Mariana Valencia in "AIR"

Mariana Valencia in her 2019 solo, Bouquet
(photo: Madeline Best)

AIR
by Mariana Valencia
Performance Space New York
January 9-11, 16-18

Very early in Mariana Valencia's new solo piece, AIR, she half-drops into a space of privacy with a person who has come out of the audience to sit in front of her, back turned to the rest of us, and assist her as she makes a change of clothing. You can only see Valencia's steady eye contact with this aide, who is Black, and mostly only hear Valencia's end of whatever verbal exchange might be going on, since the other person, in her few responses, is very soft-spoken. Valencia has already shown herself to be a self-possessed, warm and wry presence and continues to do so throughout this segment. So she easily holds our gaze and interest in place even though her attention is lavished on her helper. What a moment and what a performer--at once, holding us at bay, gathering us in and suspending us between worlds!

Truth be told, she had me at Lotería, the oversized, cream-colored sheet of paper she distributed to each of us (instead of the usual program notes, which we'd get on the way out) after we took our seats. Inspired by the popular Mexican card game of the same name, this sheet, printed in green, served as a clever introduction to a variety of popular culture figures of Mexican descent--from tv astrologer Walter Mercado to Tejano music star Selena to film actress María Félix--cited as major influences on Valencia's life and aesthetics. The first touch of this sheet of paper took me out of "downtown" and all that means as I believe it was supposed to do. It opened up a sense of another influx of energy, a source of creativity that is most often unknown, ignored, devalued and certainly unexpected in these climes, and that felt really, really good.

AIR asks us to consider the what-if of putting kids on stages instead of cages. Its random cinder blocks and white plastic crates suggest an environment of denial--I invite you to contemplate both uses of that word--that diminishes us all. And its prancing, spritely performer uses a droll sense of humor to persuade us how effortless it can sometimes be for marginalized people to absorb and slip into the codes of another culture--from picking up how to say "hello" in England to switching from butch to femme clothes in a Popeye's restroom on your way to a fancy wedding. It's a celebration of a kind of genius and maybe a subtle lesson for us all.

Lighting: Kathy Kaugmann
Sound Engineering: Jules Gimbrone
Music: Jazmin Romero

AIR's last performance happens at 7pm this evening. For information and tickets, click here.

Performance Space New York
150 First Avenue (between 9th and 10th Streets), Manhattan
(map/directions)

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Shared Evening: Jasmine Hearn and Mariana Valencia

This weekend, Danspace Project presents shared evenings of work
by dance artists Jasmine Hearn (above) and Mariana Valencia (below).
(photos: Ian Douglas)

Maybe this Earth is a bed where each of us rests on the threshold of a dream or all of us can dream collectively. Sitting down to take in this spell by Jasmine Hearn (shook at Danspace Project) means drawing near a fire to hear old, passed-down stories, but the fire is invisible, the stories and songs muffled, the images shadowy, blurry. It might not matter if you can't pick up distinct words, follow sentences; if a song is made up of one word that trails off in the air or is simple sounds intoned in a flutey voice. It calls you to take part in the making.

The costumes are equally indistinct, cobbled together as if by a child who had leafed through pages of history, falling asleep atop them, dreaming and dreaming. The fabric--how unruly, voluminous, billowing, ennobling...or thrown together with function if not sense. The movements--how softly fluid, swirly, simple, repetitive, shifting, un-insistent, graceful, agile (Hearn, Angie Pittman, Dominica Greene...these three and also the traces of all who made this, continue to make this, one spectre floating into the other....) You see what you will see. You dream what you will dream, unfolding a chiffon dream engulfing altar steps like sea foam slipping over a shoreline.

"This is the answer to my 7 year old self who casted spells in her bathtub...spells that dripped honey, affirmation, and the belief that magic lives in the marrow of our bones."

"I am looking to evoke a realm, a place, a time, a memory when/where black women are not doubted." -- Jasmine Hearn

Concept and direction: Jasmine Hearn
Choreography and performance: Maria Bauman, Kayla Farrish, Dominica Greene, Jasmine Hearn, Catherine Kirk and Angie Pittman
Costumes made in collaboration with Athena Kokoronis of Domestic Performance Agency
Sound: Jasmine Hearn (includes a rework of Sylvan Esso's Die Young)
Video: Alisha B. Wormsley
Lighting: Kathy Kaufmann

Scene from shook
Angie Pittman (at left) and Dominica Greene (center)
with Hearn
(photo: Ian Douglas)

Mariana Valencia performs Yugoslavia
(photo: Ian Douglas)

"What are we if we are together but not related?"

