#bamhammarchives

MOST RECENT

In May 1968, choreographer #MerceCunningham and his company performed 12 dances in eight performances at BAM in his troupe’s first major New York season. For Walkaround Time, pictured here, Cunningham collaborated with visual artist Jasper Johns on decor and costumes. The piece is distinguished by its transparent set pieces based on #MarcelDuchamp’s iconic artwork, The Large Glass.

50 years later, we’re pleased to highlight this historic collaboration via the #BAMArtAuction. A limited print of Johns’ 1996 lithograph Ocean, featuring Cunningham himself, is now open for bidding on @paddle8 👉 paddle8.com/auction/BAM (link in story!)
Walkaround Time 📷 courtesy the #BAMHammArchives, Ocean courtesy the artist.

Back in 1997, our #BAMNextWave Festival featured South African satirist Pieter-Dirk Uys in his one-man show You ANC Nothing Yet. One of the many characters portrayed by Uys in the piece was Evita Bezuidenhout, pictured here. A white Afrikaner socialite and self-proclaimed political activist, Bezuidenhout simultaneously criticized the racist South African regime and lampooned the sometimes hypocritical attitudes of white liberals.
"Brimming with potent irreverence, Mr. Uys's work is a refreshing jolt to the senses of Americans dulled by sitcom humor and inhibited by the bland norms of correctness in a nation afflicted with political apathy,” wrote the @nytimes. “It is also a showcase for a fine actor, gifted political humorist and courageous humanitarian."
When #DanceAfrica returns to the Howard Gilman Opera House next week, the festival will draw parallels between South African anti-apartheid and American civil rights movements. Our struggles are intertwined, and so to better provide context for the upcoming program—as well as underscore the deep significance of cultural exchange—we’ll be sharing more South African highlights from the #BAMHammArchives with you every Friday.

"The ground-breaking collaboration between South Africa's modernist Handspring Puppet Company and Mali's traditional Sogolon Puppet Troupe that opens BAM's 2005 Next Wave Festival. One can see the show as an historical event—it's only post-apartheid that such an interracial, intra-African enterprise became possible—and as an aesthetic experiment.”—@theatermania on our #BAMNextWave opener back in ‘05.
When #DanceAfrica returns to the Howard Gilman Opera House in May, the festival will draw parallels between South African anti-apartheid and American civil rights movements. Our struggles are intertwined, and so to better provide context for the upcoming program—as well as underscore the deep significance of cultural exchange—we’ll be sharing more South African highlights from the #BAMHammArchives with you every Friday for the next month.
Photo: Richard Termine

The Island is, according to the @nytimes, “an extraordinary political-prison drama created in apartheid-riven South Africa in 1973 by the white playwright and director Athol Fugard and two black actors, John Kani and Winston Ntshona.” In 2003, we presented a revival (of sorts) in the BAM Harvey Theater. This time directed by Aubrey Sekhabi, the production featured Kani and Ntshona, at that point in their 60s, in the roles they created 30 years prior. In his review, critic Bruce Weber noted “the play makes painfully clear that the few hold the many at their mercy, that their arrogance is evil and that might is not wisdom.”
When #DanceAfrica returns to the Howard Gilman Opera House in May, the festival will draw parallels between South African anti-apartheid and American civil rights movements. Our struggles are intertwined, and so to better provide context for the upcoming program—as well as underscore the deep significance of cultural exchange—we’ll be sharing more South African highlights from the #BAMHammArchives with you every Friday for the next month.

Remember, reconcile, renew! ✊🏿

Today, we observe South African #FreedomDay—which commemorates the nation’s first democratic elections on Apr 27, 1994. South Africa celebrates Freedom Day to mark the liberation of the country and its people from a long period of colonialism and apartheid.

