KST Blog

Welcome to the KST Blog!

The KST Blog serves as an alternative view of the KST programming, showcasing our artist talk series, press, and more!

  1. RELEASE: KST’s Freshworks Residency Program Invests in Pittsburgh’s Emerging Artists

    Barbershop Talk by Yusef Shelton (Ys1) and Heavy Is The Crown by Arnita Simone Honor Black History and Culture Through Music and Dance

    Kelly Strayhorn Theater (KST) is thrilled to support performances in progress from local artists through the theater’s ten-week Freshworks residency program. In the program’s 11th year, KST will present two shows: Yusef Shelton (Ys1)’s Barbershop Talk on Friday & Saturday, October 4 – 5, at 7:30 pm, transports the audience into the heart of Black barbershop culture with music. On Friday & Saturday, November 1 – 2, at 7:30 pm, Arnita Simone’s Heavy Is The Crown honors the beauty of Black hair and the Black diaspora through dance. Immediately after each performance, the audience is encouraged to respond to the work and share feedback with the artists at a post-show discussion.

    Each season, KST incubates two Freshworks performances by artists based in the greater Pittsburgh region. The theater provides artists with planning support and guidance, studio space, production staff, lighting and sound design, an honorarium, and a resource budget. In weekly meetings, artists exchange ideas with KST’s Programming team and receive administrative and technical support across various departments. Facilitating a space for the first iteration of the artist’s project to develop as they collaborate with others is at the heart of the program.

    Ys1 and Simone learned about Freshworks through their past engagement with KST’s programs and felt drawn to apply. Ys1 previously participated in Fully Expressed: The Lyricist’s Journey (2022) as a Hip-hop artist. Simone has been a teaching artist for the Adult Jazz Heels class at KST’s Alloy Studios in partnership with PearlArts and has also collaborated with Fall 2023 Freshworks artist Andraya Rand-Mathis. Ys1 and Simone have grown creatively inside the KST community over the years and are now bringing their ideas and experiences to the next level.

    “After working with both Ys1 and Arnita Simone in various capacities over the past two years, as a next step in our relationship and their career trajectory, the residency allows for a more focused developmental period towards building a new production, which the artist can continue to incubate on their own or in collaboration with KST following the residency. The program helps lay out the steps towards a sustainable career,” said Ben Pryor, Programming Director at KST.

    The 2024-2025 Freshworks application cycle attracted a record number of applicants, marking the most interest KST has seen since the program’s inception in 2013. Recent Freshworks artists have explored themes like internet culture, self-care, and ancestral memory. This season, KST is pleased to present two new works by Ys1 and Arnita Simone that coincidently complement each other and reflect on aspects and histories of Black hair culture in different artistic forms.

    Yusef Shelton (Ys1), Photo by Tosin Adebayo

    Barbershops have long been centers of economic prosperity and societal transformation, serving as safe havens for Black folks and homes for the early hip-hop scene. Through original live music, spoken word, and dance, Barbershop Talk by Ys1 immerses the audience in Black barbershop culture, bringing to life the candid conversations and shared experiences that make these spaces transformative.

    Artist Arnita Simone in black top posing in front of camera

    Arnita Simone, Photo by Jenna Taddeo

    Heavy Is The Crown is a celebration of African American culture and the beauty of the Black diaspora. In this contemporary dance performance in progress, Arnita Simone explores the interconnected, sacred histories of Black hair traditions, honoring them while educating audiences about the fascinating origins and revolutionary applications of these styles.

    KST’s Programming Manager Sarah Gilmer facilitates the program: “Both performances honor Black culture, specifically relating to hair, and invite audiences to engage with some of the rich histories and communal practices that shape the Black experience. I’m excited for us to explore and celebrate the strength, identity, and vulnerability brought forth in these new works by artists from Pittsburgh.”

    KST remains committed to fostering creative experimentation and supporting emerging artists. We look forward to introducing Ys1 and Arnita Simone’s powerful new works to our community.


    Freshworks: Yusef Shelton (Ys1), Barbershop Talk

    Friday & Saturday, October  4 – 5, 2024 | 7:30pm – 9:00pm (including discussion)

    KST’s Alloy Studios | 5530 Penn Ave.
    Pay What Moves You: $15 – $30

    Tickets for Barbershop Talk are available on a sliding scale, from $15 to $30 per attendee, and can be purchased at kelly-strayhorn.org or at the door.

    Freshworks: Arnita Simone, Heavy Is The Crown

    Friday & Saturday, November  1 – 2, 2024 | 7:30pm – 9:00pm (including discussion)

    KST’s Alloy Studios | 5530 Penn Ave.
    Pay What Moves You: $15 – $30

    Tickets for Heavy Is The Crown are available on a sliding scale, from $15 to $30 per attendee, and can be purchased at kelly-strayhorn.org or at the door.


    ABOUT THE ARTISTS

    Yusef Shelton (Ys1) is a multidisciplinary artist known for his innovative blend of music, storytelling, and visual aesthetics. With a passion for exploring cultural narratives, Ys1 creates immersive experiences that resonate with diverse audiences. From humble beginnings, Ys1 has performed at prestigious venues including Carnegie Mellon University and the August Wilson Center. He recently launched his merchandise line, “Da First,” and his new album Ignite, which showcases his boundary-pushing resilience and commitment to purpose-driven art.

    Arnita Simone is a choreographer, and creative director from Pittsburgh. After earning a Psychology degree from Clarion University in 2019, she pursued the arts, holding positions such as teaching artist for Propel Schools, Manager of Residential Programs for Pittsburgh Ballet Theatre, and dance instructor for various studios, including KST’s Alloy Studios. Inspired by the human psyche, history, and cultural influences, her mission is to express through movement and art the unspoken and often overlooked nuances of life. She aims to leave her audience with new insights and perspectives.


    ABOUT FRESHWORKS

    Freshworks is KST’s creative residency for artists and collaborators based in the greater Pittsburgh region. Freshworks made its debut in 2013 and supports playful exploration in performance through interdisciplinary work in contemporary dance, theater, music, and multimedia.

    The program provides artists with planning support and guidance, studio space, production staff, lighting and sound design, a stipend and resource budget, and encouragement for creative risk taking. Artists are invited to apply either as an individual or as a collaborative group.


    ABOUT KELLY STRAYHORN THEATER

    Named after 20th century entertainment legends Gene Kelly and Billy Strayhorn, both natives of Pittsburgh, Pennsylvania, Kelly Strayhorn Theater (KST) is a home for creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people. We welcome our home to all who uplift Black, Indigenous, people of color, and queer voices.

    KST is an institutional arts anchor in Pittsburgh’s East End that has served the community for more than two decades. Since launching KST Presents programming in ’08, KST has been Black-led, fostering radical imagination for Black and queer arts, culture, and community in Pittsburgh by cultivating BIPOC and/or queer artists, entrepreneurs, and arts administrators, developing their careers, and shifting narratives around Black possibility.

  2. RELEASE: Kelly Strayhorn Theater Announces Fall 2024 Season

    “When you become the image of your own imagination, it’s the most powerful thing you could ever do.”
    ― RuPaul

    EAST LIBERTY, PA — Kelly Strayhorn Theater (KST) announces its Fall 2024 season that runs from September to December, featuring a full calendar of KST Presents Events that innovate, blend diverse influences, and advocate for freedom through individual expression.

    Fall 2024 marks the first season in which KST is led by two Co-Executive Directors, Joseph Hall and Melanie Paglia. They together critically expand the theater’s ability to thrive during a complicated period for the arts. Their progressive vision, operational expertise, and caring approach to leadership have been indispensable to KST’s success.

    “Through sustained and responsive low- to no-cost programming, KST facilitates one of a kind experiences, supporting emerging artists in launching their careers, empowering independent producers to realize ambitious projects, and celebrating the intrinsic and irreplaceable beauty and brilliance of our community. Above all, we have established a home, a sacred space rooted in the liberation of Black and queer people. We are excited to continue our good works this season”, said KST’s Co-Executive Director Joseph Hall.

    The season starts with an opening reception on Thursday, September 19 for the visual art exhibition Sister Soul Spectrum by #notwhite collective. It showcases thirteen women artists of the global majority using powerful non-individualistic art to make their stories visible.

