Modern Dance on Film
April 2, 9, 16 & 23, 1992
This was the first program for CoPAC. The series followed the historical thread which has lead to contemporary dance. It was truly the first opportunity for many Chattanoogans to experience the work of many of the major historical and contemporary figures in modern dance. The series included films such as “Merce Cunningham: An Introduction” and “Graham Technique by Bonnie Bird.” The program was produced in cooperation with the Hunter Museum and made possible by Allied Arts of Greater Chattanooga, The Batterie, Chattanooga Ballet, Dance Theatre Workshop, Girls Preparatory School, The School of Performing Arts at Chattanooga High School and Linda Woodall.
Aug. 2, 1992
This was an open workshop for anyone who could “jump, roll and fall.” Heitzso and Company, a dance group from Atlanta, taught a three-hour workshop at the GPS dance studio.
Sept. 20, 1992
The Little Theatre (now the Chattanooga Theatre Centre) provided the circle to promote the work of performing artists within the local area. “The Gauntlet” was a contemporary dance performance featuring Ann Law, Frank Hay, Cathie Kasch, Beth Markham and David Wood. It also displayed the work of costume designer Sydney Roberts and technical director Keith Pugh.
Dance on Film
April 8, 16, 22 & 29, 1993
For the second year of the film series, CoPAC, the Hunter Museum and Allied Arts brought a new batch of films to the Chattanooga area. The cinema included “Cage/ Cunningham,” “A Dancer’s World,” and “Sue’s Legs: Remembering the Thirties.”
The Tap Project
June 12, 1992
This performance at the University of Tennessee at Chattanooga Fine Arts Center was presented at a time when tap dancing was experiencing a great resurgence across the nation. Traditional and historic approaches to tap were represented through the musical genius of dancers Heather Cornell, Chuck Green, Jackie Shue and Buster Brown, based in traditions of jazz tap, jazz music and New Dance/New Music. As well as solo and duet work, the performance included group material and a discussion of tap history and the stories behind the steps added to the event of sophisticated rhythm, humor and style. There was also a film, “No Maps on My Taps,” at the Hunter Museum to introduce the performance. The project was made possible by CoPAC, the Chattanooga African-American Museum and Allied Arts of Greater Chattanooga (now known as ArtsBuild).
Community Outreach: The four artists held classes at the Dance Theater Workshop and at Phoenix III.
Barking Legs Grand Opening
Nov. 20, 1993
CoPAC finally found a place to call home with the opening of the Barking Legs Theater. The night was packed with 20 acts ranging from performance art to contemporary dance to a jazz band. All the acts were works of local artists. The night was a wonderful success.
Don’t Mess with My Tutu
This season was sponsored in part by a grant from Allied Arts of Greater Chattanooga and from the National Endowment for the Arts through the Southern Arts Federation in partnership with the Tennessee Arts Commission.
Tom and Sally
Jan. 15, 1994
Doug Cooney and Karen Stephens presented the story of Thomas Jefferson and his slave mistress Sally Hemings through their dance/theater piece. Previously shown at the Cleveland Performance Festival, the play searched the issues of racism, self-deception and social relations. The pair furthered the piece by interweaving their own identities with those of Jefferson and Hemings.
Community Outreach: The duo performed for Phoenix III at the school.
Southern Women in Performance
Jan. 22, 1994
A trio of three southern women performed their art for the Chattanooga community for very educational evening. The group included Dale Andree, a choreographer from Miami, Susan Harvey, a performance artist from Rome, Ga., and Alice Lovelace, a poet from Atlanta.
Community Outreach: Classes were taught for Family and Children Services.
Feb. 4-5, 1994
“Hoopsnake” was a delightful contemporary dance interpretation of the same mythical folk creature. The collaboration brought together composer Nancy Blake, choreographer Ann Law, costume designer Sydney Roberts and visual artist Jas Sullivan, all local artists. It was also performed by the Barking Legs Company.
Feb. 18-19, 1994
New York choreographer/performance artist Clair Porter created her solo piece about abstract aesthetic experience with delicate references to everyday life. The show was performed through dances that were based on “wickedly funny” gestures, according to the Village Voice.
Community Outreach: Clair Porter gave a workshop with the Tennessee Association of Dance.
