#darrell grand moultrie

[haute-lifestyle-com]

Dallas Black Dance Theater To Perform in Skopje Macedonia #janetwalker #hautelifestylecom #theentertainmeentzonecom #dallasblackdancetheater #DBDT #dallas #macedonia

[swanlake1998]

Article: Tokenism vs. Representation: How Can We Tell Them Apart?

Date: January 19, 2021

By: Theresa Ruth Howard

Last year's Black Lives Matter protests jolted the ballet world into action. All of a sudden, things that once "took time" instantaneously became easy fixes, like it was an episode of Oprah's favorite things for Black people: "You get an opportunity, and you get an opportunity!" Much of this sudden, reactionary change has elicited high levels of skepticism, prompting the query: Is this true representation or is it merely tokenism?

There is empirical data that white people seldom keep word when it comes to BIPOC individuals. Social justice (especially when it comes to Black people) has almost always been a trend, a tool wielded to benefit white people more in the end, and there usually is an end marked by a lull and a slow, silent rolling back of the majority of what has been accomplished.

In the early stages of addressing systemic racism, until companies have a proven track record, it will always be a "damned when you do, damned if you don't" situation. Trust must be earned. Nothing done will be enough because it feels like trying to make an ocean out of a desert with an eye dropper.

That is not to say that there isn't meaningful progress being made. We are in the midst of a global shift. Power is being redistributed, rules and criteria are being altered. The standards of what was once acceptable, or enough, no longer suffice. People are no longer just "grateful" to have a seat at the table—not only do they expect to eat, they want to help plan the menu. The truth is, we lack a suitable metric to measure this progress because we have never been here before.

What is “representation”? What exactly is “tokenism”? 



The Oxford Dictionary defines "tokenism" as "the practice or policy of making merely a token effort or granting only minimal concessions, especially to minority or suppressed groups."

The complexity of the question "What qualifies as tokenism and what as representation?" rivals that of Blackness itself. There is often a conflation perhaps because representation is part and parcel of tokenism, making it difficult to discern one from the other, or at what point it shifts. What it looks like for the bystander may not be how it is experienced by the person in the situation.

It is important to note that the act of being the "only" or one of a few does not in and of itself amount to tokenism. Too often that assumption is made by the public and it is unfair, reductive and wounding to those holding those spaces. What determines tokenism depends more on why and how someone occupies the space.

This is where the process of diversification gets slippery, manufacturing conflicts of confidence for Black dancers who, like sacrificial lambs, may question the reasons they were hired, cast or promoted. Were they given an opportunity for their talent, or because they are Black, and in what measure? These are often the speculative whispers from colleagues, classmates, parents and patrons. It is a psychological head trip to which one will rarely get a satisfactory answer.

The way diversification is approached says everything. When the motivations are authentic, there will be respect, sensitivity and mindfulness; an effort to cultivate cultural competence will be made. This requires a great deal of humility. In order to be able to interact effectively with people of different cultures, racial and ethnic backgrounds, you have to admit that you have blind spots, and are ignorant of things and, more importantly, are desirous to learn. This requires engaging them as human beings, not just tools as a means to an end.

Faculty additions 

The recent hiring of full-time Black faculty members at Boston Ballet School (Andrea Long-Naidu), Pacific Northwest Ballet School (Ikolo Griffin), San Francisco Ballet School (Jason Ambrose) and School of American Ballet (Aesha Ash) all came to fruition during the COVID-19 crisis and the BLM reckonings. All four schools were part of the Equity Project's 21-ballet-organization learning cohort—the three-year partnership between Dance Theatre of Harlem, Dance/USA and the International Association of Blacks in Dance that aimed to increase the presence of Blacks in ballet, onstage and off. (Full disclosure, I was a member of the design and facilitation team.) There were a number of school directors in the room, including BBS director Margaret Tracey, PNB's Peter Boal (artistic director of both school and company), SFBS's former administrator Andrea Yannone and director Patrick Armand, and SAB's chairman of faculty Kay Mazzo.