    The Local & Global Performance series will highlight The Marthaodyssey by choreographer Jesse Factor, creatively combines the dance influences of Martha Graham and Madonna. To add to the excitement, KST is reviving the pre-pandemic KST tradition of hosting parties after performances. We can’t wait to see our community gather in our space and call it home.

    KST is thrilled to support new performances in progress from two local Freshworks Artists in Residence. Yusef Shelton (Ys1)’s Babershop Talk on Friday & Saturday, October 4 – 5 transports the audience into the heart of Black barbershop culture and encourages holistic self-care. On Friday & Saturday, November 1 – 2, Arnita Smione’s Heavy Is The Crown honors the beauty of black hair and the Black diaspora.

    KST is also proud to celebrate fun and heartwarming holidays with the community through family favorites such as Pumpkin Palooza: An East Liberty Halloween Adventure on Saturday, October 26 and a Latin Jazz rendition of Suite Life on Saturday, November 30, which honors KST’s namesakes, Gene Kelly and Billy Strayhorn.

    For nearly 25 years, KST has envisioned and brought to life groundbreaking initiatives with Pittsburgh-based artists, youth, families, East End residents, and Black and queer communities. As KST Co-Executive Director Melanie Paglia describes, “Situated in the great neighborhood of East Liberty, our presence as an anchor institution has been instrumental in fostering cultural vibrancy and community cohesion. By harnessing the power of collective imagination, we have created this future in which we thrive”.

    KST believes the future is worth imagining. Now is the time for great imaginations to guide us toward new paths where we own our futures.


    KST GALLERY| VISUAL ART
    #notwhite collective
    Sister Soul Spectrum

    Thursday, September 19 –
    Sunday, December 15
    Opening Reception: Thursday, September 19, 6:00pm – 8:00pm

    Kelly Strayhorn | 5941 Penn Ave.
    Pay What Moves You: $0 – $20

    Click for more details…


    FRESHWORKS| MUSIC | THEATER
    Yusef Shelton
    Barbershop Talk

    Friday & Saturday, October 4* – 5*
    *with discussion

    7:30pm – 9:00pm

    KST’s Alloy Studios | 5530 Penn Ave.
    Pay What Moves You: $15 – $30

    Click for more details…


    YOUTH & FAMILY | DANCE | MUSIC
    Pumpkin Palooza
    An East Liberty Halloween Adventure

    Saturday, October 26
    1:00pm – 4:00pm: Activities with Community Partners
    2:00pm – 3:00pm: Youth Performance Program

    Kelly Strayhorn Theater | 5941 Penn Ave.
    Pay What Moves You: $0 – $25

    Click for more details…


    FRESHWORKS| DANCE | THEATER
    Arnita Simone
    Heavy Is The Crown

    Friday & Saturday, November 1* – 2* *with discussion
    7:30pm – 9:00pm 

    KST’s Alloy Studios | 5530 Penn Ave.
    Pay What Moves You: $15 – $30

    Click for more details…


    LOCAL & GLOBAL PERFORMANCE | COMMUNITY
    Citizens Community Dinner
    with Jesse Factor

    Monday, November 4
    6:00pm – 8:00pm

    KST’s Alloy Studios | 5530 Penn Ave.
    Pay What Moves You: $0 – $25

    Click for more details…


    LOCAL & GLOBAL PERFORMANCE | WORKSHOP
    Yielding and Radiating
    with Jesse Factor
    Co-Presented with PearlArts

    Wednesday, November 6
    10:00am – 11:30am

    KST’s Alloy Studios | 5530 Penn Ave
    Pay What Moves You: $10 – $25

    Click for more details…


    LOCAL & GLOBAL PERFORMANCE | DANCE
    Friday & Saturday, November 8* – 9^
    7:30pm – 9:00pm
    *Afterparty with Jellyfish
    ^Post-performance discussion

    Kelly Strayhorn Theater | 5941 Penn Ave.
    Pay What Moves You:  $20 – $35

    Click for more details…


    BENEFIT| MUSIC | PARTY
    Suite Life
    A Celebration of Billy Strayhorn & Gene Kelly

    Saturday, November 30, 2024
    5:30pm – 7:00pm: VIP Soundcheck
    7:30pm – 9:30pm: Concert

    Kelly Strayhorn Theater | 5941 Penn Ave.
    Pay What Moves You: $35 – $200

    Click for more details…


    ABOUT KELLY STRAYHORN THEATER

    Named after 20th century entertainment legends Gene Kelly and Billy Strayhorn, both natives of Pittsburgh, Pennsylvania, Kelly Strayhorn Theater (KST) is a home for creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people. We welcome our home to all who uplift Black, Indigenous, people of color, and queer voices.

    KST is an institutional arts anchor in Pittsburgh’s East End that has served the community for more than two decades. Since launching KST Presents programming in ’08, KST has been Black-led, fostering radical imagination for Black and queer arts, culture, and community in Pittsburgh by cultivating BIPOC and/or queer artists, entrepreneurs, and arts administrators, developing their careers, and shifting narratives around Black possibility.

  3. Immerse Yourself in House Party

    by Kiearra Williams

    This is an editorial response written by a KST staff member on House Party

    It is always intriguing to reflect on an event once it is over because it is quite easy to get tangled in the small details during the planning process. Recently I joined KST as the Marketing Coordinator and had the amazing opportunity to experience House Party for the first time. Hearing talks of a floating stage, and an immersive experience does not compare to seeing the final product the day of the production. It was quite liberating to see the hard work of all of the KST staff members align together to present House Party to the community. 

    House Party is KST’s annual summer benefit. Our goal was to showcase an immersive neon-noir cabaret experience with captivating performances. This past Saturday night, we ushered livelihood and community to Penn Ave. Once attendees walked through the pink-lit entrance, they were greeted by an alluring media design from Scott Andrew. Guests also had the opportunity to grab some new temporary ink from Zhen Lee. The pre-show experience would not be complete without grabbing a House Party-themed cocktail from the bar before moving into the theater for highly anticipated performances from some of Pittsburgh’s hottest artists. 

    KST’s stage was completely transformed from its usual setup. VIP Reception guests gathered onstage to mingle and converse with other art-loving individuals while enjoying hors d’oeuvres from Royal Caribbean. There was a platform placed in the middle of what would normally be audience seating to prepare attendees for an enchanting excursion of live performances. A luminescence chandelier hung from the ceiling, and dramatic anticipation could be felt in the air as the VIP Reception was set to begin.

    Blue light illuminated the darkened theater as multidisciplinary artist Clara Kent ascended to the stage for her performance. Clara is known to uplift creative communities and for her raw and vulnerable artistry. Clara performed songs from her EP THE FOUR WINDS: EAST. With a voice that left you on the edge of your seat wanting more, and enough charisma to light up the entire East End, Clara executed a transcendental occurrence. Kent concluded her performance with a powerful rendition of her song THE JUICE. THE JUICE demonstrated Clara’s vocal brilliance by utilizing angelic notes to invoke a raw and emotional experience for the audience. 

    Mystery and wonder cloaked choreographer Jesse Factor as he took the audience on a trip into the world of Diva’s Delight. Factor was trained at the Martha Graham School and danced with Graham II and the Martha Graham Dance Company. Jesse’s movements could be described as exotic and purposeful, as his limbs moved sharply to tell a story that fascinated the audience. Factor could be seen traveling around the stage, paying homage to the likes of Martha Graham + Madonna. Curiosity and wonder increased among audience members once Jesse uncloaked to reveal a glimmering nude thong as he continued to twirl. The intensity and transformative energy lingered in the air, along with admiration for the next chapter in Jesse’s journey.

    The dirty down dance party filled the lobby with joy and entertainment as DJs QRX and ROJO brought the fire. Dance party guests got to enjoy a sense of nostalgia for the 90s and the 2000s as the sounds of Nelly, and TLC graced the airwaves. Tunes kept the moves going until the clock struck midnight. 

    As attendees left the front doors of KST and traveled back into the night air of East Liberty, holding their custom-made KST tote bags they left with feelings of admiration, new relationships, and hope for Pittsburgh’s arts community. House Party created an exceptional atmosphere that reminded guests of the foundation of Kelly Strayhorn Theater and guided them to look to the future of what Kelly Strayhorn Theater can become.

