REVIEWS OF “MOSES(ES)”
“Reggie Wilson Fist and Heel Performance Group” –Rachael Carnes, Eugene Weekly
PRESENTS WHITE BIRD UNCAGED 2016-17
Running time 70 minutes–no intermission.
A Q&A with Reggie Wilson and the company will follow the Thursday and Friday performances.
Reggie Wilson, award-winning choreographer and performer, draws from the cultures of Africans in the Americas and combines them with post-modern elements and his own movement style to create what he calls “post-African/Neo-Hoodoo Modern Dances.” His critically acclaimed and magnificently uplifting Moses(es) celebrates, through dance, song and vocalization, the migration of peoples and culture from Africa out into the world.
*EXCITING COMMUNITY EVENT: FREE TO THE PUBLIC!*
Ring Shout: A Moving Conversation with Reggie Wilson
Saturday, November 19th 1-2:30pm at PCC, Cascade Campus
Moriarty Arts & Humanities Building (705 NE Killingsworth St.)
To reserve a spot e-mail: firstname.lastname@example.org
Reggie Wilson/Fist and Heel Performance Group, was founded by Wilson in 1989. Not only is Wilson an award-winning choreographer, but as a world traveler and ethnographic researcher, he incorporates performance practices of the African Diaspora into his choreography. Wilson’s critically acclaimed Moses(es) focuses on how we lead and why we follow. The piece first premiered in 2013 and celebrates the migration of peoples and culture from Africa out into the world.
∙ Reggie Wilson founded his company, Reggie Wilson/Fist & Heel Performance Group, in 1989.
∙ Wilson draws from the cultures of Africans in the Americas and combines them with post-modern elements and his own personal movement style to create what he calls “Post-African/Neo-HooDoo Modern dances.”
∙ Fist and Heel presents work that investigates the intersections of culture and movement practices. The Company’s body-of-works also draw from the spiritual and mundane traditions of Africa and its Diaspora.
∙ Wilson has lectured, taught, and conducted extended workshops and community projects throughout the US, Africa, Europe and the Caribbean, as well as having served as a visiting faculty member for several universities, including, Yale, Princeton, and Wesleyan.
∙Through travel and ethnographic research, Wilson incorporates performance practices of the African Diaspora into his choreography.
∙ In Wilson’s works, his company blends deep ritual style movement with contemporary dance and perform works that are motivated by their own driving rhythms such as body percussion, aspirated breath, singing and shouts. The movement derives from the movement idioms of blues, slave and worship cultures where Wilson believes in the potential of the body as a valid means of knowing.
∙ Moses(es) examines the migration of peoples and culture from Africa out into the world, paying attention to the effects migration has on beliefs. Wilson’s research for this project has landed on the intersection of the origins of Monotheism and African cultures.
∙ Moses(es) is grounded in Wilson’s re-reading of Zora Neale Hurston’s Moses, Man of the Mountain, as well as his exploratory travels to Israel, Egypt, Turkey and Mali.
∙ Styles of Dance: Post-African/Neo-Hoodoo, Contemporary, Modern, Post Modern
∙ Fun Fact: The Company’s name is derived from enslaved Africans in the Americas who reinvented their spiritual traditions as a soulful art form that white and black authorities dismissed as merely “fist and heel worshiping.”