March 5, 1994
At the time recently premiered in New York City, George Emilio Sanchez’s newest solo performance brought a exotic, “pre-civilized” view from an Ecuadorian Indian, dealing with identity through movement, music and spoken word.
Community Outreach: Sanchez participated in a three-day residency at the Baylor School.
April 9, 1994
This was an evening of “in the air,” “on the floor” and “over the edge” dancing be created from moment to moment in front of the audience by dancers Ann Law, Sycamore and Heitzso. The performance was the culmination of a workshop the previous day.
Why I Live At The PO
April 16, 1994
This original adaptation, one-woman performance, featured Chattanooga artist Neva Howell. It was based on the hilarious short story about sibling rivalry, love quarrels and family squabbles by southern writer Eudora Welty. Welty’s work was adapted once before but used a full cast.
1 Million Butterflies
April 23, 1994
New York City writer and actor Stephen Belber presented his standup comedy routine to the Barking Legs community in a wildly funny night. The set was a collage of wayward, riotous and savage characters spread across America amidst one man’s search for his brother.
Rhythm and Schmooze
May 7, 1994
Jewish comedian/tap dance Jane Goldberg of New York City has been described as “a cross between a frumpy Bette Midler and Woody Allen after a sex-change operation.” She was a pioneer of the tap movement during the 1970s and was featured in the film “Tap” with Gregory Hines and Sammy Davis Jr. The show combined tap and comedy all wrapped up in her life and dance.
Son of a White Man
May 14, 1994
Nashville native Ed Haggard is a veteran actor of the stage, screen and television. He preformed his poetic, provocative and comical one man show which was saturated with sex, music, and surprises. The piece consisted of two dozen short sketches all fitting together to explore one man’s life. “Son of a White Man” successfully balanced the serious content, imparting his message, and the wild comedy.
Cracking the Whip
The entire season was made possible by grants from Allied Arts of Greater Chattanooga, The Lyndhurst Foundation and from the National Endowment for the Arts through the Southern Arts Federation in Partnership with the Tennessee Arts Commission.
Barking Legs Salon
Sept. 12, Oct. 3, Nov. 7 and Dec. 5, 1994
The Barking Legs Salon met the first Monday of every month. It was an open forum for the youthful thinker to exchange ideas, expose all types of art and, in turn, be introduced to the art and ideas of others. The forum included prose and poetry readings, performances, lectures and demonstrations, video and film screenings. The salon was hosted by Mike McGonigal, the publisher of Chemical Imbalance and Yeti, international journals featuring experimental material from all art areas.
Community Outreach: This project was truly the essence of community outreach. The salon gave Chattanooga a place and an opportunity to experience a new way of talking to each other and a multitude of new subjects to talk about.
Sept. 24, 1994
SheHeYouWe were five choreographer/performers with five distinct cultural origins (from Argentina to Guyana) and aesthetic perspectives. Based in New York City, they were at the time collaborating on “Descendants,” a dance theater piece which created images of a future in which we’d like our descendants to live. Through solo and group performances, “Descendants” emphasized that personal issues affect all of us, regardless of race, gender, class or sexual orientation.
Community Outreach: The group of performers shared their collaboration with the students at East Lake Middle School. There were also classes as both GPS and Phoenix III.
Oct. 22, 1994
“Outlawed” was a dance company under the direction of Ann Law promising a night of wild and whimsical dances. The performance represented a range of segments of the Chattanooga dance community. The program included the 1994 Nashville Choreographic Showcase winner, “Safe Sex,” a collage of the Rolling Stones hit, “Can’t Get No Satisfaction,” and much more.
Introduction to Kinetic Awareness
Oct. 29-30, 1994
This two-day workshop was led by Elaine Summers, the founder or Kinetic Awareness, a technique for improving alignment, preventing injuries and enjoying strength, flexibility and coordination. It was open to health professionals, athletes and those simply interested in achieving a healthier body through movement theory.
Kinetic Awareness Dance Intensive
Nov. 3-5, 1994
This second three-day workshop was again directed by Elaine Summers of the Kinetic Awareness technique. It explored the theory as a warm-up in relation to dance technique and as a resource for choreography. It was open to professional dancers and performers who were interested in developing their own individuality and style in movement.
