Brinda choreographer biography of abraham
•
Notes
Sinha, Ajay. "Notes". Photo-Attractions: An Indian Dancer, an American Photographer, and a German Camera, Ithaca, NY: Rutgers University Press, , pp.
Sinha, A. (). Notes. In Photo-Attractions: An Indian Dancer, an American Photographer, and a German Camera (pp. ). Ithaca, NY: Rutgers University Press.
Sinha, A. Notes. Photo-Attractions: An Indian Dancer, an American Photographer, and a German Camera. Ithaca, NY: Rutgers University Press, pp.
Sinha, Ajay. "Notes" In Photo-Attractions: An Indian Dancer, an American Photographer, and a German Camera, Ithaca, NY: Rutgers University Press,
Sinha A. Notes. In: Photo-Attractions: An Indian Dancer, an American Photographer, and a German Camera. Ithaca, NY: Rutgers University Press; p
Copied to clipboard
•
Brinda Guha, Amanda Castro, Arielle Rosales, Aida Rodriguez, Melanie George, Sayantani DasGupta, moderated by Gilbert T Small II.
Soles of Duende (Brinda Guha, Amanda Castro, and Arielle Rosales) bring together Aida Rodriguez, Melanie George, and Sayantani DasGupta for a discussion touching on healing, representation, timing, and the creative process across varying mediums of storytelling. These six women of color come from different industries and perspectives, but share the experience of engaging in the art of storytelling as a shared portal to understanding nyans and centering their shared humanity as people of the global majority and as women in often male-dominated spaces.
About Soles of Duende
A Brooklyn-born Puerto-Rican from New Haven, a Mexican Puerto-Rican Jew from the Lower East Side, and a Bengali Indian from Jersey walked on to the wooden floor & the rest? History. Bonded by their deep love of music, their crafts, and true connection, Soles of Duende is on a l
•
Credit Where It&#;s Due: Handling Credit on Collaborative Creations
Last fall, freelance dancer Reché Nelson stepped into a movement lab with a choreographer she was excited to work with for the first time. Nelson expected to engage in creative conversation throughout the process, but the bulk of her days was spent generating her own solos based on various prompts, learning other dancers’ phrases, and being instructed to combine, manipulate or rearrange certain parts. “It felt a lot like a game of telephone,” she says.
Noticing how the choreographer gravitated towards some dancers and away from others, Nelson became focused on creating something worthy of approval. “But as someone new to the choreographer, I never felt like I got to learn her personal aesthetic or movement style,” she says. “I didn’t really know what was expected of me, and it felt like a stab in the dark.”
“What are we calling this process? Are we making it a hierarchy, or are we all collaborators?”
Reché Nels