SHEMAD

Cynthia Oliver; Rhetta Aleong; Cynthia Bueschel; Renee Redding Jones; Melissa Wynn; Jason Finkelman; Geoff Gersh; Charles Cohen

SHEMAD

Cynthia Oliver (Choreographer), Rhetta Aleong (Performer), Cynthia Bueschel (Performer), Renee Redding Jones (Performer), Melissa Wynn (Performer), Jason Finkelman (Composer), Geoff Gersh (Composer), Charles Cohen (Composer)

Research output: Non-textual form › Choreography

Abstract

SHEMAD is a full evening choregraphic/performance work by Oliver that addresses notions of women gone mad. Utilizing Caribbean mythologies behind women who contain immense power over others in their respective communities, Oliver asserts some diagnoses of “madness” has become a method designed to manage, and contain women’s power and potential in society. This new work problematizes the notion of madness as it has been presumed in our culture and complicates the way the term has been used within communities of women, men, and larger social constructs in both the Caribbean and the Americas. SHEMAD questions the ways in which categories of speech are employed to determine women who do not “behave” as mad, and tells stories which vocally, physically, and musically embody devices that have been used to “contain” mad women. SHEMAD is an evening length piece with five amazing, dancing, talking women, live music, beautiful costumes, and of course HIGH DRAMA.

Original language	English (US)
State	Published - 2000

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Oliver, C. (Choreographer), Finkelman, J. (Composer), Gersh, G. (Composer) & McDonald, A. (Costume designer), 2001
Research output: Non-textual form › Choreography

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title = "SHEMAD",

abstract = "SHEMAD is a full evening choregraphic/performance work by Oliver that addresses notions of women gone mad. Utilizing Caribbean mythologies behind women who contain immense power over others in their respective communities, Oliver asserts some diagnoses of “madness” has become a method designed to manage, and contain women{\textquoteright}s power and potential in society. This new work problematizes the notion of madness as it has been presumed in our culture and complicates the way the term has been used within communities of women, men, and larger social constructs in both the Caribbean and the Americas. SHEMAD questions the ways in which categories of speech are employed to determine women who do not “behave” as mad, and tells stories which vocally, physically, and musically embody devices that have been used to “contain” mad women. SHEMAD is an evening length piece with five amazing, dancing, talking women, live music, beautiful costumes, and of course HIGH DRAMA.",

author = "Cynthia Oliver and Rhetta Aleong and Cynthia Bueschel and {Redding Jones}, Renee and Melissa Wynn and Jason Finkelman and Geoff Gersh and Charles Cohen",

year = "2000",

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A2 - Bueschel, Cynthia

A2 - Redding Jones, Renee

A2 - Wynn, Melissa

A2 - Finkelman, Jason

A2 - Gersh, Geoff

A2 - Cohen, Charles

PY - 2000

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N2 - SHEMAD is a full evening choregraphic/performance work by Oliver that addresses notions of women gone mad. Utilizing Caribbean mythologies behind women who contain immense power over others in their respective communities, Oliver asserts some diagnoses of “madness” has become a method designed to manage, and contain women’s power and potential in society. This new work problematizes the notion of madness as it has been presumed in our culture and complicates the way the term has been used within communities of women, men, and larger social constructs in both the Caribbean and the Americas. SHEMAD questions the ways in which categories of speech are employed to determine women who do not “behave” as mad, and tells stories which vocally, physically, and musically embody devices that have been used to “contain” mad women. SHEMAD is an evening length piece with five amazing, dancing, talking women, live music, beautiful costumes, and of course HIGH DRAMA.

AB - SHEMAD is a full evening choregraphic/performance work by Oliver that addresses notions of women gone mad. Utilizing Caribbean mythologies behind women who contain immense power over others in their respective communities, Oliver asserts some diagnoses of “madness” has become a method designed to manage, and contain women’s power and potential in society. This new work problematizes the notion of madness as it has been presumed in our culture and complicates the way the term has been used within communities of women, men, and larger social constructs in both the Caribbean and the Americas. SHEMAD questions the ways in which categories of speech are employed to determine women who do not “behave” as mad, and tells stories which vocally, physically, and musically embody devices that have been used to “contain” mad women. SHEMAD is an evening length piece with five amazing, dancing, talking women, live music, beautiful costumes, and of course HIGH DRAMA.

M3 - Choreography

ER -

SHEMAD

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