BWW Report: 2019 Bessies AKA Thank Goodness for Joan, Louis, and Camille

The loopy affair that is the 2019 New York Dance and Performance Awards (AKA The Bessies) has finally passed us by. Of course I hated it, but then I despise all awards shows. Like most events of this variety, the Bessies were too long, too insular, and had too many bloody awards even though there were only 10 categories (more on this later). So why write anything about them at all? To extol the glory of listening to Joan Myers Brown, Louis Mofsie, and watching Camille A. Brown.

Many people like to call Martha Graham the mother of Modern Dance. Whether that assignation is correct or not, what is indisputable is that Joan Myers Brown has long led the charge as the Queen of Black Dance. Like Katherine Dunham before her, Ms. Brown built, ran, secured funding for, and guided the foundation of support for thousands of Black dancers across the country. When Alvin Ailey passed away, she was there holding the community together, ensuring that whatever happened with the Ailey enterprise, Black dance would prosper. What would our world look like without Ms. Brown? I can't bear to think of it.

Some people have taken to calling her, 'Auntie'. Whatever one calls her, lets not forget that she is a sexy grand dame in the tradition of Lena Horne who all but built Philadanco with her bare hands. Her Lifetime Achievement Award is long overdue but let's not quibble. Actually, let's quibble a little: a "What Hasn't She Achieved Award" would have been more appropriate, but this will have to do. George Faison's beaming smile said it all: "How wonderful it is to simply stand in Ms. Brown's presence."

And how wonderful it was to sit, rapt in awe at the tornado of sound delivered in tribute to Louis Mofsie by his nephew, Kevin Tarrant, lead singer of the intertribal drum and dance group, The Silvercloud Singers. Trust me, you've never heard anything like it and need to go buy all of his albums NOW. I am ashamed to admit that I have never seen the Thunderbird American Indian Dancers perform. HINT: They perform every winter at Theater for the New City. Hearing Mr. Mofsie speak of the importance in preserving cultural traditions reminded the audience that we do not come here by chance; many people passed before us to ensure our place in the world and it behooves us to honour their legacy.

One hopes that Mr. Mofsie's recognition is not a one-off and that we will see a Thunderbird American Indian Dancers production nominated by the Bessies in the near future. An award for Outstanding Service to The Field should be the least of this man's honours.

I'm certain that we will see Camille A. Brown awarded again soon. She deserves a nomination just for the performance she unleashed during this Bessie ceremony. Is there another dancer in the world whose deep scholarship comes through so clearly with every breath she or he takes? When Brown reached her hand to the sky during INK, one felt that she was summoning a lighting bolt to stain the earth beneath her stamping feet. Certain performers leave afterimages of themselves as they move, as if they were pulsating between moments in time. Brown does the same; she reaches so far beyond her small frame that even her simplest gesture burn itself onto your retina. I was recently asked by a friend if Brown is the real deal or just a bunch of hype. I will repeat my response, "Brother, she is THE DEAL."

As to the rest of the ceremony, if less is more, is there a particular reason why there were so many nominees in each category? There were twelve in the outstanding performers category alone. I know that dance does not receive enough recognition, but this is not the way to resolve that. I appreciated that two men and two women were selected to receive the award--balance is cool--but maybe just one man and one woman could receive it next year? Or even, one person? It would certainly reduce the two hour ceremony time.

Opinionated as I may be, I refuse to debate who did or did not deserve a nomination. It's uncharitable and beyond the point. What I will say is that it was refreshing to see that most of the awardees had productions rooted more in movement than in spoken word. Also, hurrah for the $500 honourarium awarded to each nominee, courtesy of The Doris Duke Charitable Foundation.

As to the speeches, there was something heart-tuggingly tender about watching the total zaddy Nick Cave receive his award for outstanding production of The Let Go at Park Avenue Armory. The man is sexier and cooler than the cool side of the pillow, and yet he gives zero f_cks about wearing his emotions on his impeccably styled Butch Queen sleeve. I'd love to see HIM host next year's Bessies.

Speaking of hosts, this year's duties were gamely dispatched by cabaret goddess Justin Vivian Bond. She was pretty much flawless until she mispronounced Jawole Willa Jo Zollar's name. It's "Jah-Woe-Lay", according to the chorus of her devotees who looked prepared to storm the barricades to avenge the error. A question about Bond: how in the world did the Bessies score her and not get her to sing? Can you imagine the delirium of a Camille A. Brown + Justin Vivian Bond team-up? I would gladly sit through a three hour ceremony to witness that magic.

As to the venue, the Skirball Center is great and--at least for me--much more pleasant than BAM. Where ever the Bessies occur next year, whether in Staten Island or Jerusalem, please bring back Kevin Tarrant and Camille A. Brown to perform again.

So I guess I loved the Bessies more than I thought... Whatever. Final shout-outs go to Tiffany Geigel's ravishing performance, Gil Sperling's comment about dance being a lot more fun than theatre (right?), Leslie Cuyjet for being born feet first, and Noah Paul Catala for making loving on your mama in public cool again.

The Bessies' 35th anniversary gala took place on Monday, October 14, 2019 at NYU's Skirball Center for the Performing Arts. For the full list of awards and citations, visit bessies.org/2019-awards.