In her solo, Yugoslavia, Mariana Valencia asks this question, specifically referring to her relationship to her Polish stepfather (and, I guess, in a way, her Polish stepfather's relationship to her Guatemalan mom).

One word that recurs in the work is blend. Spoken with Valencia's characteristic clarity and evenness, the word blend has its own physical pose. She hits it, and you watch it...for a few seconds. You might not understand it, but you can see it and recognize it when it comes around again. You learn a piece of movement language by immersive process.

Yugoslavia finds Valencia blending a lengthy monologue into movement in a way that seals any divide between verbal language and dance. That seems to work, although at least one person I spoke with afterwards found the piece to be not very dance-y. To me, it was a poetic marathon, a work of impressive endurance and grace under the pressure to tell a story with a lot of unexpected and seemingly unrelated moving parts and somehow make them hold together. Or not. I think, mostly, not.

At least, not for me. For me, they stayed demarcated, and that seemed okay. Or more than okay. That seemed the right thing.

In Yugoslavia, I intersect the First World, the Second World, the countryside, the imaginary plane and vampires. Factual, humorous, and grave observations depict my herstorical frame,” writes Valencia. With Yugoslavia, “I’m in search of the spiritual, in observation of the physical, and in awe of the artificial.” 

See, those commas and "ands" work well, and the way Valencia speaks shows you one thing after another. And that seems the right thing. More juxtaposition than blend. Blend might be an aspiration. Or not.

Writing about her inspiration for the piece, Valencia says, "visiting the Balkans (Serbia and Macedonia) has awakened my lineage through Slavic languages. I'll be tuning into identities that are landless, homeless, nameless, wandering, and exiled." In other words, not so blended.

Mention of the Balkans also brings me to that word derived from their situation--Balkanization, fragmentation often with tense and hostile juxtaposition of the separate entities. And then there's the discomfort of a young girl, Valencia, trying to sing Leonard Cohen lyrics with her dad without revealing her pleasure in the racy verses. Blending by omission? There's a single painting--just one--by her dad on a tripod in all of St. Mark's roomy space. And something about vampires because, we're told, the word vampire originates in the Serbian language. A lot of thingy things.

I watched Valencia take sheets of raspberry red construction paper and cut them into letters that she then arranged on the floor. I'm not particularly good with cutting paper with any degree of accuracy. But, apparently, she is. She went right to it, and the letters turned out well-shaped. They looked like themselves and like nothing else.

Choreography, script, costume, set and performance: Mariana Valencia
Original score: Mariana Valencia
Lighting design: Kathy Kaufmann

Shared Evening: Jasmine Hearn & Mariana Valencia continues tonight and tomorrow with performances at 8pm. No late seating. For information and tickets, click here.

Danspace Project
St. Mark's Church-in-the-Bowery
131 East 10th Street (at Second Avenue), Manhattan
(map/directions)

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Marisol, 85

Marisol, an Artist Known for Blithely Shattering Boundaries, Dies at 85
by William Grimes, The New York Times, May 2, 2016

Alicia Grullón reenacts Wendy Davis's Texas filibuster at BRIC

Alicia Grullón performs Filibuster
at BRIC House
(all photos: Eva Yaa Asantewaa)

It began with a pair of pink Mizuno Women’s Wave Rider 16 Running Shoes. On June 25, 2013, Texas State Senator Wendy Davis stood for 11 hours in these pink sneakers, filibustering against a restrictive abortion bill and creating history. Bronx artist Alicia Grullón will recreate this piece of history in its entirety (in an identical pair of pink Mizuno shoes) from 10am until 9pm Wednesday, April 13 at BRIC House.

--posted by BRIC Art Blogger, March 25, 2016

When, with the anti-abortion bill HB60, a defiant Texas legislature wedged itself between women and their physicians, State Senator Wendy Davis took a stand--literally--hour by hour, speaking truth to power. Her 11-hour embodied act of principle was not a stunt, and neither was Filibuster, Alicia Grullón's reenactment of this historic and remarkable effort, presented as part of the BRIC House exhibition, Whisper Or Shout: Artists in the Social Sphere.

