NY Times preview / Reggie Wilson: ‘The Good Bet – Take me to church’

What does this history mean to the choreographer Reggie Wilson? Danspace Project has chosen him to organize a monthlong series of performances and events called “Dancing Platform Praying Grounds: Blackness, Churches, and Downtown Dance.” Mr. Wilson’s own work has investigated spirituality and the culture of the African diaspora, so it’s no surprise that his curatorial focus is on the intersection of race, dance and religious architecture.

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Amsterdam News preview / Reggie Wilson to guest-curate Danspace Project’s Platform

Reggie Wilson is the guest curator for the Danspace Project’s Platform 2018 (Feb. 28-March 24) titled, “Dancing Platform Praying Grounds: Blackness, Churches and Downtown Dance,” realized “…from Wilson’s ongoing research into religion, race, and, as he explains, ‘the potential of the body as a valid means for knowing.’” For this iteration, Wilson’s research and invitation to the artists is prompted by “…questions about race, religion, dance and the architecture and history of Danspace Project’s iconic home in St. Mark’s Church in-the-Bowery.”

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Reggie Wilson/Fist & Heel to present ‘CITIZEN’ at the Wesleyan Center for the Arts on 2/9

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Reggie Wilson to curate and perform at Danspace’s Project 2018 Platform

Dancing Platform Praying Grounds: Blackness, Churches, and Downtown Dance (Platform 2018), curated by Reggie Wilson

Click here to learn more about the company’s new work ‘…they stood shaking while others began to shout’


Reggie Wilson/Fist & Heel Performance Group featured in Chicago Tribune’s ‘best dance in Chicago in 2017’

‘Reggie Wilson’s “Citizen” at the Dance Center in October: Across the four long solos that make up most of the first three-quarters of Wilson’s “Citizen,” the most memorable moments were those in which each performer stopped dancing, paused and calmly, confidently gazed straight into the eyes of the audience. Tucked into these idiosyncratic solos, it was a powerful expression of individuality that, when glued together for a big unison dance at the end, seemed to indicate that one must exert himself and be fully present to feel a sense of community, of the collective, of belonging.’

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Picture this Post review of Reggie Wilson’s CITIZEN Chicago performances

‘ […] the performance hits its peak when all five dancers- three black male dancers, and two women, one white and another Asian woman, move in unison to show us how they both build community while never once touching one another.’ Read the full review here.

Chicago Tribune review / Reggie Wilson: ‘Meaning in Reggie Wilson’s ‘Citizen’ is slowly and pointedly revealed’

Read the Chicago Tribune review of Fist & Heel Performance Group’s performances here.

Windy City Times preview/Reggie Wilson: ‘DANCIN’ FEATS A kinesthetic anthropologist and his movement specialists’

‘The predominant theme examined in this work centers around questions of “belonging” with the promotional tagline asking, “What does it mean to belong?” and “What does it mean NOT to want to belong?” Although this line of questioning is intentionally provocative and specific, focusing on these questions as a way to decipher the meaning of the dance would be an unnecessary over-simplification. Instead, Wilson would rather audiences show up and let the dance speak for itself on its own terms.’ Read the full preview here.

Alameda Magazine / Reggie Wilson preview: ‘Dancers who sing, talk and chant’

‘While he has made his reputation with exquisitely shaped work that is rooted in traditional stories and myths, Wilson’s choreography is eminently eclectic and inclusive. It is formally elegant yet embracing. His dancers are as likely to engage in canons as, apparently, racing for a bus. Not only are these performers superb movers, they sing, they talk, they chant.’

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Reggie Wilson/preview: ‘Let my people go in dance’

‘The African American choreographer Reggie Wilson never seems satisfied with one idea or theme in his work. His dance Moses(es), performed Sept. 23 and 24 at Zellerbach Hall, is about the African diaspora, with music based on clapping and chants developed by Wilson and his collaborators. But it’s also an exploration of ideas about the biblical prophet Wilson explored during trips he took to Israel, Turkey, Egypt and Mali, and the urge to dramatize Zora Neale Hurston’s novel Moses, Man of the Mountain, which sets the story in the African American experience.’

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