Dance/theater artist David Neumann (NYC), with theater artist Marcella Murray, will examine the latest questions emerging from astrophysics, placing privilege and race into the cosmic scale. This new multi-disciplinary performance piece is embodied by Neumann, Murray, and a trio of multi-generational dancers: Sara Rudner, Jodi Melnick, and Victoria Roberts-Wierzbowski.
BAC Space Resident Artist
David Neumann and Advanced Beginner Group (ABG)’s original work has been presented in New York at Performance Space 122, New York Live Arts, The Kitchen, Abrons Arts Center, Central Park Summerstage, Celebrate Brooklyn, Symphony Space, The Chocolate Factory, and The Whitney. ABG has also performed at the Walker Art Center, Alverno College, MASS MoCA, The Fusebox Festival, The Ringling Festival, and the American Dance Institute, among others.
Neumann was a performer for many years working with, among others, Mikhail Baryshnikov, Big Dance Theater, Doug Elkins, Doug Varone, and Sally Silvers. Recent projects include: choreographer of Hadestown (NYTW), The Total Bent (Public Theater), War (Lincoln Center III), Futurity (Ars Nova and Soho Rep), An Octoroon (Soho Rep/Theater for a New Audience), directing Geoff Sobelle in The Object Lesson (BAM and NYTW), and choreographing Hagoromo at BAM Harvey with Wendy Whelan and Jock Soto. He is currently professor of theater at Sarah Lawrence College. Most recently, Neumann’s work, I Understand Everything Better received two 2016 NY Dance and Performance Bessie Awards, one for Outstanding Production and one for Outstanding Sound Design/Music Composition. He was named a 2016 Artist in Residence at the SETI Institute and was awarded a Robert Rauschenberg Residency. Over the years, Neumann has received three Bessie Awards, a Foundation for Contemporary Arts Award, an Asian Cultural Council Fellowship (Noh immersive), residencies at MASS MoCA, ADI, and MANCC, and support from the Rockefeller Foundation, Creative Capital, NYFA, and National Dance Projects, among others.
BAC Story by Melanie George
Jun 14, 2018
David and his collaborators workshopped three seemingly separate ideas – on intergeneration and women (with performances by Sarah Rudner, Jodi Melnick, and Victoria Roberts-Wierztbowski), cosmology, and race and American identity.
“Things Are Happening… but not as they appear… this is messy. Messy is necessary.”
The above quote is taken from my rehearsal notes from David Neumann/Advanced Beginner Group’s residency at BAC. David and his collaborators workshopped three seemingly separate ideas – on intergeneration and women (with performances by Sarah Rudner, Jodi Melnick, and Victoria Roberts-Wierztbowski), cosmology, and race and American identity.
In the time since the performance, I have come to realize how they are related – through the gravity of movement and politics, the science of race, the colonization of downtown New York dance, the search for concrete solutions in infinite space. These themes are messy. I love messy because by dealing with the mess we have to confront that which is dirty, chaotic, jumbled, often created by us. It is unpleasant and difficult because mess insists. It is no less tangible when we close the door to it. The muck and mire sits, waiting for us to return to that too-full closet, the one with the rotted floorboards and the rodent infestation… and that forgotten fragile heirloom from your mother’s great aunt. Be it through fate or circumstance, eventually, someone will have to clean that closet.
This is a most messy moment for America. Less a time of civil unrest, more so of civil insomnia. It is in this mess, a uniquely American one, that the seeds of David’s new work are being sewn. Spurred by a reaction to police violence, systemic racism, and white supremacy; inspired by Octavia Butler and Charlie Rose, by 23andMe, Charlottesville and The People’s Institute for Survival and Beyond; examining tribalism and humanism by way of the family narrative. All themes are in dialogue with media, narratives, and movement vocabularies. The collection of ideas, sounds, and visuals are woven together, sometimes curvilinear, mostly at odd angles, to create the whole. There is no optimal. Instead, it is through the patchwork fiction and fact that we find truth.
I first met David Neumann in 2015 while he was touring his Bessie Award-winning work, I Understand Everything Better. On this piece, I wrote, “Neumann seeks balance along the continuum between existing and happening.” Three years later, I find that statement to be a bit too opaque for writing about a work that made me openly weep, but, while sitting in rehearsals during his BAC residency, I am once again struck by the way David activates liminal space in his process. The in-betweens have great resonance. Awkward pauses and shifts in perspective provide as much information as anything identified as an “event.” His work is a collection of moments, sometimes humorous, sometimes heartbreaking, but always fine-tuned. Still too opaque? Perhaps, but this new work is in what I call the “Something’s Coming” space. It is one of the most exciting periods because all things are possible, and his seed material is rich.
Q: What does it mean to hold yourself accountable as an American citizen? How do you unpack your privilege, as a cis white man, without engaging in polemics, proselytizing, or more privilege?
A: Among other things, collaborate with Marcella Murray. She is of African American southern roots and an East Coast liberal arts education. Use personal narratives, hers and yours. Your stories about family and race are your primary sources. Discuss isolation and integration. Be challenged by her questions. Decentralize your voice. Have a conversation.
Q: Devalue fearlessness. This is not a question, by the way.
A: Yes. Make this work because you are wary, frightened, uncertain. Allow your “interest to remain high, while your comprehension falls away.” Change perspectives, visually and audibly. This will be a key theme in the work: Chris (sets), Tei (sound), and Hyung Seok (video), will be essential in this regard. Things are happening, but not as they appear. As Marcella says, “get at the big and small by looking at it all.” It will be uncomfortable. America is experiencing extreme discomfort. It is disingenuous to ignore that.
Q: Who gets to define your work?
A: A lot of white men in Ted Talks. Let’s unpack that more. This is not a joke, by the way.
Final Thoughts (for now):
Not knowing what this work will become, I sense that it is turning a corner in how white artists, American artists, cis male artists interrogate their role in artmaking, and the repercussions of that work on the field and the world. It would be far easier for David Neumann/Advanced Beginner Group to make a work about any of number of interesting, less timely ideas. It is far more urgent to confront whiteness, and the policing, literally and figuratively, of blackness. It is incumbent on white artists to tackle these themes. There is no blackness without whiteness. Doing the work is a shared responsibility. During the BAC residency, I expected to encounter a rich process where each of the collaborators has a voice and the content is engaging. What has me invested is the desire to amplify the voices of black women and the willingness to make a work that tackles the responsibilities and burdens of being a citizen of the field and the world, in spite of the fear of getting it wrong. It is messy. It is necessary.
Melanie George is the Dramaturg and Audience Educator for Lumberyard Contemporary Performing Arts. As a dramaturg and performance coach, she has contributed to projects by Susan Marshall & Company, Raja Feather Kelly, Morgan Thorson, Alice Sheppard, and Caleb Teicher, among others. Prior to joining Lumberyard, she was the Dance Program Director at American University in Washington DC. As the founder of Jazz Is… Dance Project she has presented her research on jazz dance improvisation and pedagogy through the U.S., Canada, and Scotland. Her jazz choreography is regularly commissioned by colleges throughout the United States. Publications include Jazz Dance, Pop Culture, and the Music Video Era in Jazz Dance: A History of the Roots and Branches (University Press of Florida) and Imbed/In Bed: Two Perspectives on Dance and Collaboration for Working Together in Qualitative Research (Sense Publishers).