Making space sing: Anna Sperber at The Chocolate Factory

Anna Sperber in Wealth From The Salt Seas
(photo: Brian Rogers)

The costumes for Anna Sperber's Wealth From The Salt Seas--a duet with vocalist/musician Gelsey Bell--display at least two variations on a theme of chocolate brown. (Sperber's pants, hard to make out in the lighting, might be of a hue between dull dark brown and charcoal.)  More than a possible sly reference to the work's venue, The Chocolate Factory Theater, the color has immediate effect--low-key and calming, earthy without being overly sensuous or overbearing, not stark like black. This, as it turns out, is a deep-brown dance.

It's appropriate for the choreographer who might easily go unnoticed when making her quiet, unremarkable first entrance with dark-brown hair pulled back from a scrubbed, serene face. She's just suddenly there, settled in place for a moment.

Sperber eventually drifts from one corner to another, positioning herself at one or another end of a row of viewers, slowly tracing hands over her face and neck and around her waist and hips. Her awareness is internal; you can feel that as easily as you feel the weight and slight friction of hands on skin and fabric.

Sperber's enigmatic, repetitive actions bring attention to the margins of the space and gather stillness and silence there like a gift. You might notice the difference this makes and think: Have I ever looked at performance space--or a performance--in quite this way?

Bell's entrance introduces sound--a voice that momentarily heightens in volume and shrillness. The sound score for the hour-long dance is produced by recorded and live voicings; the impact of feet on the floor; the strange effect of crouching and howling into the corner between two walls; the haunting bells played by the women as they bend their faces to them; and the reverberation of metallic sheets rattled and filling the air between Sperber and Bell as if, like whales, they signaled each other across an expanse of sea.

Curious props appear--a long, thick cable that Sperber manipulates; the odd-looking bells cast in blackish metal; a tarp of golden plastic; small, wooden scaffolds at either diagonal end of the space where the women climb and store their equipment. Curious, too, those moments when you swear you just saw one or the other dancer but she's suddenly out of sight, then she reappears as if nothing out of the ordinary happened.

Wealth From The Salt Seas continues through Saturday, March 31 with performances at 8pm. For information and tickets, click here.

The Chocolate Factory Theater
5-49 49th Avenue, Long Island City
(map/directions)

Subscribe in a reader

Jennifer Monson's iLAND premieres "bend the even"

bend the even
danced by Mauriah Kraker (left) and Jennifer Monson
Below: Monson (left) and Kraker
(photos: Ryutaro Ishikane)

This work allows for the possibility that movement disappears and leaves only sensation, an emanation that is experienced through the skin and ears, not so much through the eyes. In bend the even this asks the viewer to release what might be tangible about the experience in preparation for what is newly emerging.
--from publicity for bend the even

Most of New York's dancemakers struggle to secure space to develop their work. But, for Jennifer Monson's latest piece, nature has provided...provided a place for research and exploration...provided motivation, inspiration, even, in its way, partnership.

bend the even--now in its premiere run at The Chocolate Factory Theater--is an experience of an Illinois prairie that we cannot (or maybe can) see. It is darkness and dawn at a beach we cannot (or maybe can) feel beneath our feet. It comes to life in a small loft studio in Long Island City but is intended to take us somewhere to wait for the unexpected and unforeseeable to become apparent to us.

To label it as a dance, and specifically a duet between Monson and Mauriah Kraker, is to lop off two of its essential limbs--the live soundwork of Jeff Kolar (electronics) and Zeena Parkins (acoustic harp); the lightwork of Elliott Jenetopulos, performed in the breath of the moment. (Costumes are by Susan Becker; scenic design by Regina Garcia.) It seems important to this team that their contributions be noted then removed from that hook and released. Something else, we've read, will come to "emanate at the edge of kinesthetic perception."

The research for this project was started in February 2017 with weekly rehearsals at dawn. These rehearsals have generated material connections between light, music, and movement – not as a representation of the liminal states of dawn but as a way of accessing new frameworks for emanating presence and animacy through the three mediums. This work allows for the possibility that movement disappears and leaves only sensation, an emanation that is experienced through the skin and ears, not so much through the eyes. Through the choreographic process, the collaborators will research the physics of sound, light, and movement on multiple scales – both scientific and experiential – drawing on atmospheric science as well as particle physics to inform the dawn practice.

Monson proposes something new, not so much relinquishing the choreographer's role--for the movement in this piece is fascinating and appealing as it is willful and wayward--as redirecting us to an unacknowledged result of choreography, a different purpose for it and for its fusion with other stimulants. I feel that I'm quite stuck on the edge of this desire, instinctually sympathetic with it while what's aimed for remains elusive. As audience members, we're habituated to focus on looking and listening for things and to appreciate (and, yes, interpret and judge) what we see and hear. bend the even intends disruption, or some form of liberation, but I'm caught up in its sensations.

