Wednesday, June 30, 2010

Arts.Advocacy+Wellness: "Nhojj"


Performed New Gay Anthem

at New York City Gay Pride Parade

In celebration and as a song of strength and hope for the Lesbian/Gay/Bisexual/Transgender (LGBT) community, Nhojj presents “The Gay Warrior Song,” debuted in New York City at The Heritage of Pride Parade on June 27.

Already #3 on CDBaby’s Out & Proud Chart, proceeds from the sale of "The Gay Warrior Song" will be donated to the Society Against Sexual Orientation Discrimination (SASOD), an LGBT rights organization based in Nhojj’s homeland of Guyana. SASOD is committed to eradicating discrimination on the grounds of sexual orientation.

Nhojj performed “The Gay Warrior Song” before tens of thousands of people lined up along the NYC Gay Pride Parade route on the Glo TV float. Glo TV is the first urban LGBT Television Network of its kind in the world.

On June 19th Nhojj performed his new gay anthem in Providence, RI at their Rhode Island Pridefest; on June 20th at a church service at the historic St. Marks in the Bowery in the East Village section of New York; and on June 21st at an upper east side Manhattan awards ceremony—the 7th Annual Fresh Fruit Festival Awards at Jan Hus Playhouse.

He received the Music Award of Distinction at the Fresh Fruit Awards. The awards honor outstanding performances and recognize community leaders whose achievements include supporting the arts and the LGBT community. Special honorees included the first openly gay NY State Senator, Tom Duane, Off Broadway legend and pioneering LGBT playwright Doric Wilson, and Under the Pink Carpet producer, Tony Sawicki. This marks the 2nd time Nhojj has won the award.

The parade will wrap up a string of American gay pride performances for Nhojj. His tour covered heartland cities - Fort Collins, CO; Providence, RI; Lexington, KY; Kansas City, MO; and Indianapolis, IN, where he opened the pride festivities with an a cappella rendition of the Star Spangle Banner. On July 17 Nhojj will headline in Germany at the Christopher Street Day Munich gay pride festival.

Nhojj, son of a Minister, grew up in Guyana , and went to high school in Trinidad prior to coming to the United States to attend college. Before he could read or write he sang at his father’s church, and eventually on radio and television shows. Twice he sang in large stadiums - once for the President of Guyana, and once for the President of Trinidad. After graduating with honors from New York University with a Bachelors Degree in Economics, he returned to his passion—singing—and began recording.

To date Nhojj has released 6 album releases, and a DVD directed by Emmy nominated Bill Cote. He is the first black male to win an OutMusic Award, and also the first gay artist to top the mainstream MTV Music charts with a gay music video. His music has been compared with such luminaries as Michael Jackson, Marvin Gaye, Stevie Wonder, Sade, Bobby McFerrin, and Maxwell.

Nhojj wrote “The Gay Warrior Song” as an affirmation to LGBT people everywhere. “War is usually related to physical territory” Nhojj explains. “But today’s gay warrior is not fighting for physical territory, today’s gay warrior is fighting for mental, emotional, and spiritual territory. Today’s gay warrior is fighting for acceptance... for inclusion... for equality... and ultimately for the well being that winning this war brings.”

Listen now to “The Gay Warrior Song

Follow Nhojj

Tuesday, June 29, 2010


How you doin' GLO Family and Friends,

President Barak Obama proclaimed June both Black Music and Gay Pride Month and this past weekend was filled with a lot of GLOtastic events that celebrated the month of June. First, GLO TV Network started off the weekend with the kick off to the 1st Harlem Black Gay Pride in history. The intimate evening took place at Billie Black’s, located in the heart of Harlem. The night was hosted by none other than the Soulful Entertainer himself, Butterfly Soul and the house was packed. There were heartfelt speeches, spoken words, good food and great drinks, but nothing felt better than to see all the GLO on everyone’s faces and the love that we all embraced. A Special thanks to Bacardi and all the sponsors that participated for making the evening an unforgettable one. The night ended as we continued to GLO in Brooklyn as we headed over to the New York Mega Pride Party hosted by three of the most promising promoters, Ricky Day, KK, and James Saunders held at the Brooklyn Loft. We GLOed right into the wee hours of the night with all the love and support from a few of our GLO friends.

