This body unfurls in slow motion, leaving ample space for labels, classifications, and archetypes to land upon her and vanish.
From nightclubs, to rehearsal studios, I found dynamic perspectives and delicious new forms in the many shows I was lucky enough to catch in NYC this year.
Want to take out your phone and text? Please, I dare you, and I hope I’m there to see what happens. Maybe Young will want to take a selfie, or share your photos, or throw your phone out the window. Anything could happen.
The work is the group; the group is the work. It is an antidote to work that devalues the human. The individual is decentralized, but not devalued.
There is no preaching to the choir when it comes to considering reparations, because there is no choir. It’s a lonely act.
Generative moments in fragmented view: a collage // “very peak summer solstice” at ISSUE Project Room
The artistic spaces that once housed me hurt me, causing tremendous trauma. This project—the second installment of “soft bodies in hard places,” “very peak summer solstice”—was a haven.
Essentially I, a poststructuralist rhetoric nerd, thought, I’m trying to write a play about the failures of all those other “girls” stories to reflect the real “girls” I know, and that word is so fucking insufficient, but I don’t have another word for these women.
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.”
“Ain’t Too Proud” is more than just a jukebox musical.
And, yet, we are here, re-fashioning community and remaining soft in a building of stone. The monuments are crumbling. We can take an ax to their base or let them dissolve to the dust of their origin story.
Considerations of how to communicate certain ideas, evoke abstract affects, and share stories explicitly offer possibilities for shared dialogue.
These moments of transparency and revealed infrastructure are strictly intended.