Nominated For a 2016 Bessie Award for Outstanding Production!
"BLACK GIRL: Linguistic Play" - Highlight Reel
"BLACK GIRL: Linguistic Play" reveals the complexity of carving out a self-defined identity as a Black female in urban American culture.
In a society where Black women are often only portrayed in terms of their strength, resiliency, or trauma, this work seeks to interrogate these narratives by representing a nuanced spectrum of Black womanhood in a racially and politically charged world.
Want to learn more about the themes and social dances explored in "BLACK GIRL: Linguistic Play"? Check out our Reference and Resource Guide below.
"BLACK GIRL: Linguistic Play" Reference & Resource Guide
“Clever and tender… Ms. Brown, in other words, has put the black girl on a pedestal.” — Gia Kourlas, The New York Times
Where would you be without you sister?
The one who keeps it real 24/7...You need her!
"BLACK GIRL: Linguistic Play showcases and elevates the rhythms and gestures of childhood play, highlights the musical complexity and composition, and claims them as art." - Camille A. Brown
text links
Enjoy "Double This, Juba That!," an excerpt from "BLACK GIRL: Linguistic Play" performed by Camille A. Brown & Catherine Foster
“BLACK GIRL: Linguistic Play…is what it feels like to have yourself handed back to you, to be honored with the gift of your contradictory, hard won, still in process, beautifully flawed, inimitable self.”
— Aimee M. Cox, The Feminist Wire
What are the dimensions of Black girl joy that cannot be boxed into a smile or a grimace, but demonstrated in a head tilt, lip smack, hand gesture, and more?
“It was the first time that I could see the beauty of my culture honored and respected, to see the artistry, the elegance, ingenuity… the ‘genius’ in Black girl.”— Theresa Ruth Howard, My Body My Image
"BLACK GIRL: Linguistic Play" shows the power of sisterhood and the fact that, as we mature, Black girls still play. It is remembering, conjuring, honoring, and healing. It’s a Black girl’s story through her gaze." - Camille A. Brown
There is nothing like live music!
The music for "BLACK GIRL: Linguistic Play" was composed by pianist, Scott Patterson, and electric bassist, Tracy Wormworth.
“If Black Girl’s power comes from its specificity, its nostalgia comes from its universality.” — Lauren Wingenroth, DanceTabs
Who was I before the world defined me?
"BLACK GIRL: Linguistic Play is a git to myself and Black girls everywhere!" - Camille A. Brown
Check out this review written for the World Premiere of "BLACK GIRL: Linguistic Play" at The Joyce Theater
Review: In a New Work, Camille A. Brown Plays With Empowerment
“…one of the most powerful representations of Black girlhood I have ever witnessed. Brown created a moving masterpiece that was a narrative of Black adolescence never conceptualized before.” — Christina Greer, PH.D, Amsterdam News
“Arguably the best thing that has ever happened on, and to, the Joyce stage.” — Eva Yaa Asantewaa, Time Out New York
Camille A. Brown & Dancers - "BLACK GIRL: Linguistic Play"
"NEGOTIATING MY SASS"
This TEDx talk is about the creative process of Camille A. Brown's "BLACK GIRL: Linguistic Play" and the experience that changed the direction of the process. It also includes an excerpt performed by Camille A. Brown & Catherine Foster.
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx
The creation and presentation of BLACK GIRL: Linguistic Play is supported by the New England Foundation for the Arts’ National Dance Project with lead funding provided by The Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, with additional support from the Community Connections Fund of the MetLife Foundation and the National Endowment for the Arts. Major support for this new work also comes from the MAP Fund, primarily supported by the Doris Duke Charitable Foundation with additional funds from The Andrew W. Mellon Foundation; Engaging Dance Audiences administered by Dance/USA and made possible with generous funding from the Doris Duke Charitable Foundation; a Jerome Foundation 50th Anniversary Grant; New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; Harkness Foundation for Dance; and a 2014 New York City Center Choreography Fellowship.
This work was commissioned by DANCECleveland through a 2014 Joyce Award from the Joyce Foundation, The Clarice Smith Performing Arts Center at The University of Maryland, Juniata Presents and Juniata College. It was developed, in part, during a residency at Baryshnikov Arts Center, New York, NY awarded through the Princess Grace Foundation–USA Works in Progress residency program; a creative residency at The Yard, The Flynn Center and the Wesleyan Center for the Arts; a technical residency at Juniata College in Huntington, PA; a residency at New York City Center; and a residency at Newcomb Dance Program, Tulane University Department of Theatre and Dance.
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