Project Title: The Quilt Project, Pieces of Me
Recipient Organization: ODC/Theater
Lead Artist: Wayne Wallace
Genre and Date Awarded: Performing Arts, June 2002
Presented: November 1-10, 2002

Jazz composer and musician Wayne Wallace and Bay Area African American choreographers Laura Elaine Ellis, Aisha Jenkins, Robert Henry Johnson, and Robert Moses collaborated with the presenting organization ODC/Theater to create Quilt, an original evening-length work. Quilt comprised three main dance sections woven together by Wallace's music, and a movement-based narrative presented by a character depicting a Griot (Robert Henry Johnson) with additional text by spoken word poet Mark Bamuthi Joseph. Wallace's ten-piece orchestra accompanied the piece live. The project was co-sponsored by the Committee for Black Performing Arts at Stanford University and premiered at the ODC/Theater.

The artists were inspired by African America quilt maker and artist Faith Ringgold, specifically by her work "They Came to America," a piece she created in response to James Baldwin's landmark book The Fire The Next Time in which Baldwin stated emphatically that unless the endemic racism in this country is overcome, the United States will destroy itself. "They Came to America" acknowledges a world of pain and suffering, but one that eventually offers salvation. The artists brought to the stage a piece that interpreted Baldwin's prophecies, answering them with the possibility of hope offered by Ringgold.

The metaphor of quilt making seemed particularly relevant to the artistic team. As exemplified in Ringgold's work, quilt making is as much a cultural and political statement as it is a craft. Looking back to the era of slavery, sharecropping, poverty, and struggle, quilts were made from rags and worn out items that in more affluent times might have been discarded. Nothing was wasted and a skilled hand could turn seemingly useless elements into a functioning work of art. As such, the quilt represents the endurance, determination, and love of the African American matriarchy, a testament to the strong women who held their families and communities together.

Each of the choreographers created a section of the work. Although the parts of the piece were divided among them, their process emphasized the group's collective effort and all three sections were set on a single ensemble of dancers. In addition, Robert Henry Johnson, as the Griot, provided the thread that wove the piece together through movement and choreopoems referring to folklore and specific historical events. Johnson and Aisha Jenkins wrote the script for his role. A veteran of many collaborative efforts, composer Wallace created the score after extensive consultations with the choreographers about structure, instrumentation, and mode. He created a "musical quilt," drawing from the history of African, French, and Spanish influences on North American music. Wallace's ten-piece orchestra included a bass, drums, piano, percussion, three horns, violins,viola, and cello. Mark Bamuthi Joseph played the role of the second Griot/voice to Robert Henry Johnson as well as adding movement and an solo piece to the piece

All of the collaborating choreographers are accomplished in their own right. All the choreographers are or have been artistic directors of their own companies and independent producers of their work. The Quilt Project represented the first time since 1995-when Dean Beck Stewart, then director of Theater Artaud, presented them as part of the festival "Black Choreographers Moving Toward the 21st Century"-that they embarked on a performance together. And the piece marked the first time they were able to collaborate with a single composer.

The concept for Quilt came through meetings between former ODC/Theater Artistic Director Andrew Wood and the participating artists at a time when the presenting organization was moving in the direction of becoming more involved in the development of artistic projects and when Wayne Wallace was an artist-in-residence at ODC/Theater. The artists' conversation focused on the limited opportunities and support for African American contemporary choreographers in the Bay Area. Together they sought the opportunity to draw the public's attention to a contemporary work that had a distinctly African American perspective.

Composer and lead artist Wallace sought to create a jazz-based work that would be technically complex and demanding on both the composer and musicians with whom he would work; and a commission that would stand up to the professional scrutiny of his peers. He writes, "We see Quilt as a creative vehicle that will allow audience, participants, and others associated with the legacy of black slavery in the Americas a form of release. When we say "legacy," we are not trying to conjure up a historical lecture with song and dance. We are speaking about what we carry with us personally as individuals because of the history of slavery." The collaborators write, "We want to explore the difficult issues, yet it is important to us that the idea of hope and celebration come through as well."

A San Francisco native, Wayne Wallace has established a strong reputation as a jazz trombonist, composer, solo artist, and educator. His album Three in One received nationwide critical acclaim. He also serves as the co-musical director with John Santos for the Machete Ensemble and has performed with Ray Charles, The Count Basie Orchestra, Diane Carroll, Natalie Cole, and many others. He is a faculty member at The Jazz School in Berkeley, California.