Nov. 4, 1994
The Grifters are from Memphis, Tenn., and for years have been one of the country’s most critically acclaimed independent rock ‘n’ roll acts. The group combines roots-based style with brash post-punk sounds. They are sure to never stray to far from the pop melodies and earnest vocalizations that are the basis of their sound.
Nov. 5, 1994
This was a collaborative dance performance involving some of the Southeast’s finest professional dancers and performers ranging in origin from Miami to Nashville. The piece, all improvisation, was directed by Elaine Summers.
Community Outreach: Classes were at Phoenix III and at GPS.
Nov. 19, 1994
Barking Legs celebrated its first year anniversary in high style with a “cast of millions.” The program boasted 24 performance acts, all adding their talents to make the evening a wonderful success.
Nov. 26, 1994
Three musicians, Randy Craftan (frame-drum/percussion), Amy Pratt (clarinet/saxophone) and Jorge Alfano (bamboo flutes/bass), each with his or her own unique background, form a group that crosses musical, cultural and spiritual boundaries. The band came to Barking Legs for a night that proved to be unforgettable experience for all.
Talk of the Town
Dec. 3, 1994
Texas native Paul Bonin-Rodriquez performed his one-man piece, which, as the Austin Chronicle put it, “does everything with amazing energy and flair.” “Talk of the Town” focused on Johnny, the irrepressible small town sissy boy who finds love, lust and Lady Bird Johnson at the local Dairy Queen.
Community Outreach: A donation from the proceeds was made to Chattanooga Cares.
Fall 1995/Spring 1996
This performance series was funded, in part, by grants from Allied Arts of Greater Chattanooga, The Lyndhurst Foundation, the Community Foundation and from The National Endowment for the Arts through the Southern Arts Federation in partnership with The Tennessee Arts Commission.
Sept. 15-16, 1995
Starring Ray McNiece and Shawn Jackson, “Conversations: Homegirl/Whiteboy” was a black and white Romeo and Juliet for the 1990s. The play explores issues of race and identity and the challenges faced by lovers crossing racial boundaries. It was based on interviews with interracial couples and their own experience across the country.
Community Outreach: The artists gave a lecture/demonstration and workshop at Baylor and Chattanooga State.
Café Bizzoso: Fundraiser for Alternate Roots
Oct. 5, 1995
Normando Ismay from Atlanta hosted Café Bizzoso, an insane, anything-goes evening that encompasses the range of modern performance in an intimate setting, featuring performers from all over the Southeast.
Cinderella: A Tale of Survival
Oct. 26, 1995
A dance/ theater piece. The all-female, multiracial cast of the Dance Brigade performed this fractured fairy tale about the cycle of abuse, domestic violence and women who fight back in self-defense. The stunning choreography in the piece utilized modern, jazz, hiphop, ballet, and sign language.
Community Outreach: The Dance Brigade gave a lecture/demonstration at Chattanooga State and movement classes with women and children at Family and Children Services.
Nov. 18, 1995
This was CoPAC’s only annual fundraiser. It was a totally festive, brilliant, all-night event that highlighted the best of Chattanooga-area performers.
The Bible Belt and Other Accessories
Dec. 1-2, 1995
Attacking homophobia with humor, San Antonio performer Paul Bonin-Rodriguez returned to Barking Legs. Indefatigable small town sissy boy Johnny confronted small-town “moralists” with the help of an African-American home economics teacher and a feminist Chicana Dairy Queen coworker.
Collaborative Improvisation with Dancers & Musicians
Jan. 13, 1996
The noted composer/violinist Malcolm Goldstein, who has been a seminal figure in the presentation of new music and dance since the early 1960s, made his Chattanooga debut in a collaborative event with dancer and musicians from the Southeast.
A White Wedding
March 1-2, 1996
Using as its inspiration Polish poet Tadeuz Rozewicz’s play, “Mariage Blanc,” this collaborative theater event, directed by Sydney Roberts and choreographed by Ann Law, explored the coming-of-age of two sisters. “A White Wedding” was a sexually charged black comedy that audiences couldn’t resist.
Lost in Utopia
March 8-9, 1996
Chattanooga joined Katherine Griffith and her Texas twang on a “Psychic Detective Hunt for Missing Joy,” in a New Age spoof featuring host of channeled ghosts and strange goings-on inside a Greek coffeehouse on Manhattan’s Upper West Side.
