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| Camille A. Brown |
By Darlene Donloe
Camille A. Brown, the founder and artistic director of Camille A. Brown & Dancers, is known for being edgy, dynamic, and inventive.
With boldness, she unapologetically explores issues of race, culture, and identity.
Committed to empowering communities through dance and dialogue, Brown, an award-winning choreographer, has been recognized for bringing life to Broadway shows like for colored girls who have considered suicide/when the rainbow is enuf, Choir Boy, and Once On This Island.
Brown’s award-winning choreography reclaims the cultural narrative of African American identity. The show allows her work to tap into both ancestral stories and contemporary culture to capture a range of deeply personal experiences.
Through dance and dialogue, Brown empowers Black bodies to tell their story in their language(s).
Brown credits legendary dancer, actress, and director Debbie Allen for providing her with profound mentorship and impactful guidance during her career.
The dancer, choreographer, director, and dance educator, who congruently choreographed commissioned pieces for dance companies, Broadway shows, and universities brings her energetic choreography to the Wallis Annenberg Center for the Performing Arts in Beverly Hills where Allen serves as a board member. Performances are set for two nights on January 12-13.
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| Camille A. Brown |
I recently caught up with Brown (CAB) to talk about her career and her upcoming show.
DD: Describe what it has been like working with a dance legend like Debbie Allen. What does having her in your corner do for you?
CAB: It means the world! I have been inspired by Debbie Allen ever since FAME was on TV. She was so powerful. Her words and the tools she gave the students reminded me of my training as a young dancer at Bernice Johnson Cultural Arts Center and Carolyn Devore Dance Center. In high school, I wrote essays about Debbie Allen. If I was asked who I looked up to, I always said her name... To watch how she has expanded her career—from dancer to choreographer, to director for film and television, and on and on. She created her lane, and by doing so, permitted us to believe that all things are possible.
DD: What is the most important thing you’ve learned from Debbie Allen?
CAB: Always be on your A-game.
DD: How does dance amplify the cultural narratives of African American identity?
CAB: Dance is a part of the cultural narrative of African-American identity. Through social dance specifically, we can see a place, a time, a movement. Dance can move us through centuries, tell us about our history, and bring us right into the present with one move. It is a language, and through movement, we see our identities.
DD: Why does bringing this show to LA matter?
CAB: I can only speak for myself. It matters to me because it allows me to share my perspective through my lens. There’s nothing like being able to speak your mind and create your own space to see whatever you want. I am very honored The Wallis has brought The Company here.
DD: You recently made your Broadway directorial debut on the Broadway revival of For Colored Girls…, and became the first Black female to be nominated for a Tony Award as both director and choreographer for a play on Broadway in over 67 years. Talk about what that means to you.
CAB: I’m not sure I can fully express through words how that entire experience changed my life. I always wanted to choreograph for theater and Broadway, but I never thought I would have the opportunity to direct and choreograph a Broadway show. I dreamed about it, but when it became a reality, it knocked me out. And the fact that it was one of Ntozake Shange’s most celebrated plays. No pressure! I had the honor of meeting Ntozake Shange, and she interviewed me for her book. I was captivated by how necessary dance was to her work and practice. When I was asked to direct and choreograph For Colored Girls..., I remembered our conversation and her love of dance. With For Colored Girls..., she was making the statement that dance is just as important as the text. The story must live through the words and how they are delivered but also how the body moves. And then to be nominated for a Tony as director and choreographer… I just wanted to give my all and give it my best shot. It felt amazing to be seen and acknowledged. It was a giant step in my career.
DD: You also made history as the MET Opera’s first Black director, co-directing and choreographing the production of "Fire Shut Up In My Bones. This is clearly your time. How do you process all of your success? What does something like this mean to you, and more importantly, what does it do for those coming behind you?
CAB: Thank you so much. I just think about the climb. People see your successes, but they rarely see what it took to get you there. I am thankful for both the highs and the lows. It all makes you who you are. Hopefully, it shows people—particularly young Black girls—that we can be anything we want to be. There may be challenges but keep climbing. If they say no, you say yes and you keep climbing. If the door is shut, find another way, or make your own space... Being the first at anything is a massive undertaking. You are learning in real-time, and everybody is watching. I zone in and focus on the work.
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| Camille A. Brown |
DD: Describe what the audience will see at the upcoming performance at the Wallis Annenberg Center for the Performing Arts.
CAB: Yes! The Company is performing a work that we premiered in 2017 called ‘ink’. It celebrates the gestural language of African American culture through my lens. These movements are used to tell stories of love, brotherhood, and community. The Company includes our musicians as well who will be performing on stage. We dance about being a community and we really are one.
DD: Is it the same show on both days? If not, please describe each show.
CAB: It’s the same show, but I always say we are different from who we were yesterday. We’re going to bring our present selves to the space. It’s not about recreating what we did the night before. We’re taking the same journey but are open to discovering new things.
DD: How do you come up with the narrative for your shows?
CAB: It normally starts with a feeling. The inspiration behind 'ink' was wanting to celebrate Black Joy. What that looked like in some manifestations. I say some because there are so many ways we can show what Black Joy looks like. This is just my way.
DD: What is the story you’re trying to convey?
CAB: Gestural language and history living in the body to create Black joy and community.
DD: What is it about dance? What does it do for you?
CAB: I used to get teased about my voice when I was younger, so I didn’t always want to speak. Dance gave me the space to share my voice.
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