Just one month prior to these elections, BAM presented Sacrifice of Mmbatho: Daughter of Nebo—a starkly eloquent folk opera created at the fabled @markettheatre in Johannesburg. In the piece, colonial forces warp the world of a drought-stricken village in the Eastern Transvaal. What emerges is, as noted by the @nytimes, “...a collective portrait of a people sorrowfully trying to understand what they have been forced to become.” When #DanceAfrica returns to the Howard Gilman Opera House in May, the festival will draw parallels between South African anti-apartheid and American civil rights movements. Our struggles are intertwined, and so to better provide context for the upcoming program—as well as underscore the deep significance of cultural exchange—we’ll be sharing more South African highlights from the #BAMHammArchives with you every Friday for the next month.
Remember, reconcile, renew! ✊🏿

Happy Birthday to the Bard!
BAM has presented Shakespeare since we first opened in 1861. Visit the Leon Levy BAM Digital Archive (levyarchive.bam.org) to peruse highlights from past productions and explore the history of Shakespeare at BAM. #ShakespearesBirthday

Pictured here: Sir Patrick Stewart as and in @chichesterft’s Macbeth (2008); Dejan Bućin and Krista Birkner in the @bob___wilson/@rufuswainwright production "Shakespeare's Sonnets" (2014); Nadine Joma'a and Fayez Kazak in the @sulaymanalbassamtheatre’s production "Richard III: An Arab Tragedy" (2009); @thersc’s Julius Caesar (2013); Scott Handy and Adrian Lester in the @wearecheekbyjowl production of As You Like It (1994); Ex Machina’s production Elsinore (1997). All photos courtesy of the #BAMHammArchives.

#tbt to 50 years ago TODAY, when the inimitable #TheloniousMonk and #ArtBlakey played the BAM Howard Gilman Opera House. Although ragtime and other early forms of jazz have had a home here since the 19th century, the musical form was amplified significantly in 1956 with the establishment of our “Jazz at the Academy” series. Duke Ellington, Benny Goodman, Dizzie Gillespie, and even Louis Armstrong made appearances at the Opera House—where a one-time $15 membership fee guaranteed you a seat for the entire season.

In the late 1960s, the series was revamped by producer Lionel Hampton and lead sponsor Schaefer. This next era featured jazz masters, including Monk, Blakey, and Tito Puente, as well as R&B superstars like The Coasters, Wilson Pickett, and Patti LaBelle.
How appropriate, then, to welcome Abdullah Ibrahim and Ekaya back to the same stage tonight! A few tickets were just released to tonight’s 8pm tribute to the #JazzEpistles, so act fast: BAM.org/JazzEpistles
#LetsAmplifyBlackVoices #BAMHammArchives

Happy Birthday #MerceCunningham! Today would have been the legendary choreographer's 99th birthday. And on this occasion, we're thrilled to announce our participation in Night of 100 Solos on Apr 16, 2019, part of the Merce Cunningham Centennial! 100 dancers will perform 100 Cunningham solos at four venues across the globe: @barbicancentre in London, @operacomique in Paris, @uclaarts in LA, and BAM in NYC. Visit BAM.org for more details.

Photo courtesy of the #BAMHammArchives: Merce Cunningham in "Walkaround Time," part of the self-titled Merce Cunningham Dance Company production at BAM, 1970.

On June 22, 1990, BAM hosted a community tribute honoring the late Winnie Madikizela-Mandela (who passed away earlier this week) and the Federation of South African Women. On stage in the Howard Gilman Opera House, the anti-apartheid activist and politician connected the struggles against racism waged by African-American women with that of their South African sisters: “We share with you a history of oppression. We share with you the pain of racism,” she remarked to the 3,500 person crowd. “That is why we identify so directly with you. We speak a common language: the language of the oppressed.” ✊🏿✊🏾✊🏽
The image of Madikizela-Mandela comes to us from the African Activist Archive Project via a video courtesy Globalvision. #BAMHammArchives #letsamplifyblackvoices

