Adaku’s forced departure forever alters her connection to reality — she is absorbed into the unknown, which marks the start of our inquiry. Her trauma, epistemically, is our starting point.
This fall, NYCB kicked off the celebration of their 75th anniversary dedicating the entire season to the work of George Balanchine, the company’s co-founder and artistic realizer. On the night of October 11th, to memorialize the first-ever performance of The New York City Ballet at New York City Center, the company put on the exact same program, a triple-bill featuring Concerto Barroco, Orpheus, and Symphony in C.
PQ has “evolved into a platform, which explores progressive approaches, new media, virtual spaces and interdisciplinary relations.”
Okay. I wrote a really long discursive essay about The Theater(s) We Need Now – and I didn’t even dive too deep into the arts admin weeds – but I know how things are, I know what life is like, I know everybody’s busy so
I hope the more arts workers and others share these stories, the more clear and obvious the focus on change becomes. —Emily Johnson
John Gutierrez writes from inside “This Bridge Called My Ass” from Miguel Gutierrez
Perforations Festival brings us into direct responsibility for the execution of artistic ideas and challenges the passive stasis of sideline observation in a mostly successful series of performances that ripped apart conventional norms.
Someday, if the Earth survives this oligarchy’s drive to suck the life out of her and us, historians, archivists, and survivors will share stories of the work being made in “this era.” 1 Panel & 2 shows.
On Presidents Day in The Club at La MaMa, Nicky Paraiso gathered a packed house of artists and audience members for an evening of protest, stories, songs, dances, reveries and resistance as part of “Bad and Nasty” Performance Protests.
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