Black Light a re:Search performance by Alanna Morris and Collaborators
Black Light is a multi-year collaborative performance directed by Minnesota-based dancer-choreographer, Alanna Morris (formerly Morris-Van Tassel, City Pages' Artist of the Year, Dance Magazine's "25 to Watch" and 2021 McKnight Choreographer Fellow). This work explores birth, creation, death, and life transitions while honoring noble ancestry. It ventures into the nobility of black-ness; the divinity of feminine creative energy; and the harnessing of sensual expression. Black Light a re:Search performance is a natural world-inspired expression of interwoven local and global identities.
This event will be captioned, with other accessibility services available upon request.
Please note: This work contains frontal nudity and may not be suitable for persons under the age of 16..
“After years of astounding performances with TU Dance, in which her emotional bravery matched her aesthetic integrity, Alanna Morris-Van Tassel ventured out on her own. And what a debut it was. In her solo, Yam, Potatoe an Fish! she delved into notions of home, displacement, race, and memory to create a personal cultural history that rang with universal truths. She found inspiration in her family’s migration from the Caribbean to Brooklyn, as well as her grandmother’s Yoruba-influenced Spiritual Baptist faith. Through her own body—athletic, articulate, and full of grace—she generated a movement vocabulary infused with muscular power and soul-soothing prayer.” —City Pages, Best Choreographer 2019
“Yam, Potatoe an Fish! Former TU dancer Alanna Morris-Van Tassel stepped into the realm of dance-making with gusto, using her considerable gifts as a performer to fuel her choreographic voice.” —Star Tribune, Best of Dance 2018
“Wherever you find her, Morris-Van Tassel embodies the power of dance to create deep and lasting connections where words cannot.” —Dance Magazine, “25 to Watch”
Black Light is a multi-year collaborative performance directed by Minnesota-based dancer-choreographer, Alanna Morris.
This work explores birth, creation, death, and life transitions while honoring noble ancestry. It ventures into the nobility of black-ness; the divinity of feminine creative energy; and the harnessing of sensual expression. Black Light a re:Search performance is an expression of season and interwoven local and global identities.
A foreword to move forward
by Jamie J. Philbert Founder, Art On Purpose Pointer, Bois Academy of Trinidad and Tobago
This work invites you into the light of blackness, a birthing place. A place where the light exits and black enters, where black exits and light enters. You are invited into this space as doulas of ‘Black Light.’ It is not meant to be the average idea of bringing an idea to being. It is meant to tickle the shape of archetype as we might know it or we might have known it. It is the place of knowing even when you think you don’t know. Knowing is feeling. Feeling is knowing. SO what do you feel when you hear, see, ‘Black Light?’ This is a research performance. A performance that translates research as search again. It questions the questions and answers the answers. It asks you to think with the performance and not about. It asks Alanna to look at the findings within her finding while in the act of finding. The research performance is not the end, it is a continuous beginning. ‘Black Light.’
Funders
Alanna Morris is the recipient of a 2021 McKnight Choreography Fellowship, administered by The Cowles Center and funded by the McKnight Foundation. This activity is made possible by the voters of Minnesota through a grant from the Metropolitan Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.
Black Light a re:Search performance
This is an expression of my encounter with Ọya. I am going through a journey and researching that process performatively. I am not an If initiate and this choreography and staging reflects my personal homage to Ọya, divine force of change and transformation in Yoruba cosmology. Warrior and defender of
women, she stands at the cemeteries of our life and has a close relationship to iku (death). We know her by the storms she creates, the destructive-creative life force. Iba Ọya! Iba Yansan!
Choreographer: Alanna Morris with additional
choreography by Patriann Edwards
Music Credits: Songs performed by Ella Andall
Cast: Alanna Morris, Gabrielle Abram, Andréa Potter, Demetrius McClendon
Tohimagod.
Choreographer and Solo Performer: Alanna Morris
Research Assistants: Imagine Joy and Vie Boheme
Music Credits: “Orange Moon” by Erykah Badu
Analytical psychology posits that there are aspects of our personalities that we can be unaware of, unidentify with, or even shun; and yet they are as real as the aspects with which we fancy ourselves. What source of the light is there being cast onto our shadows?
Choreographer: Alanna Morris and Collaborators
Music Credits: “Las Muchachas” by Susana Baca; “Songs She Never Heard” by Christian Scott aTunde Adjuah; “Moist” by Janet Jackson; and “Morning Bird” by Sade
Cast: Alanna Morris, Gabrielle Abram, Andréa Potter, and Demetrius McClendon
During the pandemic I learned how to sit in Self. I discovered inner quiet and stillness through the Vedantic tradition. Moojibaba has been a way-opener.
