My body wants something different for me now.

 

 

My body wants something different for me now.

In August, I will turn 69.

A handful of people have already heard from me that I am retiring from reviewing dance and, indeed, from much engagement with writing about dance, serving on artist selection panels, speaking on panels and similar activities. Some folks have responded with shock or just surprise and sadness, especially to see a Black woman, or any rare person of color, leaving the field of dance criticism and journalism. Others have kindly expressed relief for me and even excitement that, after more than 45 years pursuing this work--I first took dance criticism courses at The New School and Dance Theater Workshop in 1974--I finally feel free to say I’ve done my do, given what I can, and now I’m reclaiming my time.

Like so many others, I have the pandemic of 2020-21 to thank for a radically-altered life.

But, actually, retiring from this work has been on my mind since before I suddenly got hired as Gibney’s curator in July 2018, a life transition that plunged me even deeper into a whole mess of unanticipated things.

However, these drawn-out months away from you all and the live performances I dearly loved have rewired me. On the physical level, I now find myself incapable of staying awake very far into the evening, making even the thought of turning up alert and receptive for night-time shows completely impossible. Seriously, my body rules it out, and I’m not going to fight that body wisdom. I cherish the extra sleep.

And on the mental level, well, my mind seems to be making its selections crystal clear. If something does not spark and hold its interest, engagement is short-lived (or never-lived). That means I might prioritize certain things and let others slide, not always rushing to be there for everything and everyone. No apologies. This is real.

But there’s unexpected fun, too, at this moment. Suddenly and brilliantly, BodyMind has skipped in the direction of healthier (and more colorful and flavorful) eating. Things I somehow just know to throw together work out well and have good health value for me. Intuition kicking in again and right on time. Again, something I’m not going to question--just make more time for and enjoy.

Listening has always been a central part of my spiritual and professional practice (and of my superpowers as an introvert). That continues. Listening to what I need is central to what’s centered. Even the things and spaces I’ve chosen to create for others during this time of uncertainty, anxiety, loss and grief--initiatives such as my Black Diaspora group for rising Black dance and performance artists and the Imagining journal at Gibney; the Black Curators in Dance and Performance group; and my monthly Zoom “séances”--are things and spaces I also happen to need for my own mental and spiritual well-being. As they serve and fulfill their purpose for others, they nourish me. These will continue and flourish. Over the next few years, I will also be shifting the areas of my focus at Gibney to better reflect the community relationships, broader concerns, and activities that matter most to me now.

I have spent decades tending an art discipline that does not get what it needs from this society. Far from it. It needs a ton of care, and working around that can be all-consuming. As I enter my elder years, I choose a wider world and a chance to reclaim some of the things I’ve had to push aside.

I thank everyone for receiving me into the world of dance and for always being, whether you knew it or not, my teachers. You have offered me a way to give back, as a writer, for all the wonder and beauty you sacrifice so much to create. With all the fierce questioning and work being done now towards true justice in the arts, I hope dance artists will also fiercely commit to making dance writing a necessary bridge to the outside world, a tool of witness, clarity of expression, openhearted sharing, much-needed documentation, and acknowledgment. Yes, a force for justice.

Eva Yaa Asantewaa

June 21, 2021

[Note: InfiniteBody will stay up, serving as a space for me to just keep saying whatever I need to say! :-D]

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DISCLAIMER: In addition to my work on InfiniteBody, I serve, at Gibney, as Senior Director of Curation and Editorial Director. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

******

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There once was a union maid, she never was afraid

There once was a union maid/she never was afraid." -- Woody Guthrie

I just ran across my National Writers Union press pass from the 1990s. No publication I ever wrote for as a dance critic issued me a press pass which might have been useful for any number of things.

******

DISCLAIMER: In addition to my work on InfiniteBody, I serve, at Gibney, as Senior Director of Artist Development and Curation and Editorial Director. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

******

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No one can teach you how to write about dance

Eva Yaa Asantewaa
(photo: Axel Jenson)

No One Can Teach You 

How to Write About Dance

by Eva Yaa Asantewaa

...at least, not in any conventional way. Because...yawn.

