Performance as reparation, as reconfiguration, as a way to bounce back and forge ahead.
She mourns and then she is fully present, looking right through you, dancing with abandon.
This is that Marco Polo shit, I realized. This city, we’ve inherited it. We’re in it. And I didn’t think anybody else besides Sam would care with the fervor that I did.
Cumbe: Center for African and Diaspora Dance (Cumbe) returns to Brooklyn with a new home at RestorationART. Maura interviews Jimena Martinez, Cumbe’s Executive Director.
The Resuscitation of Rhapsody; or, Can Anybody Make Art Anymore Without Someone Comparing it to Game of Thrones: On Icarus in the L.E.S. by Nic Adams
The severed head of Homer has been degraded, discarded in wintry sidewalk snow mounds and forgotten inside the walk-in refrigerator of some swank restaurant before being hung on a meat hook above the bath tub.
“Roberto Bolano’s appearance in the world is great for Latin American literature, for Latin American writers,” Javier Antonio Gonzalez, playwright and artistic director of the theater company Caborca, told me recently. “Even though his work is celebrated everywhere and people connect to it all over
If male artists were to spend the rest of their lives critiquing–as directly as this play critiques–the patriarchal authority of the Western canon, they would never run out of material.
Maura talks to Maria about her upcoming premiere of “dying and dying and dying” at Gibney Dance Center this week.
“The play you are performing has never been seen by anybody”
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.
A long time into the future, slowly: Emily Johnson’s “Then a Cunning Voice and A Night We Spend Gazing at Stars”
“There is no end to the work we begin here.”