OPEN CALL FOR 2014 Artist Residencies in Trinidad & Tobago
The Artist-in-Residence Program is the core of the Institute and first program to be established. On the 3rd day in January 2010, the first resident artist arrived. 19 other dance artists and scholars from around the world have since followed and filled that core. Marlene Myrtil's “Blues Escarlate” took her directly into the hills and home of women in Laventille for a series of intimate conversations. Both Ananya Chatterjea's and Brittany Williams' 2010 residencies began a deep commitment to the vision and goals of the Institute. Williams' residency was followed by participation in New Waves! Institute for 3 consecutive years. Chatterjea was on faculty for New Waves! in 2011 and 2012 and served as its Scholar-in-Residence. Conversely, Magira Ross joined the Institute family with New Waves! and returned as an Artist-in-Residence in 2012. Her program, “Black Power Movement” connected black histories in Trinidad and the U.S. The connection between Trinidad, the U.S. and Brazil was the subject of Tamara Williams 2013 residency, “Movement, music & religion: African Diaspora communities in Trinidad, Brazil and the United States.” How these artists and their work interconnect with one another, and with the Institute, is the strength of that core.
The Institute recently announced a CALL FOR 2014 ARTIST RESIDENCES IN TRINIDAD & TOBAGO. In 2014, the Institute will offer 2 and 3 week residencies during the following periods, with 3 to 5 artists in each:
15 January to 5 February 2014
This residency session runs alongside the Carnival Performance Institute. As such, proposals for this session should complement its focus. Learn more about the Carnival Performance Institute here.
8 to 29 June 2014
This is an open residency.
28 September to 19 October 2014
This residency session will coincide with COCO Dance Festival, an Institute partner, and the largest festival of dance in the English-speaking Caribbean. Proposals for this session should focus on choreographic development.
Residencies cost $1,000-$1,500 USD for two and three-week residencies, respectively, and include:
- housing & local transportation
- studio space (for rehearsal, workshops or teaching)
- project management to assist in the creation, dissemination, and promotion of work
- artist mentoring
- freedom and time to explore your craft
HOW TO APPLY
Applicants can be residents of any country in the world.
Due Date: 30 November 2013
TO APPLY, please submit the following materials to firstname.lastname@example.org:
- A current resume/Curriculum Vitae including significant achievements, awards, residencies, etc.
- A Letter of Interest that includes desired dates of residency. In your letter of interest, you must address the details of your proposed residency (a complete project description) and why you are interested in creating, researching or developing work in Trinidad & Tobago
- A complete Artist Bio. Please provide both an extended bio and a short bio of 100 words or less.
- Two (2)Photographs. Please include photo credits.
- Documentation of your work. Please submit two (2) videos of recent work, dance videos or dance performances. Each sample should not exceed five minutes and must be submitted via online links to video samples. List both links in a single .pdf or .doc file.
Please email ALL of the above in a single email to email@example.com by 30 November 2013. All applicants will be notified of residency status within 1 week of application submission. For more information on an Artist Residency, feel free to email firstname.lastname@example.org.
“Movement, music & religion: African Diaspora communities in Trinidad, Brazil and the United States” with Artist-in-Residence, Tamara Williams
2013 Artist-in-Residence, Tamara Williams, shared these images via Facebook. The images highlight moments from the 3-week residency. “It was an amazing experience. I could have never imagined and I’m eternally grateful,” she wrote.
Williams leads a master class onstage at Queens Hall in Port of Spain as part of COCO Dance Festival. The class was based on Moving Spirits (Tamara’s New York-based company) repertory.
“Movement, music & religion: African Diaspora communities in Trinidad, Brazil and the United States.”
Artist-in-Residence, Tamara Williams with Alysha Higgins, Fulbright Scholar, who served as an Institute Liaison during Tamara’s residency.
Tamara’s residency included many visits to Orisha feasts throughout Trinidad - in Moruga, Caura, and in Belmont. The above pictured is Ele Obatala.
Caribbean InTransit's inaugural arts festival, “The Meeting Place”. Opening event was Thursday October 24th at 4:00pm at the National Museum featuring an interactive program with Artist-in-Residence, TAMARA WILLIAMS.
Alysha Higgins (mentioned above) organized and produced a four day Silvestre Technique and Orixa Dance Movement Intensive & Performance with Rosangela Silvestre from 24 to 27 October at the University of Trinidad & Tobago/Academy for Performing Arts. Pictured above, from right to left is Alysha Higgins, Tamara Williams, and Rosangela Silvestre.
