REPERTPRY

Repertory

UNCLE JAM’S CABIN
Choreography by Neisha Folkes formally principal dancer
Alvin Ailey American Dance Theater
Music –  Spin by The Impossible Dreamers
The Cabin Of My Uncle Jam by Funkadelic
Funkborne by Andre Delano
Mas Que Nada by Sergio Mendes
Hard Hearted Hannah by Patti Austin
Tells the story of how a boy used to hide out in his uncle’s cabin and watch the adults do their thing. returning home as an adult, he re-lives his memories, in his Uncle Jam’s Cabin….

Company

BITTER SWEET
Choreography by Winifred Harris
Music by Various Artists
Choreographed in 1996, Marshall Dance Company now performs this magnificent work, under the direction of Winifred Harris.

7 Dancers

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PRAYER
Choreography by Terry Beeman
Music – Tantum Ergo by Northern Harmony
A piece that is at once contemplative and deeply emotional, this choreography works with the seven chakras and other yoga principles.  Dunham Technique training emphasizes work with the chakras.

Company

ALWAYS AT LEAST TWO SIDES
Choreography by  Myshia Moten
Music –  by Damon Zick
This piece looks at abuse from the abuser’s point of view.
What is his side of the story,
And how did he becomes who he is.
In life if we do not break the cycle it will continue to evolve. We must do our part to stop it…

IN THE MEADOW
Choreography – Anindo Marshall
Music – Guaracho Habanera by Jamie Guiscafre
A dancer takes a walk to the meadows and lets out her inner child. She dances freely as the wind blows and she remembers her childhood.

Solo

AMOR EN EL ROCÍO” SPANISH SUITE
BULERIA
Choreography – Elza Prado
Music by Vel Lewis

10 Dancers

HASTA QUE ME OLVIDES
Choreography by Ferly Prado
Music – Maule by Laura Fuentes

6 Dancers

MI SOMBRA
Choreography by Ryan Heffington
Music – Nuñes / Manolo Sanlucar
Solo
SENDERO FLAMENCO
Choreography by Marc Aurelio
Music – Manolo Sanlucar

Duet

ANGEL
Choreography by Myhia Moten
Music  – by Vincente Amigo

Solo

ZAPATEADO CAMPERO
Choreography by Elza Prado
Music – Sevila

18 dancers
The story takes place in a small town in Spain; it is wartime and we follow the tale of a young wife whose husband is fighting in the war.  A soldier brings her the uniform of her husband, and news of his death.  Her grief and rage are overwhelming, yet she decides to take her husband’s place in battle.

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MOUN KI MARCHE DANS LA RUE
Choreography –Zari Niada Wigfall
Music – Derrick Spiva Jr.
8 Dancers

Pushing.
people constantly pushing
strong women
toned
from day to day life
makes me think of
women before me
grandmothers
pushing to give
to the baby girls.
Today some countries
still trapped in
skin never showing eyes revealing
Hard. Struggle. Pushing. through
for ordinary existence. at war
with day to day life
women before me.
Grandmothers
mothers then and now
eyes revealing all.  around me
I saw into the
people walking down the avenue
Moun Ki Marche Dans la Rue
—-memoirs from Haiti 2002

THE KATHERINE DUNHAM STORY
THE PASSAGE
Choreography by Yeko Ladzekpo Cole
Music by Live Musicians

Company

MS. DUNHAM IN ME
Spoken Word – Sonja Marie
Choreography – Myshia Moten
Music – Live Drummer

Solo

HOPAK
Choreography by Ina Haybaeck Rogers
Music – Russian folk music

8 Dancers

BRAZIL
Choreography by Dani Lunn
Music – Live Drummers

8 Dancers

HAITI
Choreography by Elizabeth Chin
Music – Live Drummers/Singers

8 Dancers

CUBANA
Choreography by Sarpoma Sefa-Boakye

Music – Live Drummers

8 Dancers

DELIVERANCE
Choreography by Yeko Ladzekpo Cole
Music – Alpha Yalla Diallo

Company

AN EXPERIENCE
Choreography – Anindo Marshall – Excerpts from Vanoye Aikens
Music – Home Fires by George Truett
Tribute To Obabi (Ogun) by The Last Poets

