Archiving

Bethany Greenho dives into the legacy of and materials related to “Southland,” a dance choreographed by Katherine Dunham and important to the history of CPRD and Black arts in America.

Laila Franklin interviews Jennifer Harge about the background and artistic vision for her archive project.

Bethany describes balancing archival theory with the everyday needs of a dance company to build their inventory, and expanding her idea about “archival value” to ensure Cleo’s voice and practice are reflected in the archive.

In her first blog post, Laila explores two guiding questions: “How do we simultaneously share and protect the work of Black, queer, radical women? How do we approach a process of archiving in service to eventual artistic goals?”

In their first blog post, Abdiel shares the hands-on and intimate learning about diasporic Puerto Rican music and dance they received from Segunda Quimbamba Folkloric Center in the early days of their Fellowship.

In her first blog post, Bethany shares how the unique history and needs of CPRD has influenced the process of identifying and beginning to plan for the organization of their archives.

In her first blog post, Blair describes getting to know JazzAntiqua’s physical and artistic home at the Nate Holden Performing Arts Center, their long-time community members, and their rich materials.

In his final blog post, Lingyu reflects on the silences and gaps in traditional archives, and the ways that his work and the work of the other Fellows pushes the field toward representing those missing pieces.

In her final blog post, shady provides a point-by-point overview of her work with Ballethnic this past summer, and offers insight and advice for others working on archiving projects with dance companies.

In the final section of his blog, Quentin writes about digitizing the files of choreographer James Truitte, and includes reflections on Mr. Truitte’s contributions to Dayton Contemporary Dance Company from Sheri “Sparkle” Williams.