    Attending House Party left me feeling deeply fulfilled and exhilarated. I’m immensely grateful for the opportunity to be a part of an organization that has such a profound impact on the arts community.

    Photo Credit: Randall Coleman and Matt Huggins

  4. a tour through the heart and lungs: a multidisciplinary performance exploring interpersonal relationships

    by RaiNE Brabender

    This is an editorial response written by a member of the inaugural cohort of the KST HomeMakers Program on peformance unstich. HomeMakers is a committee of Pittsburgh Artists and community members that work with KST Staff to advocate for and support Kelly Strayhorn Theater’s programs and supported artists.

    Anna King Skeels is a performer and playwright who brought us the experimental theater piece titled “unstitch”. They also star as the protagonist of the piece named Stell. unstitch was the final Freshworks piece of the Spring 2024 season. I was interested in writing about this work because I always want to show up and support other fat and trans artists.

    When we walked in as audience members we were greeted by a large heart that looked very soft. You could see that it was fabricated from multiple different cloths. There was also a long woven ropelike structure representing lungs. When I see props on the stage my mind races and I wonder how they will be interacted with. I was excitedly awaiting what was to come.

    Then the lights come on. Shifting my focus. The stage is illuminated with red light and that is where we begin our journey. We can hear the sounds of the heart beating and the main character, Stell is breathing in and out. There were multiple points throughout this performance where we were focusing on breathing. As a spectator I found myself trying to match their rhythmic pattern. 

    Stell begins running around the lungs when a newcomer can be heard off stage telling them to slow down. This person ,Glass, is a new arrival to the heart as opposed to those who were already there, family and friends. This newcomer was entering a very fragile ecosystem in which Stell was already feeling apprehensive about.

    Then there’s this gorgeous part that brings me to tears: Stell decides to expose and share their heart with Glass. They begin to play together, rolling around on the ground, giggling. The breath work comes back into play and I find myself going on along with them again. I wonder how many others in the audience are joining us to regulate our own bodily ecosystems at this moment. The lighting starts to shift and I can feel the music fill the air as I watch the two of them twirl around each other’s bodies. It’s this connection that so many of us long for. The lights are adding this emotional ambience for me. I start to have this visceral feeling of falling in love. It is such a beautiful thing to have the capacity to connect with other humans in this way. That’s when the tears start flooding my cheeks. I was very moved. That scene then shifts abruptly.

    There is a major conflict in which Stell seems scared to be scared of abandonment by Glass. Stell is talking about how they know their brain and that it doesn’t look “like this”. You can feel how this person is completely terrified of what is happening. How they have given their heart to a new person. Stell shares their feelings of self doubt by proclaiming “I’m not amazing like you”. I feel that so many of us can relate to feelings of being inadequate for a lover or relationship of any variety. I always say that starting a new relationship brings all of my insecurities to the forefront. Dealing with existing mental health problems on top of a new relationship can feel so overwhelming, something I really resonate with.

    We see this conflict represented after Stell opens up their heart when the other character, Glass dives into it head first, swimming around inside the heart. The audience members then watch along as Glass starts disassembling the heart on stage. Glass ends up leaving the stage with a piece of the heart in their hand. At this point Stell starts to close, or “stitch” their heart back up. To me it seems that it is an attempt at self preservation. Yet I feel that this act doesn’t do what it is intended to do. I think it has the opposite effect because you are then shutting out possible connections. And isolating from everyone hurts more in the long run. The fear of letting people in is so strong though. The fear of being vulnerable and opening yourself to being hurt by people you care for. Stell starts to shut this connection down and Glass out. They are fearing change in the upset of their “normal” life. Afraid of how this connection will potentially mess everything up.

    Then we see the two of them joining forces to theoretically mend the heart. They are working together now to regulate the system again. There is so much power in relational connections and communal support. They begin to talk about scars as a metaphor of being hurt. They talk about how things will happen in our lives. That those experiences may be negative or ugly but that they are signs that we are alive. We don’t truly lose ourselves after sharing ourselves with people. Even if they leave us. 

    I really enjoyed the performance. A big takeaway for me was the reminder that all of our experiences provide us lessons for our lives. That we have to navigate through things at times that seemingly feel like “the end”. But we are better off taking those chances then letting those fears isolate us. 

    Photo Credit: Beth Barbis


    RaiNE Brabender (they/them) is a queer artist and aspiring curator who grew up in West Virginia. They are now based in Pittsburgh, PA. RaiNE received their art degree from PSU in Oregon. They are very drawn to art that depicts everyday life. The joys, the sorrows and everything in between. Some major themes include living in a fat brown body and our connections to the earth. RaiNE creates self portraits, sculptures, video art, and performance. Often mixing multiple mediums. They are very inspired by traveling, meeting people, seeing different landscapes, and engaging in storytelling.

    Photo Credit: Jahkobeen

     

  5. Liberty in East Liberty: Exploring Edisa Weeks’ 3 RITES: Liberty

    by Tara Fay Coleman

    This is an editorial response written by a member of the inaugural cohort of the KST HomeMakers Program. HomeMakers is a committee of Pittsburgh Artists and community members that work with KST Staff to advocate for and support Kelly Strayhorn Theater’s programs and supported artists.

    I have always considered performance one of the strongest mediums for exploring the layers of identity and societal constructs. Black performance art has historically served as a vital tool for resistance and cultural expression, dating back from spirituals sung by enslaved Africans, to contemporary performers making works to challenge stereotypes and assert their humanity and agency. Edisa Weeks and DELIRIOUS Dances 3 RITES: Liberty is a study of American identity and the politics of racism. The optics of 3 RITES, which include Weeks seated on a platform wearing red polka dot balloons, yellow kitchen gloves, and a red patterned smock reminiscent of Jim Crow era ‘mammy’ caricatures, immediately called to mind the work of Camille Billops and James Hatch, and their 1994 film The KKK Boutique ain’t Just Rednecks, where the audience is ‘toured’ through the contemporary landscape of racism that includes staging of similar visuals. Edisa’s performance functions as a call-back to this, as well as many other earlier works that seek to challenge, and both are a means to reflect on histories and traumas of the past, while urging the audience to reckon with the systemic racism that is still very much prevalent today.

    Weeks’ exploration of Liberty is not just an abstract concept, but a deeply personal and embodied experience. “Liberty” is a character that she uses to navigate the landscape of racism while implicating the audience as collaborators. 3 RITES highlights the complexity of racial identity, and asks viewers to confront their own biases and assumptions, which, expectedly, can bring up a number of complicated emotions. I left this performance unable to fully process what I had experienced due to a lot of anger I was feeling. The irony of this piece being performed in East Liberty, where vulnerable Black residents have been either forcibly removed or priced out, is not lost on me, and the juxtaposition of Weeks’ piece against the backdrop of gentrification underscores the tension between displacement and belonging, while the setting of the performance, the historic Kelly Strayhorn Theater, lends an added layer of complexity to Weeks’ work. In this context, the performance becomes not only a work of art, but also a powerful act of resistance and reclamation of space in a city burdened by the weight of inequality and discrimination. 

    Central to Weeks’ performance is an exploration of the Black female experience. It is especially poignant to see it performed in Pittsburgh, ranked as one of the worst cities in the country for Black women in every indicator of livability. Through her embodiment of a Black woman artist connected like a puppet to objects symbolizing the Black experience, she navigates the complexities of race, gender, and agency while highlighting the ways in which Black women have been manipulated and controlled throughout history. Her connection to these specific objects represents facets of Black identity, but also stereotypes, and thus can be interpreted through multiple lenses. Liberty is a puppeteer manipulating the strings, and Weeks becomes intertwined with these objects; I interpreted the bible as spirituality and resilience, reflecting the enduring faith that has sustained Black communities through centuries of adversity. It serves as a reminder of the profound role religion has played in shaping the Black experience in America, but could also symbolize how Christianity has been used as a tool to oppress. A black dick represents the dehumanizing legacy of slavery and objectification, and symbolizes the exploitation and commodification of Black bodies, challenging perceptions of sexuality and agency within the context of racial oppression. The blonde wig, a symbol of Eurocentric beauty standards, represents the relationship between race, beauty, and self-image. It prompts reflection of the societal pressures to conform to a whitewashed ideal and the impacts of internalized racism on Black identity. The gun evokes the specter of violence and systemic injustice that has plagued Black communities throughout history, and serves as a reminder of the pervasive threat of police brutality and gun violence faced by Black Americans. In contrast, for me the lightbulb symbolizes illumination, but also calls to mind the legacy of figures like Benjamin Franklin, a founding father who contributed to discovering uses for electricity, but who owned slaves and benefited greatly from their labor prior to embracing abolitionist practices. The sneakers for me represent urban street styles popularized by Black youth, but also, the myth of shoe tossing as it relates to gang and drug activity, and what it symbolizes in the context of communities that are considered ‘unsafe’ – another important parallel when considering the history of Black residents in East Liberty, and what remains. Finally, the watermelon, with its layers of stereotypes and stigma, represents the legacy of racial troupes, but also endurance. For the closing of the performance, Weeks cut the watermelon and shared the story of how, following emancipation in 1865, African Americans earned financial independence from its growth and sale, turning the fruit into a symbol of their economic self-sufficiency and entrepreneurial spirit. She then invited the audience to share the watermelon, another gesture that reads as reclaiming and redefining cultural symbols. It confronts and transforms the historical stereotypes associated with African Americans and watermelon, turning it into a gesture of community. 

