Day 1 of the Festival of Festivals or January Feast: Based on last night’s opening works by Will Rawls, Meg Stuart and Dana Michel I’d say the American Realness focus on the “breakdown of white-supremacist hierarchies” and on the practice of “realness as resistance,” is helping us all define which America(s) we mean to stand our ground for in the coming days.
La MaMa’s Squirts celebrates its 5th anniversary with a series of intergenerational duets to “mend the queer generation gap, or at least bedazzle it.” Now more than ever… now more than never, we’re all going to have to protect legacies and build futures together.
The Poetry Project’s “dedication to the amplification of radical imagination, oppositional thinking, and community building among writers, artists, and their audiences” makes its New Year’s Day Marathon Reading a perfect way to let go of all the lost voices and hopes of 2016 and to rebuild our fortitude, inoculate ourselves against the vitriol and demagoguery, and find the voices of a newly (re)forming counterculture.
luciana achugar curates Naomi Elena Ramirez & Oren Barnoy, Cynthia Oliver curates Lela Aisha Jones & Leslie Cuyjet – the sum of doubling double pluses is manifold.
Christmas in Nickyland and Reggie Wilson/Fist & Heel prove dancing and singing are practices of resilence and resistance.
With an impending Developer-in-Chief and First Son-in-Law eager to tear down historic buildings for the sake of more real estate profits, the preservation of buildings like 537 Broadway become essential. Kudos to Cathy for bringing it forward as the centerpiece and star of her latest work.
Judy Hussie-Taylor, Ishmael Houston Jones, Will Rawls and over a 112 artists, undertook a labor of revisionist history and artistic accomplishment that is clearly one for the books historic…Lost and Found Ends, but WE WILL NOT REST IN PEACE.
Gina Gibney is a builder and a visionary. From 890 down to 280 Broadway, her centers are offering dancers of a wide range of practices space to meet, move and make. So, it is no surprise that her ability to organize on the mark – with great precision and expansive vision – consistently and persistently translates choreographically.
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?”
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.
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