I spent just one half-hour, yesterday, seated in front of Grullón on the porch at BRIC, but each of those thirty minutes hit hard. One particular story cited in the letters Davis/Grullón read concerned an expectant couple told their baby was severely ill and would not survive. Day and night, the mother lived with anguish that her child might die inside her before she could ever see and hold her.

"I was petrified that my baby was going to die while I was asleep," she wrote. "We decided to have labor induced. We were informed that it really wasn't possible." Why? Because her health insurance was provided by her employer, a faith-based firm.

"Knowing that your daughter is dying is heartbreaking," she wrote. "It feels as if your soul is ripping apart."

But the legislators who heedlessly wandered in and out of the Texas chambers as Davis read these words and other testimony had no interest in real life, just the pandering politics of so-called "pro-life."

Grullón read from another protesting letter: "I've seen the 1950s, and I don't want to go back there."

I witnessed only a short part of Filibuster--neither Grullón's first reenactment nor her first filibuster, as you can read here--but I know the physical, mental and emotional discipline required to perform it must have been enormous. As a woman of color, Grullón committed to this challenge to underscore the impact of retrogressive social policies on women and families of color and the need for us to be at the forefront of movements for social justice.

The exhibition Whisper or Shout: Artists in the Social Sphere continues through May 1 in the Gallery at BRIC House. Click here for information.

BRIC House
647 Fulton Street, Brooklyn
(directions)

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Gloria Contreras, 81

Gloria Contreras, a Leading Mexican Choreographer, Dies at 81
by Anna Kisselgoff, The New York Times, December 10, 2015

Marga Gomez has a big problem--and shares it in POUND!

Marga Gomez
(photo: Kent Taylor)

Now that Pride weekend is done and gone, and the USA women's soccer team has its way through New York's Canyon of (She)roes, what's left to do, people?

Opening night's standing ovation made the answer clear. The Dixon Place to be is at POUND, a presentation of the 2015 HOT! Festival and the latest one-lesbian show from Marga Gomez, directed by David Schweizer. You'll need some stamina; the monologue feels much longer than its advertised 75-minutes and could use a few scissor snips. But if you find Hollywood movies involving lesbians in any way absurd and surreal--and why wouldn't you?--you'll laugh your head off.

Gomez whip-blends encyclopedic knowledge of movies and culture, rambunctious physicality, and tireless ability to zip from character to character, decade to decade and gentrified coast to gentrified coast without much mussing her lumberjack flannel. If Bound is on your Favorites list, try POUND. If you agree with Gomez that Basic Instinct made America "a little afraid of lesbians," and that's a really good thing, try POUND. If, like Gomez back in the day, you relied upon the National Legion of Decency to actually be your dyke-flick recommender, try POUND.

POUND continues Fridays and Saturdays, July 11, 17, 18, 24 and 25 at 7:30pm. Click here for information and tickets.

Comic monologist Reno
performs free shows at Dixon Place
during the 2015 HOT! Festival.

Another HOT! tip: Also see Ignorance Is No Excuse, Reno, an hour with the matchless comic provocateuse at Dixon Place--free!--Mondays, now through August 3, at 7:30pm. Click here.

For more HOT! Festival events, click here.

Dixon Place
161A Chrystie Street (between Rivington and Delancey Streets), Manhattan
(map/directions)

"Boyhood" disappears Latino/as from Texas!

Racism in BOYHOOD Is the Worst Kind
by Grisel Y. Acosta, Latino Rebels, February 9, 2015

What I learned: Cuba's Danay Suárez, "Yo Aprendí"

Danay Suárez Web site

Danay Suárez Facebook page

Latin Alternative Music Conference

(New York City, July 8-12)

Cynthia López to head NYC Office of Media and Entertainment

Documentary Producer to Lead City’s Film Office
by Nikita Stewart, The New York Times, April 18, 2014

Rosie Perez offers master class for young performers

Rosie Perez holding a master class
at Baryshnikov Arts Center's Jerome Robbins Theater
Photo by Robert Leslie
courtesy of the National YoungArts Foundation

Actress, dancer, choreographer, director,
Rosie Perez has had to acknowledge and push past her fears
in order to be the accomplished, authentic artist she wants to be.
Photo by Robert Leslie
courtesy of the National YoungArts Foundation

Rosie Perez majored in biochemistry. That scientific headset remains with her, she says, making it easier for her to function in theater onstage--more in the moment, finely analyzing and managing each and every aspect of her performance--than in film, where so many, many others have control of the product.