Choreographer and Solo Performer: Alanna Morris
Movement Coach: Adam Barruch
Music Credits: Mooji
A few years ago I discovered the medicine of a good “whine” and surprisingly, there was no man present to assist. The music of my people is all I need to source the delightfulness of life! I hope you don’t look too hard at the stage here. I invite you to feel into the beauty that is you, that soca music holds for all of us.
Choreographer and Solo Performer: Alanna Morris
Research Assistant: Gabrielle Abram
Music Credits: “Workout” by Kes and Nailah Blackman
As we prepare for the next phase, after you take care of your personal needs, feel free to come back to your seat to ground and center. As you sit we invite you to tap into your inmost Self with the support of this frequency. Relax your body and relax your mind. Your quality of presence is supported and valued here!
In my research, I keep encountering the Haitian Revolution. Jean-Jacques Dessalines (The Liberator) declared *Hayti/Ayiti as the Empire of Freedom. A place where all who rise up against the tyranny of European imperialism and colonialism would be bestowed upon them the identity as “honorary blacks.” Haiti/Ayiti is the first Black Republic and much praise is due her name. In Haitian Vodou, Yanvalou is a rhythm to welcome all the Spirits. It calls us to participate in the work of rebirth and healing. Mayi is a warrior dance of the Tainos, the indigenous peoples of Ayiti/Haiti. It was named after the corn harvested at the time — a substance that provided practical and spiritual power. Mayi is danced to prepare oneself to go to war. It brings healing and strength.
*French and indigenous names respectively for Haiti
Choreographer: Djenane Saint Juste
Concept and Staging: Alanna Morris, Florencia “Fofo” Pierre and Djenane Saint Juste
Music Credits and Cast: Yanvalou and Mayi by Florencia “Fofo” Pierre (manbo and singer), Djenane Saint Juste (choreographer, dancer and singer), Jacinthe Jean (houngan and singer), Beavois Anilus “Zangi” (lead drummer), Wilson Charles (drummer), and Alanna Morris (solo dancer)
Production Credits
Allana Olson (Stage Manager)
Dakota Blankenship (Stitcher)
Rebecca Karstad (Seamstress)
Valerie Oliveiro (Lighting Design)
Beaudau Banks (Lighting Design)
Trevor Bowen (Costumer)
Gabrielle Abram (Dancer-Collaborator)
Demetrius McClendon (ImagineJoy) (Dancer-Collaborator)
Andr a Potter (Dancer-Collaborator)
Djenane Saint Juste, Florencia “Fofo” Pierre, Jacinthe Jean, Wilson Charles, and Beavois Anilus “Zangi” (Afoutayi Haitian Dance, Music and Arts Co.)
Special Thanks
Vie Boheme; Canaan Mattson; AMVTP Administrative Assistant, Sea Thomas and Advisory Board Members, Lorna Morris, Christine Van Tassel, Stephanie Brown, and Michael Kleber-Diggs; Jamie Philbert; Yesenia Selier; Ẹniọlá O. Adélékàn; Efuwape Andall; Baba Louis Alemayehu; Adam Barruch; Patriann Edwards; Second Shift Studio Space of Saint Paul; The Croft Residency; Jackie @ Center for the Performing Arts; Morgan Thorson @
MOVO Space; The Dance & Theater Department at Carleton College; Dana Kassel; Colin Edwards; and Alexandra Wells.