See many more updates and images from Tamara’s Williams’ artist residency via the Institute’s Facebook page: http://www.facebook.com/pages/Makeda-Thomas-Dance-and-Performance-Institute/173361536038444. Join us! Let’s Dance!
Tamara Williams begins her residency today, accompanied by Dancers, Maxine Monthilus and Denae Hannah. Learn more about Tamara and her project here: http://makedathomas.org/institute.AIR-TamaraWilliams. Let’s Dance!
Artist-in-Residence, Tamara Williams
photo by David France
“Movement, music & religion: African Diaspora communities in Trinidad, Brazil and the United States.” Residency Dates: 7 to 27 October 2013
TAMARA WILLIAMS is a native of Augusta, GA where she began her dance training at Davidson Fine Arts Magnet School. She has been a dance teaching artist in Augusta, Tallahassee, and New York City. Tamara participated in Georgia’s Governor’s Honors Program for dance during the summer of 2001, attended Philadanco’s summer intensive in 2004, and experienced Chicago during the summer of 2005 studying at Deeply Rooted Productions. She has fulfilled two years in Dance Repertory Theatre at Florida State University under the direction of Lynda Davis. Her choreography was performed at the 2006 ACDFA Southeastern Concert in Tallahassee, FL, the Student Kultural Center in Belgrade, Serbia, the Voltahalle in Basel, Switzerland, and the Amalgamate Artist Series in NY. She has earned a B.F.A. in Dance from Florida State University, is a certified GYROTONIC® Trainer, and Capoeirista. Tamara has danced with Alpha Omega Theatrical Dance Company, David P. France Dance Company, Errol Grimes Dance Group, Millicent and Company, Angela’s Pulse, and UB2 (Urban Bush Women’s apprentice company). She has also performed at the Ringling International Arts Festival in Sarasota, FL, DanceNow/NYC Dance Harlem, The Houston Black Dance Festival, Rialto Center for the Arts, the National Black Arts Festival in Atlanta, April Meetings in Belgrade, Serbia, and repetoire of Silvestre Technique in Salvador, Brazil. Tamara is currently a Site Director for the Arts and Literacy Program in Buckwick, Brooklyn and the Founder/Artistic Director of Tamara LaDonna Moving Spirits, Inc. Email Tamara.
New Waves! Photographer-in-Residence, Maria Nunes, makes it impossible to choose just 1 image for the New Waves! 2014 flyer. So, we chose 10! 10 images from New Waves! institutes over the last 3 years in Trinidad & Tobago to take with us as we move to New Waves! AYITI in Jacmel & Port-au-Prince, Haiti. Share the image you like the most. Many thanks! LET’S DANCE!
NEW WAVES! 2014 - AYITI ACCEPTING APPLICATIONS!
2 weeks in Jacmel and Port-au-Prince, Haiti
NEW WAVES! 2014 - AYITI
gathers dance artists and scholars from all around the world in Haiti. This joint program and collaboration was created to invoke the Institute’s commitment to movement, dance and performance throughout the Caribbean. From 17 to 31 July 2014, 50 participants will engage intensive classes and workshops, build community, and experience the unique cultural landscape of Haiti. Courses and workshops will be held in Jacmel and Port-au-Prince.
In addition to Jeanguy Saintus
, Haitian contemporary dance artist, the internationally renowned faculty and guests will include Makeda Thomas
(Trinidad & Tobago/Contemporary Dance), Christopher Walker
(Jamaica/Caribbean Dance), Catherine Denecy
(Guadeloupe/Performance), Dieufel Lamisere
(Haiti/Folkloric Dance), Marvin George
(Trinidad & Tobago/JOUVAY AYITI), and Dyane Harvey-Salaam
(USA/Repertory). Claire Tancons
(Guadeloupe/Performance Theory) is the 2014 Scholar-in-Residence. New Waves! 2014 - AYITI
will be accommodated at the Hotel Oloffson, offering participants secure living steeped in rich history in central Port-au-Prince. In Jacmel, the artistic capital of Haiti, and from the historical Hotel Florita, Scholar-in-Residence Claire Tancons will lead the Roundtable Series with esteemed Haitian guest artists. Affiliate events include the three-day Kanaval des Fleurs (Carnival of Flowers) in Port-au-Prince.HOW TO APPLYApplications are due 4 April 2014
. Complete the ONLINE APPLICATION here.
You’ll be required to upload a recent CV (curriculum vitae) and MAKE A DEPOSIT via PayPal. The Institute does not require an audition for New Waves!
The cost for full participation is $2,200 USD which includes tuition & fees, accommodation, and local transportation. Meals are not included.
Local Transportation $200
Security Fee $100
Damage Deposit $50
Key Deposit $50
*The fee for CARICOM NATIONALS is 50% ($1,100 USD).