Company

BELT IN THE BACK
Choreography – Chester Whitmore
Music – OPUS BIG BAND

Company

AFRIC
CONGO
Choreography – Anindo Marshall
Music – Live Drummers

ADZOGBO/ADZOHU
Choreography – Uncle C.K. Ganyo
Music – Live Drummers
Traditionally, Adzogbo is done in two parts: the first part, “Kadodo”, is done for women only.  The second part, “Atsia” is for men, because the Adzogbo was originally a cult dance associated with one of the war gods of Benin (Dahomey).  Before going to war, the warriors lived in a shrine for fourteen days or more to be spiritually prepared by the gods for the war.  The dance leader, possessed by the spirits of the gods, instructs the warriors in tactics and maneuvers of the coming war.  He transmits the message of the gods to the assembled army in the form of a dance.  After the conclusion of the message the army will join in by performing the steps that have been presented, to the accompaniment of the drums.

The word Adzogbo is in reference to the actual deity or god.  The word Adzohu specifically refers to the music that is played for Adzogbo. The ensemble does not have enough male dancers, so we have trained women to do the men’s part.  This is in the tradition of the old Amazon, the women’s battalion of the ancient Kingdom of Dahomey.

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BAMAYA
Choreography – Uncle C.K. Ganyo
Music – Live Drummers

SENTIR BENE
Choreography – Natalie Labellarte
Music – Nina Simone

9 Dancers
A Fosse-style, jazzy exploration of feeling good.

IN THE NEIGHBORHOOD
Choreography – Elizabeth Chin
Music – Shake Sugaree by Elizabeth Cotton, Iko Iko by The Dixie Cups, Minority             Report by Jay-Z, In the Neighborhood by Tom Waits

12 dancers
Katherine Dunham often used narrative storytelling in her dances that addressed important social issues.  This dance follows one family as it faces the challenge of surviving hurricane Katrina.

THE DEVIL COMES ON HORSEBACK

Choreography – Myshia Moten
Music – Various Artists

9 Dancers
During a conversation with Ms. Dunham, she asked what she could do about what was going on in Darfur, after her passing it felt appropriate to perform a piece about the atrocities in Darfur, Sudan.


  • MARSHALL DANCE YOUTH ENSEMBLE

    As part of MDC outreach program, MDYE was launched in September 2007. Inviting students from all walks of life into the studio after school, where they are mentored, nurtured and given free professional level classes, along with performing opportunities. We instill in our students the philosophies of Katherine Dunham, by teaching them the history of Katherine Dunham and the Dunham Technique. Tools which they can apply into their own lives and continue to grow into productive citizens of the world. Our goal is to reach out to low income families.
    Classes are taught by Anindo Marshall, members of Marshall Dance Company and some of the finest professional instructors in the region. Students receive additional training from guest instructors and master teachers from around the world.

  • Vanoye Aikens – Ms. Dunham’s dance partner and Dunham Technique Master Teacher

     

    Left to Right: Alec Baldwin, Vanoye Aikens, Karen McDonald
    Anindo Marshall and Neisha Folkes

    Vanoye Aikens was Ms. Dunham’s dance partner in the original Dunham Dance Company. He always said, “taking my Dunham class is like an experience..” .  This dance will take you through several parts of the world – Haiti, Russia, Cuba and Africa, integrating Ballet, Jazz, Modern and Dunham Technique. This piece begins with an exploration of Dunham Technique as a string or passage connecting African, Caribbean and African American cultures and dance forms.  Spoken word and a solo performance introduce the figure of Miss Dunham.  While in high school, Katherine Dunham’s interest in dance was sparked when she saw a dance troupe performing the Russian folk dance HOPAK.  She travelled throughout the Caribbean, represented here by Brazil and Haiti, where she was initiated as a priestess in the Vodou religion.  Sections of the final segment of this piece come from Vanoye’s Dunham class; in this way MDC works to preserve a diverse array of Dunham traditions.