Next up was an event that is sure to go down in history, The 1st Harlem Pride Street Fair. The Street was packed as faces of all beautiful races, genders, ages, and companies dawned along 119th Street. The Saturday afternoon was filled with Pride and Joy as everyone came together in perfect harmony. The Harlem Pride Street Fair was topped off by great food, good music, gay-lebrity entertainers, Art, Health Education/prevention and tons of networking. This was one you should have not missed because it was GLOvah!! After that we were off to Manhattan to spend an evening at the New World Stages for the Out of the Box 2010 event. The room was wall to wall packed with GLOful faces as we watched creativity on film with the LGBTQ Web Series Festival. The evening was hosted by the moguls of The Future Forward, Nathan Seven Scott, Dwight O’Neal, and Cornelius Jones Jr members of the GLO TV family. The festival featured popular web series shows that are sure to have us all learning to leave the TV turned off. The event ended with a Q&A with all the talented creators and a few of the characters of the shows. We also had a guest appearance by none other than the frame extraordinaire himself, Stevie Boi.

Finally, the event of all events, the Main Event, The 40th annual Gay Pride Parade. Over 850,000 homo-friendly spectators watched as we showed are true colors through the streets of Midtown and the village. Not only were we at one of the biggest events of the weekend but GLO TV had our very 1st GLO float. Our GLObile was full of gorgeous faces and races. Our float featured performances by Hip Hop artist Bry’nt, ( the wonderful Foxx Jazzell, Last Offense, and R&B artist Joya Bravo. We also had special appearances by Def Poetry Jam’s Emmanuel Xavier, R&B artist Nhojj, Marck Angel, King Jabbar and our sexy Solid GLO Dancers. We really let our light shine and now I know that everyone will begin to feel the power of the GLO.

We send our GLO love and Special thanks to FACES NY, Blur Advertising, Harlem Pride, Temped to Touch, The Hot Boyz, Sonu Water and all of our partners and GLO friends for making this weekend a GLOtastic one. All Photos by Davide Laffe


Starting this Friday, GLO TV is proud to be a sponsor of At The Beach/Los Angeles Black Pride. Join us at the GLO TV Film Festival and the "Flipping The Script" Panel. On Saturday it’s the world famous Malibu Beach Party. Check out for all the details. Will you GLO with US?

Monday, June 28, 2010


Congrats to MY NEW Family GLO TV Network on a very successful weekend at NYC PRIDE... I am so humbled and excited to be apart of the amazing NEW NETWORK!!! Dishin' it WITH Dwight is taking a break today... I lost my voice and I am still recovering from NYC PRIDE 2010!!!!

Saturday, June 26, 2010

Zolra's Corner: Celebrate You

I will be attending Gay Pride down here in my hometown New Orleans. Honestly, it will be the first pride I ever attended. Just thinking about attending it is making me nervous. I want to start the weekend by giving ya'll some good advice. The LGBT community have been celebrating like crazy, I had thoughts about drinking pina colada Daiquiris. Then I remind myself I'm only 18 years old. Here is some advice I have given before, but I feel like it's the right time to talk about it again.

I am 18 years old, but work like a 25 year old. Most people are shocked at how my work ethic is. Not only that, but I am comfortable with who I am. If anyone asks me if I'm gay, I'm fine with that. I've got nothing to hide. You don't have to assume. Just ask me nicely.

Because of the fact that I am so young and becoming successful very swiftly, I feel like I have a responsibility for the younger audience in the LGBT community. Many people around my age are dealing with nonacceptance from family and friends. All this homophobia and criticism around them are starting to crush them like poison that can spread across the body in the blink of an eye.