**New Waves! Alumni receive an automatic 20% deduction.
Find answers to the most frequently asked questions here: http://makedathomas.org/institute.faqs
Feel free to contact us via email at email@example.com for additional questions regarding the application process.
Born Free: New Waves! 2013, Emancipation and Moving Forward.
'Vibes' is something you bring to the space. - Jouvay Process
New Waves! 2013. Third time truly was the charm. Participants entered the Institute space with real positive vibes felt from the very first circle on Day 1 and continued as we processed through downtown Port of Spain on Emancipation Day. But this year was made extra special for a few reasons:
- We achieved a gentle balance among the faculty. That balance was positioned at the crossroads of culture, politics, genders and sexualities, offering participants a broad range of information, perspectives, strategies, and practices to go forward with in the world.
- The balance among faculty was paralleled in the number of local participants to international participants. The participant balance tipped during the two OPEN INSTITUTE days, a new initiative that connected the Institute with many talented dancers from all over Trinidad, particularly South Trinidad. The experience was so positive, we’ve affirmed a commitment to developing more programming in South and East Trinidad.
- We finally perfected the schedule, with more time being dedicated to less classes. We continued the 2-hour mid-day break (first introduced last year). And as confirmed by several returning participants, the schedule had a nicer, more even pace.
- We remembered the magic of living communally, with faculty and participants residing together in a massive house up in the hills of Cascade. This sense of community was strengthened in Tobago, when local participants joined us at our divine home in Scarborough.
- Tobago afforded participants another unique opportunity: to wrap up two years of engagement with Tony Hall’s Jouvay Process with an actual Jouvay experience. Our studies around Carnival and Jouvay culture and how those philosophies shape traditional, popular and contemporary art came alive in Plymouth. And’live yuh life like yuh playing mas’ earned new, real meaning.
Indeed, New Waves! lived this year. The first year, we were creating a vision. The second year, we began to see it; we could even begin to dream. And this year, we began the live it. The technique and repertory courses, the roundtable series, the Commission Project presentation of "The Strange Tale of an Island Shade" Burton Sankeralli’s “Bodies Tale: Recentering the Dance”, and affiliate programs like Robert Young’s unDotish Tour and Emancipation Day celebrations (which featured a Keynote Address by Wole Soyinka this year) offered participants multiple points of entry in to ongoing conversations on decolonizing our practice as artist-scholar-teacher people; on the diasporic experience and how we connect as a community; on race, class, and color in the Caribbean context; and on emancipation and freedom. It was rich, immediate, vibrant, and life-giving.
And imagine that at one point, I worried about the ability to make New Waves! happen this year. Fresh on the heels of my 10th Anniversary season and with a smaller pool of participants, I wondered not only if it would be financially viable, but if I could physically do it. New Waves! requires tremendous energy! But then, the blessings poured in. The Institute was granted support from the Trinidad & Tobago Ministry of the Arts & Multiculturalism, under the Cultural Camps 2013: Supporting a Culture of Peace programme.. And Unit Trust Corporation contributed additional funds for the Commission Project (for the second year in a row). And our guest, Dr. Joan Francisco Valdés Santos, contributed an energizing, loving presence. And participants (many of them, returning participants) spoke of how important the space is for their practice, spirits and minds. Asé.
So with three solid years of New Waves! in Trinidad under our belts, and just as we’ve found a nice pace - what’s next? MOVEMENTS! I’m happy to make two important announcements:
- Over the next three years, New Waves! will move throughout the Caribbean region. New Waves! 2014 will take place in AYITI. The official announcement (with application instructions) will be made in the next blog post.
- Christopher Walker has been on the faculty of New Waves! Institute from inception and he has become so much more to our community. Walker will be appointed as a Program Director of New Waves! Institute. An official announcement will be made soon.
I thank all the generous individuals and organizations that made New Waves! 2013 possible. THANK YOU: New Waves! staff, faculty, participants, and facilitators. You. are. everything. Many thanks to University of Trinidad & Tobago/Academy for Performing Arts, The Ministry of the Arts & Multiculturalism, Unit Trust Corporation, Blue Waters, Tobago House of Assembly-Division of Culture, Emancipation Support Committee, Jamie Bagoo, Kevon Williams, Rubadiri Victor, Franka Philip, Zahra Gordon, Erline Andrews, Jonathon Ali, Melvina Hazzard, Alex DeVerteuil, Continuum Dance Company, Trinidad & Tobago Film Festival, Karen Lynch, Brenda Baden-Semper, Malick Folk Performing Company, and Alice Yard. Special love goes out to Claire Tancons and Nicole Pemberton. Many, many thanks.
