Feeling Sound
Two pieces that delve into ideas surrounding worship and identity: Angie Pittman’s “Came Up in a Lonely Castle” and Johnnie Cruise Mercer/TheREDProjectNYC’s “Process memoir 4: The word, the spirit, and Little Rock.”
All posts by Hilary Tanabe
Entering the Fifth Dimension: Yanira Castro’s STAGE
Its in-betweenness, like the liminal space of “not me…not not me,” grants us the ability to be in two places at once.
The Chronic Pleasure of Creating Queer Spaces
She mourns and then she is fully present, looking right through you, dancing with abandon.
Feeling Grief, Feeling Female, Feeling Un-American
A never-ending stream of hypnotic ghosts.
Dancing with Ghosts: Trajal Harrell’s Becoming/Chanelling/Voguing Kazuo Ohno/Tatsumi Hijikata/Antonia Merce
A new way of being, a new world emerges, one of infinite possibility, as the current one is upended.
Identity politics and dance in the age of Trump: Or how to become a “body without organs” and still acknowledge some borders
In October, I saw two very different works by the French choreographer Jérôme Bel: Jérôme Bel at The Kitchen and Artist’s Choice: Jérôme Bel/ MoMA Dance Company at MoMA. The first contained no dance as we might traditionally think of it, in terms of constant/grandiose/fast/visible
Negotiations of Self
These ugly feelings: disgust, animatedness, mourning, are radical in their fugitivity.
My Sister’s Skin: Nadia Tykulsker and Jennifer Harge, performing race and death in America
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