Wednesday, November 19, 2014
Monday, November 17, 2014
The Deafhood Monologues is an episodic play of Deaf experiences, chronicles and reflections delivered through poetry, stories, and presentations in American Sign Language. Inspired by “Understanding Deaf Culture: In search of Deafhood” and “The Vagina Monologues”. Created by Ella Mae Lentz and produced by Deafhood Foundation.
HEARING AND DEAF ARE WELCOME NON SIGNER AND SIGNER WILL ENJOY
NOV 22-23 SHOW AT AMERICAN RIVER COLLEGE - TICKETS ON SALE NOW! Get links @ www.deafhoodmonologues.com
November 22 and 23, 2014
An episodic play of Deaf experiences, chronicles and reflections delivered through poetry, stories and presentations in American Sign Language. Inspired by Paddy Ladd's "Understanding Deaf Culture: In Search of Deafhood" and Eve Ensler's "The Vagina Monologues."
Directed by JAC Cook
Voice directed by Jeremy Jack
ASL Coach - Judy Catron
Local Coordinator - Jill Birchall and Deaf Culture & ASL Studies Department
Saturday, September 27, 2014
Some of you asked where the written works that I've written for VSA..About working with Deaf people in classroom.
While I feel blessed to teach what I know- sometime having limit doesn't do justice on what I want to teach but I do hope that one will get something important rather than nothing.. Keep in mind i had to keep this under 300 words.. I really hope you all keep sharing your wisdom as I keep sharing mine. Please also share feedback if you want.
5 TIPS ON WITH WORKING WITH STUDENTS WHO ARE DEAF OR HAVE HEARING LOSS
As a dance teacher, I know that just getting students’ attention can be a challenge sometimes. When working with a Deaf students or hearing lost students, you can first try calling their name; all levels of hearing are different and some have more than others. If that doesn’t work, and you are in the student’s line of vision, try waving. If all else fails, go to the student and LIGHTLY tap the person on the shoulder and wait. I’ll also ask my students, Deaf and hearing, to point at me, when I say pay attention and when that happens, it helps bring everyone’s attention to the center so we can begin.
Are you in a well-lit classroom or are shadows running across your face and mouth? Is the room noisy or calm and quiet without lots of vibrations? Hearing aids help to amplify hearing, i.e. noise levels, which means ambient sounds are often increased to a confusing and uncomfortable level. Deaf can sometime find heavy background vibration distracting. Be sure your classroom and surroundings are peaceful.
People often ask me what music they should use in dance classes, and in 2010 I offered some suggestions in Dance Teacher Magazine. I suggest finding music that has a bit of something for everyone. For example, Miles Davis’ album Doo-Bop and James Brown’s "I Feel Good" both have heavy bass and high horn pitches happening at the same time. Explore all kinds of music and find something for everyone to enjoy. Be aware that musical vibration is easier to feel when holding still, so play a musical rhythm first and then get everyone moving, Or play that music SUPER LOUD!
If you understand sign language and can sign with a student who is Deaf, that’s great! But there are other forms of communication; find out what works best for the student in that situation. Some prefer writing things down, and others can read lips and prefer you to speak clearly as you normally would. Your body language and respect are most important when communicating with a Deaf student. Turn your body to face the students so they can see your lips move, and don’t put your head down. If something is happening or is said elsewhere, let the student know.
Tuesday, July 1, 2014
But there is more come to Michelle Banks " Women Empowerment Work shop"
Tuesday, March 4, 2014
Wednesday, February 19, 2014
Zaccho Dance Theatre (ZDT) creates and presents performance work that investigates dance as it relates to place. Artistic Director Joanna Haigood's creative work focuses on making dances that use natural, architectural and cultural environments as points of departure for movement exploration and narrative. Haigood's innovative work involves in-depth research into the history and the character of sites, often involving local communities in the creative process, and typically integrates aerial flight and suspension as ways of expanding performers' spatial and dynamic range. In addition, Zaccho provides performances in San Francisco, nationally and internationally as well as an arts education program for the local community.
Artistic Director Joanna Haigood relocated to San Francisco from New York in 1979 and co-founded Zaccho Dance Theatre in 1980. Zaccho is one of a handful of dance companies in this country focused on site-specific dance. Joanna Haigood's work has been commissioned by leading arts presenters both nationally and internationally. Among them are the National Black Arts Festival, Festival d'Avignon and Festival d'Arles in France, the Exploratorium, Capp Street Project, Dancing in the Streets, the Walker Art Center, Jacob's Pillow, the San Francisco Art Commission, Kaatsbaan International Dance Center, and the McColl Center for Visual Art. Her choreography has also been commissioned by Alonzo King's Lines Contemporary Ballet, Robert Moses' Kin and Axis Dance Company and is in the repertory of the Joffrey Ballet of Chicago.
Joanna Haigood created a new work inspired by the Equal Justice Society's campaign to restore 14th Amendment protections for victims of discrimination including those on death row. (African American Men on Death row!)
I guess you can see why I want to bring you on this journey with me. Not only this dance had challenge me physically but also mentally and spiritually. Joanna had me in a place where I had to continually questions myself "who am I" in advance level!
I performed this before at UCSF with the same crew/cast. Matthew Wickett, Rashad Pridgen, Travis Rowland. These brothers are one of Bay Area finest dances artist! We're back! I love these, we push each to next level of dance!
Unlike before we had time to develop ... Who are we, movement, language. Research real life prison, prison guard, gas chair, fight, smell, sounds and everything that come with or down to Death Row. Physical dance, climb, muscle train, team trust , self trust, cues, jumps, rolls and much more to develope for the dance.
Sometime to be professional it mean get the job done in short amount of time and make it work.
Warmed up, went over ours parts, went over lines. Let go from the top! On top of 8 feet house shaped pole props. Pole house grams! No rope for net for safety. Honestly thanks God they have 2 inches mat!
"You must be shapeless, formless, like water. When you pour water in a cup, it becomes the cup. When you pour water in a bottle, it becomes the bottle. When you pour water in a teapot, it becomes the teapot. Water can drip and it can crash. Become like water my friend."
Wednesday, January 15, 2014
Thank you Oakland North reporting me as Deaf and not deaf..
Often time hearing people who interview always label me as deaf and not Deaf.
These reporter not only took the time to interview me but come to a few of my spaces and watch me work and see me as a Deaf Artist and Deaf teacher.
Jame email me his final draft:
It was really good.. If you don't mind edit deaf into Deaf culture ..
Even the Chef editor of Dance Mag had to learned that I am Deaf and not deaf.. she was surprised and said learn something new in the forms of writing or naming us ..
If u say deaf it mean can't hear
If you're talking about him as a Deaf person you say Deaf .. Yes he is Deaf African American
You can Google winki define Deaf culture.