What did we do with the sudden, absolute stillness that broke out on occasion? Did we check for external or internal vibes, or did we tick the seconds, wondering what we were supposed to be feeling and when the dancers might finally move again? Did that time feel more awkward than destabilizing? What about Jenetopulos's precipitous jolts in the lighting or other changes in sound and the dynamics of motion? Did we just "even" the bends right out and get back to our usual way of taking things in?

All that's to say, I'm not sure the bends in any even did more than point to a barrier we should know about. It did not lower that barrier--at least, not for me, not last evening. But maybe that pointing is, in itself, a useful beginning.

bend the even, running through Saturday with performances at 8pm, is sold out, but there is a waiting list. For information, click here.

The Chocolate Factory Theater
5-49 49th Avenue, Long Island City, Queens
(map/directions)

Subscribe in a reader

Beth Gill premieres "Catacomb" at The Chocolate Factory

From Catacomb, a new site-specific work
by Bessie Award-winning choreographer Beth Gill
at The Chocolate Factory
(photos: Brian Rogers)

It's not every day that I read all the fine print on a dance show's program, the part where thanks are given to collaborators, friends, presenters, funders. But I had a little time before seeing Beth Gill's new work, Catacomb, at The Chocolate Factory, and my eyes were drawn to that part of the page. Anyone who knows me, knows my intuition rules. So, I read.

I'm beginning this way just to note that I'm in awe of the village it takes to get any dance up and running--from the folks who provide space and time and technical assistance to the folks who fork over the funds. Sometimes--as in Gill's case--it takes more than one New York City borough, just for geographical starters. Each dance, often starting with vague stirrings, undertakes a twisty journey to manifestation. The dance network consists of numerous guiding hands along the way, and it's incredibly moving to think about all of this.

In Catacomb, Gill appears to have been drawn by intuition to sub-regions of the self where sharp reason must yield to things unnamed and dimly understood.
The hour-plus piece, performed by Maggie Cloud, Jennifer Lafferty, Heather Lang, Stuart Singer and Marilyn Maywald Yahel, evokes any journalist's primary questions: Who? What? When? Where? and Why?

We're in the upstairs theater of The Chocolate Factory but--really--where are we? And, maybe from your angle, you won't be able to name the identity or even just the sex of the two bodies, conjoined and at first motionless, pressed against the floor. When these bodies do move--at once sluggishly slithering against each other as they creep along the floor--their interaction appears sexual in nature. If so, it is a very sleepy act of sex organically, unconsciously repeated again and again--the bodies sliding over each other in and out of place--until a certain catalyst draws them out of that pattern. It will be a long, long while before we gaze upon two upright forms and expressionless faces as if glimpsing models of the first human inhabitants on Earth.

Catacomb, described as site-specific, handsomely uses three points of entry into the theater--variously lit by Thomas Dunn to frame dancers for peak drama and strangeness. Dunn's work, along with Gill's interest in glacial pacing and in the marginal placement of one or another dancer--sometimes watching, sometimes ignoring the pair, sometimes stationed against or tucked along a wall--were, for me, the most distinct and fascinating elements of the production.

It is a terrain of risk, which Gill accepts even as she invites company in the risking. I bore that in mind as my mind occasionally wandered or withdrew from Catacomb, which, regrettably, feels longer than it is.  The invitation to take time to look deeply into the fabric of this dance does not come with a guarantee of anything but unfolding territory to explore--an experience, not a conclusion. We enter in media res. We leave, it seems, when Gill is finished with our being there. Its beginning and possible end might not have anything to do with us.

With sound by Jon Moniaci and vocals by Rachel Kara Perez and Peter Sciscioli

Catacomb continues through May 28, Wednesdays-Saturdays with performances at 8pm plus an added show at 8pm on Tuesday, May 24. For information and tickets, click here.

The Chocolate Factory
5-49 49th Avenue, Long Island City, Queens
(map/directions)

If you like what you're reading,

subscribe to InfiniteBody!

http://feeds.feedburner.com/Infinitebody

Adrienne Truscott: a fool in the king's court

Dance/performance artist Adrienne Truscott writes that when, in the early stages of exploring stand-up comedy, she booked her fledgling act on a lesbian cruise, she ran into a little trouble. A feminist telling jokes about rape to a staunchly feminist audience? What could possibly go wrong?

"It was an incredibly 'safe' space as a woman and an unpredictably conservative space for a comedian," she writes in her "Creator's Note" for Adrienne Truscott's Asking For It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else.

No comic or anyone else for that matter wants to be told what they can or can't say, nor should they be. It is often a comic's job to utter the unutterable; that doesn't mean that they (we?) are beyond rebuke. Comedy is bold, powerful and supple but not unassailable. There is a difference between a fool and the fool in the king's court....

Now through October 3, you can watch this court fool perform a show that gives new meaning to the word chatterbox, a show where Truscott manages to be, at once, giddy and spot-on.