Community Outreach: Griffith gave a lecture/demonstration at Chattanooga State.
Women in Improv
March 15-16, 1996
This was a two-day dance and music collaborative event smack dab in the middle of Women’s History Month. Directed by CoPAC’s own Ann Law, the celebratory event featured some of the best female improvisors in music and dance, including Linda Austin, Annie Gosfield, Ann Law, LaDonna Smith, S. Sycamore Toffel, Gwendolyn Watson and Thea Windeer.
Portraits of Women
March 22, 1996
Jill Becker of Ithaca, N.Y., danced her way through the lives of Marie Antoinette, Susan B. Anthony and Elizabeth Caddy Stanton, among others, in her solo piece, “a wistful, amusing, and reverting expose of individual vulnerability,” reported Dance Magazine.
Community Outreach: Becker gave a lecture/demonstration at Barking Legs Theater for Howard High School.
Evening of Solo Work
March 23, 1996
New York City’s Linda Austin offered an evening of experimental dance and performance. “She has a quiet way of shattering an action into unexpected slivers.” —Deborah Jones, Village Voice
Community Outreach: Linda Austin taught a dance class at Phoenix III.
Bridging the Gap: New Choreography from Atlanta
March 29-30, 1996
Connecting Atlanta and Chattanooga, Sally Radell, director of Dance at the Emory University, presented a showcase event of seven Atlanta-based dance/choreographers whose work was intense, vital and vibrant.
Community Outreach: The Atlanta choreographers taught dance classes at both Baylor and GPS.
April 26-27, 1996
A Southeastern music festival with Southeastern rock, improvisation and acoustic musicians. Live performances in both the front and back stages of Barking Legs Theater by some of the Southeast’s most talented musicians. It was a two-day, mind-blowing festival event.
Chris Aiken and special guests Patrick Scully and Cathy Young
Oct. 4-5 1996
Chris Aiken is well known for exploratory work that combines a wide range of dance styles from jazz to contact improvisation. He brought an exciting evening of dance with two long-time collaborators Patrick Scully and Cathy Young to Barking Legs Theater. All three have performed throughout the U.S. and parts of Canada and Europe. Their work is a soulful mix of athletic muscularity that can only come from a love of dance and movement.
Barking Legs 3rd Anniversary Blow-Out
Nov. 16, 1996
CoPAC invited the community to celebrate Barking Legs Theater’s third birthday. It was a brilliant, postmodern cabaret that promised to invigorate the audience with an extravaganza beyond comprehension. The master of ceremonies was storyteller, painter, performance artist and community activist Normando Ismay, who created an unbelievable environment for 25 wild Southern performers.
Dec. 6-7, 1996
Paul Bonin-Rodriguez created a queer coming-of-age story for everyone. “Love in The Time of College” was a major work of gay performance art that both empowered and entertained. From the hilarious to the boisterously bittersweet, Bonin-Rodriguez found the complex feelings of each character and engaged the audience with his wit and knock-out comic timing. He has been performing this work throughout the country.
Feb. 7-8, 1997
Alice Lovelace is a folk poet, creative writing activist, conjurer of moods, narrative performer, myth maker and word wizard. She is an award-winning playwright and published author of poetry, prose, drama and fiction, who performs and teaches throughout the U.S. Her performance style has been described as a cross between a West African praise-singer and a black southern preacher. It promised to be an amazing evening.
Changing Times Tap Dancing Company
March 14-15, 1997
Changing Time Tap Dancing Company blended tap dancing with witty political humor and biting feminist commentary. This company, comprised of Jane Goldberg, Sarah Safford, and Dorothy Wasserman, had been performing feminist oriented tap dancing since the early 80s. Their show, “The Rhythm Method,” was an exhilarating, entertaining, lively evening of theater, dance, politics and song.
Mary Street Dance Theater
April 11-12, 1997
This captivating company is one of the most expressive, risk-taking dance groups in the South, and featured the work of Dale Andree, with special guest artist Ann Law. These dancers performed a repertory characterized by inventiveness, solidity and emotional risk-taking. Andree is well known among dance devotees throughout Florida for her innovative work. Her style involves a natural, unpremeditated manner of movement.