    Another central theme in this piece is the usage of Blackface and whiteface. During the post-performance audience talk-back with Dr. Kevin Jarbo, a guest shared their discomfort with Weeks usage of Blackface while telling a story about ‘buck breaking’, which is the act of publicly punishing a male slave, typically by first flogging him, and subsequently sexually assaulting or raping him in front of other slaves, in order to humiliate him. The use of Blackface historically perpetuated harmful stereotypes and reinforced systems of oppression, serving as a tool for dehumanization and caricature. Conversely, the adoption of white face challenges conventional notions of race and privilege. I believe that by embodying both Black and white personas, Weeks is actually highlighting the performative nature of race, and the ways in which it is constructed and manipulated within society. By shifting between Black face and white face, Edisa blurs boundaries of race and questions the inherent hierarchies and inequalities that exist within our society using humor to provide moments of levity amongst the weighty subject matter. 

    Immediately after the 3 RITES: Liberty performance, Dr. Kevin Jarbo guided a town hall-style conversation to provide a moment of communal digestion, and to discuss what was resonating with people after experiencing the Liberty rite.

    Ultimately, 3 RITES: Liberty challenges viewers to confront the foundational myths of liberty and freedom in the United States, exposing the contradictions and inequalities that have long plagued society at large. This piece is a fearless exploration of race, identity, and power that invites us to imagine a more just and equitable future, and the importance of it being performed in a city where racism has been declared a public health crisis, and where rapid gentrification threatens to erase the cultural heritage and livelihoods of its Black residents cannot be understated. Edisa’s storytelling is deeply important, transcends traditional boundaries, and embodies the contradictions and complexities of Black identity in America. 

    Photo Credit: Delaney Greenberg


    Tara Fay (she/her) is a mother, conceptual artist, curator, writer, and arts worker from Buffalo, NY. She currently lives and works in Pittsburgh, PA. Fay’s work consists of a multidisciplinary praxis that is an exploration of identity, motherhood, Black womanhood, and taking up space. Through her practice, she mines her own lived experiences for subject matter, with a goal to intertwine her life with her work. Fay’s work has been exhibited at Carnegie Museum of Art, SPACE Gallery, Pittsburgh Center for the Arts, Carnegie Mellon University, the University of Pittsburgh, and the August Wilson Center for African American Culture, and here Gallery.

  6. RELEASE: Kelly Strayhorn Theater’s House Party Introduces an Immersive Cabaret Theme, Promises Intimate Performances and Bumping Beats

    Saturday, July 13 Benefit Will Feature Performers Jesse Factor, Clara Kent, DJ QRX, and More

    East Liberty, Pittsburgh, PA—Kelly Strayhorn Theater (KST) invites attendees to let loose at its annual House Party, an ever-changing bash and fundraiser that this year brings an immersive cabaret theme to the theater’s space on 5941 Penn Ave. The event will take place Saturday, July 13, and tickets are available at a variety of price points, from $50 – $250.

    This year’s House Party will feature an immersive neon-noir environment with media design by Scott Andrew. Guests are encouraged to dress up for the occasion. The evening will begin at 7:00pm with a VIP Reception. This more intimate and individualized event will include a catered buffet, open bar, and performances from choreographer and dancer Jesse Factor and musician Clara Kent. Starting at 9:00pm, the reception will transition to a wild and welcoming Dance Party, with a cash bar and beats by DJ QRX and genre-bending DJ ROJO.

    “Every year, House Party is a unique opportunity for Pittsburgh to show up, show off, and contribute to KST’s vital work,” says Co-Executive Director Joseph Hall. “This event buoys a vast array of programming that allows us to invest in the community at every level, from developing local artists to cultivating community dialogue to incubating new work from the most exciting voices on the local and global stage. These elements are essential to maintaining KST as a home where historically resilient artists can thrive.”

    At the VIP Reception, KST will transform the theater experience from the usual stage-audience relationship to an unexpected format: the party takes place on the KST mainstage, while a floating stage erected in the center of the house becomes a site for discourse and performance. The VIP reception will feature a solo performance by Jesse Factor, whose work explores the legacies of legendary divas like Madonna through contemporary dance, theater, and nightclub influences. Factor’s work grows from an ongoing collaboration with media artist Scott Andrew that first blossomed during a Freshworks production at KST’s Alloy Studios.

    VIPs will hear from KST leadership and enjoy exclusive open bar access in the company of this year’s Host Committee, which includes leading local voices in business and culture. The event will also include a performance by Afro-Indigenous musician Clara Kent, whose raw vulnerability made her Pittsburgh City Paper’s musical “Person of the Year” in 2019.

    The 9:00pm Dance Party, which takes place in the KST Lobby, drives momentum from the VIP reception into an uninhibited, down-and-dirty dance party. Pittsburgh natives DJ QRX, aka Austin Bey, and ROJO will take KST’s House Party to its apex with a three-hour set. Rooted in soul, funk, and disco, ROJO’s DJ sets incorporate a vast range of genres, ensuring an eclectic evening within the immersive space.

    A History of Creative Investment

    Since 2009, KST has presented an annual summer fundraiser to benefit a vibrant array of programs intended to support historically under-served artists and Pittsburgh community members. Launched as Full Bloom, the event was reinvented in 2022 in the form of House Party, an ever-evolving celebration of KST’s role as an artistic home for Black and queer artists. Each year, the event attracts 250 – 300 attendees, inviting the community to take over the venue by flipping stage and audience spaces. Guests include local entrepreneurs and creative and cultural leaders, many of whom also sustain the event through participation in the Host Committee.

    Melanie Paglia, KST’s recently announced Co-Executive Director, spoke passionately about the impact of House Party on the organization: “The generous support of patrons at House Party makes it possible to achieve KST’s creative and community goals and provides a vital level of financial stability to the institution, our operations, and our people. The price of admission to House Party covers far more than one evening of entertainment; it is a crucial investment in KST’s continued ability to thrive.”

    Free Expression
    Proceeds from House Party fund a wide range of programming, including a series of zero-cost events under the banner “Free Expression,” designed to bring together Pittsburghers from diverse backgrounds. This includes a series of free community dinners, classes, professional development workshops, and two yearly visual art exhibitions hosted in the theater’s lobby gallery space.

    Telling Our Stories
    KST also cultivates a range of incubation projects branded “Telling Our Stories.” These initiatives, intended to amplify diverse Pittsburgh voices, include the Freshworks residency for young Pittsburgh artists and the East Liberty Mutual Aid Residency, in which KST shares space and resources with PearlArts dance company and queer youth theater Dreams of Hope. It also includes Local and Global Performance, a lineup of performances, commissions, sponsorships, and developmental support for local, national, and international artists.

    Producing Partners
    The third branch of programming supported by House Party is KST’s work with approximately 40 local, national, and international Producing Partners each year. KST provides subsidized rates, front of house and technical staff, and sales and marketing support to bring a range of creative and educational partners (including Balafon West African Dance Ensemble, Legacy Arts Project, Venture Outdoors, and TEDx Pittsburgh) to Pittsburgh audiences.