Hosted by Brooklyn eatery and comedy club The Creek and The Cave, co-presenting with The Chocolate Factory and Performance Space 122, Adrienne Truscott's Asking For It gives Truscott a platform to land important points about rape culture, victim shaming and right-wing hypocrisy while dissolving her audience in laughter. And there's even more educational value! Science nerds will enjoy detailed lessons in duck anatomy and gerbil crisis management. It all works, and while I'm still baffled by the gears in this machine, I'll note that if I told you a single joke out of context, that funniness might fall apart. The wholeness of Truscott's performance is the thing that works.

Truscott's exuberant persona is wildly nonstop, relentless, irresistible and, famously, naked in the netherparts region. Yikes! No wonder she likens this stand-up act to an act of rape!

The most real danger you'll face from Truscott, though, is the likelihood of getting smacked by a denim jacket ripped off and hurled from the stage--my face stung from a slight graze--in one of her acts of divestment. Let's just say, if Trickster Truscott were Salome dancing for Herod, she'd be working 70 veils, not seven.

What she's stripping at, though, is our tendency to avert our eyes and stay silent about things that upset the state of order. (It took a long time for some people to snap out of the Cosby Show trance, didn't it?) But there's absolutely no escaping when pussy's got something to say, damn it, and she will not be denied!

Adrienne Truscott's Asking For It runs tonight at 8pm and this Saturday at 7pm. It continues Wednesday-Saturday, September 30-October 3 at 8pm. For information, visit The Creek and The Cave's Web site here.  To purchase tickets, click here.

The Creek and The Cave
10-93 Jackson Avenue, Long Island City, Queens
(map/directions: scroll to bottom of page)

Won't stop: Jeanine Durning's new "To Being"

Jeanine Durning, Julian Barnett and Molly Poerstel
(photo: Ian Douglas)

With To Being we are asking: What is at stake? Where is the end? What does it take to stay in action? And how can we give more when we feel that we’ve met our limit? 

-- Jeanine Durning

When you're about to do what Jeanine Durning and her partners do in To Being, it's more than reasonable to ease your way into it. After all, what you plan to do will take force and stamina to a maniacal degree and, in excess of an hour, demand your complete mental and physical will. To Being--which just opened at The Chocolate Factory--requires something of the same from the empathic viewer. In the presence of these dancers, you might flip from feeling startled to feeling tickled to feeling absolutely spent.

Durning calls her process "nonstopping," and she first gave audiences a taste in her solo, inging (2010), where it was largely a phenomenon of the voice or "unscripted nonstop languaging," as she would have it. In the new work, To Being, Durning, Julian Barnett and an impish Molly Poerstel--accompanied by sound designer Tian Rotteveel--bring us nonstopping as disruptive acts of the body.

Audience seating is scarce and widely scattered around the edges of the theater's bright white space. You come in and take any chair. One or more of the performers might drift through, sometimes ambling by to say hello or give a hug to an audience member. And this amiable, apparent nothing-ing goes on for a while until the performers suddenly vacate the space, and one theater light fires up, signaling...what exactly?

In the absence of an immediate something, the audience's coughs and rustling amplify, and that stretches on for another awkward while. Then: a loud bustle from beyond the entrance, from the metal staircase. What?

From the moment the dancers burst through the entrance, they're on, violently, with little transition or drop in energy. If they were sounds--aside from their audible gasps--they would be blaring dissonance. They disturb the atmosphere with their jutting, threshing arms, lashing torsos, jabbing elbows. Being that refuses to stop.

One gets why Durning rejects the word "continuous" as a description of her movement qualities. That word indeed sounds too soft and flow-y. Nonstopping looks--feels, to the empath--like battle, like resistance to the very idea that you cannot do what you will to do.

As Durning wrote in her program notes, "nonstop points to the critical nature of what it takes to keep going in the midst of, and despite, questions, doubts, limitations, and, of course, inevitable failures." She came to this practice after many questions, some of them regarding why she continues to make work and if she should.

Objects in the way--a speaker, a tangle of electric cords, a radiator, a wall--are commandeered and roughly used, often to create flashes of sound. You sometimes worry for a dancer's safety; you always admire the currency of thought and commitment.

With lighting by Joe Levasseur

To Being runs through September 19 with remaining shows this week tonight through Saturday and September 16-19, all at 8pm. Durning will reprise inging Wednesday through Saturday, September 23-26 with 8pm performances. Remember, seating is very limited.

For information on both productions and ticket availability, click here.

The Chocolate Factory
5-49 49th Avenue, Long Island City, Queens
(map/directions)

Hip Hop showing and workshop with David Sincere Aiken

TOPAZ ARTS is thrilled to present Queenz Finest David Sincere Aiken for an informal showing of his latest choreography and Hip Hop workshop. As one of TOPAZ ARTS’ early dance video projects back in 2001, we are proud to present this rising star, David Sincere who is back from Los Angeles, originally from South Jamaica Queens, to bring a taste of his new moves. David Sincere’s style is a fusion of NY Hip Hop, African and Reggae style dance topped off with a technical approach. Come for an informal showing and take a workshop as Sincere and Friends prepare for upcoming shows in April 2015.