One of the constant discussions was the importance of having representation on school faculties; it was drilled into their psyches. There were multiple conversations, and eventually the ball started rolling downhill. Unfortunately, the news of these faculty additions was only made public after last summer's social media protests by Black ballet dancers, making them appear reactionary.

The announcements began with a cacophony of press about Ash's appointment at SAB, which was met with underground backlash. Much like the overwhelming coverage about New York City Ballet's first Black Marie in 2019, which other companies had been quietly and consistently doing for years (without fanfare), the jump over contrition and bolt towards heroism for many soured representation into tokenism. In contrast, when Balanchine took Arthur Mitchell into NYCB as its first Black principal dancer, Mitchell asked that there not be a press release heralding the advancement. Instead, he wanted simply to appear onstage as a matter of fact.

When you wave a flag too hard late in the game, and are overly pleased with the little you have done over decades, you get no pat on the back. Though pleased for Sister Ash, inherent distrust has the Black community sitting with its arms folded, watching and waiting to be served the pudding that holds the proof of change.

This is the flip side of the representation coin. Organizations can dust their hands off and feel good about the progress they have made, while the actual burden and responsibility of "representing" gets laid squarely on these new Black hires. Ironically, these Black instructors return to the space of racial isolation they inhabited as dancers, with one major difference: Now they are expected to be an agent of change.

With the media blitz around her being SAB's first full-time Black faculty member, Ash is very clear when I ask her what her role is. "I am a teacher," she says. "I am not there to transform the entire structure. I was hired to be a teacher and I am hyper-focused on being the best darn teacher that I can be."

Her refrain sounds exactly like most Black ballet dancers who just want to dance, but whose very presence is a statement of silent resistance to a centuries-old system of whiteness. With this lack of representation, coupled with the increased visibility via social media—whether intended or not—they are instantaneously branded as "role models," and saddled with the pressure of expectations from the public at large, the Black community specifically, as well as their organization.

For these new faculty members, if and when their institutions make a faux pas, you can be certain the first question will be "Where were they?" When presented with this reality, Ash resolutely replies, "Let's make it very clear that I'm not the executive director or the artistic director of the School of American Ballet. But if I see things that don't look right to me, I'm absolutely going to feel very comfortable going in there and saying 'This does not look right.' " She sees her role as a long-time member of the Alumni Advisory Committee on Diversity and Inclusion as the space to do that.

Conversely, when asked what Ash's role is, Mazzo replies—along with giving glowing compliments about Ash's teaching abilities—"We feel that we hired an activist who wants to make more change," referring to her creation of her Swan Dreams Project. "We'll look to her for her perspective, her opinions or insights or feedback. It'll carry an enormous amount of weight as we continue to evolve and learn. I think she might not even realize what that means."

It could well be within this sliver of obfuscation that genuine representation can curdle into tokenism—the space where boundaries are unclear and assumptions are made. There has to be an agreement and clear boundaries with veto power enabling a person to control the way their Blackness, gender, sexual orientation or identity (in body and voice) are utilized both internally and externally for it not to wander into the realm of tokenism.

A person's desire to participate (and to what degree) should not be assumed because they represent a particular demographic. Having your thoughts, feelings, experience and emotional labor taken into consideration is something that is often not afforded to marginalized people. Being granted the power of choice with regards to participation, though not the norm, would be equitable. In this way the truest measure of whether something is tokenizing lies with the person in the experience: If they have agency and are empowered, it matters little how things appear.

In extending the invitation to Andrea Long-Naidu to join the Boston Ballet School, director Margaret Tracey was clear: "I need someone like this to hold me accountable. Knowing Andrea's commitment to supporting the Black student in the white ballet world made me think this is the kind of person I need on my team." The discussions between the two solidified what feels like a developing partnership.

Long-Naidu is looking for a space that will allow her to stretch into her desire to be a part of the change, and influence the field's push towards diversification. "I want to be at a high-level ballet institution where I am working with dancers, where I can make a difference," she says. Over the past five years she has been stepping into her power, both as an educator and as an advocate. "I am finding my voice in this work. I want to be a part of helping predominantly white institutions be more welcoming for Black bodies."

