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Bebe  Miller Company



Friday & Saturday, July 26 & 27
Schaeffer Theatre, 7:30 p.m.
$25/$18/$12 (Adults/Seniors/Students)


Bebe Miller
Bebe Miller Company by Julieta Cervantes

Exploring the unruly edges of heart and mind, the award-winning Bebe Miller Company celebrates twenty-five years of dance-making with the retrospective performance installation, A History. This evening-length work centers on the decade long, nuanced dancing relationship between veteran company members, Angie Hauser and Darrell Jones. The live performance is accompanied by a digital media installation that offers audiences a glimpse of the visual history and thematic journey that comprise Bebe Miller 's creative path. A History shifts the focus from performance to process, sharing with audiences what dance making feels like, sounds like and thinks like. (Family friendly) For more info: Bebe Miller

“Bebe Miller is a cartographer of human emotions, mapping the landscapes of the passions of her dance with luminous intelligence.” --Washington Post
"Miller is a tender visionary, a subtle social and political commentator." --The Village Voice
"Her movement is infused with a spirit that clings to the audience even after she and her dancers have left the stage.” --The New York Times

Sneak Preview: Bebe Miller Company offer a free Show & Tell, Tue, July 23, Schaeffer Theatre, 7:30 p.m.

Post Performance Q&A: Please join us for a discussion with the artists immediately following the Friday concert.

Inside Dance: Understanding Contemporary Performance. A pre-performance talk about Miller's work with dance writer, Hannah Kosstrin. Sat, July 27, 7:00 p.m. Schaeffer Theatre.

new yorker magazine  Article from The New Yorker Magazine: THEY HAVE A HISTORY


Watch Video
bioInterview with Bebe Miller

What was the process of arriving at "A History"? What made you decide to mine your creative archive?

The exchange that’s at the heart of our process began before there was a place (or a dance) to put it. About four years ago Talvin, Angie, Darrell and I started talking about creating some way to make the creative process of BMC, both the past and the present, visible and accessible to people. Our collaboration has taken us through one work to the next - picking up the thread, the next new sense of the body, the unfinished business we couldn’t solve. We wanted to create a virtual archive, some technological means of both traversing and revealing the thematic landscape of the last decade or so. How could we capture the ‘creative room,’ in real time versus as an archival/historical record? How would we begin mapping the vectors of ideas and practice in our work? Deciding to make a new dance work was really the next step – what better way to look at creative practice than to have one – so the process spiraled back and forth between making, documenting the making, and researching what we’d made.

For me, what we’ve made connects to work over the long haul. I know that I’m tracking my ideas about partnering, for example, from my early days watching Nikki Castro and Scott Smith while we were making Habit of Attraction (1987); at the same time Angie and Darrell are tracking their own dancing relationship (from ADF 20 years ago) as well as their current practices as dance artists. A History is remembering remembering. As such, it is an archive of our practice, an incomplete and completely subjective accounting built on ideas, movement and conversations from the past 10 years.

Why these collaborators? What has the working process been with them to develop the performance and installation?

Darrell, Talvin and I have been working together for over fifteen years, and with Angie since 2000. Longevity is clearly a factor but mostly, we’ve had an extended, collaborative conversation that keeps feeding us. I feel that the ways we work on a problem – the talking, the dancing, the jokes, the thinking, the dancing (again) – keep unfolding, and keeps us interested. The circumstantial strategies have changed since we began – besides being fifteen years older none of us live in the same state - so looking back is charged with new perspectives. We re-meet our younger selves in our current body/mindset, and realize that each of us has a distinctly different view, literally, of what we’ve made together. This piece is really a celebration of Angie and Darrell’s nuanced collaboration as dancers - “interlaced” is Angie’s word for what they do together - that began with Verge (2001).

The accompanying video installation by Maya Ciarrocchi depicts a number of long time Bebe Miller Company ‘family’ members. The work is comprised of life-sized video portraits presented in pairs. By observing these paired portraits viewers create relationships, and consequently narratives, between the participants, even though they were shot separately. I think the effect of the installation, along with other archival materials that will be on view, is to confirm connection, for all of us, and the layers of daily-ness that come together when any work is created.

Can you talk about your history with the two exceptional performers, Darrell and Angie?

Both Angie and Darrell would name their ‘Go’ moment as hanging out in the dressing room at ADF when they were performing in Ishmael Houston-Jones’ piece (1990); that was before my time but a great story nonetheless. They clicked, they still click, and together go somewhere I’m lucky enough to follow. Talvin and I clicked on a project in Miami in 1997, and over many Cuban coffees found a connection. I love working with them all; they are sane, funny and magical, each in very different ways. And I think we still are interested; that’s what makes us tick.

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