Hip Hop with David Sincere Aiken

Sunday, March 22, 4pm

Free, suggested $10 donation encouraged

RSVP by email: rsvp@topazarts.org or on Facebook

For complete details, click here.

TOPAZ ARTS
55-03 39th Avenue, Woodside, Queens
(map and directions)

Covering up for Luke George

Dancer Luke George (above)
and a scene from Not About Face
(photos: Madeline Best)

Australian-born dance/performance artist Luke George has a pretty hearty notion of what audiences will tolerate. Never before have I been asked, as an audience member, to divest all of my belongings and don a bed sheet with eye holes that would make me look like a little ghostling who got terribly confused on her way back from Trick-or-Treating (with disconcerting, not so subtle visual echoes of chadors and KKK gear). George's current iteration of Not About Face, performed with collaborator Hilary Clark and, yes, every single person in attendance at The Chocolate Factory, has been described as:

An experiment in anonymous intimacy and fake belief, Not About Face questions the nature of the unspoken contracts between performer and audience, and accesses the supernatural and spiritual as a way to investigate how the yearning for belief can make people do many things. For this performance, audience members are robed in full-body shrouds and join a free-roaming and anonymous gathering in the performance space. We will come together. We will become anonymous. We will fake belief or believe in faking it.



Luke George
(photo: Madeline Best)

Funny thing about bed sheet ectoplasm: It underscores the earthly nature of the bodies underneath. Especially when you can easily recognize your friend or colleague or that downtown dance star by their height or their signature sneakers or snazzy boots. The quest for the intangible puts you smack up against the tangible when George directs you to huddle together ever closer, closer, closer to him and your neighbor runs into your toe.

The body also roars back into view with Clark's sudden crying jag, George's tantrums and, finally, George's lengthy, undeniably charismatic dance that concludes the performance. Transparency, here--used as a form of theatrics--is more spirited than spirit-ly.

I don't know about the "fake belief" thing or George's stated interest (see the program notes) in the behavior of crowds. Seems to me, it's pretty hard to see Not About Face, at least for its audience, as anything but an ordered experience that you consciously agree to participate in (with your paid ticket) to the extent of your comfort. Everyone covered up--that was the fun part--but not absolutely everyone followed every direction.

If you go, know that you will spend nearly ninety minutes mostly on your feet, milling around the space, wearing a heavy sheet that traps body heat. (Ah, yes, the body again....) Since it's cold out these nights, dress in layers and, before the show, leave most of them with that nice coat check person downstairs.

Sound/video/set/system programming: Nick Roux
Lighting: Benjamin Cisterne

Not About Face continues tonight and Saturday with performances at 8pm, and there's an additional show on Saturday at 5pm. Plan to arrive no later than 15 minutes before start time. For tickets, click here.

The Chocolate Factory
5-49 49th Avenue, Long Island City, Queens
(map/directions)

An evening screening of films by dance artist Gabri Christa

Gabri Christa and Niles Ford
in Savoneta (2008)
(photo: Dolph van Stapele) 

Museum of the Moving Image

presents

Dancing with Our Past

film screening and live event

appearance by filmmaker/choreographer 

Gabri Christa

followed by a reception sponsored by 

Consulate General of the Kingdom of the Netherlands

Friday, October 24, 7pm

Gabri Christa
(photo: Malgorzata Headshot)

Born and raised in Curaçao, Dutch Caribbean, Gabri Christa came to filmmaking after a successful career as a choreographer and dancer. She choreographed and danced with companies such as Danza Contemporanea de Cuba (Cuba) and the Bill T. Jones Dance Company (United States). 

Christa's short films connect the relationship of historic buildings and sites to their environment, and reflect upon the people and cultures that inhabit them. Each film—Quarantine (2007, 10 mins.), Savoneta (2008, 14 mins.), and Kasita (2014, 21 mins.)—sheds a different light on Dutch history through dance, text, music, and movement. Filmed on the Dutch Caribbean islands of Curaçao and Bonaire, they tell stories of the Dutch African diaspora, from a time when Peter Stuyvesant was governor of both New Amsterdam and the Dutch Caribbean.

Space, Place and Memory

How to capture the memory of a space, the place where people lived, loved, fought, a place of such reverence all loaded with slavery's past? How does the body feel and deal with the memories of those feelings in that space? A body moving in space is very concrete, especially in an empty space. I could speak about form and shape and make it physical, but what drives me is more spiritual. I long to communicate a feeling, a smell, a memory, one that is not necessarily mine. I want to capture the spirit that still lingers and the flood of images, smells, stories that call out from behind the dust, or make an interpretation of that feeling crawling onto my skin. People once lived and worked here, and a space absent of them and their things still speaks loudly, begging not to be forgotten. So I am telling tales of sound, movement is what is left, without words and sometimes with. Glorious amidst a bright sun, now associated with a Caribbean vacation, but the past still lingers and is still relevant. How to capture that on film? How to imagine this in movement? Those essential questions I explore while I made these films and in all three I take a different approach, combining the old (music and dance) with the new (music dance image).