That was one interesting revelation from a master class the multi-talented performer and Puerto Rican activist offered for high school arts students enrolled in this year's YoungArts New York week-long intensive. Held yesterday afternoon at Baryshnikov Arts Center's Jerome Robbins Theater, The 90-minute session gave a group of about twenty students in jazz, singing, dance and acting an opportunity to be observed and critiqued by this exceedingly sharp-eyed, frank and caring artist. And it also gave her a chance to share hard lessons learned from decades in the entertainment industry:

First off, check your attitude at the door, or you might get shown the door. 

"You're going to be dealing with a lot of older people who've been around a long time," she said. "When you get older, you don't have time to put up with people's BS, with chips on their shoulder."

Next up: Just plain do your art.

"If you're an artist and you aren't doing what you do, a part of you will be dying."

Nerds are it.

"That feeling that you have of never fitting in? That you're kind of weird? The reason you stand out as an artist is that you are not the norm. Embrace your oddity. Embrace it, honor it and cherish it."

No slacking off.

"You have to bring 100% professionalism, being prepared and pushing through your fears and stepping into your greatness, knowing who you are."

It was director George C. Wolfe who gave Perez that advice--"Push through your fears and step into your greatness"--and who once confronted her, as she waited to go onstage, with this:

"Are you still scared?"

"Yeah," she said.

"Good. Use it."

Passion. Use it, too.

"Have you seen my YouTube Soul Train compilation? Passion was leaking out of my pores. I learned to control it, manipulate that passion."

Your authentic self is your artist self.

"I used to spend a lot of time being someone else in my performance, thinking that that's what it is."

She thought she had to be Meryl Streep--although, she jokes, her accent was kind of a liability. But she watched jazz drummer Max Roach at a White House gig being nobody but Max Roach and was blown away by his cool. That gave her a clue. And she watched Sutton Foster, then a virtual unknown, step into the lead role in Thoroughly Modern Millie at nearly the last minute when another actress was fired--"Sutton Foster was read-day! Bitch was read-day!" Foster got her break and more than proved herself. And went on to win a Tony. Perez resolved to always be read-day, too.

"Where you find who you are and how you perform are those moments alone. That's how you develop the person you want to be."

Perez intently watching as
YoungArts New York participants perform.
Photo by Robert Leslie
courtesy of the National YoungArts Foundation

My favorite part of Perez's master class came when she quietly asked some members of a jazz combo, who had just played for her, to each take a moment to describe one of their colleagues as a musician. Each of the students did his or her best with this assignment but, as I see it, might have missed Perez's point. 

I think she was trying to get them to see that ability, and even style, is not enough. You have to have that little something something that is absolutely yours alone and that identifies you to your peers and your fans. Your signature. 

But they have time to work that all out.

* * * * *

YoungArts New York is a program of the National YoungArts Foundation, established in 1981 to "identify and nurture the next generation of artists in the literary, performing, visual and design arts, and to contribute to the cultural vitality of the nation by supporting the artistic development of talented young artists."

During YoungArts New York, March 31-April 7, 2014, approximately 100 YoungArts Winners in the visual, literary, performing and design arts will take part in a week-long intensive, working with masters in their field. These talented young artists will then present their work through several multidisciplinary performances at the Baryshnikov Arts Center, and a visual art, photography and design exhibition, writers’ readings and cinematic arts screenings at the MoMA PS1. The week will culminate with a special screening of the HBO documentary series Anna Deavere Smith: YoungArts MasterClass at the Metropolitan Museum of Art.

For a schedule of YoungArts New York exhibitions, readings, screenings and performances open to the general public this weekend, click here.

Applications to participate iin 2015 programs will be open from April 15 to October 17, 2014. For eligibility requirements, click here.