For all the young ones out there, be comfortable with who you are. Only one person controls you're life and that's you. Take control and write your own story. Now that you're reaching adulthood, you are becoming 100% independent. At this time, focus on your life.

I love and accept who I am. No one forced me to be this. I have had feelings for guys since I was 2 years old. At times, I denied it. But as the years gone by, I realize this is who I am. When people see me doing what I've always wanted to do at 18 years of age, they imagine what I'll be like when I'm 25. Life is something. All we can do is accept it for what it is. A balance between positive and negative.

Surround yourself with people that are going to influence you to a better future. For me, it's great feeling to talk to people who i know is going to inspire me everyday. My friends Nathan "Seven" Scott and Dwight Allen O'Neal are one of the bests. I can speak and chat with them, knowing that I am not alone. I am not the only homosexual being on the planet. This is something that has been going on for years.

So for all the young ones that are still going through this, just know that we've been there. We've experienced it. We know what it feels like. Don't even think of yourself as an outside. Think of yourself as a human being just like everybody else.

It's time to celebrate people. Just like one of my favorite songs ever, it's time to celebrate yourself.

Friday, June 25, 2010

Your 10 Personal Favorite Michael Jackson Songs

By Waddie Grant

With the one-year anniversary of the death of Michael Jackson, a.k.a. The King Of Pop, looming tomorrow, I wanted to share with you all my ten personal favorite songs of Mr. Jackson.

Above all artists, his musical has been one of the most influential as far as how I want to express my own creativity. His trend-setting, thinking outside-the-box and social awareness significantly affected the music industry positively, and my creativity has been affected as well. I admired his perfection. I feel the emotions he spews in my favorite tunes of his. The upbeat tempos bring up my spirits where I want to dance whenever I hear them. Ultimately, Jackson’s music takes me onto an imaginary journey where I visualized my own visual soundtrack to his music.

Thus, these ten songs below are the Michael Jackson tunes I will never grow out of loving.

10. “In The Closet” (Dangerous album, 1992)

I love the New Jack Swing era of Michael Jackson. That kind of rhythm with one of Jackson’s sexiest lyrics and music videos kept me jammin’ for a long time. Also, this song has that extended instrumentation that was popular in the 80s and 90s that keep us party people dancing.

9.”Heal The World” (Dangerous album, 1992)

8.”Break Of Dawn” (Invincible album, 2002)

When I first listened to Invincible album, I remember loving every second of the album because I was glad that Michael finally released new music since his 1995 HIStory album. Immediately after, I realized how dated the album sounded, but this song stood out to me. I remember creating this beautiful imagery in my head of a beautiful, sunny morning atmosphere with the one I would love.

7.”They Don’t Care About Us” (HIStory album, 1996)

There are many sides of Michael that I love, and his militant side is what I appreciate the most. His pro-Black and caring for the world approach in his music about social injustice makes his catalog of music stand out above all other artists. I love singing the lyrics of this tune when I feel militant-minded. I even love the music video with Jackson protesting with the poor residents of Brazil.

6.”Ain’t No Sunshine” (Got To Be There album, 1972)

Who knew that a 14 year old male pop singer could sing a song with so much soul as Michael did with this remake of this Bill Withers classic? His vocal dynamics of this heart-wrenching soulful ballad made me feel the melancholy anguish of the lyrics. His rendition outperforms the vocal talents of his contemporaries twice his age.

5.”Got To Be There” (Got To Be There album, 1971)

I first fell in love with Chaka Khan’s remake of this tune before I even knew that Michael was the original singer from a decade prior. When I learned that revelation, I’m thinking Chaka’s version had to make Michael’s forgettable. Fortunately, I was wrong. Like “Ain’t No Sunshine,” I could not picture a young male teen singing his soul out like a seasoned adult performer about such experience a teen may be too young to endure. At that point, I realized Michael was able to sing anything at any age.

