MUSIC TALK:
NONA HENDRYX AND JAMILA WOODS WITH AYANA CONTRERAS
MAY 22, 2022, 12:30-2:00 p.m.
THE DUSABLE MUSEUM OF AFRICAN AMERICAN HISTORY ROUNDHOUSE
American Sign Language interpretation will be provided.
FROM THE
CURATOR
I caught a solo concert by Nona Hendryx—which included Labelle’s unforgettable hit “Lady Marmalade”—a few years ago. Crammed at a small table with a friend who knew Labelle’s most famous songs but nothing about Labelle, looking up at Hendryx swathed in black leather, sky-high heels, and the magenta glow of flashing lights, my friend’s face altered, song by song, as she realized what a visionary queen of rock and soul she was witnessing. Later, deep in the archives of the New York Public Library for the Performing Arts at Lincoln Center, I came across blurry footage of Hendryx performing in a 1987 piece by experimental choreographer Yoshiko Chuma, which won Hendryx a “Bessie” Award for her music composition. Even in such a different context from her many Labelle or solo concerts over the years, Hendryx’s stage presence, out-of-this-world sound, and bold songwriting remained unmistakable. It is impossible to deny the versatility and singularity of her artistry and logical that Labelle so sparked Nick Cave’s aesthetic imagination.
Labelle became Labelle in part because Hendryx translated her poetic thinking into song, by way of the “soul-rebel wild” sonic world of the group—the harmony and grit of Patti LaBelle, Sarah Dash, and Hendryx’s voices together 1. In a conversation during MCA’s 50th anniversary celebrations in 2017 2, Jamila Woods addressed how her songwriting, too, is poetry. Woods’s music seems to argue through its very sound that the personal, the inherited, and the political are inseparable. Woods’s 2019 album, LEGACY! LEGACY!, put the inheritance part of that practice to work, paying homage by name to Black people whose creativity diverged from the beaten path of expectations: Betty Davis, Octavia Butler, Eartha Kitt, and Zora Neale Hurston. Black women music-makers, scholar Daphne A. Brooks writes, “are the revolutionary ones who expanded our notions of what’s expressively possible, powerful, and humanly restorative.” 3
Chicago has been home to endless examples of famous, infamous, and yet-to-be-recognized Black creativity and musical imagination over many generations. Woods’s hometown and a beloved homebase for Labelle over the years, the city’s influence on the sounds of these artists might be attributed to what Ayana Contreras calls Chicago’s special “Afro-optimism.” 4 This city’s Black radical imagination tends toward continued possibilities rather than foreclosed and foregone conclusions. Not only is this conversation an homage to the past that Labelle shaped and the present practices of both artists,it is also about the futures of Black culture in Chicago and beyond. In addition to sharing music as they chat, the artists will answer questions posed by high school students from the Little Black Pearl Art and Design Academy, a reminder of the joy and potential in this intergenerational exchange.
— Tara Aisha Willis, curator
1 Bertei, Adele. 2021. Why Labelle Matters, 60. University of Texas Press.
2 Tasha Viets-VanLear, Jamila Woods, and avery r. young. “Jamila Woods in conversation with avery r. young and Tasha Viets-VanLear.” October, 2017.
3 Brooks, Daphne A. 2021. Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound, 40. Harvard University Press.
4 Contreras, Ayana. 2021. Energy Never Dies: Afro-Optimism and Creativity in Chicago. University of Illinois Press.
ABOUT
THE WORK
“I think I’m still discovering what my legacy is; I’m still living. . . . I think this whole project has been really inspiring to look into the legacies of what other artists have left and how they’ve influenced me. I feel that it’s more important to not limit myself and to try to be authentically myself.”
— Jamila Woods reflecting on her album, LEGACY! LEGACY!, in an interview for Loud and Quiet.
“. . . covered in alien space-age suiting and feathers, alone in the spotlight, Sarah begins to sing. . . . Suddenly, to Sarah’s right, night-bird Nona descends from above on wires, an Afronaut deity from space touching down to join Sarah . . . returning from a galaxy unknown. We catch our collective breath as another body, a winged creature, emerges from on high. Nearly concealed in a cage made of trembling feathers, a wingspread capable of enfolding us all begins to unfurl to reveal Patti. . . . the three lock their voices into harmony and the crowd erupts. . . . I [took] in two shows that night: Labelle’s revolutionary performance onstage and the elation of the audience around me, an integration so foreign to the city yet so perfectly held in the embrace of Labelle’s music. This was an experience of sound and vision expressing what Martin Luther King Jr. spoke of as our ‘inescapable network of mutuality.’”
— Excerpted from Why LaBelle Matters, by Adele Bertei, University of Texas Press Austin, 2021.
“Black Chicago is defined by self-determination and by the belief in the improbable. We believe that, despite reports to the contrary, we are not yet dead, but perhaps . . . on the verge of spring. If our Black American ancestors had not believed in the possibility of better tomorrow (in order to just keep living), I shudder to think of what the world would have missed out on.”
— Ayana Contreras in Energy Never Dies (University of Illinois Press, 2021).