--Gabri Christa

For complete information and tickets, 

click here.

Dancing with Our Past is part of the Changing the Picture (2014) series, organized by Chief Curator David Schwartz and Warrington Hudlin.

This ongoing series celebrates and explores the work of film and television artists of color who are bringing diverse voices to the screen. The series, which consists of screenings and discussions with directors, writers, actors, scholars, and more, includes contemporary work as well as historically significant work that has played an important role in the evolving attempt to “change the picture” and bring a wider variety of voices and visions to the moving image. 

Click here for more information on Changing the Picture.

Museum of the Moving Image
36-01 35 Avenue (at 37th Street), Astoria, Queens
(map/directions)

Levi Gonzalez opens "The Craft of The Father" at The Chocolate Factory

Levi Gonzalez and Eleanor Smith in
The Craft of The Father
at The Chocolate Factory
(photo by Brian Rogers)

Levi Gonzalez's The Craft of The Father--his first evening-length dance since 2007's Clusterfuck--plays out before a small audience in a single row of chairs lining one wall at The Chocolate Factory. That familiar performance space will seem smaller and closer than ever when dancing gets going in earnest. Before that, though, it becomes a night-cloaked swamp filled with sounds--minute creaks of metal chairs; a neighbor's breathing; blurts and and moans and shrieks from three dancers tucked away in all-consuming darkness--for what stretches on for an unexpected amount of time. Space seems to stretch on, too, pulling you into a simultaneously close and vast place where the human body speaks its own language, free of rational identification. Ultimately, you don't know who's who or what's what, but you might come to feel that you're an inseparable part of the whole and relax into it.

So, now that you're in, what happens to you?

Mellow light comes, revealing agitated movers. Kayvon Pourazar's hands work so frantically around his jaw and temples that he seems driven to pull his own head off. Gonzalez pants from the exertion of wide-legged twirls. Eleanor Smith, twirling too, adds a rotation of her head, churning being a common thread as well as the sometimes awkward shifting of weight--both of the men have earthy physiques--or suspending weight and stretching movement in time. Incessant, the trio is dizzying to watch, and when these dancers separate across the room's length, you must swing your head to track the imagery and activities of one or another.

But are you truly in or are you out?

A meta moment, in which the trio huddles to discuss the dance and debrief, feels both welcoming and not. You hear their friendly conversation, but they're turned inward towards one another and away from their viewers. But you do hear them, and sometimes that makes you giggle. You feel kind of an insider and kind of not.

It's like that. The dancers entangle themselves in a fleshy ball, slipping around one another quietly, easygoing, then not so easygoing and not so quiet.

Things get a little strange around a Kate Bush song, "This Woman's Work," source of Gonzalez's title. (Please try this gorgeous performance by Maxwell.) I have no idea. Just that, maybe, anything alive--anything given life in this material world, a child, a work of art--has its own logic, illogic, direction, misdirection, welcome and refusal, presence and impermanence.

(photo by Brian Rogers)

With lighting by Natalie Robin and sound collected, assembled and performed by Tatyana Tenenbaum

The Craft of The Father continues through Saturday with performances at 8pm. For information and tickets, click here.

The Chocolate Factory
5-49 49th Avenue, Long Island City, Queens
(map/directions)

Kaneza Schaal and the feather of the goddess Maat

Meet PS 122 RAMP resident theater artist Kaneza Schaal.

Kaneza Schaal is a New York City based theater artist. Best known for her work as an actor with The Wooster Group, Elevator Repair Service, and Richard Maxwell, Kaneza will use RAMP to begin work on her first evening length piece using the Egyptian Book of the Dead as inspiration–seeking to cultivate performance that uses text as a jumping off point and equally values visual, physical, sonic and abstract expression.

“Drawing inspiration from the Egyptian Book of the Dead, a text originally intended to provide the living with a blueprint to the afterlife, we will explore light and shadow as a physical and metaphorical architecture. Using analogue projection, sound, text, and dance to animate a series of burial vignettes we will excavate this ancient text to create a new translation. Our inquiry will focus on the scroll’s central metaphor: the weighing of the heart against a feather of the goddess Maat on her divine scale of truth to test its moral worth. The performance proposes burial not as erasure but as offering restitution, performing rites, and creating space for the presence of the absent, the imagined and the longed-for.”

– Kaneza Schaal

Public Showings: April 11 and 12, 8pm

The Chain Theatre
21-28 45th Road, Long Island City, Queens
(map/directions)

For complete information and ticketing, click here.