4.”Scream” (Naughty Pretty Pella remix) featuring Janet Jackson & Treach (HIStory album, 1995)

The pairing of Michael and his equally popular sister Janet made me go bananas on this tune. I admit that I was enamored with the high-tech music video more than the song’s album version until I heard the official remix with Treach of Naughty By Nature. The rock and neo-soul groove of the remix is one of my favorite instrumentations I have ever listened.

3.”Billie Jean” (Thriller album, 1993)

What is not to love about this tune? The bassline beat is the hottest. Jackson’s moonwalk changed the game of stage performance and became a legend instantly. The subject matter was ahead of its time, especially for a R&B/pop singer. I didn’t even understand what the lyrics were about. I was seven years old at that time. Regardless, I enjoy the song now as much as I did then.

2.”Man In The Mirror” (Bad album, 1988)

The humanitarian in Michael Jackson is what I will always admire most about his legacy. I remember being in middle singing this song all the time and realizing for the first time how I could be more socially aware especially about communities and countries who really need the help and love that I have been blessed to have.

1.”Remember The Time” (Dangerous album, 1992)

Hands down, this is my favorite song to perform at karaoke. I remember at first listen when I was 15 years how this song made me want to dance. The song could never get out of my head either…and that was before the video came out with all that Black star power and the hottest choreography of that era. When I got the Teddy Riley extended remix of this song, I fell in love with this song much more. I wish I had the talent of dancing because I would create the hottest choreography for this.

From this list you would think that Dangerous is my favorite Jackson album, but Thriller is really my favorite. What are your favorite Michael Jackson songs and albums?

It Is What It Is Pt. 9 by Karen Minors

Derek was a homicide detective with the Metropolitan Police Department. He spent a lot of long nights at work. We met during my third year in college when I came home for winter break. He was in the police academy at the time, and once he graduated, there was more training. He was Hershey chocolate brown with dark eyes. We were together for two years, but there was too much BMD. Baby Momma Drama. After awhile, I just couldn’t take it. Between his ex-girlfriend with whom he had no children and his daughter’s mother, I was living a life of the Young and the Restless.
His ex would show up at his family’s functions, and Derek always made an excuse for her. I guess I should have left his ass alone when I discovered the condoms missing from the pack and her number on caller ID. She would show up at his apartment and just sit outside waiting for him to come home. He used me as a scapegoat, and like a fool, I always took him back. When he hit rock bottom with his finances and there was no way out, he called his ex to bail him out. I remember one week I saw her car at his place every day and the two of them leaving out together in the morning; I could no longer take it. I cut him off completely and blocked his number out of my phone.

Wednesday, June 23, 2010

Arts.Advocacy+Wellness: "SPIT-ting with Gregory King, A Dance Intervention""

Cornelius Jones Jr. and A.A+W is

SPIT-ting with dancer-choreographer
Gregory King,

A Dance Intervention

Times Magazine described Jamaica as “The Most Homophobic Place on Earth”. Many people across the globe,
I believe, share similar feelings. Jamaican born, dancer/choreographer Gregory King speaks about his personal
struggles living in the country that has, and is still struggling with homophobia. Gregory King shares with us
this A.A+W Wednesday how he is addressing these issues through an artistic act of intervention by using dance
to promote positive social change in the eradication and stigmas associated with homosexuality, not only in
Jamaica but all over the world. King, an affirming black and gay identified man speaks to the notion of solidarity
for humankind, regardless of racial and sexual identity. Enjoy this meaty conversation. It is worth the read!

For those who may not know every detail about Mr. Gregory King, can you
please share where you are from and how you get your start in the
entertainment industry?

Jamaican born and raised, I never contemplated a career in the arts.
I remember wanting to be a pilot. (I know right). Went to high school,
graduated at 15 and realized that I didn’t want to go on to College.
There was a performing arts ensemble that was gaining a lot of popularity
at the time and they were having auditions. You had to sing,
dance and recite a monologue. This was the first time I felt a rush in
termsof being artistic. The name of the group was The Little People and
Teen Players Club and it was acting that first introduced me to the

How was life growing up in Jamaica, and briefly discuss the homophobia
that you experienced compared to what is experienced today?

