Misha “sees” in multiple dimensions, as all great directors do, and through multiple worldviews, too, as an artist whose work is informed by being Bengali, queer, and an immigrant.
I think all women and femme people have a complicated relationship with the kitchen, because patriarchy has told us it’s our “proper place,” so the kitchen is never a neutral space. It’s actually been part of my process of rebuffing patriarchy that I claim the kitchen as my own, a space I enter out of choice, for my own joy and fulfillment.
The timeless, classic Cubana Rican performance artist stand-up comic Marga Gomez leans into her fears and at large: the pitfalls of friendship and failed perseverance that bog down all of humanity.
Re-examining the words these artists shared with me about the show on March 7, I was struck by the resonance of their work in the liminal fever dream that is our current reality. At this uncanny remove of time and location, the pieces swelled with meaning. The three soloists dealt with the limitations of their bodies, examining rituals and scores and diagnoses.
so much of how I felt about my body, so much of how I felt about like girlhood as a collective, everything that I felt about femaleness, came from the choir room
At the time I was obsessed with the chickens who can beat humans at tic tac toe in casinos.
This body unfurls in slow motion, leaving ample space for labels, classifications, and archetypes to land upon her and vanish.
My dad called in a fright. He said, “My God, there’s a gun in one of these boxes!” And I said, “Yeah, I bought a gun once.” He said “Well, I want to throw it away.” I said, “That’s fine, you can throw it away.” So they buried it.
what I’m doing is, by cutting things the way that I’m cutting them, and by putting them in the proximity that I’m putting them in, I’m trying to make more audible the patterns that you wouldn’t see if you were just reading reams and reams of these cases.
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.
Drag has challenged me to re-examine and expand my gender identity, which I now see as a continuum between my “everyday self” and “performance self”.
There is no preaching to the choir when it comes to considering reparations, because there is no choir. It’s a lonely act.