The Guardian Newspaper printed this article today. Take a read: http://www2.guardian.co.tt/entertainment/2013-08-08/makeda-thomas-decolonising-dance.
The New Waves! Commission Project presented “The Strange Tale of an Island Shade” by Trinidadian choreographer, Sonja Dumas at The Dance Studio at the Academy for Performing Arts, UTT on July 31, 2013. The performance was preceded by short presentations by New Waves! Artist in Resident, Laura Levinson, and Cuban poet, Joan Francisco Valdes Santos translated by his wife, Andrea Woods Valdes
"The Strange Tale of an Island Shade" weaves together a series of episodic moments to tell the story of a multiracial island and its ambiguity and discomfort about “otherness", especially race, shade and class. Exploring these anxieties through humour, movement and historical and contemporary texts, the work seeks to broaden understanding about the divide between the notion of the ideal nation and the nation which really exists. The work also opens the discussion about the meaning of national unity and maturity in a small but highly diverse postcolonial community.
ABOUT THE CHOREOGRAPHER
Sonja Dumas’ choreographic investigations are mostly in Caribbean movement as it pertains to contemporary issues of the region. A post-modern deconstruction of traditional movement styles, as well as minimalist movement inform her work, and she often incorporates theatre and video into her performances.
Where is ‘the Dance’? AIR Program with Laura Levinson
Laura Levinson is the 2013 New Waves! Artist in Residence. During her residency, Where is “the Dance”?: Searching for the spiritual essence of dance through Orisha, Laura studied Orisha tradition, religious practice, and dance through a series of palais and feasts; conducted interviews to understand how those who practice Orisha tradition recognize the presence of an Orisha outside of the Orisha’s habitation of a human body (particularly, a dancing body); and developed a movement-based exercises for dancers base on her research. Laura shares some her thoughts on her process:
I came to Trinidad this summer in search of essences. What was the essence of dance? Of a dancer? Of my identity – as dancer, as woman, as what I understood to be fundamentally me? I was looking to understand what happens to certain identities when we take away their main indicators; for example, how do I identify myself as a dancer when I am not dancing? I quickly came to understand that this question was superfluous. When I am not dancing, there is no complex, subconscious self that arises in the stillness to validate the existence of my dancer identity. I feel an intense longing for movement. So I am either dancing, or wish that I was; it is very simple. My identity as a dancer centers around the act, the ritual, of dancing – ritual being an action that is endowed with a specific meaning and importance and which is repeated under specific circumstances. Rituals may be religious, or not; communal, or not; strictly structured, or not.
My study of Orisha dance and practice further convinced me that identity cannot be divorced from the ritual that expresses it. Ifa Korede tells me that “song and dance are mandatory in worship;” without these actions, he would not be a practitioner or priest of the Orisha tradition. The ritual cannot be divorced from the identity. To push this idea further, actions are a major part of what creates our identities in the first place. The body – what it does, how it interacts with the world – is primary in our creation and understanding of self. As philosopher Mark Johnson writes, “Change your brain, your body, or your environment in nontrivial ways, and you will change how you experience your world, what things are meaningful to you, and even who you are.” We create the ritual; but from there, the ritual goes on to create us. I understand my body and its connection to the world around me through the lens of dance. Thus, my ultimate focus has come to be on the following question: How does dance ritual create, shape, reshape, retrieve, and sustain identities?
Choreographically, this led me to begin creating ritual space where those of us who identify as women can reclaim our heritage as keepers of sacred dance, re-envision our bodies and our relationship to them, and connect to whatever physical energy centers that embody our individual sense of womanhood. In the cycle of creation and ritual, we build the space together – with objects, words, intentions, scents, sounds – and then tap into the energy of that space and the energy of our bodies to generate movement. We thus allow the space we have created to recreate us, to reawaken and reshape our identities as women. This concept saw only the beginnings of realization in my presentation in Trinidad; this fall, I plan to turn it into a full-length choreographic work.
Email Laura: firstname.lastname@example.org
Dr. Joan Francisco Valdés Santos at New Waves!