    House Party: A Benefit for Kelly Strayhorn Theater

    Saturday, July 13, 2024 | 7:00pm – 9:00pm VIP Reception | 9:00pm – 12:00am Dance Party

    Kelly Strayhorn Theater | 5941 Penn Ave.

    Tickets for House Party are $150 – $250 per attendee of the Immersive VIP Reception, or $50 – $100 per attendee of the Dance Party, and can be reserved here.

    Immersive VIP Reception tickets include all-night open bar access, a catered buffet, and live performances. Dance Party tickets include one complimentary beverage from the cash bar and performances from local DJs ROJO and DJ QRX.


    ABOUT THE ARTISTS

    Jesse Factor trained at the Martha Graham School and danced with Graham II, and the Martha Graham Dance Company. Jesse’s solo creative work, which playfully explores the Martha-verse and other legendary divas, is frequently presented in the context of dance, theater, and nightclub performances. Factor’s work-in-progress Show Queen was recognized as a 2023 National Dance Project finalist. jessefactor.com/about

    Clara Kent is an Afro-Indigenous multidisciplinary artist, a community liaison from Homewood, Pa, and the host of More Bounce on WYEP. Whether the medium is music, canvas, or curation, Clara uplifts the creative community, especially Black artists and youth, through her actions in mentorship, her raw & vulnerable artistry, and her arts advocacy work. Clara was named Pittsburgh City Paper’s “Person of the Year” for Music in 2019 and has performed across many stages. www.wyep.org

    Scott Andrew, born 1982 in Waynesburg, PA, is a multimedia queer-oriented video, installation, performance artist, media designer, educator, and curator. Media Design projects include Suite Life at KST, Underland x Alice at the New Hazlett Theater, and Show Queen, a 2023 NDP finalist and ongoing collaboration with Dance Artist Jesse Factor that grew out of a Freshworks presentation of I Am A Haunted House at KST Alloy Studios. scottnandrew.com

    DJ QRX a.k.a. Austin Bey was born and raised in Homewood, PA. QRX Went to college at IUP, becoming their very own resident DJ. He loves the culture and art of DJing. He started DJing in 2012 and had his first gig in 2014. He has DJed some very notable events, including the Three Rivers Art Festival, Picklesburgh, Slappers’N’Bangers, and IUP Homecoming where he opened for Lil Uzi Vert, DaBaby, Young M.A, Lil Yachty, Offset, and PnB Rock.

    Born and raised in New Kensington, PA, ROJO was introduced to Pittsburgh nightlife as a teen. ROJO’s passion for music is deeply personal. His taste is rooted in soul, funk, and disco and is inspired by his mother, who regularly played cassette tapes around the house and reminisced about growing up in the disco era. ROJO believes in the healing power of music and views DJing as a means of performance, artistic expression, and storytelling. During his DJ sets, you’ll experience a mixed bag of various genres including House, Techno, Club, Funk, R&B, and more. Rojo’s Website.

    Zhen Lee is a tattooer, a performing artist, and illustrator. They have tattooed in Pittsburgh since 2017. They have performed in City of Play’s Greenfield Bridge Opening, Intimate Subjects, solo piece Emotional Landscapes, Glitterbox’s Pink Potatoes, and Big Storm’s Or Forever Hold your Peace. Their comics can be found in anthologies Drawn To Home, Chutz Pow Vol. 4, Love and Monsters, and Overgrowth and Underbrush. Their tattoo work can be found @yangzhenlee on Instagram.

    Quaishawn Whitlock is an artist, educator, and business owner in Pittsburgh, PA, having held teaching positions at many Pittsburgh institutions including the Andy Warhol Museum and Artist Image Resource. Currently, Whitlock is collaborating in partnership with Boom Concepts and ACH Clear Pathways, as owner and director of 1st Layer LLC, a small business specializing in print and design. Quaishawn has directed many workshops and classes for elementary, middle, and high school youth, in addition to programming to engage adult and experienced learners. @qultivate on Instagram.


    HOUSE PARTY HOST COMMITTEE

    Demeatria & J.G. Boccella
    Melanie Marie Boyer
    Orlana Darkins Drewery
    Stephanie Flom
    Pam Golden
    Justin Gunther
    Gregg Kander & Anna E. Hollis Kander
    Kendra Whitlock Ingram & Ben Ingram
    County Executive Sara Innamorato
    Anne & Vincent Lackner
    Amanda Markovic
    Cathy McCollom
    Gwendolyn Moorer
    Clarissa Morales & Brandon M. McGurer
    Gerald Morosco
    Nadyli Nuñez
    Kris Rust
    Jennifer Sciullo
    Felicia Snead, MD
    Megan & Adam Sukhia
    Tammy Thompson
    Chaton Turner
    Elise Walton


    HOUSE PARTY SPONSORS


    ABOUT KELLY STRAYHORN THEATER

    Named after 20th century entertainment legends Gene Kelly and Billy Strayhorn, both natives of Pittsburgh, Pennsylvania, Kelly Strayhorn Theater (KST) is a home for creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people. We welcome our home to all who uplift Black, Indigenous, people of color, and queer voices.

    KST is an institutional arts anchor in Pittsburgh’s East End that has served the community for more than two decades. Since launching KST Presents programming in ’08, KST has been Black-led, fostering radical imagination for Black and queer arts, culture, and community in Pittsburgh by cultivating BIPOC and/or queer artists, entrepreneurs, and arts administrators, developing their careers, and shifting narratives around Black possibility.

  7. RELEASE: Pittsburgh Dancer and Choreographer Mita Ghosal Performs Lost on a Loom in May

    Examines Lost South Asian Histories Through the Lens of Indian Textiles and Fabrics in May

    East Liberty, Pittsburgh, PA—Kelly Strayhorn Theater is excited to conclude the Winter/Spring 2024 season with Pittsburgh-based dancer and choreographer Mita Ghosal’s world premiere of Lost on a Loom on Friday & Saturday, May 17 – 18, 7:30pm – 9:00pm. Audience members can hear Ghosal share about her work in person at the Welcome Dinner & Artist Talk on Monday, May 13, 6:00pm – 8:00pm. Plus, don’t miss the opportunity for the moving, drawing, and writing workshop, Material of a Story with Mita Ghosal, co-presented with PearlArts on Wednesday, March 15, 9:00am – 10:15am. All events take place at KST’s Alloy Studios. 

    Lost on a Loom examines lost South Asian histories through the lens of Indian textiles, fabrics, and dance. Known for their vibrant colors, alluring textures, and indigenous motifs symbolizing various aspects of culture, trade, religion, and nature, these materials hold stories that have molded South Asia’s history as well as its ties to a Colonial past.

    The piece explores color, shape, movement, and historical contexts of various fabrics including Kantha Embroidery brought to the United States by Bengali Peddlers in the late 1800’s, Khadi, a homespun fabric centered to India’s Independence Movement, Jute Fabrics spiraling out from peasant communities in the Bengal Delta into the world market, along with other culturally significant fabrics. 

    Weaving together a first-generation Bengali protagonist with the stories of fabric from Bengal, Lost on a Loom uses dance, storytelling, video imagery, familial narratives, and recollections of the past, to draw parallels to the movement of material, the movement(s) of people and economic and social disparities that continue to remain etched into the fabric of modern history.

    Mita Ghosal’s choreography adapts languages from contemporary dance, yoga, theater, and the poetic and revolutionary voices of her Bengali ancestors to guide her artistic craft. According to Ghosal, Lost on a Loom “is a heartfelt and very personal journey in which I explore my own memories and family history, while delicately stitching them back together into larger social and political systems that have colonized, entangled and shaped them”.

    We encourage our audience to interact with the artist face-to-face during events of the same week. At Monday’s Welcome Dinner & Artist Talk, following a community dinner, Ghosal will discuss her process of creating this new work and her practice as an artist in Pittsburgh. 

    At Wednesday’s moving, drawing, and writing workshop, Material of a Story, participants will be led through a warm-up integrating improvisation, contemporary dance, and yoga. An all-level section of repertory from Lost on a Loom will be taught for participants to engage in the artists’ creative process.

    Kelly Strayhorn Theater is committed to promoting arts, culture, and community in Pittsburgh and cultivating BIPOC artists. We can’t wait to conclude our Winter/Spring 2024 season with Mita Ghosal and her performance Lost on a Loom, celebrating diverse cultures at KST’s Alloy Studios.  


