April 2010
What was the inspiration or starting point for Rigidigidim?
I had been interested in transnationalism for a while and began looking at the ways Caribbean people connected with one another and to their own cultures while abroad; how we recognized each other; how we connected to a sense of home; how we maintained or disengaged from our identities; fit in to (or not) the locations we existed in, etc., and I discovered that calypso and soca music were significant and recurring means for doing so and addressing larger cultural, political, and aesthetic concerns. I decided I wanted to create a piece of work that addressed some of these complexities through the body and the spoken word.
What was the process for creating the work?
First finding the artists who could relate to the issues. I wanted Caribbean artists with whom I could begin the conversation from a starting point of "knowing" and not explaining, not translating. Then of course, I had to find the resources to get us together and process our collective imaginings.
What was the greatest challenge you faced in making this work?
Finding time and space with artists from as far away as Liverpool and the U.S. Virgin Islands. We created this over the course of a year and a half with the generous support of organizations like our commissioners - Bates Dance Festival, the Painted Bride Art Center, the Dance Place, Danspace at St. Mark's Church and Central District Forum for Arts and Ideas, and of course subsidies from the MAP Fund, NEFA, NPN, the Edwards Arts Fund, and others.
Is there anything else you want to say about the work or its presentation at Bates?
This work is about a collection of moments that offers some insight into the complexities of Caribbean-ness, womanhood, the politics of sexuality, ownership, authenticity that Caribbeans negotiate. I am interested in difference - in bodies, in expression, in the breadth of experience of cultures that have been and continue to be far flung. It is dance theatre. A genre that I participate in collectively with collaborators who are good at what they do; Jason Finkelman - sounds design and original music (there is also prerecorded music in the work as well); Marcus Behrens - filmmaker and videographer for the project; Amanda Ringger - lighting design; and Meckha Cherry - costuming; and of course the amazing performers - A'Keitha Carey, Nehassaiu deGannes, Ithalia Forel, Lisa Green, Caryn Hodge, Rosamond S. King. I couldn't ask for better group to have spent this time with.
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