It helps that the two share history as former NYCB dancers, allowing for the uncomfortable dialogue necessary both for the learning curve and the strengthening of the new allyship. They align in their growth journeys: Tracey is prepared to receive radical feedback and Long-Naidu is ready to share. "Andrea is my first hire where I have shifted my focus from whether this outside person is a good fit for us to making sure that our environment is not stuck in a place that may not allow someone like her to fit in," says Tracey.

Casting and marketing

We all want to see Black and brown dancers rise through the ranks. What we don't want is Black dancers being cast when they are not ready, or prepared for a role just for a company to showcase it has them. This is the epitome of tokenism and sets dancers up to fail, a luxury, by virtue of their Blackness, they do not have. Blackness is held to a different standard so unlike their white peers, whose failings are their own, the "representation" Black dancers carry comes with the heavy burden of the entire race.

Artistic directors might not view it this way when casting, but being culturally competent would mean taking this into consideration. When fast-tracking a Black dancer, true equity would mean providing the extra support (technical and emotional) they might need to have them succeed. Hence, it's not about what is normally done; it is about what is necessary in this instance.

Tokenism in casting can stigmatize the dancer amongst their peers and the artistic staff, setting off the cascade of whispering echoes of "They only got it because they are Black." Even though white people have been getting opportunities because they are white for eons, it creates yet another level of isolation, stress and vulnerability in a Black dancer, potentially crippling both their confidence and their career.

Ballet organizations that have been actively working to educate and examine themselves, and are successfully expanding recruitment, increasing diversity in training pipelines, company rosters, faculties and administration, are grappling with how to best communicate progress without tooting their own horns too loudly. This is the space between a rock and a hard place; if they quietly go about their work, no one will know, and if they promote too heavily it could be perceived as pandering.

This culture shift demands transparency. Gone are the days of blind acceptance; the people demand receipts. Ballet has seldom had to explain itself, aloft at the pinnacle of the dance hierarchy, supported by centuries of tradition, the very act of "showing" deemed beneath it. Those days are on the wane.

The majority of ballet companies use the traditional rankings system. Star power is real, ballet lovers are loyalist, and marketing campaigns often follow suit by using images of principal artists or those performing lead roles. Hence, when most of your diversity (specifically Black dancers) resides in the corps de ballet, purposefully diverting from the marketing norms to telegraph the presence of nonwhite artists is by definition tokenism.

That is, of course, if marketing followed that hierarchy to begin with. When Tamara Rojo took the helm of English National Ballet in 2012, the company underwent a rebrand, highlighting ENB as a company that tells stories. Together with Heather Clark Charrington (director of marketing and communications since 2014), she transformed the promotional black-and-white backstage images into evocative art pieces capturing a moment, feeling or mood of a work. Together, Rojo and Charrington identify the dancer who can best capture it, regardless of rank or role. Many times there isn't correlation between the dancer on the poster and the principals on the stage.

Ironically, this nonhierarchical norm had gone unnoticed until 2018, when the breathtakingly stunning poster of Swan Lake featuring Precious Adams was released, and comments about casting and tokenism were raised. This is a prime example of when righteous indignation based on assumptions and lack of knowledge results in possible collateral damage to the very person you are advocating for. If companies are expected to do better by their artists, then the public needs to check itself, as well.

We need new procedures and practices to check our work. If your whole marketing department is white, perhaps consider enlisting the eyes of nonwhite members of the organization or cultivating external critical friends to look through a different lens to vet images and copy. The trick is you have to trust and listen to their feedback.

COVID commissions

The call to give Black choreographers opportunities was right up there with the call for ballet teachers, and the excuse was the same: "We can't find them." It seems that the glow from the world being on fire illuminated the field such that suddenly Black choreographers could be seen raining from the sky like extraterrestrial squids in Watchmen.

Black folk have been in the game long enough to know that the majority of recent commissions are purely reactionary. "Of course when I received multiple commissions, it crossed my mind that it was in alignment with the Black Lives Matter movement…and being a Black woman I tick two boxes," says Francesca Harper, who has eight commissions on deck. "I have been creating films since the beginning of my career—two of the companies came to me specifically because I can create something for film."