Recording Production and Arrangements

Angela Bofill, Carl Carlton, Celine Dion, Collage, Con Funk Shun, Conjunto Cespedes, Pete Escovedo, Phyllis Hyman, Chris Issak, Stacy Lattisaw, Dr. Loco's Rockin' Jalapeño Band, Machete, Jesus Diaz and QBA, Santana, Sister Sledge, Klique, Narada Michael Walden

Performance Credits

The Asian American Jazz Orchestra, Pearl Bailey, The Count Basie Orchestra, Diane Carroll, The Benny Carter Big Band, Natalie Cole, Conjunto Cespedes, Con Funk Shun (Tour), Sammy Davis, Jr., George Duke, Pete Escovedo/Sheila E. (tour), John Handy, The Joe Henderson Big Band, Earl "Fatha" Hines, Lena Horne, Bobby Hutcherson, Dr. John (aka Mac Rebenack), Gladys Knight, Stacy Lattisaw (tour), Bobby Matos, Manny Oquendo and Libre, The Nicholas Brothers, Tito Puente, John Santos and the Machete Ensemble, Sonny Rollins, The Smothers Brothers, The Temptations, The McCoy Tyner Big Band, Narada Michael Walden (tour), Los Van Van, Irakere, Eartha Kitt, Ray Charles, Tony Williams, Mary Watkins, Dionne Warwick

Composer Discography, Recordings

• "Little Girls," Soul Eyes, Lauri Antonioli, Catero
• "Little Girls," "Fools and Babies," Level of Intent, Babatunde, Diaspora
• "Screaming at the Moon," Living all Alone, Phyllis Hyman, Manhattan
• "I'm Leaving Baby," Electric Lady, Con Funk Shun, Polygram
• "Having a Good Time," "Go Jamaica," The Island, Pete Escovedo, Esgo
• "Yesterday's Memories/Tomorrow's Dreams," "Charango Sunrise," Y.M.T.D., Pete Escovedo, Concord Jazz
• "Y.M.T.D.," Familia Latina, Sheila E., Pete Escovedo, and Tito Puente, Verve/Polygram
• "Take Some Time," "Gingerbread Girl," Mr. E, Pete Escovedo, Concord Jazz
• "Esta Noche," "Canto Para Chango," "El Alma De Carnival," "La Familia," Flying South, Pete Escovedo, Concord Picante
• "Iya," Machete, John Santos and the Machete Ensemble, Xenophile
• "Pra Hermento," "Esuu Laroye," Machetazo, John Santos and the Machete Ensemble, Bembe
• "Foreign Exchange," "Discargo Iyawo," "Chango," "Ubalufon," Tribute to the Masters, John Santos and the Machete Ensemble, Ubiquity
• "Virgen de la Caridad," "Los Pasillos de Tia Conga," Una Sola Casa, Conjunto Cespedes, Xenophile
• "Vivito y Coleando," Vivito y Coleando, Conjunto Cespedes, Xenophile
• "La Misma Herencia," "Descansa," Flores, Conjunto Cespedes, Xenophile
• "I Don't Give Love (To Just Anybody), Catch Me Now, Laura Enea, Next Plateau
• Composer Discography, Film
• "A Little Bit of Me," Selena
• "I Don't Give Love (To Just Anybody), The Amy Fischer Story
• "My America (Honk if you love Buddha!)," PBS Documentary
• "Island Ways," Lulu's Bridge
• "Island Ways," Play It to the Bone"
• Composer Discography, Television
• "A Little Bit of You," "Maury Povich Show"
• "A Little Bit of You," "Promised Land"
• "A Little Bit of You," "Sabrina, the Teenage Witch"
• "Island Ways," "Nash Bridges"
• "Island Ways," "The Steve Harvey Show"
• "Love Says," "Guiding Light"
• "Screaming at the Moon," Star Search
• Back to School Macy's Commercial

Laura Elaine Ellis

Laura Elaine Ellis's independent choreographic experience includes Journey: An Evening of Dance at ODC/Theater (2001) and Macbeth, at the American College Theater Festival, California State University, Hayward. Her recent performing experience includes work as Assistant Director and company member of Anne Bluethenthal and Dancers of San Francisco (since 1990); as a company member and principal dancer for Dimensions Dance Theater of Oakland (since 1986). She also has performed as a principal dancer, vocalist, and actor in works by Emily Keeler Priscilla Regalado, Duncan Macfarland, and Shakiri/Rootworkers. Previously she was a company member, soloist and assistant producer for LAZARUS/Dance of San Francisco and of the Mills College Repertory Dance Company. Prior to her study of dance at Mills College, she performed for stage and television with Young Saints Performing Arts Academy and with the R'Wanda Lewis Afro-American Dance Company of Los Angeles.