Barking Legs Student Showing
Sept. 12, 1997
The students who were involved in CoPAC’s Fall 1997 class program, as well as some of the wonderful instructors, performed excerpts from some of our fabulous classes. These performances have always been popular, and the house was packed. It was a good opportunity to check out what the theater was doing, meet the folks and preview upcoming classes.
Barking from the Body: Ann Law, Paul Bonin-Rodriguez and Patton White
Sept. 19-20, 1997
The fourth season opened with a concerts of dance pieces that blended text and the spoken word with the possibilities of explorative movement. Three multi-talented performers gathered to present their own individual pieces as well as collaborating with each other for the special weekend. Ann Law premiered “Fragment,” preformed to a poem by T.S. Eliot, and Blind Faith, inspired by Dennis Covington’s book, “Salvation on Sand Mountain.” Paul Bonin-Rodriguez presented his latest, specially created for the evening, solo performance. Patton White performed a solo piece centered around writing found on the street.
New Work: Directed by Paul Bonin-Rodriguez
Sept. 27, 1997
Chattanooga’s favorite performer/writer/director Paul Bonin-Rodriguez directed an exciting evening of new work by dance and theater students from the University of the South. Bonin-Rodriguez was the University’s 1997 Tennessee Williams Fellow and his work had been performed across the nation. The concert was co-sponsored by the theater department of the University of the South and made possible by a grant from the Dakin Williams Fund.
Brian Cagle’s “Work-in-Progress”: Private Viewing and Critical Response
Oct. 24, 1997
Brain Cagle, a then-recent graduate of the University of Tennessee at Chattanooga in Theater and English Literature, was the recipient of CoPAC’s first Young Artist Award. As such, he was commissioned by CoPAC to produce an original work for the stage based upon the last days of French actor and theorist Antonin Artaud. CoPAC’s subscribers and the local arts community were invited to preview Cagle’s work-in-progress and to participate in a new approach to critical feedback and discussion called Critical Response.
Daniel Moore: This World
Oct. 25, 1997
In the six years that he had been writing at the time of this performance, Chattanooga’s own favorite poet Daniel Moore had received both local and national acclaim through performances, publications and contest awards. His work had appeared in such distinguished journals as Western Humanities Review, The New York Quarterly, The Hawaii Review and River Styx.
An Evening of New Dances
Nov. 1, 1997
Some of the finest dancers in the country converged on the stage of the Barking Legs Theater to present an unforgettable evening of dance. Chris Aiken, a contact improvisation dancer, and Cathy Young, a jazz and improvisation dancer, returned for a second visit. Scott Heron, a dancer and post-post-modern performance artist formerly from New York City, came for the first time. Sycamore Toffel, a pioneer in the South in contact improvisation, also returned for a second time. And of course, there was also Ann Law. The dancers spent three days together, moving and experimenting, and the results of their collective energy and intensity was presented to the audience in the intimate setting of the Barking Legs Theater.
Barking Legs Theater’s 4th Anniversary Blowout
Nov. 15, 1997
Performers, dancers, artists, musicians, singers, poets and supporters from all over let loose in an extended evening of revelry and raucous celebration.
An Evening of Antonin Artaud by Brian Cagle
Nov. 21-22, 1997
Performing the final presentation of his “Work-in-Progress,” Brian Cagle was the winner of CoPAC’s first Young Artist Award for supporting and recognizing emerging and promising young artists. Cagle first came to our attention when he successfully independently produced and directed Eric Bugosian’s “subUrbia.” This new piece, commissioned by CoPAC, was an original work based upon the last days of Antonin Artaud. It focused on Artaud’s never-produced final work, a text for radio entitled “To Have Done With the Judgement of God,” combined selections of Artaud’s poetry and the text for radio, along with biographical insights into his incarceration as a mental patient.
The Shaking Ray Levis present: Chattanooga (The FarQuar City)
Dec. 5-6 1997
The Shaking Ray Levis, the Chattanooga-based team of Dennis Palmer and Bob Stagner, have performed extensively from New York to London and have received critical acclaim from the Village Voice, Keyboard, National Public Radio, The New Art Examiner, Tower Records’ Pulse! Magazine and The Atlanta Journal-Constitution. The duo uses storytelling, electronics and percussion in addition to handmade instruments of their own design to achieve their distinctive sound. With credentials like that, the night promised to be amazing.
