John Gutierrez writes from inside “This Bridge Called My Ass” from Miguel Gutierrez
Perforations Festival brings us into direct responsibility for the execution of artistic ideas and challenges the passive stasis of sideline observation in a mostly successful series of performances that ripped apart conventional norms.
Someday, if the Earth survives this oligarchy’s drive to suck the life out of her and us, historians, archivists, and survivors will share stories of the work being made in “this era.” 1 Panel & 2 shows.
On Presidents Day in The Club at La MaMa, Nicky Paraiso gathered a packed house of artists and audience members for an evening of protest, stories, songs, dances, reveries and resistance as part of “Bad and Nasty” Performance Protests.
Honji Wang and Sébastien Ramirez, of Wang Ramirez, are often presented as cross-cultural navigators, both in their performance styles and in their personal lives. Wang is a Korean-German dancer with training in martial arts, ballet, and hip-hop, while Ramirez is a French-Spanish B-boy. From the
Maura Donohue reflects on the political relevance of La Mama’s production of “Pylade” in NYC and on tour in Europe.
Theatre of the Oppressed NYC Artists Respond
I saw Witness Relocation’s Daily Life Everlasting by Charles Mee at LaMama. Then I wrote a poem.
Looking for Work in All the Wrong Places Or: How I Stopped Believing in Unicorns and Learned to Ride a Horse
Alexander Leslie Thompson on un/under/semi-employment and the power of community.
Michael Kliën on dancing on Hydra
Andy reflects on leaving New York.
Andy reports from San Francisco