In 1984 Jawole Willa Jo Zollar founded Urban Bush Women (UBW) as a performance ensemble dedicated to exploring the use of cultural expression as a catalyst for social change. Originally from Kansas City, Missouri, Zollar moved to New York City in 1980 to study with Dianne McIntyre at Sounds in Motion. Chanon Judson and Mame Diarra Speis are co-artistic directors working closely with Zollar in forging the future of UBW.
Performing on April 19, 2024 at UCLA’s Royce Hall, the evening’s works were “informed by the Civil Rights Movement, ancestral wisdom, and the expansion of women’s rights.” UBW “seeks to bring the untold and under-told histories and stories to light through dance. We do this from a woman-centered perspective and as members of the African Diaspora community in order to create amore equitable balance of power in the dance world and beyond.” Every aspect of this mission statement was met and surpassed during this program of the 40th Anniversary of UBW.
Urban Bush Women in “Legacy + Lineage + Liberation” – Photo by Jason Williams.
In “I Don’t Know, but I Been Told, If You Keep on Dancin’ You Never Grow Old (1989)” There was Percussion by Lucianna Padmore who tore up the skins downstage left for the opening segment. The brilliant lighting by John D. Alexander began in a sunset wash upstage of deep orange while a lone woman enters with a cane and in a stylized fashion moves to center as if a live-action version of Kara Walker’s work. It was a fantastic silhouette solo mirroring the percussion through contracted spasms of the spine and neck with whip smart head moves. It was a galvanizing way to begin the evening. Unfortunately, the program does not list the soloists for the evening.
The piece continues with Padmore changing the drum set for a single marching band drum and five other women come out to play various rhythm games comprised of sing-song, hand-slapping, and a series of solo turns to ‘show off’ individual skills. And these women had considerable skills to show off. In a feat of physical prowess, at one point the women do high steppin’ kicks all the way across the stage from one wing to another. There was singing and call outs and the palpable fun these women were having was infectious. Watching these bodies at play brought smiles and whoops of appreciation from the engaged audience.
Urban Bush Women in “Legacy + Lineage + Liberation” – Photo by Jason Williams.
Padmore then switches her drum out for just her sticks being played on the floor which brings a different sensibility to the movement quality of the women. To be sure, the theme of the evening was one of power, Female Power, physically and spiritually, along with a certain intuition of understanding and seeing, or comprehending the big picture of things. These women are strong and have everything in common with the Valkyries, or Amazons, entirely obliterating old, out-of-date, and sexist views of women from the past.
Urban Bush Women in “Legacy + Lineage + Liberation” – Photo by Jason Williams.
Padmore switches to a bongo drum and the rhythms alter accordingly. The women are exuberant and sassy with nods to the audience and a ‘top that!’ attitude. All well-deserved for the intense cardio that the dancing demands, and more than that it demands technique, focus, a skill set acquired through long hours of training and arduous physical setbacks and triumphs. All were on display in this celebratory work.
Urban Bush Women in “Legacy + Lineage + Liberation” – Photo by Jason Williams.
In “Give Your Hands to Struggle (1998)” with words and music by Bernice Johnson, a single solo performer inhabits center stage and conjures her memory spell there under a center down spot and amber glow through lighting by Russell Sandifer. What was beautiful about the lighting was the way it made the skin tone of the dancer glow against the black backdrop of the upstage curtain. It was as if she was floating in ether which suited her message perfectly. The piece began with a list of historical African American personages and developed to present day.
The movement was measured, highly focused and particular; as if Circe herself was casting a spell to remember these people and never let them be lost to history. Her controlled exertion worked as I shall remember it always.
In “Women’s Resistance (2008)” with Choreography by Jawole Wila Jo Zollar and Germaine Acogny and music by Fabrice Bouillon-LaForest with Frederic Bobin we see the women coming up against something forceful and physical barring their way, stopping their forward progression. It begins with a lone female figure running across the stage and suddenly stopping to face off against something. Others join her. They all have one red piece of clothing that is a part of their costume by Naoko Nagata. The red reads as conflict, passion, a united aspect to the women. There was lovely lighting again by Russell Sandifer. Here the unison movement was powerful as these women took a stand against whatever oppressors were operating on them. They can and will overcome.
Urban Bush Women in “Legacy + Lineage + Liberation” – Photo by Jason Williams.
Next was Haint Blu: Episode 1 – Listenin’ and Dreamin’: Do You Hear Me Now? (2023) with choreography by Chanon Judson and Mame Diarra Speis in collaboration with the company. This began with Padmore on the drum set and Grace Galu Kalambay on Guitar and vocals. Kalambay’s voice is incredible with a fantastic raspy range that suits the material perfectly. The first song was “We got Spells” and I could not help but think of my Aunt Millie taking me to a couple of Voodoo shops around New Orleans. She had a particular chore in mind and needed a specific doll, or helper to do it. We found the one and it got the job done. After that I couldn’t help but picture Kalambay as a Cajun Queen hosting the story telling of the piece. In my world that is a great compliment as Cajun Queens wield great power. And that she did wearing leather pants and her guitar commenting and directing action with her phenomenal voice. She was tough, in control and sharp. Water imagery was a common thread throughout the piece harkening back to the trans-Atlantic crossing of the many slave ships. There was spoken word concerning ancestral spirits and it illuminated a ritual celebration of past female ancestors who went before and not only survived, but triumphed. A great deal of angst was channeled and dealt with in a red-light solo and a wailing, painful cross made by one of the performers who was obviously pregnant adding to the taut intensity of the piece. She did not hold back anything as she twisted and rolled on the floor, a painful visual of what so many before her had to deal with in order to live and carry on. In the end it was cathartic and a necessary journey. If our ancestors were strong enough to go through it and endure it, then it is up to us to remember and honor them for it. Percussion: Lucianna Padmore. Lighting: John D. Alexander.
Congratulations to Urban Bush Women on their 40th Anniversary. This evening did indeed celebrate the legacy of those strong females who persevered and gave birth to pass on their stories to the next generation. It celebrated the lineage that their fortitude created and maintained. It celebrated the liberation of those women specifically, and women everywhere, by taking a hold of their power and being unafraid to use it. I look forward as we all do to the next 40 years.
The Company: Courtney J. Cook, Kentoria Earle, Roobi Gaskins, Symara Sarai, Bianca Leticia Medina, and Mikaila Ware, Keola Jones, Kashia Kancey (Apprentice).
For more information about Urban Bush Women, please visit their website.
For more information about CAP UCLA, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Urban Bush Women in “Legacy + Lineage + Liberation” – Photo by Jason Williams.