However, the nagging question of Blackness versus talent conjures uncertainty. "You wonder, Are they really looking at me?" asks Harper. "Are they looking at my work? That, for me, is always a painful moment."

Darrell Grand Moultrie is another of the numerous Black choreographers the ballet world is now inviting to take center stage, albeit virtually. While he has choreographed repeatedly on Atlanta Ballet, Colorado Ballet, Dance Theatre of Harlem, Cincinnati Ballet, BalletMet, Ailey II, Milwaukee Ballet, Tulsa Ballet, Richmond Ballet, Smuin Ballet, Sacramento Ballet, when American Ballet Theatre's Kevin McKenzie called to extend an invitation, according to Moultire, McKenzie apologetically said, "Unfortunately, I have not been exposed to your work."

Before Moultrie accepted the commission to choreograph in a bubble for ABT's virtual gala in November, he made three things clear: "First of all, I wanted this to be on the Met stage," Moultrie says. The second was a commitment to make that happen post-COVID. The third was he wanted to up McKenzie's "exposure" to Black choreographers in the game. McKenzie agreed.

"I think my commission with ABT is Kevin opening up to see who is out here," Moultrie says. However, that work should have already happened: Over the term of the Equity Project (which ABT was a part of), names of Black choreographers were often bandied about, including veterans Donald Byrd, Robert Garland, the overlooked Christopher Huggins, and Jennifer Archibald, who deserves a bump up, and Amy Hall Garner, who is on the come up.

The "it takes time" and "we can't find" mantras are to some degree the by-product of a lackadaisical attitude. One can believe that these recent gestures are earnest attempts to right a wrong. But the ease with which it could have been done before (and was not) is insulting, and makes it look and feel like tokenism.

It always feels like when Black people's houses are on fire, white folk can't seem to find a cup of water to fill it, yet when their houses are ablaze, here we come with buckets and hoses, always in service. At this critical time when the world is operating in crisis mode and on the learning curve of working remotely and presenting digitally, it feels like Blackness is used as a convenient tool to get out of the diversity doghouse. The fact that these opportunities are being given with anemic budgets cannot be overlooked and one has to wonder if these commissions offer parity.

Black people are too familiar with this type of post-woke euphoria, white guilt and shame married to a need to save face, creating just enough access and opportunity to smother the flames. Then, slowly, things begin to settle pretty much where they were before.

That being said, this time feels different (though we say that every time) because the landscape and the rules have changed. Increased exposure, transparency, the power of influencers' individual platforms and call-out culture all make it possible for anyone to write or contribute to the narrative. This collaborative quilt of divergent perspectives, which in time will become history, will now include more voices and experiences, forming a mosaic revealing a more comprehensive picture.

The work that ballet is attempting is a process, not a project. As to whether or not this is sustainable representation or mere tokenism, Moultrie sums it up this way: "We know what is happening right now is just a reaction. A good reaction, but only time will tell."

[outandaboutnycmag]

11/28/19 O&A NYC DANCE: A Conversation With Khalia Campbell- Her Journey Continues

11/28/19 O&A NYC DANCE: A Conversation With Khalia Campbell- Her Journey Continues

By Walter Rutledge 

In the early 2000’s the Uptown Dance Academy was located in the large loft space above a discount department store in East Harlem. After climbing the steep double flight of stairs, I met a  group of young dancers warming up in a small subdivided studio. Director Robin Williams introduced me to the cherubic faced girls and boys; whose youthful exuberance and joy of endless…

[larryland]

Dance Theatre of Harlem Celebrates 50 years of Dance at Jacob’s Pillow

Dance Theatre of Harlem Celebrates 50 years of Dance at Jacob’s Pillow

June 24, 2019 —(Becket, MA) Dance Theatre of Harlem celebrates 50 years of dance at Jacob’s Pillowand commemorates the legacy of their late co-founder Arthur Mitchell in the Ted Shawn Theatre, July 10-14. Founding member and principal dancer Virginia Johnson now leads the multi-ethnic ballet company known for their innovative repertoire, acclaimed as “classy, earnest, and potent” (LA Times).…

[harlemworldmagazine]

Ailey II Returns to The Ailey Citigroup Theater

On the heels of a 32-city world tour, Ailey II returns to The Ailey Citigroup Theater from March 14 – 25 for its annual New York season. (more…)

[miranda-postgrad]

I saw Ballet X on Friday! 

