This place where language is familiar because of airports and tampon boxes and online preachers and being cat-called and the slow drip of consumer rhetoric.
Performance as reparation, as reconfiguration, as a way to bounce back and forge ahead.
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.
A long time into the future, slowly: Emily Johnson’s “Then a Cunning Voice and A Night We Spend Gazing at Stars”
“There is no end to the work we begin here.”
it was about our bodies.
no, it was about our wildness.
as if you could divide them.
I am seeing the iPhone ghost faded into Mark’s jean pocket. We see each other.
He is seeing each one of us.
In these perilous, challenging and unpredictable times in our country and in the world, we can look to the performing arts for some clues as to how we might respond and continue to live our lives with vigilance, and hopefully a modicum of wisdom, to
George Emilio Sanchez offers a rumination on Culturebot’s Maura Donohue’s recent work at La MaMa
Is this enough
Is this fucked
Is this now
Is this boring
There is a buzzing that won’t stop; if it stops, I am afraid of how you will go on.
Your tea drinking
What flavor and why