You had to be there, but if you weren’t… make it a point next time to get yourself seated at his feet and revere in his splendor. areyouready?
With this 11th Platform, curated by Ishmael Houston-Jones and Will Rawls to focus on the impact of the AIDS crisis, they’ve expanded across time, skipping across aesthetic differences, addressing dismissal and erasure and getting up close and, truly, personal with the place dance holds in many of our lived and lost lives.
It’s funny, like a more restrained, extended version of Saturday Night Live’s NPR spoof, “Delicious Dish.” But there’s more to it.
They fucked us good.
Please Fuck Off Jérôme Bel or A 50 Year Old French White Man Makes An All Bodies Matter Dance and I Hate It
Yes! A literal PARADE of surface level DIVERSITY.
The language in the play is often poetic and strange, shining unexpected light on the real, sad ways that we often miss one another, even as we suffer in close proximity.
We do not ordinarily have much cause to come to Wall Street. But we are here. We are here to see Julius Caesar. Spared Parts.
We go on with our daily lives, reacting not much more consciously than the sheep, who respond to their concerns only by releasing little poops.
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
I entered Standard Toykraft, a theater space in a Williamsburg loft where Nadia Tykulsker both crafted and presented Saw You Yesterday, and my breath was immediately stifled by an oppressive humidity. I imagined how the subtropical climate of Standard Toykraft might affect the performer’s and
French choreographer and breakdance world champion Anne Nguyen‘s Autarcie (…), presented by the Crossing the Line Festival and Dancing in the Streets at Gibney Dance Center from September 29 to October 1, 2016, is rooted in hip-hop but aims to open a new space within
Hedda and her double dance together against the decorum that silences them and the changes in their body neither can control.