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The stage is a fixed space. It is the axis around which story, conflict, and character revolve. When that fixed space shifts, new possibilities emerge. Starting Wednesday, April 23, a shifting site for theater emerges at Deering Estate, a 444-acre environmental, archeological, and historical preserve along the edge of Biscayne Bay in Palmetto Bay. Four local playwrights have collaborated ..

Nearly two years ago, Miami’s Zoetic Stage took its first trip into the world of Harold Pinter with an intense, superbly acted production of the Nobel laureate’s 1978 hit “Betrayal” in the Arsht Center’s Carnival Studio Theater. Now Zoetic is delving further back into the Pinter canon with a riveting production of “The Caretaker.” This 1960 work is, like “Betrayal,” a three-character ..

Imagine animation created live on stage, with mini backdrops, puppets, and low-tech props. Channel it through multiple cameras and mix it live into a projected film. Add a string quartet and a DJ. This is the structure of “Nufonia Must Fall,” an upcoming project presented by MDC Live Arts. The show is slated for appearances around the world, from Asia and the Middle East to Europe and..

That Actors’ Playhouse opened its production of Robert Schenkkan’s “All the Way” on the same day that the American Health Care Act was pulled from a vote by the House of Representatives is ironic and more than a little instructive. The much-touted replacement for Obamacare didn’t have enough sure votes to ensure passage, as Speaker Paul Ryan told President Donald Trump, so the “replac..

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Miami’s venerable M Ensemble is a company that sometimes dips into its rich history to mount fresh productions of past shows. For its second production in its versatile new home at the Sandrell Rivers Theater in Liberty City, the troupe is revisiting Darren Canady’s “Brothers of the Dust.” Winner of the 2012 M. Elizabeth Osborn Award from the American Theatre Critics Association, the ..

“El cuento de Rene,” actor and director Larry Villanueva’s adaptation of Cuban writer Rene Ariza’s short stories into a work of theater, is more than an homage. It’s a statement on oppression. Ariza was sentenced to eight years in prison for trying to send manuscripts abroad. He was banned from creating theater in Cuba and condemned as “counter-revolutionary.” Ariza served five years of h..

Those who attend film festivals aren't looking for the mainstream, Cineplex offerings. That isn't the goal. Amid the indie films, the foreign entries, documentaries, and the world premieres, there's another reason to canvass the program for something you might not see anywhere else. Given the Miami Film Festival is the only major film festival to be produced by a college or university..

{This interview was conducted before the film making team went on to amazing Oscar success.} Playwright Tarell Alvin McCraney and filmmaker Barry Jenkins are nine miles away from the Liberty City housing projects where they both grew up, but they are worlds away. They are at the picturesque Standard Hotel to talk about the new movie "Moonlight," with a screenplay by Jenkins base..

First things first. Actor-playwright Elena María García does explain the meaning of “¡FUÁCATA!” somewhere deep into the 90-minute running time of Zoetic Stage’s “García Or a Latina’s Guide to Surviving the Universe.” The familiar Cuban term, she confides from her perch on Michael McKeever’s Mondrian-evocative set, suggests the sound of a slap. As in, “¡Fuácata! You really stepped in i..

Nora Chipaumire ‘Portrait of Myself as My Father’


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Celebrated Zimbabwe-born, Brooklyn-based dancer/choreographer Nora Chipaumire returns to Miami for a third time with her latest work, Portrait of Myself as My Father. Presented this week by MDC Live Arts and Miami Light Project at The Light Box at Goldman’s Warehouse, Chipaumire veers from her study of African female identity to explore masculinity in a piece that started as a letter to the father she never knew, one lost to divorce when she was 5, and to death when she was 13.

“I was interested in how I could create the kind of father that I would have liked to have,” Chipaumire says. “He’d be a superhero who’d be super cool: cooler than Shaft, cooler than Isaac Hayes, cooler than Muhammad Ali, a combination of all the heroes that I believe in, the African James Bond. I tried to create a portrait of my father that was a combination of virtuosic men.”

Chipaumire began studying masculinity through sport, and ended up focusing on the notion of boxing as a metaphor. Throughout the show, she performs tethered toSenegalese dancer Pape Ibrahima Ndiaye. Together, the pair prowl the stage-cum-boxing ring, the delineation between playing space and audiences marked by ropes and lights. A third performer, Shamar Watt, dressed in both coattails and athletic wear, shadows the pair. Chipamuire’s supple frame is bulked up thanks to football pads, and hidden beneath low slung, baggy pants, which stand in contrast to the briefs that adorn Ndiaye, his body and masculinity on full display.

To understand the physical manifestation of masculinity, she spent time watching the way men moved during residencies in Senegal and the Ivory Coast. “I was collecting a database of how these young men were getting down with their bodies, and the precision they moved with. I realized there is a very specific way that men are dancing – it’s very urban, fresh and full of virtuosity, and braggadocio in the face of so many difficulties, and I was trying to embody that, and do it my way,” she explains.

“It became more about the psychological placement, and placement of sounds in my body, how I operate in the world.”

Not just a study of gender, the piece also explores the dichotomy between blackness and Africanness. “Black and African are two separate ideas that I constantly work with, and wanted to understand better how they differ and the ways they intersect. I’m Black, but I’m also African,” says Chipaumire. “Black American men are much more overt, the stereotypical mans’ man, the swag that’s in your face. The African man is less so, it’s much more sexy and elegant, but nonetheless there is a great deal of machismo that runs through both of them -- but the African tends to couch it a bit, hidden under cultural norms.”

Exploring blackness, especially male blackness, is a particularly potent message in the United States, both historically and presently. While not a part of Chipaumire’s original, more personal motivation for the piece, she’s happy to add to the ongoing dialogue of race.

As she recalls with solemnity, “As I started working on this, Trayvon Martin was killed, and all these other black male shootings started to become an ongoing thing. And now, with Black Lives Matter, it has become part of our daily vocabulary; we have come so far in a short time with the conversation of black males – it’s intense, and I’m very happy to be a part of a conversation that is very necessary and that is difficult.

“There is a responsibility to family,” she adds, “and that’s the African part of me. You are raised in this community that is a family, and there are responsibilities to it, and from them to you, so I’m trying to overlay the landscape of family when I’m in that boxing ring.”

MDC Live Arts and Miami Light Project present Nora Chipaumire ‘Portrait Of Myself As My Father’, 8:00p.m., October 14-15, The Light Box at Goldman Warehouse, 404 NW 26th St., Miami Tickets: $30, $10 for MDC students mdclivearts.org.

 


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