Issue#47
with Cover Artist Reggie Wilson
Fall 2015

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THE DRAMA REVIEW
TDR’S SPRING 2015 ISSUE: SUSAN MANNING ON REGGIE WILSON

Abstract:
The significance of Reggie Wilson’s research-to-performance method within the canons of American dance arises from the way his distinctive approach confounds critical categories, blurring the divide between Black Dance and black postmodernism. Is his work too postmodernist for advocates of Black Dance and too Black for advocates of postmodernism?

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THE HATCHERY PROJECT

The Chocolate Factory Theater in New York City, the Maggie Allesee National Center for Choreography at Florida State University in Tallahassee, Philadelphia’s RED Arts Project, and Vermont Performance Lab in Guilford created The Hatchery Project in response to a desperate need for support in the dance field. With major support from the Andrew W. Mellon Foundation and the National Endowment for the Arts, The Hatchery Project launched a pilot project in June 2012 to work with four choreographers: luciana achugar, Beth Gill, Annie-B Parson of Big Dance Theater, and Reggie Wilson. While many partnerships exist to help choreographers with the presentation of finished work, no such model exists to sustain dance‐makers from the beginning of the creative process through to a work’s premiere, and into the uncertain days that follow the completion of a major project. Until the Hatchery Project…

The New York Times
Feature: Movers and Shapers

EXCERPT: As a contemporary choreographer who formed his Fist & Heel Performance Group in 1989, Reggie Wilson is something of a cultural anthropologist. His dances, which rely heavily on songs and rhythms — you often see Mr. Wilson singing and clapping on the sidelines — sprout from one concept, but by the time he’s finished, they are a garden of references, memories and ideas. When is he ever really finished? -Gia Kourlas

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Weinberg Magazine

FRACTAL DANCE ©2014 Rebecca Lindell Weinberg Magazine
Features Reggie Wilson and Moses(es) Fractal Consultant Jesse Wolfson on the relationship between Mathematical Ideas and Choreography CLICK IMAGE TO READ

Yale Dance Theater Journal

Directed by Emily Carson Coates, The Yale Dance Theater Journal is a collection of writings based on the extracurricular initiative that enables Yale students to work with Professional artists on the reconstruction of existing choreography and/or development of new work. CLICK IMAGE TO READ

Parallels writer-in-residence Carl Paris on Reggie Wilson

EXCERPT: an intelligent structuring, proportionality and investigation, which, although in some ways not fully resolved dance wise, convey intriguing new ways of feeling and saying things.

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To Appreciate or to Feel? That is the Question

Lightsey Darst elegantly deconstructs her experience of "The Good Dance," as envisioned by Brooklyn's Reggie Wilson and Senegal's Andreya Ouamba; in the process, she offers trenchant insights about the varied ways art may work on the viewer.

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