The Institute has a rich history of POETS in our community. In year 1, the outstanding Kelly Zen-Yie Tsai and Queen GodIs. In year 2, the mega Outspoken Bean joined the crew. And this year, we’re blessed with the presence of Joan Francisco Valdes Santos. !!! He’s joined by his wife, who is guest faculty for this year’s New Waves! - ANDREA E. WOODS, an associate professor of the practice of dance at Duke University and artistic director of the modern dance company Souloworks/Andrea E. Woods & Dancers. In 2011, Andrea translated 14 of her Havana-born husband’s poems for Valentine’s Day, “Where Love and Hope Rein: 14 Love Poems for February 14th”. Dr. Santos shares this prose and poem inspired by his time at New Waves!:
Prosa y poesía en Trinidad
Dr. Joan Francisco Valdés Santos
29 July 2013 - New Waves! Institute, Trinidad & Tobago
El paisaje Trinitario tiene la armonía de un reclamo donde la
naturaleza y el arte dan vida
al más preciado sentido de la vista ante paisaje alguno.
Sea esa la naturaleza
que me hará escribir algún tributo.
a estas dos Islas que como los ojos
del mundo, miran al caribe y al rico reflejo de la imaginación caribeña
sea bien observados los tributos
de la hermosa tierra.
Danza que trina en el alma…
Danza que trina en el alma.
Trinidad y su armonía…
En Trinidad y Tobago…
El verso que hago y deshago
Sobre tradición y gesto…
Va en el corazón bien puesto
Por Trinidad y Tobago.
La Danza que en su alegría
Atraviesa la pradera
y anuncia la nueva era.
Pronunciando el nuevo día
El arte y la profecía
Danzaran por nueva…era.
Poetry and Prose in Trinidad
EnglishTranslation – Andrea E. Woods Valdés
The Trinidadian landscape has the harmony of a shout
where nature and
art give life to the most precious sense of sight before any other landscape.
It is this natural landscape that makes me write
a tribute to these two islands
that, like eyes of the world, look out at the Caribbean
and the rich reflection of the Caribbean imagination that is well
observed in tributes from
the beautiful land.
Dance that sings in the soul…
EnglishTranslation – Andrea E. Woods Valdés
Dance that sings in the soul;
Trinidad and its harmony…
Trinidad and Tobago…
Will bring the melody.
These verse that are done and undone
are of tradition and gesture…
they live well placed in the heart
of Trinidad and Tobago.
The dance in its joy
pass through the hills, and
announce the new era.
Utterances of the new day,
art and prophecy
will dance in..a new era.
ABOUT JOAN FRANCISCO VALDES SANTOS
Author Dr. Joan Francisco Valdés Santos, was born in Havana, Cuba and currently lives in Durham, NC with his wife. In 2005 he received his Doctorate from the Instituto Superior de Cultura Física Manual Fajardo in Cuba, where he was one of the 46 members of the Science Council of INDER, National Institute of Sports, Physical Education and Recreation. He has produced works for several radio and television programs in Cuba and his work was published in the Hispanic Pan-American Anthology of Ovanz, 2006. His most recent publication is titled Where Love and Hope Reign: 14 Poems for February 14th (souloworks press).
New Waves! 2013 Scholar-in-Residence, Tony Hall in conversation with guest, Joan Francisco Valdes Santos. Tobago.
New Waves! 2013 in Tobago. Courses held at The Dance Studio at Bacolet, courtesy of the Tobago Division of Culture. As a follow up to Jouvay Process with Tony Hall, participants attend Plymouth Jouvay, held on Saturday, 27 July at 5am.
Tobago Heritage Festival
The Tobago Heritage Festival is an annual event created to preserve the unique cultural traditions of Tobago - the “jewel of the Caribbean”. The Festival runs from the middle of July to early August. Villagers from different communities comes out in their glory to perform with folk singing, dancing and feasting. The villagers wear costumes that depict life from the early 1900’s. During the year each Community has its own festival. Each village has different events which range from ole time mas, ole time dance, old time wedding, limbo and jig to stick fighting.
On Jouvay Process for Dancers:
Jouvay Process for Dancers comes out of Jouvay Process Popular Theatre (JPTP), an interventionist performance/production model for seeing art works happen. It is a framework for personal or group development, or for training artists to deepen their craft, and their consciousness, in direct relations to everything around them. JPTP is conceived as a prompt to start your own conscious meditation on Jouvay Process. In a sense, it set you on your own journey or facilitates the journey that you might have already embarked upon. Engaging a series of creatives exercises, dancers move through an embodied exploration of their own popular culture, physicalizing and deepening their own consciousness in the context of their social , political, psychic, psychological, philosophical and natural environments. Through this stratagem, we can consolidate in our selves the full, creative and imaginative energy of the emancipation traditions set down by own ancestors. In this way, Jouvay Process for Dancers can activate the liberating power of our emancipation ancestry and, through self-knowledge, lead to sophisticated personal and group movement.
From The Trinidad Guardian, 17 Aug 2009.
OPEN INSTITUTE DAY - New! @ New Waves! 2013