ABOUT
THE ARTISTS
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Nona Hendryx is a revolutionary art rock, new wave goddess. The vocalist, songwriter, musician, and multimedia artist tackles social issues, love, and politics in her work. Hendryx’s career spans decades of sound and style evolution. Longtime Hendryx fans know her as a member of the groundbreaking group Labelle and as the writer behind their iconic songs “Can I Speak To You Before You Go To Hollywood” and “Nightbirds.” Hendryx came into her own as a solo artist, post-Labelle’s no. 1 worldwide hit “Lady Marmalade” with rock infused albums. Her album Mutatis Mutandis (“changing those things which need to be changed”) lends necessary gravitas to a striking rendition of Billie Holiday’s “Strange Fruit” with a smoky vocal tessitura somewhere between funk and the end of the stratosphere. Hendryx is an ambassador for artistry in music for Berklee College at Boston Conservatory and Berklee NYC. She curated and performed in a production created for the Metropolitan Museum of Art, Nona Hendryx and Disciples of Sun Ra in the Temple of Dendur. Currently she is composing music for the revival of Blue, a play with music, and has written two compositions for Roundabout Theater’s production and the Broadway debut of Trouble in Mind written by Alice Childress and directed by Charles R. Wright. She also received a grant from Jazz South Arts to compose music for a new play, Young Nerds of Color, written by Melinda Lopez and directed by Dawn Meredith Simmons at Boston’s Central Square Theater. Hendryx is passionate about music, visual art, and technology and continues to be a prolific artist.
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Jamila Woods is a Chicago-bred singer-songwriter and award-winning poet whose inspirations include Gwendolyn Brooks and Toni Morrison. Following the 2016 release of her debut album HEAVN, Woods received critical acclaim for her singular sound that is both rooted in soul and wholly modern. Her 2019 sophomore release LEGACY! LEGACY! featured 12 tracks named after writers, thinkers, and visual artists who have influenced her life and work. She is a Pushcart Prize–winning poet and coeditor of BreakBeat Poets: Black Girl Magic (2018). Her poetry was recently published in the Library of America anthology African American Poetry: 250 Years of Struggle & Song (2020). Woods recently made her television debut, performing “SULA (Paperback)” on The Late Show with Stephen Colbert on January 6, 2021.
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Ayana Contreras is a cultural historian, memory worker, radio DJ, and archivist. An avid collector with more than 8,000 vintage vinyl records, she hosts the Reclaimed Soul program on WBEZ and Vocalo Radio in Chicago. She is also a columnist for DownBeat magazine, and her writings have been published in Chicago Review, Oxford American, and Bandcamp Daily, among others. Her book on post–Civil Rights Era cultural history, titled Energy Never Dies: Afro-Optimism and Creativity in Chicago, was published in December 2021 through the University of Illinois Press.
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Etienne Stadwijk (pianist) was born in the Netherlands, where he was exposed to music at a very early age. As early as preschool he performed at school and events around town. When he was in his early teens his family relocated to Suriname in South America, where both his parents were born. He quickly established himself as one of the premiere keyboard players on the scene, and with his broad stylistic interests work was never in short supply. After high school, he moved to Boston to study music at the prestigious Berklee College of Music. He majored in contemporary arranging. After successfully completing his studies, he moved to New York, which has been his home ever since. He divides his time between recording, producing, and performing live in New York and around the world.
BILLING
Performers/Speakers
Nona Hendryx and Jamila Woods
Moderator
Ayana Contreras
Piano
Etienne Stadwijk
Lighting and Sound
Frost Chicago
After the talk, there will be a brief opportunity for questions from the audience. Some questions have been prepared in advance by students from Little Black Pearl Art and Design Academy, which serves students in grades 9—12 as a Chicago Public Schools Options school, focusing on STEAM education.
If you have something to add to the conversation, note cards are available for your written questions and comments. MCA staff are on hand to pass them up to the stage.
RELATED
PROGRAMS
SUPPORT
LEAD SUPPORT
Lead support for the 2021–22 season of MCA Performance and Public Programs is provided by Elizabeth A. Liebman.
MAJOR SUPPORT
Major support is provided by the Alphawood Foundation and by Julie and Larry Bernstein.
GENEROUS SUPPORT
Generous support is provided by Lois and Steve Eisen and The Eisen Family Foundation; Ginger Farley and Bob Shapiro, Martha Struthers Farley and Donald C. Farley, Jr. Family Foundation, N.A., Trustee; Susan Manning and Doug Doetsch; Carol Prins and John Hart/The Jessica Fund; and Anonymous.
Additional generous support is provided by the Chicago Department of Cultural Affairs and Events, Ms. Shawn M. Donnelley and Dr. Christopher M. Kelly, Cynthia Hunt and Philip Rudolph, Ashlee Jacob, Anne L. Kaplan, Sharon and Lee Oberlander, D. Elizabeth Price and Lou Yecies, and Enact, the MCA’s Performance & Public Programs affinity group.
The MCA is a proud member of the Museums in the Park and receives major support from the Chicago Park District.
Major support for this Music Talk is provided by Christie’s.
Foundation Season Sponsor
Hotel Season Sponsor
ABOUT PERFORMANCE AND PUBLIC PRACTICE
The Museum of Contemporary Art Chicago is committed to fostering social connections and presenting the most thought-provoking creative arts of our time. The MCA commissions and presents performing arts and opportunities for dialogue with leading artists and scholars from Chicago and around the world. These events serve as spaces for gathering throughout the museum and online. The MCA’s groundbreaking live experiences are an integral part of the museum’s cutting-edge, multidisciplinary, programming. Along with exhibitions, publications, and programs, MCA Performance and Public Practice welcomes visitors to experience the work and ideas of living artists and exercise their own civic voices.
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