Being a witness of many of the referenced breakthroughs, Rosenboom, the pioneer of brainwave music, embodied the spirit of the legacy we aspired to dust off.
Okay. I wrote a really long discursive essay about The Theater(s) We Need Now – and I didn’t even dive too deep into the arts admin weeds – but I know how things are, I know what life is like, I know everybody’s busy so
Two choreographers navigate the strangeness of the stage in works developed through a new residency in Red Hook, Brooklyn.
There is no audience. There is a community and you’re connected to the community and you’re not playing to the audience. There happens to be an audience and they’re looking through a keyhole and seeing this unique culture and its traditions and its dances and community, speaking in a language they don’t know.
Two figures approach each other. They could be brothers, countrymen, mortal enemies. In a world obsessed with borders, they are fundamentally different and dangerously similar.
Waves crashed on the sand and ambient beats wafted from the DJ tent. Rainbow flags marked a sacred circle on the beach: beyond the luxurious summer homes and expensive restaurants, a brave queer oasis for experimental art emerged.
I hope Putin understands “Fuck War” in not only Russian, but Estonian, Latvian and Lithuanian as well.
Preview: “Departure Study of Mother/land Fabric” presented by The Exponential Festival, filmed at The Brick Theater
What is the body if not your closest, most concrete tie to blood lineage? It’s a mirror, a translation, a vessel for parallels and repetition across oceans and decades.
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.”
Elliot spent his career looking for the meaning of this elusive concept [of dramaturgy], and with the following we attempt to honor him and continue his quest by articulating what Elliot’s dramaturgy meant to us, his many collaborators and friends.
I hope the more arts workers and others share these stories, the more clear and obvious the focus on change becomes. —Emily Johnson
Created and performed by Holly Sass and Jonathan Matthews / BREAKTIME