    Welcome Dinner & Artist Talk with Mita Ghosal
    Monday, May 13, 2024 | 6:00pm – 8:00pm

    KST’s Alloy Studios | 5530 Penn Ave.

    Tickets for Welcome Dinner & Artist Talk with Mita Ghosal are available on a sliding scale, from $0 – $25 per attendee, and can be purchased at kelly-strayhorn.org or at the door.

    Material of a Story with Mita Ghosal
    Wednesday, May 15, 2024 | 9:00am – 10:15am

    KST Alloy Studios | 5530 Penn Ave.
    Co-Presented with PearlArts

    Tickets for Material of a Story are Pay What Moves You, $10 – $25 per attendee, and can be reserved at kelly-strayhorn.org or at the door. 

    Mita Ghosal: Lost on a Loom
    Friday & Saturday, May 17 – 18 | 7:30pm – 9:00pm 

    KST’s Alloy Studios | 5530 Penn Ave.

    Tickets for Mita Ghosal: Lost on a Loom are available on a sliding scale, from $15 to $35 per attendee, and can be purchased at kelly-strayhorn.org or at the door.


    CREDITS

    Choreographer, Writer, Director, Performer: Mita Ghosal
    Dancers: Emily Phillips, Ryann Coleman, Stephanie Kotsch
    Voice-over Actor: Brigid Ryan
    Sound Designer: Pan-Pan Gou
    Set/Costume/Prop Construction: Jonathan Shapiro
    Seamstress: Laurie Ireland
    Lighting Designer: Rianne Lindsey
    Video Artist: Gia Abucejo


    ABOUT THE ARTIST

    Mita Ghosal (She/Her), Choreographer, Writer, Director, Performer – Inspired by the ways in which movement and stories intersect in revealing and unexpected ways, Mita Ghosal’s choreography utilizes tools from Contemporary Dance, Yoga, Theatre and familial and ancestral histories to guide her in artistic craft. Her work has been presented in New York, Los Angeles and her hometown of Pittsburgh through numerous professional venues. Her work has been supported through the Opportunity Fund, the Greater Pittsburgh Arts Council and the National Endowment of the Arts. Mita studied Theatre at Penn State University, holds an MFA in Choreography from UCLA, and is a Certified Movement Analyst through the Laban/Bartenieff Institute.  


    ABOUT KELLY STRAYHORN THEATER

    Named after 20th century entertainment legends Gene Kelly and Billy Strayhorn, both natives of Pittsburgh, Pennsylvania, Kelly Strayhorn Theater (KST) is a home for creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people. We welcome our home to all who uplift Black, Indigenous, people of color, and queer voices.

    KST is an institutional arts anchor in Pittsburgh’s East End that has served the community for more than two decades. Since launching KST Presents programming in ’08, KST has been Black-led, fostering radical imagination for Black and queer arts, culture, and community in Pittsburgh by cultivating BIPOC and/or queer artists, entrepreneurs, and arts administrators, developing their careers, and shifting narratives around Black possibility.

  8. Thriving Where We Live: Kelly Strayhorn Theater Adopts Co-Leadership Model

    KST Deepens Capacity as It Becomes the Preeminent Model for Arts Organizations on the Regional and National Stages.

    East Liberty, Pittsburgh, PA—Kelly Strayhorn Theater (KST) announces it has adopted a co-leadership model, with former Deputy Director Melanie Paglia joining Executive Director Joseph Hall to guide the performing arts organization into its next era of regional and national growth.

    “I often envisioned a co-leadership structure for KST,” says Hall. “When I was with BAAD! The Bronx Academy of Arts and Dance, which has had a co-leadership structure since the 90s, I participated in a rich relationship where we collaborated, supported each other, and led the organization to great accomplishments. Melanie and I enable each other to lean into our strengths and achieve the best outcomes for KST’s communities.”

    Hall, who became Executive Director in March of 2020, led KST through the pandemic and shepherded the organization’s ambitious 2022–25 strategic plan, Owning Our Future. Thriving Where We Live. During his tenure, KST has incubated hundreds of artists and performers, engaged local artists and community members through HomeMakers, developed a shared services model through programs like its Mutual Aid Residency with PearlArts and Dreams of Hope, revamped hallmark programming like the Suite Life jazz concert, and been recognized as a Pittsburgh Cultural Treasure by the Heinz Endowments and Ford Foundation.

    Headshot of Black man, smiling in a black sweater

    Paglia joins Hall as Co-Executive Director during a landmark year. This January, KST hosted its second annual KST X NYC, an ambitious initiative to share new works commissioned and developed in Pittsburgh by KST in collaboration with national partners. These works included the New York City premieres of two dance works from Pittsburgh-based artists, slowdanger’s SUPERCELL and STAYCEE PEARL dance project & Soy Sos’s (SPdp&SS) CIRCLES: going in. This spring, another KST-incubated project will reach national stages: Pittsburgh creator and performer Adil Mansoor’s Amm(i)gone, which premiered at KST in 2022, will debut in Washington, D.C., at Woolly Mammoth Theatre Company.

    Leaders with a Shared Vision

    To advance KST’s mission to be a home for creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people, the co-leadership structure uses collaboration and resilience as its guiding principles.

    “Our strategic vision of owning our future and thriving where we live is not just a memorable slogan—it guides every decision, from how we are structured to the artists we feature on stage,” says Hall. “Melanie has been critical to our ability to thrive during such a complicated period for the arts. Her operations expertise and caring approach to leadership have been indispensable to our success so far. As she joins me in leading KST, I look forward to sharing this vision and ensuring that we continue to model excellence, joy, and innovation in our partnership.”

    White woman with short brown hair smiles, in blue jacket and striped shirt

    Paglia was first hired by Hall in 2011 during his initial engagement with the organization. In this tenure at KST, Paglia rose through several progressive leadership roles in technical theater and general management. In 2017 she departed KST to serve as Music Hall Director at the Andrew Carnegie Free Library & Music Hall in Carnegie where she optimized rentals and programming operations and innovated outdoor, pandemic “parking lot” performances. A decade later, Hall hired Paglia a second time to return to KST as Deputy Director in 2021; since then she has restored operational systems and expanded staff capacity throughout the uncertainties of the theater’s pandemic reopening. She has also been a strategic partner for Hall as KST pursues the opportunity to manifest their vision of a multidimensional arts space that meets the modern day needs of arts patrons and artists.

    “KST simply would not be what it is today without Joseph’s compassionate leadership, artistic brilliance, and profound love for the work,” says Paglia. “Inspired by the groundbreaking work of his predecessor, janera solomon, Joseph has built upon that foundation to further ensure a promising future. Under his guidance, KST is thriving. I am eager to embrace the collective energy of the co-leadership structure and ensure that we continue to create a home for Black and queer people in Pittsburgh.”

    KST joins many other arts and nonprofit organizations in adopting the co-leadership model. This is a trend that reflects the value of collaboration within executive roles that are often described as isolating. Other arts organizations often have an Executive Director and Artistic Director, however, KST embodies the flexibility and mutuality of co-leadership.

    Expanded Capacity for KST’s Thriving Future

    With a unique mix of performing arts programs, collaborative organizational practices, and bold social justice engagement, KST stands out among its peers in the region as a unique model for nurturing local talent and creating a thriving infrastructure for art-making in the 21st century. As the organization continues to reimagine arts practices to meet contemporary needs and evolving audiences, KST is making structural investments to ensure its long-term success in the East Liberty neighborhood.

    “One of our greatest challenges and opportunities in the coming years is the question of where KST will make its permanent home,” says Paglia. “East Liberty has always been our community, and we plan to remain here. We are exploring our options in the neighborhood to ensure that our audiences, staff, artists, and partner organizations have a physical space where they can fully thrive long into the future.”

