REEL Art: Remember Me...
REEL ART: Speak runs on weekend evenings, Friday- Sunday, January 15th to February 28th, from 7PM.
Core Dance presents... REEL ART
Core Dance welcomes Georgians to enjoy a video installation that streams over the weekends on our studio windows at 133 Sycamore Street, 30030, on the Decatur Square.
Now Showing: Remember Me...
Core Dance hosts, Remember Me..., a series of films from artists of color around the country that highlight people, stories, places, and events that should be remembered in various contexts. The streaming on Decatur Square allows for outdoor, socially distanced viewing opportunities.
The event runs from Friday, January 15th to Sunday, February 28th, and will run on the weekends (Friday evening to Sunday night).
Want to watch Remember Me... at home? Register below and a link and password will be e-mailed to you.
The video installation, features the following Artists and Projects:
“Longshot: Atlanta!” : Elements
Series by Kerri Garrett
About the Artist:
Kerri Garrett is an interdisciplinary artist from Columbus, Ohio, based out of Atlanta, Georgia. A Clark Atlanta University alumnus, she intertwines the art forms of dance, film, and acting to create compelling narratives about the black experience. From stage to screen, Kerri can be seen on multiple platforms showcasing her acting abilities. Some of her theatrical credits include: Sorry About That (written by Nina Lee, Zae Jordan, and Javier Williams), 360 Degrees of Blackness (directed by Melissa Alexander), Salt City: An Afro-futuristic Choreopoem (directed by Aku Kadogo), and Hand's Up (directed by Keith Bolden). A trained dancer, Kerri has studied at Theatre Street Dance Academy, Spelman Dance Theatre, and Staib Dance. She has worked with choreographers such as T Lang, Victor Rojas, Dacia James, and more. Some of Kerri’s choreography credits include For Colored Girls Who Have Considered Suicide when the Rainbow is Enuf at Clark Atlanta University and recently, Songs for a New World (directed by Jonathan Kitt) at University of West Georgia. Kerri is also a published model. Her work can be found in the pages of Vanity Fair UK, Shuba Magazine, Nude Magazine, and more. In 2020, Kerri received Fulton County's Virtual Arts Initiative Grant for her project, Longshot: Atlanta. She executive produced, directed, and co-choreographed the five-part dance visual series. Currently, Kerri is developing numerous projects with her production company and artist collective, House of Productions.
"A Black Man's Heart"
Concept and Performance: Michael Frye
Music: Cyntia Erivo
By Barnaby Roper
About the artist:
Barnaby Roper completed a degree in graphical art at Central Saint Martins with first-degree honors. He immediately began working as a director, and has since become one of the most renowned names in commercials, fashion film, music videos, and photography.
Barnaby’s work blurs the boundaries between commercial filmmaking and fine art. His knack for combining live action footage with groundbreaking post production techniques and rattling sound design sets him apart from his peers, and puts him on the bleeding edge of moving image production across all disciplines, from interactive videos, to installations, and everything in between.
By Nicholas Goodly
About the artist:
Nicholas Goodly is a writer and artist living in Atlanta and a team member of Fly on a Wall. A Cave Canem fellow, they were a finalist for the 2020 Jake Adam York Prize, the runner-up for the 2019 Cave Canem Poetry Prize, recipient of the 2017 Poetry Society of America Chapbook Fellowship, and writing editor of WUSSY Magazine. Nicholas’ poetry has been published in The New Yorker and Boston Review, among others.
"Will you be there"
Performed and Written
by Lindsey Hailes
Filmed and edited by Maddy Talias
Guitar and Audio by Charles Myers
Bass by Daniel Winshall
About the artist:
Hailes is a 24 year old singer/songwriter based in Brooklyn, New York. She fuses her love of neo soul, alternative and acoustic sounds to create a unique, genre bending sonic experience. Her major influences include artists such as Nina Simone, India.Arie, Lauryn Hill, Erykah Badu, Jill Scott and Lianne La Havas. The authenticity of her artistry is apparent in genuine, thoughtful lyrics that create a tender yet groovy ambiance for her listeners.
This song started as a meditation that transformed into a song. I wrote it exactly this time last year sitting in my childhood room on my bed with a keyboard. My heart was feeling heavy with all of the injustice going on in the world, and I had recently gone through a hard breakup. In the moments while I was writing it, I allowed myself to feel the weight of all the sadness and pain and anger and loss and loneliness that I had been pushing off for months. This is what came out. It’s simple, but was so therapeutic for me to write.
Created by Benjamin Stevenson in collaboration with Melissa Alexander
About the Artist
Benji Stevenson (they/them) is a movement artist and published poet from rural Alabama. They attended Emory University, where they received their B.A in Political Science and Arabic. In addition to their primary studies, they maintained an active presence in both the Dance and Creative Writing programs. Here, they began their training in Ballet and Modern Dance at the ripe age of 18. After graduating, they began cultivating their ideas into movement and choreography as a means of facilitating dialogue on identity and interpersonal relationships. Currently, Benji resides in Atlanta where they work with Core Dance and Okwae Miller & Artists. Benji has worked and studied with other notable artists such as Amanda K. Miller, George Staib, Greg Catellier, Jillian Mitchell, John McFall, Kathleen Wessel, Kristin O'Neal, Noelle Kayser, Niv Sheinfeld, Oren Laor, and Sidra Bell.
My primary artistic mediums are movement and poetry. My creative process calls for honesty and vulnerability. It engages sensations, memories, and personal experiences. I employ both the metaphorical and literal explorations of concepts such as interpersonal relationships, identity, and media consumption. I assume in all my processes that the body is a physical manifestation of individual’s unique histories and narratives. Moreover, I reflect on my lived experience as a non-binary person of color within my work. I create first and foremost for myself. My focus on internal activation during performances viscerally impacts those engaging with my work. My process dives deeply into the realms of self-reflection and hard-to-swallow truths. It challenges typical notions of social dichotomy by depicting a full range of experiences. I ask my audiences to bear witness to the performer/performers enduring an experience; thus, yielding the acquisition of a more empathetic understanding of the subject matter being explored inside my work.