Azúcar! The Apollo Theater shows Celia Cruz some love

Celia Cruz

Celia Cruz Joins Walk of Legends at New York's Apollo Theater
by Priscilla Rodriguez, LATINA, March 24, 2014

A celebration of María Irene Fornés

The Martin E. Segal Theatre Center

The Graduate Center, CUNY

presents

Celebrating María Irene Fornés

Monday, October 28, 6:30pm

The work of Cuban-American avant-garde playwright and director María Irene Fornés (born May 14, 1930) is closely associated with the establishment of the Off-Off-Broadway movement in the 1960s. Her focus on the themes of poverty and feminism catapulted her onto the New York and international theatre scene. In 1965, she won her first of nine Distinguished Plays Obie Awards for Promenade and The Successful Life of 3. She was also a finalist for the Pulitzer Prize with her play And What of the Night? Other notable works include Fefu and Her Friends, Mud, Letters from Cuba and Sarita. Fornés became one of the most influential and beloved playwriting teachers and mentors in both Hispanic-American and experimental theatre. The evening is co-curated by Morgan Jenness, Lou Moreno, and INTAR Theater, and features an excerpt from Michelle Memran’s documentary in process The Rest I Make Up.

Admission: FREE and open to the public; first come, first served

The Segal Theatre
The Graduate Center, CUNY
365 Fifth Avenue at 34th Street, Manhattan

(map/directions)

Ana "Rokafella" Garcia: The making of a break dancer

View video interview segments with 

Pioneer Break Dancer

Ana "Rokafella" Garcia

on

Makers

Women artists featured prominently in Latin Alternative Music shows

Music That Transcends Borders
Latin Alternative Music Conference in New York
by Jon Pareles, The New York Times, July 14, 2013

Moving with ancestral spirits: Dr. Marta Moreno Vega at NJPAC

Meet

Dr. Marta Moreno Vega

Saturday, May 4 (3-5pm)

Chase Room, New Jersey Performing Arts Center

screening of 

Let the Spirit Move You!  Espiritismo in Puerto Rico

Advance screening of Dr. Marta Moreno Vega's new film and research regarding ancestral Kongo-based sacred tradition of Espiritismo in Puerto Rico. Dr. Vega explores the divine knowledge of traditional elders and practitioners and expresses the concern that the tradition will not be passed on / transferred to younger generations because traditional practices are in danger of not continuing.

Also, learn more about Dr. Vega's life-long legacy and work in the following clips, including an excerpt from the HBO documentary: Latino List.

Baraka Sele

guest curator / moderator

information and tickets

NJPAC directions

    Latino List - Marta Moreno Vega Interview on Vimeo

    Latina Spotlight: Dr. Marta Moreno Vega on New Latina

Closing soon: Half Straddle, Jeanine Durning, "Black Latina"

Susie Sokol and Becca Blackwell of Half Straddle

For Seagull (Thinking of you), Tina Satter and her troupe Half Staddle take scissors to Chekov's The Seagull, his letters and other material, stapling slivers of original language to shards of modern speech (in English, Russian and pseudo-Russian). This deconstruction/reconstruction serves up a compact gull in 75 mostly entertaining minutes with electric, charming performances by a small cast--notably Eliza Bent (Masha), Susie Sokol (Arkadina), Emily Davis (Nina) and Jess Barbagallo (Treplov)--as well as the scrupulous arrangement and deployment of sensory delights (Zack Tinkelman's lighting, Enver Chakartash's costumes and Chris Giarmo's sound design and original music). Presented by Performance Space 122's COIL fest at the New Ohio Theatre. Extended to January 26. For complete schedule information and tickets, click here.

Jeanine Durning's inging (2012) occupies a space set up to have the feeling of a college classroom. In fact, as each member of the audience comes in, he or she can take a folding chair and place it anywhere in the room that will afford a decent view of a table serving as Durning's desk. A tall stack of books on this "desk" prop up a small digital point-and-shoot set for videotaping her. We can see the monitor of the recording as she stands behind the desk. Behind her, we see three different pre-recorded videos--side by side by side--that show Durning sitting, talking and gesturing. For 50 minutes, the live-action Durning (her name ends in ing, and she clearly relishes that state of being in continuous process) mainly talks non-stop. And I don't mean taking pauses for hydration (although a bottle of water rests on her desk, and she occasionally handles it) or for sustained breath. Oh, no. None of that. She starts by suddenly slipping behind the desk and just goes for the duration of the time, with all sorts of associations and disassociations, all kinds of vocal blips and repetitions, self-interruptions and self-disruptions pulled into her rapid, auto-replenishing stream of consciousness. "What do you say when there's too much to say?" she asks, at one point. Maybe the answer is that it all just breaks down and breaks out in every possible direction. Yes--if you were wondering--this "choreography of the mind," as she calls it, can be considered dance because her speech has fabulous rhythms and is, in itself, the body working very hard. Ultimately, she can't even maintain her position behind the desk, and her wandering around forces us to twist in our seats to follow. Presented by American Realness at Abrons Arts Center. Final performances today at 4pm and 7:30pm. For information and tickets, click here.

