{"id":396,"date":"2007-03-21T14:44:41","date_gmt":"2007-03-21T21:44:41","guid":{"rendered":"http:\/\/www.artsjournal.com\/foot\/wp\/2007\/03\/go_tamangos_urban_tap\/"},"modified":"2007-03-21T14:44:41","modified_gmt":"2007-03-21T21:44:41","slug":"go_tamangos_urban_tap","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/foot\/2007\/03\/go_tamangos_urban_tap.html","title":{"rendered":"GO: Tamango&#8217;s Urban Tap"},"content":{"rendered":"<p><em>[When Foot contributors see something that excites us so much, we can&#8217;t stand the possibility that you might miss it, we&#8217;ll post a short plug. Apollinaire has done only a few so far. This one is from Eva Yaa Asantewaa and continues on her Web site. DO click!]<\/em><br \/>\nYou have to see Tamango. You simply have to. The way you have to see Paris. Or Stonehenge. Or the Niagara Falls.<br \/>\nAnd if you hurry, you can do it right now through March 25 at the <a href=\"www.joyce.org \">Joyce Theater<\/a> where Tamango&#8217;s Urban Tap presents &#8220;Bay Mo Dilo&#8221; (Give Me Water). (For tickets: 212-242-0800.)<br \/>\nPremiered last fall in Miami, &#8220;Bay Mo Dilo&#8221; (Give Me Water) is a fine multimedia production dedicated to the memory of the French Guianan poet and scholar L\u00e9on Gontrand Damas. Renowned dancer-choreographer Tamango, born in French Guiana and reared in France, runs a tight ship. The show comes in at a neat 75-minutes in length and everything locks together and works: percussion, vocals, dancing, lighting and especially &#8220;Naj&#8221; Jean de Boysson&#8217;s video backdrop.<br \/>\nDe Boysson shares directing credits here with Tamango and rightly so. His exhilarating video, spread over one large central screen and two wings, embraces and grounds Tamango&#8217;s choreography in the lush, natural context of rain-blessed Latin tropics while spinning it into decidedly headier, hazier realms of sun-dazzled imagination. He&#8217;s the perfect collaborator for a master tap dancer who mixes exquisite movement skills, intricate rhythms of the Creole diaspora and modern sound technology.<br \/>\nThe show begins with a deceptively sleepy pace. In de Boysson&#8217;s video, the fiery ball of the sun bores a hole through thick cloud cover. Vado Diomande&#8211;a masked stilt dancer who hails from the Ivory Coast&#8211;seems to take forever to rise from the floor to full height, but when he finally stands tall, he&#8217;s heaven&#8217;s own rooster brusquely waking us to full awareness with his piercing cries.<br \/>\nContinue reading Eva&#8217;s review <a href=\"http:\/\/mysite.verizon.net\/magickaleva\/id22.html\">here<\/a>. You need to scroll down a bit.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[When Foot contributors see something that excites us so much, we can&#8217;t stand the possibility that you might miss it, we&#8217;ll post a short plug. Apollinaire has done only a few so far. This one is from Eva Yaa Asantewaa and continues on her Web site. DO click!] You have to see Tamango. You simply [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-396","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/396","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/comments?post=396"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/396\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/media?parent=396"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/categories?post=396"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/tags?post=396"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}