    Since becoming a presenting organization in 2008 under former Executive Director janera solomon, KST has evolved into a versatile and influential member of the Pittsburgh arts ecosystem. KST nurtures early-career artists and emerging arts groups, hosts boundary-breaking arts experiences, and upholds the historic legacy and vibrant future of Black and queer artists in Pittsburgh. KST has played a role in growing many significant artists and arts groups in the Pittsburgh region: Alumni Theater Company was a resident company at KST for years before becoming an independent nonprofit with its own venue; Staycee Pearl dance project & Soy Sos/PearlArts were founded at KST in 2009 and now are Mutual Aid Residency partners that are touring around the world; KST has incubated and presented many new performances from movement duo slowdanger, which is now touring nationally with KST’s support. These collaborations reflect the vital role that KST plays in cultivating diverse local artists who tell the 21st-century story of Pittsburgh beyond the city.

    “I returned to Kelly Strayhorn Theater in 2020 because I am truly inspired by KST’s unique impact on both the local community and the arts on a regional and national level,” says Hall. “Now, with a co-leadership approach, we will answer the call to create KST’s future state of the art space. Our goal is to provide a platform for East Liberty and beyond where artists and emerging groups will shape the story of a 21st-century Pittsburgh. Together we will Own Our Future and Thrive Where We Live.”


    ABOUT THE CO-LEADERS

    Joseph Hall is the Co-Executive Director of Kelly Strayhorn Theater in East Liberty. Previously, as the Deputy Director of BAAD! The Bronx Academy of Arts and Dance, Hall helped expand the theater’s budget and staff, forging partnerships, and raising its national profile as a BIPOC LGBTQIA+ institution. He co-curates TQ Live! at Carnegie Museum of Art, serves on the National Performance Network’s Partner Advisory Council, Office for Public Arts Advisory Committee, Pittsburgh Community Broadcasting’s Community Advisory Council, and PearlArts’s Board of Directors. Hall has been recognized through awards such as 40 Under 40, Three Rivers Business Alliance Excellence in the Arts, and City Paper’s Pittsburgh’s People of the Year in Performing Arts.

    Melanie Paglia is the Co-Executive Director of Kelly Strayhorn Theater in East Liberty. She is a seasoned arts administrator with more than a decade of experience in theater management and community engagement. Throughout her career, Paglia has taken on progressive leadership positions in technical theater and general management. Notably, she was among the pioneering women in technical theater in the region to hold the role of Director of Production. Paglia is also a committed educator and finds fulfillment in guiding aspiring arts administrators through mentorship. Her return to KST in 2021 underscores her dedication to community enrichment and promoting inclusivity within the cultural sphere.////////////////////////////////


    ABOUT KELLY STRAYHORN THEATER

    Named after 20th century entertainment legends Gene Kelly and Billy Strayhorn, both natives of Pittsburgh, Pennsylvania, Kelly Strayhorn Theater (KST) is a home for creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people. We welcome our home to all who uplift Black, Indigenous, people of color, and queer voices.

    KST is an institutional arts anchor in Pittsburgh’s East End that has served the community for more than two decades. Since launching KST Presents programming in ’08, KST has been Black-led, fostering radical imagination for Black and queer arts, culture, and community in Pittsburgh by cultivating BIPOC and/or queer artists, entrepreneurs, and arts administrators, developing their careers, and shifting narratives around Black possibility.

  9. 3 RITES: Liberty Illuminates America’s Liberatory Ideals With Theater, Dance, and Community Art

    Kelly Strayhorn Theater Hosts Artist Edisa Weeks in a poignant 3-Part Event April 22–27

    East Liberty, Pittsburgh, PA—Kelly Strayhorn Theater is thrilled to present a three-part program featuring multidisciplinary artist Edisa Weeks and her performance company DELIRIOUS Dances, culminating in the experimental solo performance 3 RITES: Liberty on Friday & Saturday, April 26 & 27. Leading up to the performance, audiences will have opportunities to meet the artist and participate in her process through the Welcome Dinner and Artist Talk on Monday, April 22 and in an exploratory dance class, Precision & Abandonment, on Wednesday, April 24, co-presented with KST Mutual Aid Partner PearlArts.

    Part performance, part installation, New York-based multimedia artist Edisa Weeks’ 3 RITES: Liberty boldly explores the Black experience in America both past and present. The work calls into question America’s spotty legacy of fulfilling the promises laid out in its founding documents. Alternating between blackface, whiteface, storytelling, and visceral dance, Weeks uses object iconography to dig into the pathologizing of African Americans and the foundations of liberty in America in this interactive solo performance.

    “We are deeply proud to have supported this project through our Local & Global Performance program, which cultivates performance works rooted in social justice and aesthetic experimentation,” says KST Executive Director Joseph Hall. “With 3 RITES: Liberty, Edisa Weeks has created an intense, thought-provoking, and socially engaged performance that both welcomes audiences and challenges them to reckon with the true meaning of Black liberation.”

    Audiences will enter the performance of 3 RITES: Liberty by moving through an installation of roots hung from ceiling to floor. At the center of the roots, audiences will find “Liberty”, played by Weeks. The genderless character’s hair is braided to resemble the Statue of Liberty’s crown, with each spoke of the crown connected via tie lines and pulleys to specific objects – Bible, black dick, blonde wig, gun, lightbulb, sneakers, watermelon. Weeks invites the audience to choose from a deck of flashcards depicting those objects, deciding which stories to tell about the Black experience in America.

    Following the performance, Kevin Jarbo PhD, Assistant Professor in the Department of Social and Decision Sciences at Carnegie Mellon University and co-facilitator of the Pittsburgh Racial Justice Summit, will moderate a dialogue with the audience.

    A choreographer, performer, and educator, Edisa Weeks’ extensive credits include numerous national and international dance performances in addition to founding her own Brooklyn-based company, DELIRIOUS Dances. 3 RITES: Liberty is part of Weeks’ 3 RITES trilogy, which draws on her experience creating multimedia interactive works that merge theater with dance to explore humanity’s deepest fears, desires, and dreams. The work is a hopeful call to action, and seeks to understand where our biases, bigotry, and racism come from, and how we together can create a more inclusive, just, and liberatory America.

    Pre-Performance Participation, Discussion, and Dance

    At the Welcome Dinner and Artist Talk on Monday, April 22, participants are invited to join Weeks for a meal and conversation in addition to helping construct the paper and twine roots that are a cornerstone of the final installation for 3 RITES: Liberty. Weeks describes events like these as “Root Parties,” something like a mash-up between a sewing bee and barbershop talk.

    Later in the week, participants will be offered another chance to connect with Weeks’ artistic process at Precision & Abandonment on Wednesday, April 24 at 9:00am – 10:15am. Co-presented by PearlArts, this movement class explores concepts of falling, momentum, and suspension. Using breath and structured improvisations, participants will explore a way of moving that emphasizes ease and encourages creative risk-taking.

    Elements of each of these events will come together in 3 RITES: Liberty on Friday and Saturday, April 26 & 27. The performance incorporates roots created at the Welcome Dinner. Concluding with a moderated discussion immediately after the show, 3 RITES: Liberty will culminate a week-long journey of creative experimentation and critical conversation around race and identity in America.

    KST’s presentation of 3 RITES: Liberty is made possible through the ArtsCONNECT program of the Mid Atlantic Arts Foundation, New England Foundation for the Arts’s National Dance Project, and the National Performance Network (NPN) Artist Engagement Fund. 3 RITES is a National Performance Network/Visual Artists Network (NPN/VAN) Creation & Development Fund Project co-commissioned by 651 ARTS, Mount Tremper Arts, RestorationART, Kelly Strayhorn Theater, DancePlace and NPN/VAN. The Creation & Development Fund is supported by the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, and the National Endowment for the Arts.

    KST’s 2023–24 season, Brave Actions, Bold Voices, celebrates the artists, audiences, and communities who call KST home. Throughout the season, KST has hosted new offerings from Mutual Aid Residents Dreams of Hope and PearlArts, visual art exhibitions in the KST Gallery, Freshworks: New Performance in Process, and premieres of Local and Global Performances from longtime Pittsburgh favorites and returning faces. As a site of community building and resistance, KST defines itself as a home for artists and a space of care for historically resilient people.


    Welcome Dinner & Artist Talk with Edisa Weeks
    Monday, April 22, 2024 | 6:00pm – 8:00pm
    KST Alloy Studios | 5530 Penn Ave.