Alanna Morris
Alanna Morris (formerly Morris-Van Tassel), dancer-choreographer/educator/artist organizer, is a Brooklyn native and Saint Paul-based artist excavating cultural retention and fragmentation within their Caribbean diasporic identity. Alanna is a graduate of The Juilliard School and LaGuardia High School for Music & Art and Performing Arts (NY). Morris was a performer with TU Dance (MN) from 2007-2017, featured in works by Kyle Abraham, Gioconda Barbuto, Camille A. Brown, Ronald K. Brown, Greggory Dolbashian, Katrin Hall, Francesca Harper, Dwight Rhoden, and Uri Sands. In 2020, Alanna served as the TU Dance company’s Artistic Associate and is a founding Teaching Artist at The School at TU Dance Center. As a freelancer, Alanna is the Artistic Director of AMVTP, founded in 2017 to produce dance works that center the genius of the Afro-Caribbean archive, educational programs that bring wholistic learning and development to all communities, and community-building initiatives that give mid-career women Creatives resources to thrive Alanna has developed projects and collaborated with Idan Sharabi (Israel), Morgan Thorson (MN), Karen Sherman (MN), and Ashwini Ramaswamy (MN) and is currently touring Ramaswamy’s Let The Crows Come. In 2018, they were named Dance Magazine’s 25 to Watch! Alanna is a 2015 McKnight Dance Fellow, a Minneapolis’ City Pages’ Artist of the Year (2019), and Best Choreographer (2019). They have recently been awarded a 2021 McKnight Fellowship in Choreography. Alanna is the Artistic Director of AMVTP, founded in 2017 to produce dance works that center the genius of the Afro-Caribbean archive, educational programs that bring wholistic learning and development to all communities, and community-building initiatives that give mid-career women Creatives resources to thrive. Alanna’s choreography has been commissioned by Minnesota Dance Theatre, Penumbra Theatre, Children’s Theatre Co., the Dance Department at Carleton College, and The Cowles Center for Dance. This spring, Morris joined the dance faculty at Bard College as a Guest Teaching Artist through Gibney Dance (NY). Alanna is currently an Artistic Advisor to Springboard Danse Montreal.
Gabrielle Abram
Gabrielle Abram is a self-taught dancer and multilingual Hip Hop artist; a member of STRONGmovement, directed by Darrius Strong and of Atlantis13 Dance Collective, directed by Peace Madimutsa and Jonathan van Arneman. Abram continues to produce, dance and create work in the Twin Cities.
Demetrius McClendon
Demetrius McClendon (ImagineJoy) was born and raised in the south side of Chicago. They began dancing with street hip-hop at the age of 15 and have traveled nationally and internationally as a professional dancer, teacher, and choreographer sharing their passion for the arts.
Andréa Potter
Andréa Potter is a Capoeirista and dancer of traditions within the African diaspora, especially those in Cuba, Brazil and West Africa. She is a Nurturer of community, prioritizing Black people and their liberation through body and energy work to promote healing from systematic, generational and personal trauma.
Djenane Saint Juste and Florencia “Fofo” Pierre
Afoutayi Haitian Dance, Music and Arts Co. is a performance company and nonprofit arts organization incorporated in the state of Minnesota. Our mission is to promote Haitian heritage and diversify contemporary representations of Haiti through music, art, dance, and history education. Afoutayi was founded in 2009 and is directed by Djenane Saint Juste and Florencia “Fofo” Pierre.
The Great Northern celebrates our cold, creative winters through 10 days of diverse programming that invigorate mind and body. In an era of changing climate that threatens our signature season, we seek to create community, inspire action, and share the resilient spirit of the North with the world. For the full schedule of performances, art installations, outdoor activation, and solutions-focused climate talks, or to make a donation, please visit our website, www.thegreatnorthernfestival.com.
Your contribution will allow The Great Northern to continue seeking new perspectives on the elements that make this region unique while highlighting what we stand to lose if our climate continues to warm.
Thank you for supporting Northrop!
MAKE LEGENDARY PERFORMANCES POSSIBLE!
At Northrop, we believe in connecting great artists and ideas with our community and to a new generation of audiences. Your gift helps make memorable arts experiences possible by supporting extraordinary performances and new arts commissions, and helping ensure accessibility to everyone through live-streamed programming, outreach to diverse communities and subsidized student tickets. Our Friends are at the center of Northrop’s biggest ideas and brightest moments on stage.
Become a Friend of Northrop today!
Donate online at northrop.umn.edu/support-northrop
Ways to Give:
To learn more about supporting Northrop please contact:
Cynthia Betz
betzx011@umn.edu or 612-626-7554
FRIENDS OF NORTHROP
A special thank you to our patrons whose generous support makes Northrop's transformative arts experiences possible. Make your mark on Northrop's future by becoming a Friend today, learn more by visiting northrop.umn.edu/support-northrop.
We gratefully acknowledge the support from, Arts Midwest Touring Fund, Minnesota State Arts Board, Marbrook Foundation, National Endowment for the Arts, and New England Foundation for the Arts.
We extend a special thank you to our event sponsors PNC Bank, RBC Wealth Management, and HGA.
10,000+
5,000+
2,500+
1,000+
500+
250+
100+
Up to $99
Up to $99 (continued)
This season’s listing is current as of 1/21/22
Please contact Trisha Taylor at taylort@umn.edu if you have any corrections or questions.