Despite being in Philly for my entire college career, this is the first time I saw them! To be honest, the reason why I haven’t seen them until now was because they do not have $10 student tickets. It’s always $25 and that’s just out of my budget right now...

After my final exam for my Women’s Health course, my roommate and I walked to 30th street for the free performance pop-up. My roommate was a former dancer and also enjoys the performing arts. We stood literally 6 feet from the dancers -- the closest I’ve ever been at a professional dance performance! Pop-ups are a great way to break down the walls of the theater and directly bring arts to the people. Nothing is free in this world, so obviously a foundation or grant is supporting an event like this. 

My favorite was the excerpt from Vivir choreographed by Darrell Grand Moultrie. The lines were just so beautiful, and I loved the music and partnering. The contrasts between the flexed feet and pointed feet, lifts to floor, and brightly colored costumes made this one the most memorable for me. I also follow one of the dancers (Caili Quan) on Instagram and low key have a dancer crush on her because she rocks short hair, dances a wide range of dance styles, and is Filipino! It was surreal to actually see her perform live. I loved her duet she choreographed as well. It’s exactly the style of dance I would want to learn.

I had signed up to volunteer usher at the Wilma Theater for Ballet X, but the season does not start until November. I foresee that this will not be the last time I see Ballet X.

[trascapades]

🎭🙌🏿#ArtIsAWeapon

BRAVA playwright @jjbioh and the outstanding cast of the @publictheaterny's #ShakespeareInThePark #MerryWives! The reimagining of this classic tale - infusing West African and Black American dialect, music, culture and costuming, set in #Harlem - is spectacular!! Shout out to the costume and set designers @dedeayitedesign & (@beowulfboritt), and director (@saheemscene)!!

Y'all, GO!!! Try to get a ticket for the September 2 "BlackTheaterNight" performance (see details below). If you can't, the production is running through September 18. https://publictheater.org/productions/season/2021/sitp/merry-wives/

•

Reposted from @broadwayblack It's Black Theater Night for ‘Merry Wives’ & tickets are FREE.99! Reserve your tickets right now for FREE SHAKESPEARE IN THE PARK! This awesome adaptation of a Shakespearean classic by Jocelyn Bioh (@jjbioh) and directed by Saheem Ali (@saheemscene) boasts an all-Black cast! Find the Link in Bio ...You really can't miss this!

•

Reposted from @publictheaterny

MERRY WIVES

Adapted by Jocelyn Bioh (@jjbioh)

Directed by Saheem Ali (@saheemscene)

With: Abena (@abenadryl), Shola Adewusi (@shola_a_adewusi), Gbenga Akinnagbe (@gbengaakinnagbe), Pascale Armand (@pascale_armand), MaYaa Boateng (@mayaaboateng), Phillip James Brannon (@phillipjamesbrannon), Brandon E. Burton (@sir_brandon_e), Joshua Echebiri (@joshuaechebiri), Branden Lindsay (@brandenlindsay_), Ebony Marshall-Oliver (@ebonym_o), Jarvis D. Matthews (@jarvisd_matthews), Jacob Ming-Trent (@jmingsdynasty), Jennifer Mogbock (@comosoy_101), Julian Rozzell Jr. (@jrozjr), Kyle Scatliffe (@sirblackalot), David Ryan Smith (@davidryansmith), and Susan Kelechi Watson (@susankelechiwatson)

Scenic Design: Beowulf Boritt (@beowulfboritt)

Costume Design: Dede Ayite (@dedeayitedesign)

Lighting Design: Jiyoun Chang (@jiyounchangjiji)

Co-Sound Design: Kai Harada (@haradasound)

Co-Sound Design: Palmer Hefferan (@palmzhefferan)

