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Though the Miami New Drama-commissioned “Queen of Basel” will have its official world premiere at Studio Theatre in Washington D.C. next season, you don’t have to wait or travel to discover how playwright Hilary Bettis has reimagined August Strindberg’s controversial 1888 classic “Miss Julie.” With three powerful actors and a small audience sharing the stage space at Miami Beach’s Co..

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“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..

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Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..

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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