During a charged year in the Civil Rights Movement, #NinaSimone brought her Evening in Black Gold to BAM. The 1970 live album Black Gold, recorded at Lincoln Center two years after her BAM appearance, features among its treasures the civil rights anthem “To Be Young, Gifted and Black.” Interestingly enough, Simone—like many of BAM’s most iconic artists—also had a nuanced appreciation for Brecht’s epic theatre. In 1973, Simone was the guest artist for The Brooklyn Philharmonia: Brecht Operas & Songs, conducted by Lucas Foss. #BAMHammArchives #WomensHistoryMonth #LetsAmplifyBlackVoices

"Sex, drugs and rock 'n' roll take center stage in Lucky Chick." 💋💊🎸[Broadway World] .
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Tickets on sale now! ✨Link in Bio✨
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#gratefuldead #jerrygarcia #bobweir #deadandcompany #deadheads  #deadandco #jam #rockandroll #psychedelic #lovelivemusic #deadhead #getwell #speedyrecovery #loveandlight #1980s #comingdown #sanfrancisco #sf #nyc #theatre #play #show #broadway

We’re doing the work we were called to do, to assist in upholding the voices of our community...but when it’s recognized and appreciated? That doesn’t hurt AT ALL. Thank you! #Repost @bam_brooklyn with @get_repost
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In 1988, a group of community leaders in the arts—including representatives from BAM, the Department of Cultural Affairs, and the Borough President’s Office—recommended that a new, nonprofit entity be formed under the leadership of Mikki Shepard and Dr. Leonard Goines to develop multicultural programs from a base within the Majestic (now BAM Harvey) Theater. The resulting entity, now known as @651ARTS, was incorporated with a commitment to present performing arts geared towards Brooklyn’s diverse communities.
In the thirty years since its inception, 651 ARTS has developed, produced and presented performance and cultural programming rooted in the African Diaspora—including the Brooklyn premiere of @annadeaveresmith‘s groundbreaking solo play, Fires in the Mirror: Crown Heights, Brooklyn and Other Identities, in 1993.
#BAMHammArchives #letsamplifyblackvoices

In 1988, a group of community leaders in the arts—including representatives from BAM, the Department of Cultural Affairs, and the Borough President’s Office—recommended that a new, nonprofit entity be formed under the leadership of Mikki Shepard and Dr. Leonard Goines to develop multicultural programs from a base within the Majestic (now BAM Harvey) Theater. The resulting entity, now known as @651ARTS, was incorporated with a commitment to present performing arts geared towards Brooklyn’s diverse communities.
In the thirty years since its inception, 651 ARTS has developed, produced and presented performance and cultural programming rooted in the African Diaspora—including the Brooklyn premiere of @annadeaveresmith‘s groundbreaking solo play, Fires in the Mirror: Crown Heights, Brooklyn and Other Identities, in 1993.
#BAMHammArchives #letsamplifyblackvoices

I danced for the rest of the night right there in a trance locked into a vortex with the band. It looked like they were staring right at me, like #BobWeir, the cute, skinny one in the middle with golden brown hair, was singing the song right to me... @bobweir @gratefuldead
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#WhoIsLuckyChick #LuckyChick #gratefuldead #the80s #theatre #show #womenartists #womensart #rockandroll #comingdown #nyc #deadheads

#tbt to Heather Berlin, @missmayim, and @neildegrassetyson on stage for StarTalk Live! back in 2014! ✨
@startalkradio returns to BAM next Fri, Mar 9 for #RadioLoveFest: BAM.org/RadioLoveFest
Photo: @rahav, courtesy the #BAMHammArchives

A yes-this-sh*t-really-happened solo show about guns, guys, Learjets, pythons, Hells Angels and the Grateful Dead. #WhoIsLuckyChick
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#LuckyChick #gratefuldead #bobweir #the80s #theatre #show #womenartists #womensart #rockandroll #comingdown #nyc #deadheads .
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Photo Courtesy of the #BamHammArchives @bam_brooklyn

A yes-this-sh*t-really-happened solo show about guns, guys, Learjets, pythons, Hells Angels and the @GratefulDead #WhoIsLuckyChick
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📷 by Bam Hamm Archives

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