When Black Latina, a 45-minute ensemble piece written by Crystal S. Roman and directed by Veronica Caicedo, started off looking and, especially, sounding like a derivative from the 1970s--think For Colored Girls--my heart sunk a little. Not that I didn't love (and desperately need) Shange's For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. But, in 2013, might we be ready for an innovative approach? In Black Latina, we find an ensemble of women of color, symbolically dressed in orange prison garb, sitting or dancing on blocks arranged around the space, each airing her pain and frustrations and observations in pedantic expressions declaimed at high volume--"The media bombards us with ideas of what beauty should be," "You're too closed-minded to comprehend the miracle of being a Black Latina," and so forth. As expected, they aim to speak for the unheard, raise awareness, rally sisters in the audience in pride and solidarity with evocations of family togetherness and the pleasures of traditional food, music and party time. Somewhere along the way, though, I began to see Roman's contribution as indeed something new, supportive and motivating for her community--women of mixed Black and Latina heritage struggling for acknowledgement and respect, not only in dominant white society, but also among Blacks, Latinos and often their own family members who may value light skin over dark. Out of love and urgency, her devoted cast--particularly Judy Torres, Teniece Divya Johnson and Jenelle Simone, whose performance styles are detailed, joyful and commanding--really work it out. I'd love to see Black Latina produced in our city schools. These women won me over, and their audience returned the love. Presented by The Black Latina Movement at Teatro LATEA. Closing tonight. For information and ticketing, click here.

Black Latinas take the stage

Black Latina: The Play, written by Crystal Shaniece Roman and directed by Veronica Caicedo, returns to Teatro La Tea for a limited run--January 16-19.

"We decided to bring back Black Latina: The Play to the forefront of 2013 because as one of the fastest growing communities in the United States, we want to expose the triumphs and struggles that can come from within and in our own circles," says Apryl Lopez, President of The Black Latina Movement.

The narrative depicts the story of today's Black Latina in the United States. Whether dark-skinned or indeed African-American and Hispanic, Black Latina chronicles the journey of ones struggle identifying with both cultures. It deals with external factors from society to media as well as the internal viewpoints of family and friends . With characters based on the four strongest emotions one confronts in the face of adversity (Anger, Sadness, Love, Empowerment), each character gives testimony justifying the emotional names they carry.

Starring:
Judy Torres, special guest artist
Teniece Johnson
Jenelle Simone
Nubia Santos
Anaridia Burgos

For schedule and ticketing information, visit Brown Paper Bag Tickets here or call (212) 529-1948.

Teatro La Tea

Clemente Soto Velez Cultural and Educational Center
107 Suffolk Street, 2nd Floor (between Delancey and Rivington Streets), Manhattan
(map/directions)

Remembering Jenni Rivera's activism

Jenni Rivera, American Diva
by Lawrence Downes, The New York Times, December 10, 2012

Una Noche de Prosa y Poesia

Las Buenas Amigas joins Bronx Acadeny of Art and Dance to promote the creative expression of Latina Lesbian and Latina Queer women with a creative writing workshop.

Una Noche de Prosa y Poesia (A Night of Prose and Poetry)

June 28, 7-9pm
Admission: Free

All works will be displayed and the installation shared with community members. In order to create the dynamic of Woman Space, this will be an exclusive workshop for Latina Women, Cis-Gender and Trans-Gender. Refreshments will be served. 

Noche de Prosa y Poetry para la Latina Lesbiana y Identificada Queer, Junio 28, de 7PM a 9PM. Este Taller de Poesia es exclusivo para Mujeres Latinas Cisgenero y Transgenero. Las esperamos! 

Abre las puertas a tus talentos creativos y artisticos.  Este es un Taller rico para Todas Nosotras en la comunidad!

BAAD! Bronx Academy of Arts and Dance

841 Barretto Street, 2nd Floor, Bronx
Information: 718-842-5223

(directions)