Original Music: Michael Thurber (@michaelthurber)

Original Drum Compositions: Farai Malianga (@maliangafaraim)

Fight Direction: Rocío Mendez (@rociomendezactor)

Choreographer: Darrell Grand Moultrie (@darrellmoultrie)

#FreeShakespeareinThePark #BlackGirlTheaterGeeks #DelacorteTheater #FreeInNYC #TraScapades

[balletbookworm]

Yay!!! Thank you @abtofficial for stopping by Iowa City and UI Hancher on your tour! We lucked out and had beautiful weather for this outdoor stage. Thank you to the dancers for your beautiful work 💖💖💖💖💖 1) pre-show warmups for La Follia Variations - I think this is the first piece choreographed by Lauren Lovette that I’ve seen and it’s so elegant 💖 (I am sorry, no pics of the AMAZING Catherine Hurlin as Odette, someone’s head ruined pics of the bows) 2-5) Let Me Sing Forevermore bows (omg, Cory and Devon I almost cried during Fly Me to the Moon, that lift 😭😭 beautiful Jessica Lang choreography) 6-7) bows for Indestructible Light (fantastic choreography by Darrell Grand Moultrie!!) 8) company bows! #abtacrossamerica #americanballettheater https://www.instagram.com/p/CQ7f9obLuq-/?utm_medium=tumblr

[chasenews]

ABT and Segerstrom Center created a safe bubble in which 18 dancers developed, rehearsed, and performed works including by Lauren Lovette and Darrell Grand Moultrie

ABT and Segerstrom Center created a safe bubble in which 18 dancers developed, rehearsed, and performed works including by Lauren Lovette and Darrell Grand Moultrie

COSTA MESA, CA – Segerstrom Center for the Arts and American Ballet Theatre have completed an exciting new artistic collaboration titled UNITING IN MOVEMENT, during which 18 dancers and the artistic staff of ABT developed and rehearsed three works that culminated in an exhilarating live performance in Segerstrom Hall and which can be streamed on demand from May 12 – 26 at the Center’s website,…

[outandaboutnycmag]

3/12/18 O&A NYC DANCE: Conversation With Khalia Campbell- Ailey II

3/12/18 O&A NYC DANCE: Conversation With Khalia Campbell- Ailey II

Khalia Campbell is one of those individuals who was born to dance. Her talent, drive and natural God given ability have aligned in this endeavor, and the result is awe-inspiring. Campbell will be on full display this week as Ailey ll begins their spring season on Wednesday March 14th at the Ailey Citigroup Theater. (more…)

[larryland]

Jacob's Pillow Dance Festival Announces COMPLETE Schedule

Jacob’s Pillow Dance Festival Announces COMPLETE Schedule

WITH 350+ PERFORMANCES, TALKS, EVENTS, EXHIBITS, CLASSES & WORKSHOPS

April 15, 2019 (Becket, MA)—Jacob’s Pillow announces the complete schedule of Festival 2019.

Featuring more than ten weeks with of over 350 ticketed and free performances, off-site pop-up

performances, exhibits, talks, classes, films, and dance parties, Jacob’s Pillow Dance Festival 2019 runs from June 19-August 25. Celebrating…

[humanfreedomextremist]

Dance Theatre of Harlem

“Wonderful to See" - The New York Times Tickets on sale September 5th! Featuring the Company revival of Geoffrey Holder's DOUGLA featuring guest artists & live music, George Balanchine's VALSE-FANTAISIE, Christopher Wheeldon's THIS BITTER EARTH and a new work by acclaimed choreographer Darrell Grand Moultrie! Learn more > http://bit.ly/2iFQPHx Company Member, Ingrid Silva. Photo by Rachel Neville

[ingridsilvarj]

