Come home Charley Patton
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Come home Charley Patton is a moving and an imaginative memoir documenting the Civil Rights Era and contemporary southern culture. Intricately layered and. For Part 3: Come home Charley Patton (premiered ), Lemon returned to America. Here, he visited charged sites from the volatile history of the Civil Rights .
J's Theater App on iTunes. Saturday, March 05, Ralph Lemon: Come home Charley Patton.
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Tonight I was fortunate enough to see one of the final performances of the third part of Ralph Lemon 's dance theater Geography Trilogy: I saw it thanks to wonderful colleague who's a major scholar of dance and who participated in several events surrounding the show. She was able to get me a comp ticket, so I drove down to Chicago's Museum of Contemporary Art to experience Lemon and his troupe performing.
Come home Charley Patton is an emotionally provocative, wrenching and uncanny show. Wrenching and provocative because of the many tragic thematic threads racism, lynching, suicide, the Civil Rights movement, etc. Uncanny, because Lemon , in this work, enters into dialogue with the past, with the ancestors, with the spirits and the Spirit, with our ghosts, and he embodies these home-y and yet defamiliarizing conversations in the dances themselves, in the show's multiple screens one showing a cartoon James Baldwin, the other scenes of Lemon in Duluth, where the lynching the show focuses on took place, but also in parts of the South , in the doublings and pairings and moves far beyond naturalism or the commonplaces of 20th century avant-garde dance practice--there's a moving mic stand, two hidden ladders Nardi Ward's, but also the Jacob's, Puryear's, Cixous'?
Charley Patton is a collage, layers upon layers, a densely tissued dance-text brimming with parallels, correspondences, fractures: It begins and ends with Baldwin's speaking figure, which frames two scenes in part with water: In between Baldwin and Baldwin, the wading and the waterhose, we get snippets of narratives, from which Lemon migrates through motifs that become the ground for individual and group dances: The Bontemps narrative shades into one about a man, Elias Clayton, who was lynched in Duluth, Minnesota.
Lemon, on video, visits the spot where the tree stood, where a monument stands. He dances in commemoration, in echo, on screen. Such is the nature of Lemon's Trilogy. The exciting thing about watching Lemon's work is seeing these references develop and multiply.
The piece is highly talky, however, and at times the dancing feels disconnected from the rest of the piece, a sort of filler in between the more important moments of talk. In the first two installments Lemon searched across cultures in Africa and Asia. In this installment, Lemon poured through his own racial history. The material is still raw. He did his research in both his hometown of Deluth , MN , and throughout the South; as he worked out pieces of "Come Home," he performed them in the intimacy of his subjects' living rooms.
Still, the complexity of image and structure do lead to poignant moments of movement. One appears near the end of the piece.
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Throughout many of the dance sequences, dancers use a loose-limbed, shuffling southern slave vernacular. At times, with their falling and standing up over again, they resemble black-faced vaudevillian minstrels. Lemon, however, takes this motif to its conclusion when the stark white backdrop he created for the stage lifts to reveal a separate, small stage lined along the back with clear plastic shower curtains.
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As Lemon begins to dance, two of the men aim a police hose in his direction. Try the Kindle edition and experience these great reading features: Share your thoughts with other customers. Write a customer review. Showing of 1 reviews. Top Reviews Most recent Top Reviews.
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