Event Photo Word Becomes Flesh

Tickets: $20

CLICK DATE TO BUY ONLINE

Jan 5-15


Presented by Under The Radar Festival in association with 651 ARTS

The Public Theater

425 Lafayette Street

Word Becomes Flesh

Word Becomes Flesh is an evening-length dance and spoken word piece originally created as a solo work by Marc Bamuthi Joseph. Bamuthi re-imagines and expands the piece as a group work set on five male performers. Bamuthi’s work takes form as a series of letters to his unborn son, using poetry, dance, live music and visual art to document nine months of pregnancy from a young single father’s perspective. Bamuthi has reimagined the work for an ensemble cast in order to detach the piece from the autobiographical idiom so that it will speak to a new generation and serve as a broader comment on Black male relationships to fatherhood in general. Word Becomes Flesh represents the completion of his third play, having already staged De/Cipher (Theater Artaud and Yerba Buena Center, 2001) and No Man’s Land (ODC, 2002). Presented in association with the Under the Radar Festival.

About the Artist

Marc Bamuthi Joseph is one of America’s vital voices in performance, arts education and artistic curation. Bamuthi was featured on the cover of Smithsonian Magazine and was named one of America’s Top Young Innovators in the Arts and Sciences.  He is the artistic director of HBO’s Russell Simmons presents Brave New Voices, a recipient of the Rockefeller Fellowship and has received an Alpert Award.  Bamuthi has developed several poetically based works including Word Becomes Flesh, Scourge and the break/s. He wrote the libretto, Home in 7, for the Atlanta Ballet and directed Dennis Kim’s Tree City Legends at Intersection for the Arts.  Bamuthi was a commentator on National Public Radio, has lectured and carried out adjunct professorships, and currently teaches at Mills College. Bamuthi works with Youth Speaks as a mentor, curates the Living Word Festival and Left Coast Leaning, and is the co-founder of Life is Living.

Photo Credit:  Jati Lindsay

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