When I was 12 years old, I went to visit my father at a bar he owned in Jamaica. My father was a police officer.
He was at the bar socializing with his friends and outside the bar was a gathering of men
that were perceived to be gay…I’m assuming by their actions and overly colorful
mode of expression. He took his gun out of its holster, held it my head and said, “If I ever found out that you’re gay,
I’ll shoot you”. My 12 year old didn’t know how to process that information,but the older I got, I became very angry
that we were living in a world where it was okay for parents to threaten their kid with guns.

The socio-political condition of the island prohibits the amicable display of any same gender affection. This sort of
hatred still permeates the island and is even expressed in songs performed by popular Jamaican entertainers.
Jamaican reggae star Buju Banton,32, is an avowed homophobe whose song Boom Bye-Bye decrees that gays
"haffi dead" ("have to die"). Banton's lyrics are hardly unique among reggae artists today.
Anotherpopular artist, Elephant Man (O'Neil Bryant, 29) declares in one song, "When you hear a lesbian getting
raped/ It's not our fault ... Two women in bed/ That's two Sodomites who should be dead."
Another, Bounty Killer (Rodney Price, 33), urges listeners to burn "Mister Fagoty" and make him "wince in agony."
In recent years, two of the island's most prominent gay activists, Brian Williamson and Steve Harvey, have been
murdered — and a crowd even celebrated over Williamson's mutilated body. Perhaps most disturbing, many
anti-gay assaults have been acts of mob violence. In 2004, a teen was almost killed when his father learned his son
was gay and invited a group to lynch the boy at his school. Months later, witnesses say,
police egged on another mob that stabbed and stoned a gay man to death in Montego Bay. And in 2006, a Kingston
man, Nokia Cowan, drowned after a crowd shouting "batty boy" (a Jamaican epithet for homosexual) chased
him off a pier. Times Magazine described Jamaica as “The Most Homophobic Place on Earth”. A lot of
people--straight and gay--go to Jamaica in huge jets and cruise ships from northern climates and swoop in for a winter
break along the warm shores near Montego Bay. They find like-minded sun bathers, gamblers, shoppers, drinkers,
swingers and divers to hang with for a week or two in palatial resorts along white beaches under swaying palm trees.
However, it’s a very different story for a gay traveler who comes looking for a community of queer friends in Jamaica.
They won’t easily find a bar, disco, party, magazine, festival or out-loud organization advocating a ‘gay agenda’; these
are virtually all underground, disguised, surreptitious or hidden behind a post office. A visitor will find that
homosexual acts are criminalized, that there are gay bashings, police homophobia, and a government who intends no
changes to the laws or treatment of gays there. Such is the dense and intense homophobia and aggression that
still saturates the island known for its sun and sand.

What ultimately brought you to The United States?
GK: When I was 17, I visited NY. I was walking down Christopher Street in the West Village and I saw two men
holding hands. That moment changed my life and I realized…right there and then, that I couldn’t live in Jamaica.
Ultimately, it was my desire to advance my training in Theatre that brought me to NY. I wanted to audition for the
theatre department at New York University. Unfortunately, I came a day late and didn’t make the audition. My friend
Kris suggested that I audition for the dance department. At this point, I had no formal dance training and went to the
audition with no expectations. I wore sweat pants and a t –shirt to the audition. What? Who does that? I was a hot
mess in that audition. I looked crazy. The chair of the department called me into her office and expressed that they
didn’t have my level at the school but would be willing to accept me in the program because I had potential. (laugh)
It was Donald Byrd who later said “potential means you ain’t doing shit!” I never did go to NYU because I couldn’t
afford it, but it was the fact that someone thought I had potential, that made me start to take dance classes.

