The City Talks: Colonialism, Enslavement, & the Arts

WED, OCT 16, 2019 (58:55)

How can art, artists, and cultural institutions move from perpetuating colonialism to confronting, repairing, resisting and ending colonialism?

Join Boston-area thinkers, institutions, entrepreneurs, activists, city officials, and artists for a discussion inspired by national observances of the 400th Anniversary of the arrival at Jamestown of the first Africans to be sold into bondage in North America.

+ BIO: Deborah Spears Moorehead

She is a Native American Wampanoag Visual and Performing Artist, Traditional Story Teller, Traditional Dancer, and Author. Morehead also owns a tourism company called Turtle Island Native American Tours that offers guided tours by Native Americans to historic Native American sites of purpose and memory.

+ BIO: Jenny Oliver

Jenny Oliver has spent the past decade navigating a dance career in performance, teaching and research. A Magna Cum Laude graduate with a BA degree in Dance from Dean College and having received the Excellence in Achievement Award from the School at Jacob’s Pillow, Jenny has used her years of extensive training in Ballet, Modern (specifically Horton), Jazz, Tap (specifically Hoofin’) and Haitian Folkoric Dance, to create interesting choreographies and develop integrated teaching practices. She has trained at the Garth Fagan Summer Movement Institute and recently completed the Horton Pedagogy Program at the Alvin Ailey School in NY. She is currently on Faculty at Emerson College, Deborah Mason School of Dance, and The Dance Complex teaching Modern Dance.

At Esh Circus Arts, she is teaching Dance for the Professional Preparatory Program and is a Guest Artist at Tufts University, teaching Haitian Folkloric Dance. She was the Assistant Artistic Director and Principal Soloist for Jean Appolon Expressions (JAE), The Dance Captain/ Co- Choreographer for the Boston Tap Company (BTC), collaborating with Sean C Fielder (of the National Tour “Noise Funk”), has performed in Brenda Bufalino and Josh Hilberman’s Clara’s Dream: A Jazz Nutcracker, danced for Nailah Randall-Bellinger’s company Roots Uprising, performed with Tezz Yancey, Danny Swain and choreographies created by Adrienne Hawkins, Director of Impulse Dance Company. She’s worked in Residency with Brigette Dunn Korpela, Lane Gifford and Reggie Wilson and has taught for the Alvin Ailey Summer Camp Boston and Boston Ballet’s ECI Dept. She has also taught in Haiti and helped to establish a dance studio in Delmass 33, Art Locus Studio. Jenny has been recognized by the International Dance Council CID and scouted by RAW, an LA-based talent showcase company.

+ BIO: Michael J. Bobbitt

Currently he is artistic director at New Repertory Theatre. Artistic Director of Adventure Theatre MTC has directed, choreographed and performed at many theatres in the DC region, including Arena Stage, Ford’s Theatre Society, The Shakespeare Theatre Company, Signature Theatre, Metro Stage, Rorshach Theatre Company, Studio Theatre, Woolly Mammoth Theatre Company, Center Stage, Roundhouse Theatre, The Music Center at Strathmore, The Kennedy Center, The Helen Hayes Awards and the Washington National Opera.

+ BIO: Sadada Jackson

Sadada Jackson, M.T.S., M.Ed., RYT, is a student of practice who lives in her body and vacations in her mind. She holds a B.A. in Theatre with a minor in English, and an M. Ed. in Secondary Education both are from UMass Boston, and an M.T.S in Indigenous Traditions from Harvard University. She is a certified 200-hour yoga teacher and a teacher trainer for Akasha Yoga Studio and 4 Corners Yoga and Wellness Yoga Teacher Certification program. Deeply rooted in her personal body-based and embodied practices, she has been practicing yoga and meditation since 2000 and dancing since her formative years.

Presently, she works as a freelance educator. She works with leaders and educators in the fields and practices of education, training, and healing. A facilitator, coach, and speaker she works with leaders, educators, and healers to support them in embodying and curating ethical practices, structures, and relationships in their work. Her goal in doing this work is to end relational and structural violence done on marginalized bodies within educational and healing arts/practices.

Museum of Fine Arts, Boston