Put Away the Fire, dear pt.2 (in draft form) at La MaMa Moves last month moves in and out of cinematic and live performance structures, often jump-cutting from internal narratives to vigorous dancing
Hunter College Dance MFA Darvejon Jones writes about a program at the La MaMa Moves 2023 Festival.
A dominating thread of grief and healing wound its way through La MaMa Moves! 2021 and most of the artists brought song and storytelling into a festival that, as curator Nicky Paraiso acknowledged was full of resilient artists “making work that is essential and true to this pivotal moment in time.”
There is no preaching to the choir when it comes to considering reparations, because there is no choir. It’s a lonely act.
These moments of transparency and revealed infrastructure are strictly intended.
This idea of American desire and what’s encapsulated in that is this reckoning, but, also holding the truths of being white in American culture means you have to hold the history of being an oppressor. But, then, how do you hold that?
Between Walled Rooms is a series of freeform responses to live performance works by female identifying and gender nonconforming choreographers, initiated by Tara Sheena. This work is a response to Hadar Ahuvia’s “Everything you have is yours?”.
The moment it becomes legible, it becomes something else.
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.”
Is this enough
Is this fucked
Is this now
Is this boring
There is a buzzing that won’t stop; if it stops, I am afraid of how you will go on.
Your tea drinking
What flavor and why