You've dance with Donald Byrd and his former dance company Donald Byrd/The Group,
how was that experience?
GK: Well, just to be clear, I performed with his company in The Harlem Nutcracker for 3 years.
I wasn’t actually in his company. It was an overwhelmingly intimidating experience. I remember walking into
rehearsals for the first time and seeing Elizabeth Parkinson and Leonora Stapleton and while I felt good to be
in such amazing company; a part of me felt like I was a fraud. How did I get to this place? I felt like a
fish out of water but I approached the process with humility and eagerness. Because the production had already
completed its inaugural year, I wasn’t a part of the creative process. I did however inhale the rehearsal
process and later on, my role as director/ choreographer; found that the respect for my dancers and clarity creates
a more amiable work environment. This wasn’t the only time I worked with Donald. He asked me to be a part of
New York City Opera’s production of Camina Burana and I gladly accepted.

The Lion King was a huge part of your life, yes? Tell us more about your time on Broadway.
GK: Well I spent 7 years in The Lion King on Broadway. Seven long years. Lion King was my first and
only Broadway show and I’m so glad to have had that experience. It supplied me with the financial cushion
to produce my work and being able to pay my dancers was completely fulfilling. The thing I hated about The
Lion King
was the monotony of performing the same thing every night, 8 performances a week.
I’ll admit, every now and then I would embellish the given choreography just to bring a new, fresh energy.
In my mind, I felt like I was taking Garth’s (Garth Fagan) choreography and by injecting my own
artistic sensibility, would give new life to the otherwise, repetitive system. Little did I know…that Broadway,
specifically The Lion King wasn’t the place for individuality. I got so many notes reminding me that it
wasn’t the Gregory King show. Oddly enough, I never felt like I was disrespecting the show. I wanted to stay
clear of boredom and in so doing courageously brightened the stage…if you were!
This performing experience taught me to appreciate my dancers uniqueness. It also opened my
eyes to fact that art is ever evolving. (I’ll leave it at that.)

How has past experiences with Donald Byrd/The Group and
The Lion King lead you to choreography?
GK: Watching beautiful bodies move turns me on. …and not in a sexual way. It triggered in me, the need
to play. With Donald, I was completely fascinated with the way he manipulated movement. How he would
take a phrase and dissect it was genius. But it wasn’t only the manipulation of choreography, it was also
the social, political, religious and sexual references that made me
aware of the fact that choreography was more than steps. It is the physical embodiment of a
train of thought. The Lion King gave me access to some beautiful bodies to play with. I would ask dancers
to come play before the show or between shows. (and by play with me, I mean allowing me to
use their bodies to bring to life my movement).
The fact that I was surrounded by my peers also fostered the confidence for me to make work. These works
were sometimes performed as part of the Broadway Cares/ Equity Fights Aids fundraiser, which did reward
me with a few presentation awards for my choreography.

You just recently completed your MFA in Choreography from Southern Methodist University
and I am so amazed in the fact, that you bypassed obtaining a BFA and went straight into and MFA program.
That's like Alec Baldwin recently receiving his honorary Doctoral degree from NYU (Well...sort of!). But
seriously, congratulations on that accomplishment. Can you share with us your experience at
SMU and if this honor has had an impact on your life now?
GK: Receiving my MFA without having a BFA was a huge accomplishment. But I will say this, Grad School
after the real world is no place for the faint of heart. (laugh). Although my Grad School experience was horrible,
I left SMU knowing what not to do. It provided me with a model that I didn’t want to follow. I have
three memories of my time at SMU that I would like to share:

(1) I was told by a professor that when I argue a point, I should be less passionate.
(2) The same professor told me that if I didn’t like their rules, I can leave.
(3) I was put on probation for saying fuck in class. ARE YOU KIDDING ME?
No it wasn’t all bad. I think I’ve grown as an artist and I’m ready to go wherever my artistry will take
Having my MFA allows me the opportunity to teach at a tertiary level. It also expands
my options when it come to careers in the arts and let’s face it…Gregory King MFA just sounds really cool!

