Bembé, Salón y Calle 2010
Bembé, Salón y Calle is a dynamic evening of dance, live music and visual art featuring Afro-Cuban Orishas, Rumba, Salsa, Chá-chá-chá and contemporary dance theater that premiered at the Hostos Center for Arts & Culture to a sold out house in March 2010. The performance creatively celebrates the legacy of Cuban dance and music by integrating tradition and innovation and highlights the culture’s impact in present day New York City.
What Do U Dance On? Premiere 2010
"What do you dance on?" is a question that salsa dancers often ask each other, referring to either dancing "on 1" or "on 2"–the beat in a bar of music a dancer accentuates. Comprised of 8 actor-dancers and a live salsa band, this work refers to West Side Story by segregating the performers into two salsa groups representing New York/Puerto Rican and Cuban styles.
cerca work-in-progress 2009
This trio of women is accompanied by Isadora processed video projections of each dancing on a different type of fence. The performance explores the state of boundaries and borders with music mixed live by DJ Steph.
Maletumba II 2010
Maletumba is based on negotiation, desire, and separation. Originally created in collaboration with social dancer Abraham Salazar, singer-dancer Chino Pons and a live percussionist, Frederick remixes Afro-Cuban Rumba, Cuban style Salsa, and contemporary dance, to capture a man and woman struggling for agency in the context of their partnership. Maletumba II is performed with Carlos Mateu and Obara: Onel Mulet, Pedrito Martínez and Roman Díaz.
In TRANSAJE Areytos united four Domincan artists to create a multi-media installation and street level performance with seniors and youth that explored trans-nationalism, migration, and journey in the South Bronx.
BitterSuite is a multi-media solo performance and collaboration with Areytos Co-Founder and visual artist José Ortiz, that addresses identity, human rights, and race in the Dominican diaspora. BitterSuite calls into question the rationale for historical and current scape-goating of Haitians and Dominican-Haitians, and the fearful, often contradictory attitudes towards Vodun. The performance incorporates the music and dance of Gagá, an African based, Dominican-Haitian vodun religious practice prominent on the batey, a sugarcane plantation company town.