Honji Wang and Sébastien Ramirez, of Wang Ramirez, are often presented as cross-cultural navigators, both in their performance styles and in their personal lives. Wang is a Korean-German dancer with training in martial arts, ballet, and hip-hop, while Ramirez is a French-Spanish B-boy. From the
How will we ever go back after the planting that guest curator Eva Yaa Asentawaa sowed during last week’s “the skeleton architecture, or the future of our worlds?”
Everyone deserves equal access to a full, vibrant creative life, which is essential to a healthy and democratic society. – from Americans for the Arts: Statement on Cultural Equity On Saturday evening, as part of Bridging: A French-American Dialogue on Diversity and Inclusion in
Maura Donohue reflects on the political relevance of La Mama’s production of “Pylade” in NYC and on tour in Europe.
The Radical Pleasure of Convening: Jaamil Olawale Kosoko & anonymous bodies’ “Imaging Justice for the Dark Divine” and beyond
“…the erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing.”
“When are we artists and when are we everyone?” The answer, of course, is that artists are always everyone, we are members of a greater Public, and it is in acknowledging this that artists can create change.
Theatre of the Oppressed NYC Artists Respond
On May 12, 2015, Gibney Dance hosted a panel titled “Dance Criticism in New York.” The event was moderated by dance writer and blogger Eva Yaa Assantewaa and included fellow dance writers Rose Ann Thom, Jaime Shearn Coan, A. Nia Austin-Edwards, Siobhan Burke, Charmaine Warren
Lydia and Kimberly discuss violence, rigor, legacy, collaborators, taxidermy forms, and the making of “Ecsteriority4 (Part 2).”
Emmanuel Iduma reflects on Danspace Project’s PLATFORM 2015: Dancers, Buildings and People in the Streets.
Problematizing The Wooster Group’s CRY, TROJANS!
I saw Witness Relocation’s Daily Life Everlasting by Charles Mee at LaMama. Then I wrote a poem.