Christine Kane: CD Release Show
Dec. 13, 1997
Christine Kane returned to the Barking Legs Theater to celebrate the release of her new CD, A Thousand Girls. From Asheville, N.C., Christine has been playing to sold out crowds from all over the Southeast. She has done shows with Shawn Colvin, Nanci Griffith, Rosanne Cash and James McMurty. No stranger to Chattanooga, she performed at the Riverbend festival two years in a row and was a featured act in the Downtown Chattanooga Coffeehouse Series. Her writing is intelligent and emotional, the perfect mix of the heart. One critic called her “kind of a cross between Paul Simon, Shawn Colvin and the very best friend you’ve ever had and could stay up all night talking to.”
Fall 1998 Season: Tennessee—The Real Movers and Shakers
Adora Dupree: “Future Traditions”
Sept. 19, 1998
The one-of-a-kind stories, songs and poems of this Knoxville-based performer unveiled the conditions and customs of women, especially those of African, African-American and Native American ancestries. Her performance enlivened literature, illuminated past events, provoked thought, and kindled the spirit.
Chattanooga Poetry Slam
Oct. 3, 1998
Fabulous Poets! Fabulous Prizes! This entertaining night of poetry began with open mike and improvisation poetry. The rapid-fire competition was open to all poets with the simple rule—“Leave your ego at the door.”
Limbs and Longevity: A CoPAC and TAD presentation
Oct. 16-17, 1998
This performance showcased the works of experienced dancers and explored the inter-related processes of creating and maturing in many different styles of dance. The program reflected the extraordinary talent of the nationally acclaimed dance professionals from across the state.
Tom Kirby and Friends: The Freak Engine
Oct. 31, 1998
A variety show from HELL! Featured performance art, theater improvisation, dance and torturous human experiments from Memphis, Tenn. And if that wasn’t enough, a late-night dance party was offered to all those that survived.
Rebecca Gose, Mark Lamb and Ann Law: 3 Dancers Dancing
Nov. 7, 1998
Three soloist from Knoxville, Nashville and Chattanooga presented new modern and post-modern dance that challenged the audience’s sense of physical possibility. It was a rare opportunity to experience these three electrifying dancers in one performance. Eye-popping, spine-tingling, hair-raising, bone-chilling, toe-curling dance!
Barking Legs Theater Semi-Decade Anniversary Blowout
Nov. 21, 1998
Chattanooga’s most infamous annual twisted variety show! Cast of thousands! Singing Fleas! Dancing Dogs! Flying Grandmas! And Much, Much More!
CoPAC and the Shaking Ray Levi Society: Southern Edge
Dec. 5, 1998
Chattanooga was invited for an evening of the most innovative improvisational dance and music from across the state and the Southeast. This acclaimed group of performers included some of the original champions of the national improvisational art movement. Even Fred Thompson wouldn’t have missed this earth-shaking meeting of the maestros!
Spring 1999 Season: Tennessee: The Real Movers and Shakers—The Sequel
“Grandmas in Tennis Shoes”
March 20, 1999
Fabulous Poets! Fabulous Prizes! This entertaining night of poetry began with open mike and improvisation poetry. The rapid-fire competition was open to all poets with the simple rule—“Leave your ego at the door.”
How Sweet the Sound
Performed during the last two weekends of April, this unique addition to the season was a playwright festival. A series of five one-act plays explored everything from relationships to breast cancer to religion as seen through the eyes of southern women. This project was funded in part by Allied Arts of Great Chattanooga and the Tennessee Arts Commission.
May 8, 1999
This modern dance group from Memphis was a lightening storm of movement and activity that was both physically challenging and emotionally engaging.
Next Year in Sodom (or Elijah’s Revenge)
May 15, 1999
The Eggplant Faeries performed their circus-paced comedy and murder mystery to finish the season with a trip. This satire of the ancient family tradition of eating your way through religious gatherings to avoid discussing politics and sexuality had the audience bursting with laughter.
Banging Bamboozles and Strings on a Thing, Dancers Dancing with Musical Things
Oct. 1-2, 1999
Barking Legs Theater presented Lela Performance Group and Orbacles & Orbitones. Straight from memories of Dr. Seuss, young and old alike marveled at the ingenuity of strange instruments as they twisted, lunged and hurled their way through this extraordinary experience.
