I AM
World Premiere: Jacob’s Pillow, July 31-August 4, 2024
Alain '“Hurrikane” Lauture in ‘I AM” by Whitney Browne
Continuing her explorations of Black Joy, director and choreographer Camille A. Brown creates a new work for her Company, Camille A. Brown & Dancers that launches new queries into the possibilities of imagination—and boldly investigates the future.
While Brown has often disrupted our understanding of the past, in this new work, she imagines a creative space for cultural liberation—conjuring new ways of being in this world. Inspired by the “I AM” episode of the HBO series, Lovecraft Country this new work picks up where ink left off by blasting us into the universe where anything is possible and features various dance genres of the African Diaspora.
Original music is by Deah Love Harriott, Jaylen Petinuad, Juliette Jones, Martine Mauro-Wade, Frédérique Gnaman, Monique Brooks Roberts, and Zane Mark, projection design by Aaron Rhyne, set and lights by David Arsenault, sound design by Justin Ellington, and costumes by Ashley Soliman.
PRESS
“Set to live music, Brown’s choreography seamlessly unites various styles of the African diaspora, fusing and contrasting the intricate footwork and curving shapes of Afro-Caribbean dance, the irresistible rhythms of step dancing and body percussion, and the fluidity and daring of hip hop and street dance. All of it is infused with passion and persistence.”
— Times Union
“The dancers, strong, flexible, and clean in their moves, seem to exult in their physical prowess, and in the presence of each other, as if each one is challenging each other to go further, dance faster, jump higher, be their best selves. They have community in each other, and they radiate joy….”
— Splash Magazines
"Camille A. Brown has enjoyed so many successes in such big arenas that, in a highlight such as this, one can only tick them off: for the Alicia Keys jukebox-cum-memoir musical Hell’s Kitchen, a Tony nomination for best choreographer… for the glorious revival of Ntozake Shange’s for colored girls who have considered suicide/when the rainbow is enuf, Tony nominations for best choreography and best direction; for Terence Blanchard’s Fire Shut Up in My Bones, the breaking of the Met’s persistent color barrier, as its first Black director. I could go on. It’s surprising and heartening, then, that Brown hasn’t abandoned the concert stage or her ensemble. Expect her usual ebullient gestural language, which speaks for the community in the individual and reveals that individual to the community and to us. That is Brown’s superpower"
—Apollinaire Scherr, Air Mail News
"Brown observed, 'If you are trying to create a world of community on stage, that has to happen before you get on stage,' adding of 'I AM,' 'you see, a community of individuals functioning together.'”
-The Boston Globe
Photo