Currently Ellis teaches dance in the Theater and Dance Department at California State University, Hayward and in the Performing Arts Department at the Athenian School in Danville, California.

Aisha Jenkins

Aisha Jenkins' choreography has been presented by the "Blood Memories Festival" at the University of California, Riverside; La Peña Cultural Center at the Alice Arts Center Theater in Oakland; APAC at ODC Theater, San Francisco; Bay Area Dance Series at Laney College Theater, Oakland, "Black Choreographers Moving Toward the 21st Century," at Theater Artaud, San Francisco; "The Edge Festival," produced by Dancers Group/Footwork, San Francisco (1994); and "The African American Performing Arts Festival" at Theater Artaud, San Francisco. She has taught at Ohlone College in Fremont, California and California State University, Hayward.

Jenkins is recipient of grants from the California Arts Council, Clorox Company Foundation, and The San Francisco Foundation and of the Regents Fellowship from the University of California, Irvine.

Robert Henry Johnson

Robert Henry Johnson has choreographed works for The Oakland Ballet (2001), Santa Barbara Dance Theater (2000); Bay Area Youth Ballet (1997); The Robert Henry Johnson Dance Company (1993-98); Ballet British Columbia (1993); Bayerisches Staatsballett in Munich, Germany (1991); and the San Francisco Ballet School (1988). He has performed with the Oakland Ballet (2000), Winifred R. Harris' Between Lines (1994); the Robert Henry Johnson Dance Company (1993-98); Bayerisches Staatsballett (1991); Asian American Dance Ensemble (1988); and Citicenter Dance Theatre (1986-88).

Johnson also is an accomplished playwright. The following works have been produced:

• Poison Ground, Robey Theater Company (excerpt from Act 2) (2000); Robey Theater Company (1996); Hartford Stage Company (1995); Sugar Shack Performance Gallery (1991)
• ReMyth: The Horse Project, Bay Area Playwrights Festival (2000);
• Wooden Horses, The Robert Henry Johnson Dance Company (1996)
• The Yellow Carnival, The Robert Henry Johnson Dance Company (1993)
• The Intimate Bridge, Sugar Shack Performance Gallery (1991)

In 2002 he was nominated for a Bay Area Theater Critics Circle Award for his choreography in Thick Description's production of The Seven, a hip hop opera by Will Power; and named one of the "Ten Most Influential Black People in the Bay Area" in the category of "Arts and Literature." In 2000 he was nominated for the Isadora Duncan Dance Award for Best Individual Performance in Psalm.

Robert Moses

Since 1995, Robert Moses has been artistic director of the company Robert Moses' KIN, a contemporary dance company based in San Francisco. >From 1994 to the present he also has been commissioned to create works for the Oakland Ballet, Lawrence Pech Dance Company, Robert Henry Johnson Dance Company, and City Ballet School Theater. From 1985-1995 he was a company member and featured soloist with ODC/San Francisco, a modern dance troupe. Since 1995 he has taught as a lecturer at Stanford University in Dance and with the Committee on Black Performing Arts.

Moses and his company are the recipients of the 1999 Isadora Duncan Dance Award for Best Ensemble Performance, of the 1998 SF Weekly "Black Box Award," and the 1998 San Francisco Bay Guardian "Goldie" award.

Mark Bamuthi Joseph

Since beginning a career in performance poetry in the fall of 1998, Mark Bamuthi Joseph has been a three-time San Francisco Poetry Grand Slam winner, won the 1999 National Poetry Slam with Team San Francisco, and founded and continue to host "Second Sundays," The nations largest, ongoing monthly spoken word gathering. He has appeared at the Fillmore, the Bill Graham Civic Center, the Alice Arts Center, Theater Artaud, The Lorraine Hansberry Theater, the Oakland Museum, The San Francisco Art Institute, and Yerba Buena Center for the Arts. He has been a featured lecturer and performance artist at several colleges and universities. His first solo evening-length work, word becomes flesh premieres in fall 2003. In addition, he has released the spoken word CD Seeking, and performs on the CD 185 Progress Drive (Alternative Tentacles Records, 2000). In 2000-02 Mark Bamuthi Joseph was one of four writers collaborating to create No Man's Land, a Creative Work Fund-supported collaboration with Youth Speaks.