Artist Representative: Sophie Myrtil-McCourty | 212.278.8111 x313

The Tale: Npinpee Nckutchie and the Tail of the Golden Dek
Acclaimed choreographer Reggie Wilson explores intimacy and devotion, libido and love in a seamless collage of music and dance. Eight performers explore the complicated rituals of coupling, the ancient sensual dances of lovers. Stepping, stomping, shouting, and strutting – embodying the elegant invitations and rejections of the sexes, Wilson and company draw on traditions that range from the earliest fist and heel styles developed during the slaving era to the step dances that gave rise to urban dance sensations like the Big Apple, Lindy Hop, Electric Slide, and Chicago-Style Stepping.
The Salon Pieces
Salon Pieces are an alternative to full Company presentations. A full evening of short works from Wilson’s repertoire that are performed by one to three performers are offered for presentation, including pieces such as Tales from the Creek, Introduction, Untitled, and The Dew Wet.
The Good Dance (Congo Congo and His Search for the Good Dance)

Wilson’s research combined with a multi-year exchange and collaboration of Reggie Wilson/Fist & Heel Performance Group and Congolese choreographer Andreya Ouamba and his company 1er Temps (based in Dakar, Senegal ) will be contextualized and incorporated into the performance work The Good Dance. Through this work, he is examining the influence of Central African culture on world performance forms, investigating the metaphoric, historic and real world parallels of the Mississippi and Congo rivers and their cultures. The choreography is developed and informed by Wilson ‘s  research/fieldwork/exchange experience, and with The Good Dance has come full circle beginning with the Mississippi Delta, then the Caribbean, Southern Africa, West Africa, and now Central Africa juxtaposed with the Delta. A native of Milwaukee, Wilson’s family migrated up from the Mississippi Delta. Anthropological data collected to inform the new work will include Wilson’s own family history (2nd generation from the Mississippi Delta to Milwaukee), as well as Mr. Ouamba’s, who until recently called himself a Congolese refugee (1st generation from the Congo to Senegal).
Click here for Reggie discussing The Good Dance

The piece premiered in the US at the Walker Art Center in Minneapolis, MN, in the Fall of 2009. The NYC premiere of the work took place at the BAM Next Wave Festival in December of 2009. The Good Dance received a National Dance Project Production Touring Grant for the 09/10 season.
theRevisitation is a full evening presentation of selected works from Wilson’s repertoire, with a new twist. Previous performance standards have been cut, pasted and merged with new ideas, thoughts, and realities to reflect on Wilson’s past, his approach to his body, its idiomatic  movement and current perspectives. theRevisitation is a revealing re-examination of the artist’s moving body and his provocative body of work. This show includes: the vocal suite called Hard Heads Make Soft Tales (a Sweetie), the duet, INTRODUCTION, and Big Brick: a man’s piece.
I N   D E V E L O P M E N T

Moses(es) is the title of Reggie Wilson/Fist and Heel Performance Group’s full-length dance performance that examines how we lead and why we follow. It explores and questions our expectations and relationships to leadership and how the effects of migration on beliefs and customs are inter-connected to who we consider our Leaders.Grounded in Wilson’s re-reading of Zora Neale Hurston’s Moses, Man of the Mountain (the Moses story told as a Southern folk tale in African-American vernacular), and with his exploratory travels to Israel, Egypt, Turkey and Mali, Moses(es) examines the migration of peoples and culture from Africa out into the world, with particular attention paid to the effects that migration has on beliefs. Wilson’s personal inspiration and extensive research for this project has landed on the intersection of the origins of Monotheism and African cultures.The project has 9 performers, including the director/performer Wilson with the world premiere September 2013.

Project Timeline-Development is segmented into four phases:
Phase I -Conceptualization (Thinking): April 2010-Premiere (early 2013)
Phase II -Research and Planning (Travel, Questioning, Development): Jun
2010–Dec 2011
Phase III -Choreographic Development and Production* (Rehearsal): Sept.
Phase IV -Presentation (Premieres, Performances and Touring): September 2013 through 2014
(*Choreographic and production development residencies included activities such as: 1-2 Work-In Progress Presentations, 4-5 Residencies, Open Rehearsals,
Educational and Community Programs and Lectures)

In the spring of 2012 the company completed two residencies at Columbia College in Chicago. Moses(es) is also supported by the Joyce Foundation. Click here for a trailer that the Columbia College Dance Center made about the company’s residency. Reggie and the company also did creation residencies at MANCC October 2012, another at Vermont Performance Lab April 2013 and a full production residency at FringeArts with a work-in-progress Sneak Peek.

The piece will have its world premiere in September 2013 at FringeArts and will continue to tour in 13/14 and 14/15.

Moses(es) has received a National Dance Project Production grant.

About Reggie’s work:
Reggie Wilson draws from the ritual and body languages of the blues, slave and spiritual cultures of Africa and Africans in the Diaspora, combining them with post-modern structures and deconstruction and his own movement to create what he calls “Post-African/Neo HooDoo Modern dance”.

His last major work, The Good Dance-dakar/brooklyn (2009), abstractly traced the migration routes of his family along the Mississippi River from the Delta north to Milwaukee. The Good Dance sketched the horrors, commonalities, dissimilarities, abundance and beauty of life and travel along the great Mississippi and the Congo River.

Wilson’s work has an ongoing concern and response to the marginalization of Africa and its many iterations. Part of the business of the work utilizes deconstruction of the representation of the lives of black folks, using black bodies and black content in the illumination of the reality and the experience of how un-marginal Africa is. His works are a part of the dialogue and on-going investigation on how much of what came out of Africa affected and influenced world evolution and that this influence is still true today.

Wilson was the recipient of the Minnesota Dance Alliance’s McKnight
National Fellowship (2000-2001), a 2002 BESSIE and a 2002 John Simon
Guggenheim Fellowship. In 2009 he was the Herb Alpert Award recipient in Dance, and also a Prudential USA Fellow. Most recently, he was named a member of the inaugural class of Doris Duke Artists.

Community Shouts
stimulating, transformative sing-a-longs where participants restore and connect to their rhythmic voices and bodies. The Shouts unearth some of the origins, functions and interconnections through tales and songs from Africa and the African Diaspora (the Caribbean and American south).
Creative Healing Workshop
company members guide and participate in creative writing, and/or movement workshops for young people and seniors.
Open Rehearsal Post-Performance Discussions
audience, performers and choreographer make contact on a more intimate level, either in the studio or post-performance, during which time audience members and performers have an opportunity to exchange perspectives and further understand Wilson’s process and presentation.
Master Classes & Workshops

choreographer Reggie Wilson teaches Master Classes in his particular movement idiom, merging contemporary Technique and post-modern structures with rhythmic folk traditions. Wilson also conducts workshop intensives in Dance Composition.


Reggie Wilson delivers engaging lectures on his career arc, research and the various cultures and communities of the African Diaspora.
Julieta Cervantes, Antoine Tempe