In 2001 artistic director Nathan Trice created the (RWP) Recognizing Women Project, an annual 6-month research initiative that creates educational residencies and artistic performances about the experiences and stories of women across generations, cultures and geographies. From Fall through-out spring the RWP initiative brings together a multi-generational and multi-cultural group of adolescent, young adult and adult female dancers, with students and practitioners of the social sciences to work as a research analysis team. Their aim is to explore the inter-sectional dynamics of their experiences and create visceral thought-provoking performances inspired by the their findings.

Since 2001 the RWP has explored: Self-Identifying within patriarchal culture, Contemporary rites of passage among mothers & daughters, Female objectification / self-objectification, Myth and Grief. 

Our 2021/22 creative process will explore the question, “How do fathers recognize, understand and support their daughters”?  Through an ongoing community dialogue the delves into fathers and daughters stories and experiences, we aim to developed a new work that gives insight into current practices, as well visions of fathering daughters into the future.                                                                                                                                                                                                          “My mother hoped of a future culture where father and daughter relationships evolve through their divine presence”.

The RWP is committed to transforming ones personal culture, as a pertains to self-healing, authentic identity and spiritual salvation.

Recognizing Women Project has 2021-2022 creative and performance residencies at Alpha Omega Studio, RestorationART and Snug Harbor.

Highlights:

Testimonies:

Process:

Since 2001 the Recognizing Women Project has worked collaboratively with dancers and students enrolled Women’s and Gender Studies, Africana Female Studies, History, Sociology and Psychology departments at Fordham University, Brooklyn College, Hollins University, Adelphi University, Barnard, Columbia University, Brooklyn Arts High School, Fort Hamilton High School, Talent Unlimited High School and Taft High School. Our inter-disciplinary collaborative processes have become an integral tool to producing informative thought-provoking work, that subsequently bridge art and academia in ways that present new insights into women’s experiences. Work developed through the Recognizing Women Project has been presented at numerous dance festivals and the International Society for Psychological and Social Approaches to Psychosis and the Association of Psychoanalysis Culture and Society. The RWP was born out of the Judson Church (DADD) Dance Of African Descent Downtown series, created and curated by Aziza.

As we prepare for the 2019/20 season of the Recognizing Women Project, we ask for your help to ensure that we successfully engage this unique and timely project, by making a tax-deductible donation to: nathantrice/rituals dance theater
Donations made to nathan trice / RITUALS dance theater supports our goal to continually present artistic educational residencies and performances, that inspire dialogue and activism around women’s concerns across cultures, generations and geographies. Please make a donation today.

Press

Nathan Trice’s Recognizing Women Project is the result of years of work and a life-time of learning about women
– 
Quinn Batson, Off, Off, Off Dance

Trice’s Recognizing Women Project delivers the poetry of a mothers struggle to love her child, yet let them go
– 
Nana Euka, New York Metro

Orondava’s beautifully conceived and executed costumes evince the culture background of each woman in “MOTHERS”
– 
Carl Paris, Attitude Magazine

I, the object in my eye (work-in-progress) 2018

Choreography: Nathan Trice in collaboration with the dancers, Music: Ryuchi Sakamoto, Text: Dancers, Costumes: Nathan Trice.

I, the object in my eye explores what might be the contributions to adolescent, young adult and adult  female self-objectification in America.

https://youtu.be/mWQe85eXNNM

“3” a new production (2017)

Choreography by Nathan Trice. Music: Arvo Part, costumes: Nathan Trice

“3” is a new production and is inspired by sacred middle eastern verses: The universe is feminine. A gift of light and dark, time and timing, creation and destruction. “3” was originally commissioned by Dance New Amsterdams’ In The Company of Men series in 2006.

MOTHERS (2002)

Choreographed by Nathan Trice, Music: Hanz Zimmer & James Horner, Costumes: Olu-Orondava Mumford, Props: Marisa Lowenstien

MOTHERS is conceived and conceptualized by Nathan Trice with Olu-Orondava Mumford & Marisa Lowenstien and is a procession of solo’s that interpretively explore the processes and aspects of grief for the mothers of prominent figures: Mahatma Gandhi, Ernesto “CHE” Guevara, Adolf Hitler, Jesus Christ, Martin Luther King Jr., and Tupac Shakur.

banDrui (2004)

Choreographed by Nathan Trice, Music: Various, Costumes: Nathan Trice & Elana Commendador

banDrui conceived and conceptualized by Nathan Trice, is inspired by indigenous myths and legends on rites of passage between mother and daughter.  The work is a progression of ritualistic exchangeable roles that illuminate the spiritual symbiosis between mother & daughter that serves as the germ of identity and linage.

One’s Trilogy (work-in-progress) 2011

Choreographed by Nathan Trice, Text by Nathan Trice and the dancers, Music: Thomas Newman, Costume: Nathan Trice.

One’s Trilogy (work-in-progress), conceived and conceptualized by Nathan Trice, is inspired by me learning how to be with mother whom at a period of her life suffered from paranoid schizophrenia and 8 years of homelessness while we both seek understanding to who we were and are, as mother and son.

Their Speech Is Silver, Their Silence Is Gold (1997)

Choreographed by Nathan Trice, Music: Peter Gabriel & Nathan Trice, Text: Nathan Trice, Costumes: Olu-Orondava Mumford.

Their Speech Is Silver, Their Silence Is Gold  is an evocative visceral piece of choreography in responds to the experiences, exchanges and transformations that occur within and between mothers and daughters who aim to self-identify with-in a patriarchal culture/society.