SPIT.... sounds provocative...edgy...sounds damn right dirty!!!
It's the title of your newest work of choreography, which landed
you a feature in The Dallas Voice. I found
to be unapologetic,
radical, and moving me in so many uncomfortable but good ways.
Please share with us why you chose to create this beautifully engaging piece
charged with such a strong and important message.

GK: “Spit” came out of my own life experiences and I wanted to use my choreography to highlight a social
issue that affects me on a personal level. As a people, we have worked hard to eradicate racism
(although it still exist), from the forefront of our social projection. We have huddled together to eliminate sexism
from the workplace and subsequently, the stage. Heterosexism has lived in our society for way too long and
with gay pride parades around the world, there is the unspoken belief that it doesn’t affect our psyche;
what we see as right and what we see as normal. I wanted to create “Spit” in order to challenge the perspective
of individuals who see the world through hetero-normal lenses. I wanted to redirect the focus at empowering
the individual and give voice to the socio-political issue of sexual orientation as it exist in a vicious world
that violently disapproves of same sex affection. I really wanted the piece to act as a catalyst in the
conversation surrounding the fact that the world cannot be defined in exclusively heterosexual terms.

You may have answered this, and for those who are
curious about the title alone, why title it SPIT?

GK: Spitting, literally, dribbles contempt, and it is the noxious, vicious disdain of the act that makes it such a
powerful and intimate insult. The appeal of spitting is the effortless momentary disrespect it conveys,
while the person on the receiving end must experience the full humiliation of the splash, the
dribble and the ungainly wipe. As it relates to my choreographic idea, the ripping and robbing someone of the
right to live freely, is indeed an act of disrespect. It is belittling, insulting and a brutal way to invade someone’s
psyche. Hence the title “Spit”.

In SPIT you have your dancers crawling over a huge brick wall
that is a bit distressed. What is the metaphor behind this wall
and the climbing over?

GK: The 1952 painting of Afro-American Hughie Lee- Smith title “The Wall” inspired the wall in
Spit. His wall is an allegory for prejudice and how each of us deals with it on a personal level. The rotting
wall represents the obstacles of racism and general prejudice. To be gay in addition to being
black is to be constantly climbing over walls. At least, this is what it seems like most of the time. The wall
is a metaphoric barrier and as a black gay man, I have had to make decisions, about which wall to
climb over, which wall to break down, and from which wall to walk away.

The illumination of the follow spot on the one dancer
reminds me of a police helicopter searching
for a criminal, was that intentional? and how so?
GK: I’m not sure where in the piece you are making reference to, but the only section where a follow
spot was used was in the first section of the ballet. The spot was manipulated by the lone
dancer downstage of the action. I wanted to play with the idea of the audience viewing the actions of the
dancers through the eyes of the person with the follow spot. The follow spot does have an oppressive
feel and it was my intention to have it read that way, be it from a helicopter or a police officer shining a flashlight
in your face.

The throwing of the sand for me symbolizes Jesus being lashed on the cross
numerous times. What's the relation to the self and identity when
religion, sexuality, and homosexuality intersect in this moment?

GK: I wanted to use the throwing of the sand as a symbol of stoning which is a form of capital punishment
in which the convicted criminal is put to death, generally by a crowd. In some cultures, this was seen as
allowing the larger community to participate in the administration of justice. Stoning has been used since
ancient times to punish people judged as criminals; these included prostitutes, adulterers, and murderers.
The act in itself is inhumane and I wanted to show the act in a raw, provocative manner. My goal was to
provide an experience that conjured a visceral reaction.

I know, when choreographing a project for a thesis,
sometimes we are limited on the type of performers we have in mind.
Still to this day black LGBT/same gender loving men and women continue
to be ostracized by some religions and more specifically in the black churches,
I naturally assumed your cast would consist of all black male dancers.
However, you use black dancers with white dancers, yes? Is there some
sort of socio-political reference you are challenging or questioning?

