INTERVIEW: Temple of Dendur will be setting for Sun Ra tribute show
Photo: Nona Hendryx will pay tribute to Sun Ra and Afrofuturism at a special performance at the Metropolitan Museum of Art. Photo courtesy of Marc Millman / Provided by GOGO PR with permission.
Sun Ra, a highly influential musical artist who espoused the concept of Afrofuturism, will be remembered at a special tribute show Saturday, Feb. 29 at the Metropolitan Museum of Art’s Temple of Dendur. The concert experience, part of Harlem Stage’s The Cosmic Synthesis of Sun Ra and Afrofuturism series, will feature singer Nona Hendryx, a former member of the band Labelle (“Lady Marmalade”).
The performance promises to be multisensory and unique, no doubt finding inspiration in the unique environs of the Temple of Dendur. It’s fitting that the tribute show will take place in this hallowed museum ground because Sun Ra, a jazz composer who led the group The Arkestra, was impacted by Egyptian history and the possibilities of the avant-garde.
The costume and set designer for the upcoming concert is Virgil Ortiz, an artist whose work combines décor, fashion, video and film. He comes from a line of Pueblo potters, and he continues the cultural practice and expands it into apocalyptic themes, science fiction and his own storytelling.
Recently Hollywood Soapbox exchanged emails with Ortiz about the upcoming Sun Ra tribute. Questions and answers have been slightly edited for style.
Where did you draw your inspiration from for the costume and set design for Nona Hendryx and Disciples of Sun Ra in the Temple?
The inspiration for the costuming started coming together when Nona and I were introduced to one another at one of my exhibit openings a couple of years ago. She loved my futuristic characters the ‘Aeronauts,’ which ultimately led to our collaboration. My characters are based on my storytelling of the 1680 Pueblo Revolt that took place in New Mexico. It is not just a story of persecution and revolt, but also a story of resilience — one that seems to be more critical than ever in today’s political and cultural climate.
Does having this performance take place in the Temple of Dendur room influence your stylistic choices?
I had not yet had the opportunity to visit and explore The Met until our first official meeting for the performance piece last September. Entering the Temple of Dendur for the first time blew my mind — pure energy and emotion are very present. I have always been attracted to Egyptian history and its people. All of it seems quite similar to my Indigenous background.
How much research did you do into Sun Ra and Afrofuturism?
Nona has guided and enlightened me on Afrofuturism. She is one of the originals spearheading this aesthetic on stage, in her performances and costuming. My own Indigenous futurism blends itself naturally with her creative, giving it an equal balance of educating and sharing ideas with one another.
What’s it like working with Nona Hendryx and the creative team?
The vibes were electric, sprinkled with positivity and love. It has been a very exciting journey leading up to the performance at The Met. Nona and I share a lot of stories and ideas when we’re together. And, I love her laugh. She bellies over, and that just gets me every time. Both our teams vibe well with one another; we share a great deal of inspiration, imagination and knowledge.
When did you realize you had the talent for design work?
I have always dabbled in design work at a very young age because I grew up in a family of potters. It was natural to immerse myself into any other mediums, and this performance is a mashup of it all. I’m excited to watch it all unfold. We’ve also [been] working on a behind-the-scenes documentary of our journey leading up to The Met performance and hope to share it with everyone soon after.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Nona Hendryx and Disciples of Sun Ra in the Temple will be presented Saturday, Feb. 29 at 7 p.m. in the Temple of Dendur room at the Metropolitan Museum of Art. Click here for more information and tickets.
