Stanford's Lively Arts, the group will perform a new dance called ``Walking Out the Dark'' at 8 p.m. Saturday at Stanford University's Memorial Auditorium.
more...


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 Post subject: Re: Ronald K. Brown
PostPosted: Fri Oct 25, 2002 10:50 am 
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Location: El Granada, California, USA
Half price tickets for Ronald Brown's performance at Stanford on Oct. 26, 8 pm are available via the BayDance.com Web site. Call the Stanford Ticket Office at 650-725-ARTS (2787) and mention BAYDANCE.COM when you place your order.

Details are at http://www.baydance.com.

_________________
Michael Phelan, BayDance.com


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 Post subject: Re: Ronald K. Brown
PostPosted: Thu Nov 21, 2002 1:51 am 
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Ronald K. Brown/ EVIDENCE

“Walking Out in the Dark”

Stanford Lively Arts
Memorial Auditorium, Stanford, CA

October 26, 2002


“We must speak the truth to each other, or else stay buried in the dark,” says Ronald K. Brown at the beginning of his latest work “Walking Out in the Dark” presented by Stanford Lively Arts at their Memorial Auditorium. Brown’s endlessly kinesthetic and often eloquent choreography has placed him at the forefront of young American artists seeking light in the dark, although he is less known than he should be.

Both story-telling and ritual are express inspirations for Brown’s work and “Walking Out in the Dark” has the feeling and richness of both. More pared-down than many of his other works, it nonetheless has several startlingly potent images and exuberant moments with its melding of Afro-Caribbean and Western modern dance.

The four dancers, Brown, Darryl Spiers, Dierdre Nyota Dawkins and Arcell Cabuag, have the strenuous task of holding the focus of the audience for the full hour-long work with no intermissions, and the dancers are admirably up to the task. This quartet has an appealing variety of movement styles among them – it’s a secret pleasure to watch a choreographer work out a phrase and see the same movements on other rather different dancers – with Dawkins exhibiting a tightly wound torso supporting fluidly mobile shoulders and arms, and Spiers displaying the rangy grace and sharp-edged form of modern techno hip-hop.

Brown has said that his inspirations for this work come from a variety of sources, but notably, a ritual for young men in Burkina Faso in which they are buried and re-emerge ready to take their place in society. “Walking Out in the Dark,” which uses text written by Brown as well as music from Philip Hamilton, Sweet Honey in the Rock, Francisco Mora, Cutumba Ballet and M’Bemba Bangoura, expands Brown’s use of the call-and-response form for his dances, while also returning to the themes of rebirth and elevation.

At the start, five pools of light appear on the stage and, working in opposing pairs, the four dancers establish strong diagonal lines in and out of the center. Brown’s sharp jagged jerks melt into fluid releases as the pairs of dancers repeat and embellish phrases along two lines that mark an “x” on the stage. What might at first look like a husband and wife argument between Brown and Dawkins is given different spin when performed by Cabuag and Spiers. Or is it different? The quality of each relationship is thrown into question by the looseness of the gender roles (Brown has no qualms about women and men exchanging roles, as was demonstrated in Alvin Ailey’s performances of his “Serving Nia”) although all of them are clearly personal, as each couple struggles to make contact with one another. It is one of Brown’s talents as a postmodernist to recognize the smallest everyday movements, a “bring it on” gesture for instance, and be able to lade them with meanings, confrontations and back story despite a formalized setting.

As the pairings continue to work with little to no physical contact though, you find yourself craving the human encounter. The sense of alienation becomes palpable and when a touch does occur it has real impact.

“Walking Out in the Dark” develops slowly, which can make it slightly monotonous in places. Just as the pace is beginning to wear though, Brown lets the group take off in a vibrant exploration accompanied by drumming, which begins to look like ecstatic dancing. Then just as suddenly the drumming fades away, the dancers continue into the silence and then fall to the ground to be buried in a rain of sand.

In the second half, the dancers return, this time in brilliant colors rather than stark black and white. The emotional levels change almost imperceptibly which can be problematic. But the shift in color into deep reds gives an ebullient feeling of a rise to grace and the colors along with the exalted state of the dancers translates liveliness into an image of a heart pumping blood.

The piece has an episodic feeling, like short vignettes in the cycle of redemption. It has premiered in parts from 2001 through this year, and in some ways still has the feeling of a work in progress rather than a completed whole. Nonetheless it is the kind of work that amply displays the integrity for which Brown and his dancers obviously strive.


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