Queens Museum's Finkelpearl gets NYC Cultural Affairs top post

Museum Director to Be Commissioner of Cultural Affairs
Mayor de Blasio Names Tom Finkelpearl of the Queens Museum
by Robin Pogrebin, The New York Times, April 6, 2014

Queens Library youth celebrate the legacy of Alvin Ailey

Alvin Ailey

Alvin Ailey Tribute

for teens

Saturday, February 15, 2:30pm

Free admission

Teen Center at Central Library
Queens Library
89-11 Merrick Boulevard, Jamaica, Queens
718-990-0700

Directions: F train to 169th Street. Numerous buses go to the 165th Street bus terminal.

Click here for a listing of other special events at Queens Library branches this weekend.

Writing of Afghan women to be presented at Queens library

The Friends of Richmond Hill Library

and The Afghan Women’s Writing Project

present

Readings from the Afghan Women’s Writing Project
featuring novelist and founder Masha Hamilton

at Richmond Hill Library, Queens

Monday, January 13, 6:30pm

Admission: Free

A selection of poems, essays, and stories by participants of the Afghan Women’s Writing Project will be read by audience members, AWWP staff and volunteers, and special guests. AWWP believes that to tell one’s story is a human right, and this work testifies to the bravery of Afghan women and to the power of their words. Author and AWWP founder Masha Hamilton will also read from her latest novel What Changes Everything.  Admission is free.

Masha Hamilton is the author of five acclaimed novels, most recently What Changes Everything, which the Washington Post praised for its “elegantly wrought prose (which) conveys terror as well as tenderness” and 31 Hours, which the Washington Post called one of the best novels of 2009. In October 2013, she finished sixteen months working in Afghanistan as Director of Communications and Public Diplomacy at the US Embassy. She is currently working as Communications Director for Concern Worldwide. She also founded two world literacy projects, the Camel Book Drive and the Afghan Women’s Writing Project.

Masha is the winner of the 2010 Women’s National Book Association award, presented “to a living American woman who derives part or all of her income from books and allied arts, and who has done meritorious work in the world of books beyond the duties or responsibilities of her profession or occupation.” She began her career as a full-time journalist, working in Maine, Indiana, and New York City before being sent by the Associated Press to the Middle East, where she was news editor for five years, including the period of the first intifada, and then moving to Moscow, where she worked for five years during the collapse of communism, reporting for the Los Angeles Times and NBC-Mutual Radio and writing a monthly column, Postcards from Moscow. She also reported from Kenya in 2006, and from Afghanistan in 2004 and 2008. 

Richmond Hill Library
118-14 Hillside Avenue, Queens
Train: J or Z to 121 Street
Bus: Q10, Q55, Q56

COIL Festival: Mac Wellman's "Muazzez" opens at The Chocolate Factory

Actor Steve Mellor sits at a small table and gazes at the audience with his doughy, oblong face and initially deadpan expression and begins to spill a torrent of words. This verbal current flows fast, faster, fastest without cease--miraculously, without tongue-twisting--and, at times, will rise to a level of dark bitterness. That Mellor--occupying The Chocolate Factory's earthly space as well as imagined interstellar space strewn with asteroids--introduces himself as an "abandoned cigar factory" with "a zygodactyly foot" is only part of the fun of Muazzez, a 45-minute monologue derived from short stories by known word wizard Mac Wellman.

"There's no drift to my thought," Mellor/Wellman tells us. "My thought is a rooted thing." Sure. No drift but definitely a well-greased sci-fi sequence on the move and speeding you along with it, scrambling your brain along with Wellman's mythopoetic play and scramble of words. We're invited to envision the high Eulalians of whom nothing is known except that they "builded" the cigar factories. We learn of the "primal radial symmetry" of "a series of spokes or spokey type spindles radiating from a deep and frosty central secret," which sounds kid of tasty. There are "non-self hedges and the hegemony of the self's perfect picture of the world" and something Wellman calls the "ambulatory frightwig of unappetizing complication," which strikes me as a useful insult to hurl at the next person to cross me. Yeah.

I am completely won over by this "succession a stratigraphic variorum," this "placing of jars and jarring of places" and Mellor's virtuoso performance that charges and populates nearly bare space with the high Eulalian magic(k) of words.

A COIL Festival co-presentation of Performance Space 122 and The Chocolate Factory, Muazzez runs through January 17. For complete schedule and ticketing details, click here.

The Chocolate Factory
5-49 49th Avenue, Long Island City, Queens
(map/directions)

Topaz Arts and Bliss on Bliss rally support for the Philippines, November 30

Join Us Nov 30 to Support Typhoon Relief

TOPAZ ARTS, Inc. and Bliss on Bliss Art Projects co-present:

Will Rawls: Shuttling between "downtown" and Serbia

Dance artist Will Rawls

In 2008, I went to the Balkans for the first time and, in some ways, never came back. It was also the summer that Obama was running for president.

The Planet-Eaters is a choreographic investigation of folklore to encounter ourselves as different kinds of performers who are neither here nor there, neither expert nor amateur, both singular and plural, both ancient and new.