New York Season is coming up! Starting April 19-22 ---- Programs: 4/19Wed - 7:00pm OPENING NIGHT CELEBRATION & VISION GALA •Equilibrium (BROTHERHOOD) Darrell Grand Moultrie •Pièce d’occasion DTH Students and Company •Chaconne José Limón DTH with dancers from the Limón Dance Company •Return Robert Garland ------- 4/21Fri - 8:00pm •Brahms Variations (NY Premiere) Robert Garland •Chaconne (DTH Premiere) José Limón •System (NY Premiere) Francesca Harper •Vessels Darrell Grand Moultrie •Talkback with the choreographersimmediately following the performance ----- 4/22Sat - 2:00pm •Brahms Variations Robert Garland •Change Dianne McIntyre •Return Robert Garland •“Meet the Ballerina” event immediately following the performance ------ 4/22Sat - 8:00pm •Vessels Darrell Grand Moultrie •Glen Tetley Tribute Special Guest Artists •Dialogues (New Production) Glen Tetley •Return Robert Garland #DanceTheatreofHarlem (at New York, New York)

[whatsupsac]

What’s Up With Your Weekend, 5/12/17-5/14/17:

Friday:

Stone Vintage Music Boutique: The Stone Vintage Music Boutique grand opening, a vintage music gear, accessory boutique, and new space for local musicians to hone their skills. A hometown shop on the grid, to provide the community with inspiration for years to come. Stone Vintage Music Boutique. 3-8PM. 

Concerts in the Park Kick Off: As the longest running outdoor happy hour, Concerts in the Park (CIP) is celebrating 26 years of music madness this year. Grab a cold beer, a bite to eat from one of our food trucks, and enjoy the tunes of local and national touring bands including Grizfolk, Inland, The Diva Kings and DJ Adam J tonight. Special Amgen Tour of California Team Presentation at tonight's event! Cesaer Chavez Park. 5-9PM. Free to enter.

Raley Field’s 11th Annual Brewfest: Enjoy over 40 breweries all on the field, featuring some of the region's best local brews. Kick back with a beer (or two) and enjoy live music all night. Raley Field. 6:30-10PM. $55-65.

Sacramento Ballet’s Snap Shots II: It's Mother's Day weekend. Treat your Mom to this mesmerizing performance for an experience she will treasure forever. Enjoy powerful passages from Ron Cunningham’s storehouse of masterful choreography and a world premiere piece by Darrell Grand Moultrie featuring the Ballet’s all-star dancers. The Fry-Paoletti Stage inside the CLARA. Friday and Saturday at 7PM, Sunday at 2PM. $53. The Labyrinth: The classic film starring David Bowie, The Labryrinth, plays at the Crest Theatre. 7:30PM. $7.50 for Child/Senior. $9.50 General Admission.

Sammies Showcase with: Enjoy live music featuring Sammie Nominated Artist Matt Rainey and The Dippin’ Sauce. Torch Club. 9PM. 21+. $8.

Saturday:

Oak Park Farmers Market: A diverse group of vendors selling locally produced and delicious fruits and vegetables, specialty plants and sprouts, breads, cheese, mushrooms, eggs, tamales, fresh flowers and more. The market also provides a variety of interactive activities each week, including live music from local bands, activities for children (story-telling, face painting, art projects), and information and giveaways from area non-profits and other organizations. This week the Market will feature a Bread Making Demo from Pomegranent Designs and a Vegetative Propagation Workshop by Soil Born Farms. McClatchy Park at 35th Street & 5th Avenue. 9AM-1PM. 

Decode: Resiliency + Workforce: The Hacker Lab hosts a neighborhood focused design thinking event - with status report, panel discussion and rapid prototyping - to explore the current challenges and possibilities of the Del Paso Heights neighborhood. The Greater Sacramento Urban League. 9AM-4PM. Free.

Awakening the Spirit of Yoga with Mirka Kraftsow: This practice will completely integrate all layers of the human experience through asana (poses) pranayama (breathwork) chanting, meditation and discussion. The focus will be Vijnanamaya, or the dimension of human experience representing the personality. We will explore the ways yoga practices can refine our attitudes and perceptions, our priorities, goals, and even our values. As always, the morning practice is open for the whole community to participate, while the afternoon group is for teachers and graduates of teacher training programs. CLARA Auditorium. 9:30-12:30PM and 1:30-4:30PM. $70-$135.

