The inside spaces of the Kennedy Center’s The REACH are spacious and cavernous, like an underground college building with rooms ripe for seminars, classes, performances, films and whatever other kind of programming the Center offers, which is to say almost anything. The outside buildings are equally stunning, standing tall not in an intimidation, but a reassurance.
The facility had yet to open when we walked through the grounds in mid-July, but it was easy to close your eyes and imagine a swath of people congregating in one of the spacious fields for a concert or a movie projected directly on the side of their sloping creations. Soon, there won’t be much left to the imagination as the Center is set to unleash every kind of installation you can think of – big name to small name, hip-hop to opera, dance to painting, sculpture to DJs.
“We’ll achieve a vision in people’s minds,” says Robert van Leer, the Kennedy Center’s senior vice president of artistic planning. “And I mean everyone: artists, staff, visitors, civic leaders. When you open a new building, there’s a process that comes up with that vision, but it’s important to start with what it can be.”
From Saturday, September 7 through Sunday, September 22, the Kennedy Center’s The REACH Opening Festival will feature close to 500 free events inviting people to explore the space, participate in workshops, and see headlining acts such as Robert Glasper, Bootsy Collins, The Second City, Thievery Corporation and so much more.
“It’s a great way to illustrate what The REACH can do,” van Leer continues. “It’s a combination of all of those things and a chance to learn with the artists to see what the future opportunities can be.”
Artists Ty Defoe and Alysia Lee are perfect examples of the diverse range of creative talent participating in the festivities. Both will travel from different East Coast cities – Baltimore and NYC, respectively – to support The REACH and take part in the public’s first invitation to the campus.
“I like the word festival,” Defoe says. “I like the word joy and I like the word connection. I feel like among those words, it reminds me that we’re at a time right now where the arts are a place of healing, celebration and activation. The arts not only change people’s minds, but people’s hearts. I feel like we’re in a time where that is very necessary right now.”
Defoe is an interdisciplinary artist from New York slated to participate in two events: a panel titled “The New Contemporary in Native American Art” and an interactive participatory hoop dance. The latter is only allotted 15 minutes, but despite this expedited runtime, the movement has several different layers all geared toward a unique experience.
“I’ve been working on this since I was 7 years old,” Defoe says. “It gets at a lot of intersections that I like to operate in, which is contemporary indigenous culture, community, spectacle, and utilizing spaces [both] indoors and outdoors. Also, [knowing] this festival will have all these amazing people of culture coming together in that circle, there was no other thing in my mind that came up besides this.”
The dance starts off with a story about finding a way through fighting and warring as a community, but it’s not all spoken. For some, the narrative is better understood through a series of physical steps, hence the hoop dance.
“I’ll weave myself in and out of these hoops to make different shapes – things you’d see in nature like trees, plants, flowers and animals – to pay honor to the equity of all living things,” Defoe continues. “The interactive part breaks down the multigenerational part because as adults, we are sometimes living in our heads and not able to feel. No matter who you are – shape, size, color – you’re standing shoulder to shoulder with your friend or relative.”
While Defoe’s interactive performance welcomes all people in attendance to gather around and dance, Lee’s workshop about protest songs will focus on inspiring middle school children to express themselves in tune. As a Kennedy Center 2019-2020 Citizen Arts Fellow and multifaceted vocalist, Lee is an obvious choice to lead an educational workshop for the opening festival.
“I really want to have something where kids walk away with something they created,” Lee says. “I want collaboration and sharing, and something where there will be high incentive and high reward to move quickly together.”
Lee came up with the activity upon learning that a majority of 60s protest songs were parodies of oldies from the 40s and 50s. The format took form when she thought of using modern pop music to help kids write their own pieces.
“What do we care about and how can we use music as a way to voice our opinions? The accessibility of these protest songs is super cool because you can get kids to take their favorite hits and use them for social change.”
Lee feels confident that the children participating will be up for protesting, whether it be concerns about global warming or requests for more snack machines.
“Kids nowadays are so in tune because of social media,” she says. “They’re so in touch with the world in a way that I wasn’t. Kids really feel very strongly and passionately about things that are beyond them. They feel more connected to the global society.”
The REACH is also slated to feature a number of DC-based artists as part of the festival’s lineup. GIRLAAA Collective Founder Dominique Wells has coordinated a full slate of curation on opening day with a panel of female DJs – including Mane Squeeze, Ayes Cold and Niara Sterling – followed by a performance.
“We want to discuss women in the music industry and how they’re doing more than just following contemporary trends – they’re breaking barriers,” Wells says. “I feel like what they’re doing is important and monumental and necessary.”
The DC native sees The REACH as an opportunity for the Kennedy Center to better serve the underprivileged in the community by introducing them to art by way of free workshops and performances, much like the programming for the festival.
“It’s about what’s happening beyond their main space,” Wells says. “I think The REACH is going to offer a lot of people who otherwise might not come there an opportunity to experience something inclusive and diverse. They have a great team of people who are working really hard, and they’re listening to people.”
From local to national, big to small, contemporary to classical, the Kennedy Center’s The REACH Opening Festival is a multi-dimensional playground for patrons of the arts from any background. Van Leer says there are no plans to make this an annual tentpole event, so you will definitely want to revel in it while you can.
“You see all the cross-pollination that’s occurring,” Lee says of the festival programming. “It’s really inspiring and makes me think about the through-line of creativity and how things can speak. I love that the festival is a place for that. It’s hard to even fathom missing one day of it.”
To peruse the comprehensive list of events at The REACH’s Opening Festival, visit https://cms.kennedy-center.org/festivals/reach. For announcements about upcoming programming at The REACH, go to www.reach.kennedy-center.org.