--Will Rawls, excerpts from program notes for The Planet-Eaters

In the exceptionally elegant body of American dancer Will Rawls, the folkloric dance rhythms and rituals of the Balkans reveal a lush complexity. Rawls and his musical collaborator, Chris Kuklis, duet in The Planet-Eaters: the dancer entering the realm of music via a twisty, vocalized system of counting beats and his pulled-up posture and lighter-than-air trotting, prancing, pivoting; the musician sharing physical space and elaborate movement and even aggressively manipulating props. Both men go where they "don't belong," and they do so heartfully and beautifully.

With the few audience rows forming a broad crescent curved around one long side of The Chocolate Factory's performance space, and the dancers getting particularly rambunctious in the latter part of the work, you might say there's even community involvement in all this. Come expecting a solo dance turn by a star of the "downtown" arts scene--a strange expectation here, since folk dancing is a communal kind of thang--and you actually become part of a highly textured fabric of witness and support. And then there's the matter of your own feet and the way an eventually sweaty, panting, slip-sliding Rawls might ram right into them. And Kuklis? At one point, he flaps and thrashes a huge patch of Astroturf in your general direction. It gets to be a hot mess up in there--especially when everything takes a turn into a cross between house culture and Old Europe shamanism--assisted by Saša Kovacevic's fanciful costuming--in a suddenly darkened space. About the only weak link is Rawl's lengthy spoken word passage in the middle of the show; the narrative is intriguing, but his voice could use more oomph.

with lighting by Bessie Award winner, Madeline Best

The Planet-Eaters continues through Saturday evening: SOLD OUT. For complete information on this program, click here.

For information on future presentations at The Chocolate Factory, including Jon Kinzel's Someone Once Called Me A Sound Man (December 4-7), click here.

The Chocolate Factory
5-49 49th Avenue, Long Island City, Queens
(map/directions)

Newly expanded Queens Museum to reopen November 9

Doubled in size and asserting a strong community-minded mission,
the Queens Museum (formerly Queens Museum of Art)
in Flushing Meadow Corona Park
will open to the public on November 9.
©2013, Eva Yaa Asantewaa

At the October 30 press preview
QM board chair Alan Suna described the enhanced museum as
"the house of the people for all the people of Queens"--
fully engaged with its multilingual, multicultural populace--
"and the entire city of New York."
©2013, Eva Yaa Asantewaa

In the light-filled atrium
©2013, Eva Yaa Asantewaa

©2013, Eva Yaa Asantewaa

Queens Museum Executive Director Tom Finkelpearl
with outgoing Queens Borough President Helen Marshall
who recalled going skating with her friends
at the ice rink that is now the museum's new space.
©2013, Eva Yaa Asantewaa

City Council members Julissa Ferreras (above)
and Jimmy Van Bramer (below),
chair of the council's Cultural Committee,
joined a host of city officials,
arts professionals and 85 Queens schoolchildren
for this first look at the revamped museum.
©2013, Eva Yaa Asantewaa

Details (above and below) from "Peter Schumann: The Shatterer,"
one of several exhibitions opening to the public next month.
Schumann is the founder and director of the experimental,
politically progressive Bread and Puppet Theater.
Opening Reception: Monday, November 11, 7-9pm
©2013, Eva Yaa Asantewaa

Mayor Michael Bloomberg prepares to cut the ribbon.
In his earlier remarks, the mayor announced the
Queens Public Library's plans to open a branch
at the museum in 2015.
©2013, Eva Yaa Asantewaa

Visit the Queens Museum's new Web site here.

Visitor information including map and directions

Related article:

King of Queens: Tom Finkelpearl’s Game-Changing Museum Gets Bigger

by Zoë Lescaze, Gallerist, Observer.com, October 29, 2013

Queens arts council offers visa workshop for immigrant artists

Queens Council on the Arts presents

BYOB in Brief: 

Visa Information for Immigrant Artists with George Akst

Are you an artist from another country? Ever wonder if you qualify for US Immigration’s so-called “Artist visa”? Are those visas only for visual or performing artists? Can you get a Green Card as an artist?

George S. Akst of Akst & Akst Immigration Law Firm will answer these and other questions at next month’s edition of BYOB in Brief: Visa Information for Immigrant Artists as part of QCA’s Build Your Own Business (BYOB) Workshop Series. Mr. Akst has over 35 years of experience in immigration law, including information on recent changes to immigration laws in New York City.