GK: Okay. First let me say I went to Grad school in Dallas. Dallas, Texas. Southern Methodist
University is highly conservative so just getting “Spit” on the stage was a huge feat. After I presented
my proposal, I wasn’t sure how the faculty would react to the title and the subject matter. When I started
writing the proposal, I wanted the three strongest dancers in the program, it just so happened that one was
Caucasian. I wanted the narrative to be believable and to be performed with strength, vulnerability and passion.
I had a story in mind and ideally, I would have used three black dancers to be culturally, historically and
geographically true to the work. Having the one Caucasian dancer did add another element. An element
I welcomed because heterosexism and racism, exist outside of my personal story.

Talk briefly about the change of music towards the end of
the piece and the last moment with one dancer left on
stage, the other 2 pushing against the brick wall, and the return of
the heartbeat.

GK: The music was an original composition by Oscar Williams Jr. In our collaboration, I had a very
clear idea for how the music should sound. I wanted the music in the third section to be gripping and
hopeful. The ballet ends with two dancers moving towards the wall. One dancer has secured his position
close to the light where he will continue to be threatened by anything different or out of touch with his sense
of normalcy. The sheer determination to get over the wall drives the other two dancers and the fight to
be free results in one dancers succeeding. I went back to the heartbeats to reference the journey and
to play with the choreographic form ABA.

So we've dissected the piece enough. Can you tell how moved I am by it!
Gregory, share with us how you compose your

How do you create?

GK: I usually start with the overall concept of the piece. I decide whether I want to tell a story
or have it be abstract. Because I’m interested in telling stories that are compelling and rooted in truth,
I build phrases that include pedestrian gestures. I rely on the experiences of my dancers to bring to life
my vision and as a result the experience of the audience to access the information being shared. I try
to create a rich vocabulary that is usually a fusion of classical ballet and modern dance with a pedestrian
sensibility. I call this an urban fusion, which lends truth to my heritage and training. All my dancers
are equally important to my creative process. I try to create a healthy working environment by treating my
dancers with respect. I encourage laughter. I actively engage the dancer so they feel connected. In
the studio, it’s a collaborative effort. No two dancers are alike so I encourage individuality and in so doing,
pull from the strength of each dancer. Art is a constant process. The job is never done. But somewhere
along that journey you get to a point where you are willing to share with the viewer. When you get to that point,
you are open to feedback, negative or positive. This you then take so you can climb the next rung of your
creative ladder.

What's the hope
? The future?

GK: I would like a wide cross section of the community to see “Spit.” It’s my intention to build “Spit” into
an evening length work and use it as an educational tool in schools and community arts forums. As you know
the expansion of any project takes money. So, I’m hoping to receive a grant for this undertaking. Who knows,
maybe this article will open the pockets of an arts patron. (smile)

Specifically speaking about Gregory King.
What inspires you on a daily basis? And what is your Vision,
for your life, in the next 5 years?

GK: My dancers are my inspiration. They are open and they trust my process. It is this openness that
allows me the opportunity to experiment and explore different movement possibilities. Currently, I’m teaching at
Richland College in Dallas and I think I’m slowly owning in on the fact that I may be anti institution. Not in
an academic sense but in a way that stays clear of anything that rejects new ways of thinking. I would
like to push the trajectory of dance by challenging existing ideology and generate new options. I would like to
be a part of a new group of artists who believe that self-exploration triggers artistry. I would love
to work with arts organizations to help create performance opportunities for the under represented while setting
politically charged work on different companies and in various academic institutions.

This is a Future one guilty pleasure....
GK: McDonald’s Sausage McGriddle. It is so good.
Don’t judge me. (with a smile on my face)
copyright 2010, Cornelius Jones Jr.

Thank you
For more information on Gregory King and SPIT:

with Cornelius Jones Jr.
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