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.”
Its in-betweenness, like the liminal space of “not me…not not me,” grants us the ability to be in two places at once.
She mourns and then she is fully present, looking right through you, dancing with abandon.
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.
These ugly feelings: disgust, animatedness, mourning, are radical in their fugitivity.
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