Solistic: Movement + Medicine: Gather on a May morning, during the height of Spring's energy, as we honor the blossoming and richness of the earth during this time. Through Movement Medicine we'll explore ways to prepare our bodies to receive lessons, ground into the moment, movements to guide listening to ourselves and empathize with others, shake off mired feelings and start anew. Sol Collective. 10AM-12PM. $15-25 Sliding Scale.

Crocker Art Museum’s “Teen Takeover”: This time it's about the youth! Element Brass Band's alter ego "FLOW" is back on Saturday, May 13th at the Crocker Art Museum for "Teen Takeover." This one of a kind jazz, and hip-hop fusion show contains a spontaneous quality. The featured emcees do not know what the band will play behind them prior to showtime. Hosted by Andru Defeye and featuring local emcees Yeshahyah Yisrael and Anarchy Alex. In addition to FLOW, a variety of other artists will be showcased for your entertainment. Crocker Art Museum. 12-4PM. 

Mother’s Day(ish): Beer & Chocolate Pairing: Celebrate Mother's Day Weekend with a flight of New Helvetia Brewing Co. beer paired with a selection of Ginger Elizabeth Chocolates. The super tasters from New Helvetia Brewing Co. & Ginger Elizabeth Chocolates have teamed up to create a delicious pairing of craft beer & chocolate bon bons. The prix-fixe flight will include 4 beers and 4 bon bons. New Helvetia Brewing Co. 12-6PM. $20 per flight.

Dress Up Wine Down: Local fashion stylist and boutique owner Felicia Strati will serve as the creative director for the runway fashion show to benefit WEAVE. More than a dozen designers and clothiers from Sacramento will participate. The Lodi Winegrape Commission will also host wine tasting with more than a dozen wineries from one of the world’s fastest growing wine regions, Lodi California, participating. The Handle District. 6-8PM.

Sunday: 

Giro ‘d Cali Birrieria: The Tour of California is racing down Q Street so it’s the perfect opportunity for Hot Italian to turn their back lot into a beer garden! Join for an all day event featuring Birra Peroni and Saint Archer Brewing Company, pizza, music, free bike valet parking, prizes, and more! Race-side seats with a beer in one hand and a slice in the other, what better way to enjoy the Tour?! Hot Italian. 12-6PM.

Sol Kids Day!: Join Ms. Unicorn, Captain Curious, the Gorilla Knitting Crew, and the ZFG squad for an afternoon of arts, crafts, music, and dance. Sol Collective. 2-4PM. $5 suggested donation. Sliding scale. No one turned away due to lack of funds.

Plugged! Open Mic Open Jam Open Floor: PLUGGED is a one-of-a-kind live music collaboration. Half open mic and half jam session, PLUGGED invites musicians and lyricists of all kinds/genres to create the soundtrack for some of Sacramento’s favorite emcees and dancers. Open to all musicians, singers, emcees, poets, and dancers of all styles. PLUGGED serves as a monthly showcase and networking opportunity in one of Sacramento’s cultural hubs, Sol Collective. 8:08-10:30PM. All Ages. $5.

[mrdanceartist]

Michael Linsmeier, Jordan Kindell, & Chauncey Parsons in ’Instinctual Confidence’.  Oregon Ballet Theatre, Choreography by Darrell Grand Moultrie. Blaine Truitt Covert, photo.

[chasenews]

American Ballet Theatre Presents ABT Today: The Future Starts Now Monday, November 23, 2020 at 7 P.M. EST on ABT’s YouTube Channel

American Ballet Theatre Presents ABT Today: The Future Starts Now Monday, November 23, 2020 at 7 P.M. EST on ABT’s YouTube Channel

A Digital Program of New Works to Include Four World Premieres, Created in Isolated “Ballet Bubbles,” by Gemma Bond, Darrell Grand Moultrie, Christopher Rudd, and Pam Tanowitz

ABT Today to Announce ABT RISE: Representation and Inclusion Sustain Excellence, a Renewed Commitment to Diversity, Equity, and Inclusion Top: Carlos Gonzalez, Thomas Forster, Katherine Williams and Breanne Granlund in…