Wednesday, October 9, 6-8pm

Queens Council on the Arts
37-11 35th Ave (entrance on 37th Street), Astoria
M/R train to Steinway St or N/Q to 36th Ave

Admission FREE! RSVP here

ABOUT

George Akst received his B.A. in Economics from Boston University in 1972. He attended The Hague Academy of International Law in the Netherlands in 1973 and received his J.D. from Fordham Law School in 1976 where he was a member of the Urban Law Journal. He was admitted to the New York State Bar in 1977 and is admitted to practice in the Federal District Court and US Court of Appeals for the Second Circuit. He has been a Member of the American Immigration Lawyers Association since 1984, as well as the Consular Law Society. He is also on the referral list of the NYC Commission on the United Nations, Division of International Business. Mr. Akst is a former Adjunct Professor of Business and Real Estate Law, at both Long Island University and at the Borough of Manhattan Community College. He is also the Founder and President of the Real Estate Institute of Greater New York. Over the past 35 years, Mr. Akst has been a frequent speaker to business and community groups throughout the New York Metropolitan area on the issues of business and family immigration to the US

New photo show features portraits of New York dance artists

TOPAZ ARTS 

presents 

inAction: the Virtuosity of Presence

featuring New York-based 

choreographers and dancers

Sylvain Guenot, portrait photographer

Whitney V. Hunter, curator

July 7 through July 27
opening reception: TONIGHT Sunday, July 7 (6-9pm)

Viewing hours: Saturdays 12-4 or by request info@topazarts.org

inAction: the Virtuosity of Presence is a collection of portraits of dancers from the well-established professional to the emerging artist. Presented at TOPAZ ARTS, this project is created by UK-based portrait photographer Sylvain Guenot and curator Whitney Hunter, in collaboration with 40+ dancers & choreographers photographed. With the focus of photographing the young dancer to the established artist, portraits of a cross-section of the diverse NYC dance community were gathered through the network of dance artists during two recent visits to New York. Rather than photographing the dancers in performance, images of the artists were taken in private environments, taking great care in using minimal external elements as subtle tools for composition and artistic insight. Focusing solely on the presence of the dancer, this new series of large-format prints offers the viewer a window into the heart and mind of the artist.

Read more.

TOPAZ ARTS
55-03 39th Ave, Woodside, Queens
(map/directions)

A special screening of "Katherine Dunham: Dancing with Life"

Katherine Dunham (photo by Dwight Carter)

The Museum of the Moving Image 

welcomes you to 

Katherine Dunham: Dancing with Life

Saturday, June 22 (3pm)

with director Terry Carter, 

and dancers Julie Belafonte and Dr. Glory Van Scott in person

This screening is scheduled in celebration of the 104th anniversary of Katherine Dunham's birth. Following the screening will be a town hall discussion of the Dunham legacy with the film's director, Terry Carter, and two celebrated Dunham dancers, Julie Belafonte and Dr. Glory Van Scott. The discussion will be moderated by Warrington Hudlin, a former Dunham drummer and trustee of Museum of the Movie Image.

Dir. Terry Carter. 2013, 73 mins. (work-in-progress)

One of America's most influential performing artists, Katherine Dunham introduced African Diaspora dance movements to the American stage, greatly influencing the character and development of modern dance. This documentary by the renowned actor and director Terry Carter explores Dunham’s intellectual curiosity and artistic genius. The film documents Dunham as an artist/scholar whose anthropological fieldwork shaped her vision as a choreographer and led to her creating a new dance technique. The technique is based on a series of physical exercises that enable dancers to master and execute her complex dance vocabulary. Over time, this set of exercises evolved into what is today considered an important methodology of dance: The Dunham Technique.

Featured are excerpts of recorded performances from the early years of Katherine Dunham's career, including Carnival of Rhythm (1939), Hollywood’s first Technicolor dance film; The Spirit of Boogie-Woogie, a “soundie” short film of the Dunham dance troupe in action from the late 1930s, and the star-studded motion picture Stormy Weather (1943) which featured Lena Horne, Bill "Bojangles" Robinson, and Katherine Dunham's remarkable performance with the Dunham company. Included in this painstakingly researched film are clips that have never been seen in the United States including rare highlights of Dunham Company's European performances from the 1940s, 1950s, and 1960s as well as scenes from the Italian motion pictures, Botta e Riposta (1952) and Mambo (1954), featuring Ms. Dunham as actress-dancer-choreographer. In addition to interviews with dancers and scholars who speak to her great artistic legacy, the film includes Katherine Dunham's reflection on coping with the racial bigotry of the times she confronted as she traveled with her dance company.

About the filmmaker

Terry Carter is an esteemed black film and television pioneer whose career as an actor and filmmaker spans 60 years. His television acting credits include The Phil Silvers Show, Julia, McCloud, and the original series Battlestar Galactica. He starred opposite Pam Grier in the cult classic Foxy Brown. His Emmy nominated documentary, A Duke Named Ellington, won several international awards and is widely considered to be the best documentary ever made on the life and art of Duke Ellington.

Program information

Free with Museum admission on a first-come, first-served basis. Museum members may reserve tickets in advance by calling 718-777-6800. For more information about becoming a Museum member and to join online, please click here.

Museum of the Moving Image
36-01 35th Avenue (at 37th Street), Astoria, Queens
(map/directions)