Tim Miller: Shirts and Skin
Sept. 3-4, 1999
Based on his book of the same name, Tim Miller’s “Shirts and Skin” translated one gay man’s life and the struggles he had encountered. His history emerged from the clothes Miller brought on stage with him. They worked as metaphors for the different stages of his life. According to Miller, “You can really learn something about someone by looking at their clothes line.” The performance piece was a provocative look at gay life, past and present, and the evolution of the gay community over the past two decades. The Los Angeles Times wrote that “Shirts and Skin” was a “wickedly funny and often painfully honest piece.”
Ingeborg Weinmann: Don’t Look, Don’t Ask
Dec. 3-4, 1999
“Don’t Look, Don’t Ask” was a solo theater piece with music and song, portraying three generations of women in their confrontation with the memories of a fascist regime and its atrocities: the Holocaust. The piece was based on the author’s experience of growing up in the shadow of Nazi Germany. Much of the material was derived from interviews with Weinmann’s mother and grandmother. Weinmann plays four different characters: an old woman, a middle-aged woman and a young contemporary folk/rock singer, as well as a Nazi Party official. The music was performed live by Tim White.
Tennessee Dance Summit
Jan. 7-8, 2000
This conference hosted professional dancers, teachers, presenters, administrators and choreographers. It was a rare opportunity to network, consult with peers, to renew and reinforce professional collaborations and working relationships, and to engage in open group dialogue about new projects, survival tips and continuing education. It stretched over one weekend and included three delicious meals at the Renaissance Commons.
Tennessee Dance Theater
March 31 & April 1, 2000
Tennessee Dance Theater created modern dance and theater productions that have the stamp of the South with its characteristic mixture of polite grace, down-to-earth foot stomping and self-deprecating humor. Through a blending of dance, theater and song, this highly talented dance ensemble brought hallelujahs and heartaches to the Barking Leg’s stage.
CoPAC’s Earth 2000
May 3-5, 2000
This project had three phases: workshops and creation, improvisation rehearsals, and performance. During the first phase, components from Beacon Dance’s Earth 1999, presented in Atlanta, adapted for an alternative, public site using performing artists form both Atlanta and Chattanooga. Patton White, the project director, facilitated the performers’ interaction with students, during 10 school performances. Questions to begin the dialogue included: Where did you grow up, and how would you describe your relationship to those places, and how do we experience the earth through all the senses. The creative process continued into the improvisational phase, and the performing artists, including the professional dancers, visual artists, a composer and musicians, interpreted the earth stories during public rehearsals on-site to create one original performance art piece in layers, using multi-media, a thematic and prosaic text, original music and powerful visual imagery.
June 23-25, 2000
“4-Way Crossing” looked deep into the hearts and souls of four local profeesional choreographers whose paths have unexpectedly crossed for the first time. The audience watched as choreographers Victoria Dunn, Elizabeth Longphre, Ellen Rosa and Asha Williams learned about one another and worked together to create a performance about women, desires, frustrations and beliefs. It was dramatic, comical and just plain fun.
CORE Performance Company in Remembering
Oct. 20-21, 2000
CoPAC presented CORE Performance Company, the professional dance company within Several Dancers Core. The company focused on the ongoing development of the artistic process through the creation of new work. Made up of individual artists, the company performed new choreography that evolved through experimentation, improvisation and collaborations with artists from different mediums. Through an active performing schedule in Houston, Atlanta and on tour, the company was committed to education people of diverse ages and communities about their own creative potential.
Ray McNiece: Performance Poet
Feb. 8, 2001
Ray McNiece performed an evening of works, including excerpts from “The Road that Carried me Here” and his award-winning solo theater piece “US?-Talking Across America.” Winner of two National Poetry Slams, McNiece is “a modern day descendent of Woody Guthrie.”
March 30-31 & April 6-7, 2001
This was an unforgettable performance showcase of local artists (Brain Cagle, Lee Henderson, Ann Law, Dennis Palmer and Juanita Tumelaire) and their contemporary interpretations of the “War Between the States.” This multi-media cabaret featured original dance, music, spoken word, video and theater from Chattanooga’s most innovative artists. “Forget Hell!” challenged how the audience viewed the South in this Crash ‘n’ Burn course in Chattanooga’s history.