The Heritage Society honors and celebrates donors who have made estate and other planned gifts for Northrop at the University of Minnesota.
*deceased
NORTHROP’S AEOLIAN-SKINNER ORGAN
Thank you to the generous donors who continue to support programming for Northrop’s beloved Aeolian-Skinner Organ. It is because of you that this magnificent instrument’s voice will be enjoyed by many for years to come.
This season’s listing is current as of 1/21/22
Please contact Trisha Taylor at taylort@umn.edu if you have any corrections or questions.
The Northrop Advisory Board is committed to the growth and awareness of Northrop’s mission, vision, and the continued future of presenting world-class dance and music in our community. If you would like more information about the advisory board and its work, please contact Cynthia Betz, Director of Development, at 612-626-7554 or betzx011@umn.edu.
This season’s listing is current as of 1/21/22
Please contact Trisha Taylor at taylort@umn.edu if you have any corrections or questions.
The content below derives from the Northrop Across Campus Program that supports Northrop's mission towards intersections between performing arts and education for the benefit of all participants now and for generations to come.
Northrop Across Campus participants are invited to a special Campus and Community Partner night of Black Light a re:Search performance, Thu, Feb 3. Please contact nacampus@umn.edu for more information.
Find ways to make thematic connections to these suggested courses.
Dance: Modern, Contemporary, Multi-Genre
Theatrical Storytelling
Spirituality and Healing
Cultural Studies/Global Studies/Diaspora Studies
Mortuary Science/Death Rituals
Gender, Women, and Sexuality Studies
African American Studies
Diversity, Equity, and Inclusion
Social Justice/Civil Rights
American Studies/American Cultural Studies/American History
Psychology
Music: Multi-Genre
Take a deeper dive into these resources that provide more information about the company of performers, the history of the artform, and where you can learn more about the artistic process!
The Power of Now: A Guide to Spiritual Enlightenment by Elkhart Tolle (Book)
Emergent Strategy: Shaping Change, Changing Worlds by Adrienne Maree Brown (Book) Find it at the U of M Library or Amazon.com
ENGAGE: Above and Beyond
This research performance guide is a way to further engage with audience members looking to fuel a deeper and artistically enriching viewing experience. Please read the quotes, questions, tasks, and resources below in order to prepare yourself for an interactive artistic experience during the performance, an engaging post-show conversation, and ongoing individual exploration beyond this showcase of work.
The Hero’s Journey and the Essence Self
“At any point you can make a profound change in your body by just using your mind.” -Jane Kosminsky, Teacher of Alexander Technique
“We create our own reality.” - Seth
*There are many names for this aspect of Self. Some call it God, the god-self, one’s greater subjectivity.
Goddess Worship & The Veneration of the Divine Feminine
“Chaos is just higher order.” - Eniola Orisagbemi Adelekan
*Cosmology is defined as the study of the order of the universe/world (Metu Neter Vol. 1). “First, it provides an ordered and unified (synthetical) view of who and what is God, Man, and the forces that administrate and sustain the world. Second, cosmology (like all blueprints and maps) provides a framework that guides thinking and action through the vast array of seemingly unrelated life situations to the successful identification and attainment of the goal of living.” —Ra Un Amen Nefer, Metu Neter Vol. 1
Oracles from the Natural World: “As so within, so without” The Principle of Correspondence, a Hermetic law of ancient Kemet
Self Pleasure
“We have been raised to fear the yes within ourselves, our deepest cravings. But, once recognized, those which do not enhance Our future lose their power and can be altered. The fear of our desires keeps them suspect and indiscriminately powerful, for to suppress any truth is to give it strength beyond endurance. The fear that we cannot grow beyond whatever distortions we may find within ourselves keeps us docile and loyal and obedient, ex-ternally defined, and leads us to accept many facets of our op-pression as women. [...] This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. For once we begin to deeply feel all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of.” - Audre Lorde, writer, Uses of the Erotic
“The white fathers told us: I think, therefore I am. The black goddess within each of us—the poet—whispers in our dreams: I feel, therefore I can be free.” - Audre Lorde
The Shadow Self and the Latent Psyche
“What you resist persists” - The Law of Attraction
Cycles of Death, Life, and Rebirth
“How do we recognize what is sacred in our lives and become centered in that?”
“Death is the twin of Life.” - Louis Alemayehu, poet, Akhenaten’s Dream
