When choreographer Kamil A. Brown is asked to describe his type of movement, he uses an analogy from the kitchen.
“Everything. It’s modern, it’s hip-hop, it’s slap, it’s jazz, it’s ballet, it’s social dance. I call it jambalaya. You put it in a saucepan and put your own spice on it. And then when it comes out in the bowl, who are you? ”
The audience begins to enjoy the special taste of Brown’s work as he completes a remarkable year of activating the traditional music pot. She became the first black-haired director to direct the Metropolitan Opera, the first black-skinned woman to work as a Broadway director for 60 years.
“The point is that black women can share our stories on these platforms that were not created for us,” she said. “How powerful it is to be in areas that are not necessarily created for you, but you create space within it.”
On Broadway, Brown was applauded for Ntosake Shang’s “Colored Girls Who Thought of Suicide / When the Rainbow Opens” for the spring Broadway revival.
The fusion of Shenji’s words, movement, and music uses seven black women to connect the threads of abuse, flexibility, compassion, and motherhood into a common female tapestry. Brown said he wanted to “bring out the joy.”
“Although there is a lot of heartache, they are destructive stories, but they are stories of recovery, as well as stories of empowerment, truth and laughter. “Sometimes we have to laugh in pain,” he said.
During the brilliant stroke, one of his seven actors, Kenita R. Miller, most of the escape was pregnant. Miller, who went on maternity leave on Tuesday, was called in to tell one of the more painful stories of a woman who watches her abusive husband kill their two children.
“It helps to elevate the story, to make it more devastating, as she talks about the loss of these children while she is about to have her first child,” Brown said.
Other high-profile Brown works include the choreography “Ma Rainey’s Black Bottom”, the Emmy Award-winning “Jesus Christ Superstar Live” with John Legend, and Sarah Barel.
“He is just a beautiful force, a kind of calm force in him. He is small, but as a creator he has a huge gravity, “says Barey. “I was so happy to see him get such recognition for this truly extraordinary work that I feel so lucky to have seen it on Broadway.”
Brown, the founder and artistic director of Camille A. Brown & Dancers, was born three years after arriving on Broadway in the “Colored Girls” in the late 1970s, but the mother saw it and turned it into a delicate part of her daughter’s childhood. :
Mom often advised Brown not to let anyone take her things, a pictorial line from the play about protecting yourself. “Only a few years ago he told me it was from the show,” Brown said. “Suddenly, it just made sense.”
Brown took over Shenj աշխատանքը աշխատանքը փոքր փոքր փոքր փոքր փոքր փոքր փոքր::::::::::::::::::::::::::::::::: Vandellas in SWV’s “I’m So Into You” 90s.
“When you find out who you really are, I think it’s really important, especially since that’s what Ntosake did in this job,” Brown said. “There is so much in him that is intertwined in the poem, he almost gives you a guide on how to work through it. And part of it is being yourself, putting yourself in it. ”
The show received seven Tony Award nominations, two for their directorial debut for Brown’s choreography. However, the show will close soon, despite an independent social media campaign that pays sponsors to see it, for which Brown is grateful.
“The fact that this black woman show, staged by a black woman, performed by seven black women, is watched by a lot of people, people encourage other people to see it, is powerful,” Brown said.
The show shows the versatility of her dance, often her cinematic vision. She previously relied on the Broadway play Choir Boy for the African-African-Cuban Afro-Haitian dance for the musical Once on This Island.
“Every time I have a show, I trust my instincts better. “I just see it in my head; I just go and do it,” he said. “Whatever I am called to do, I respond to it. And I think that’s the best thing artists can do to respond to your instincts. ”
Brown says dancing has always been his favorite form of communication. He grew up fond of shy, non-public speaking. “The movement has always been there for me,” he said. He is now adding directing to his arsenal, making history last year with Met’s “Fire Shut Up in My Bones.”
While he was planning ways to put Shenj’s work on Broadway, the last image was the first. seven women holding their fists in the air. He did not know how to get there, but it would end that way.
“I wanted the end to be about empowerment, like ‘Yes, these are destructive stories.’ We thought our world was going to end because it was so scary. But we overcame it and went together. And you can too. ”
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