    Tickets for the Welcome Dinner & Artist Talk with Edisa Weeks are Pay What Moves You, $0 – $25 per attendee, and can be reserved at kelly-strayhorn.org

    Precision & Abandonment with Edisa Weeks
    Wednesday, April 24, 2024 | 9:00am – 10:15am
    KST Alloy Studios | 5530 Penn Ave.
    Co-Presented with PearlArts

    Tickets for Precision & Abandonment are Pay What Moves You, $10 – $25 per attendee, and can be reserved at kelly-strayhorn.org

    DELIRIOUS Dances / Edisa Weeks – 3 RITES: Liberty
    Friday & Saturday, April 26 – 27, 2024 | 7:30pm – 9:00pm
    Kelly Strayhorn Theater | 5941 Penn Ave.

    Tickets for 3 RITES: Liberty are Pay What Moves You, $15 – $35 per attendee, and can be reserved at kelly-strayhorn.org

    Warning: The show contains mature themes and potentially triggering content about psychological and sexual violence. Not recommended for children under thirteen.


    ABOUT THE ARTIST

    Edisa Weeks (she/her) – Concept, Choreographer, Performer – is a Brooklyn, NY based educator, choreographer and founder of DELIRIOUS Dances. She creates multimedia interactive work that merges theater with dance to explore our deepest desires, darkest fears and sweetest dreams. She grew up in Uganda, Papua New Guinea and Brooklyn, NY; and had the joy of performing with Annie–B Parsons Big Dance Theater, Bill T. Jones/Arnie Zane Dance Co., Dance Brazil, Homer Avila, Jane Comfort, Jon Kinzel, Muna Tseng, Reggie Wilson Fist & Heel Performance Group, Sally Silvers, Spencer/Colton Dance, among others. She is a recipient of several awards including a 2022 Creative Capital Grant. She teaches choreography, improvisation, dance technique, and mentors emerging artists at Queens College CUNY.

    ABOUT 3 RITES

    KST’s presentation of 3 RITES: Liberty is made possible through the ArtsCONNECT program of the Mid Atlantic Arts Foundation, New England Foundation for the Art’s National Dance Project, and the National Performance Network (NPN) Artist Engagement Fund. 3 RITES is a National Performance Network/Visual Artists Network (NPN/VAN) Creation & Development Fund Project co-commissioned by 651 ARTS, Mount Tremper Arts, RestorationART, Kelly Strayhorn Theater, DancePlace and NPN/VAN. The Creation & Development Fund is supported by the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, and the National Endowment for the Arts.

    3 RITES is made possible in part through funding from the Brooklyn Arts Council; Creative Capital; Durst Organization; Harkness Foundation for Dance; The New England Foundation for the Arts, National Dance Project which is generously supported with lead funding from the Doris Duke Foundation and the Mellon Foundation; New Music USA; New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; a PSC-CUNY Award, jointly funded by The Professional Staff Congress and The City University of New York; The Puffin Foundation, as well as through the sponsorship of The Field; and the generosity of individuals.

    3 RITES was researched, developed and honed with financial, administrative and residency support from BRICLab; Chashama Space to Create; ChoreoQuest at RestorationART – Billie Holiday Theatre; a remote residency with the Experimental Media and Performance Arts Center at Rensselaer Polytechnic Institute; Dance in Process at Gibney Dance with funds provided by The Andrew W. Mellon Foundation; the Harlem Stage WaterWorks Emerging Artists program, which received support from the Jerome Foundation and the Mellon Foundation; Mabou Mines SUITE/Space program; Maggie Allessee National Center for Choreography; Materials for the Arts; New York State Dance Force residencies at Topaz Arts and at Hobart and William Smith Colleges; Norte Maar @ Socrates Sculpture Park; Performance Spaces for the 21st Century; and Snug Harbor Cultural Center.

    ABOUT THE DISCUSSION MODERATOR

    Kevin Jarbo is an Assistant Professor in the Department of Social and Decision Sciences and Co-Director of the Data-Driven Diversity (D3) Lab in Dietrich College at Carnegie Mellon University. His current research focuses on college student engagement, help-seeking behavior, perceptions of diversity initiatives, and decisions to persist in higher education. He has also worked closely with CMU’s Center for Student Diversity & Inclusion to coordinate student-centered educational and social events that spotlight Black identity development and culture. Outside of his academic work, Kevin has served as the program chair for the annual Pittsburgh Racial Justice Summit planning committee since 2019. /////////////////////////////////////////////////////////////


    ABOUT KELLY STRAYHORN THEATER

    Named after 20th century entertainment legends Gene Kelly and Billy Strayhorn, both natives of Pittsburgh, Pennsylvania, Kelly Strayhorn Theater (KST) is a home for creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people. We welcome our home to all who uplift Black, Indigenous, people of color, and queer voices.

    KST is an institutional arts anchor in Pittsburgh’s East End that has served the community for more than two decades. Since launching KST Presents programming in ’08, KST has been Black-led, fostering radical imagination for Black and queer arts, culture, and community in Pittsburgh by cultivating BIPOC and/or queer artists, entrepreneurs, and arts administrators, developing their careers, and shifting narratives around Black possibility.

  10. To Experience Tina is to Witness Fire

    An excerpt from the curtain sermon for Simply the Best on March 16, 2024

    Tonight, we honor the legacy of the Queen of Rock n Roll. Acid Queen. Anna Mae, if ya know. Ms. Tina Turner was born on November 26, 1939 in Tennessee where she spent part of her childhood picking cotton on a farm in Nutbush, and sang in the choir of the Spring Hill Baptist Church. Ms. Tina leaned on spirituality throughout her life. She was a devout Buddhist rocker for more than 50 years. 

    In an interview with the Harvard Business Review in 2021 Ms. Tina said, “Of everything I’ve done to succeed as an artist, spirituality has had the greatest influence.” In 1984 she told the LA Times, “You take away the bondage, the problems, the hang-ups, the egos, and I can fly. I can laugh, I can dance, I can sing, and I don’t grow tired. Freedom. That’s my motivation.”

    In one of Buddha’s teachings “The Fire Sermon” he explains to find freedom, we must release our attachment to desires. Our cravings and desires cause suffering, just like a spreading fire destroys everything. But fire can also purify and transform. Indigenous practices use fire to protect the land, while the burning bush transformed Moses into a leader for his people.  

    And the Proud Mary keeps on burnin’.  

    A black & white photograph of Tina Turner onstage, wearing a black dress. She is holding her microphone stand and singing passionately, looking off toward the side. Instruments are barely visible in the background, and there is a vintage-looking golden confetti-esque treatment over the image

    When recounting Ms. Tina’s time with the Ike and Tina Turner Revue, Cultural Anthropologist, Maureen Mohon wrote, “she and the Ikettes sang full throttle and performed rapid-fire dance steps; those whirling arms, swinging hair and fringed mini dresses. Tina wasn’t afraid to be sexy and she wasn’t afraid to sweat.” 

    Tennessee History Professor Dr. Elwood Watson proclaimed, “She unabashedly screamed, shouted, kicked, and thunderously belted out vocals — all of which cultivated a fierce, brash aura that provided rock and roll one of its most distinctive sounds. Tina Turner brought an uncompromised strand of black Southern music, the sound of the Chitlin’ Circuit itself.” 

    “Her voice was a spiritual successor to that of Big Mama Thornton, Sister Rosetta Tharpe, LaVern Baker, and many other Black women who laid the foundations of rock & roll,” adds writer Lester Fabian Braithwaite.

    And, yes, she went through fire. 

    “She was the first star to talk aloud about domestic violence, to insist on it as part of her story,” said Rob Sheffield of Rolling Stone. “Until she came along, the idiom ‘domestic violence’ wasn’t even part of the language.”

    They say ‘Hell hath no fury like a woman scorned’ but I say move out the way of a badass on fire, reclaiming her time and insisting on living her peace.

    To experience Tina Tuner is to witness fire, the crackling, sputtering, snapping, roaring blaze, popping, sizzling, the crisp snip-snap-whoosh, a ceremonial cleansing on stage sending a whirling smoke signal up to the heavens, inviting us to let go, to shake a tail feather, to join the disco inferno, to get free. 

    Rob Sheffield summed up Ms. Tina’s legacy by acknowledging that, “Nothing could ever scare the fire out of her voice, which carried the whole story of American music in it.” 

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    Photo Credits: Delaney Greenberg, Mingsi Ma, Randall Coleman