But consider some tips:

• Fall in love. With dance. With writing. No one can tell you how to do this. It either happens, or it doesn’t.
• Care about others--people beyond yourself, people beyond your immediate circle, people (for now) beyond dance. Want the best for them. Want to share what has worked for you. What has meaning for you.
• In your writing, share your process. Your engagement, curiosity, questions, excitement, discoveries.
• Leave theoryspeak to the academics, please. Write for the rest of us.
• Figure out how best to communicate. What might readers want and need to hear about? What might they already know? 
• Witness dance with your own body. Pay close attention. What are you feeling?
• Admit to yourself (and, possibly, your readers) when you feel disconnected from a performance. There’s important information in that experience. Figuring out what’s going on--with you, with the dance--will help you find a useful way to write about it.
• You might benefit from avoiding people who immediately level judgment. After a performance, give yourself privacy and time to process your own experiences.
• Follow your impulse. Let something irresistible pull you into the writing and keep you there. Learn to sense when there is more in the works, and learn to recognize an internal signal that tells you a piece is finished.
• Don’t compare yourself to other writers. Grow a self, if you have to, and invest in it. Spend major time on this.
• You are not a blank slate. Being open to an experience is more important than so-called “objectivity.” You are most confident in your openness when you are confident in who you are. Bring your true, full self to your encounter with dance, and be honest about that as you write about it. Use that.
• Don’t try to write like your friends or anyone. But do examine how they do what they do. What tools and strategies work for the writer you’re studying? What does not work? Learn from all of this while honoring your own voice, style and inclinations. Take those lessons, and then do things your own way.
• Learn to be your own best editor. Learn to relish the task of self-editing, the opportunity to sharpen your self-expression and tell your story or make your argument in the most engaging, most convincing way.
• Read your writing out loud to yourself (or to a friend or colleague). Your ears will quickly pick up any problems and also identify what you’re doing well.
• Take a keen interest in your world. Dance (and your particular niche in dance) is not the entirety of it.
• Three words: Learn. From. Artists.
• Two words: Respect. Artists.
• One word: Gratitude

©2018, Eva Yaa Asantewaa -- InfiniteBody
https://infinitebody.blogspot.com

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David Vaughan, 93

David Vaughan, Chronicler of Dance History, Dies at 93
by Sam Roberts, The New York Times, November 1, 2017

Beloved Dance Historian, Writer and Archivist David Vaughan Has Passed Away
Dance Magazine, October 27, 2017
re-publication of December 2015 profile of Vaughan by Siobhan Burke

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Exploring writing with Dancing While Black's 2016-17 fellows

Rear, at window:
Paloma McGregor, founder of Dancing While Black
Left to right: Kesha Cox Mckee, Melanie Greene, Eva Yaa Asantewaa,
Jaimé Dzandu, Katrina Reid and Brittany Williams

Every now and then, you have an experience that inspires faith in the future. I was lucky enough to get the chance to work with Paloma McGregor's current group of fellows in her Dancing While Black Fellowship program, teaching a master class in dance writing.

We met at BAX (Brooklyn Arts Exchange) on a lightly snowy Saturday and shared some creative dance writing, thoughts on the state of the art and its documentation, social justice concerns, tears, warm laughter and some delish Thai food from Park Slope's Song. I could not have wished for better company.

So, thank you to DWB fellows Brittany Williams, Jaimé Dzandu, Katrina Reid, Kesha Cox Mckee and Melanie Greene! And thanks to Paloma and to Marýa Wethers for inviting me to teach, to hold this space and to meet such wonderful women.

DANCING WHILE BLACK is an artist-led initiative that supports the diverse work of Black dance artists by cultivating platforms for process, performance, dialogue and documentation. We bring the voices of black dance artists from the periphery to the center, providing opportunities to self-determine the languages and lenses that define their work.

Learn more about Dancing While Black, 

a project of Angela's Pulse, here.

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Coming in January: free Writers Circle for POC arts writers

Sign up for my free dance and performance WRITERS CIRCLE sponsored by FABnyc, starting in January!

Are you dissatisfied with the state of critical writing about dance and performance? Writers Circle supports artists of color, across the spectrum of movement-based performing arts, as they practice and share clear, effective writing in response to performance. Previous writing on the arts is not required, but you should have basic facility with written expression.

East Village locations. For complete schedule and location details and to sign up, click here.

This workshop is part of FAB’s year-long series, The Sustainable Artist Toolkit.

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Tap talks back: Jane Goldberg responds to Acocella review

Tap dancer and writer Jane Goldberg
(photo courtesy of the artist)

InfiniteBody welcomes tap's great champion Jane Goldberg for her response to a review of Dorrance Dance in The New Yorker by critic Joan Acocella.

*****

Joan Acocella’s December 5 review of Dorrance Dance (click here) offers up an unfortunate contradiction. After a generally complimentary review of the company’s recent season at The Joyce Theater, Acocella ends with the complaint that Michelle Dorrance choreographed only four full-length shows between 2013-2014 (only? really?) and hasn’t created enough new work. She points to Dorrance’s busy schedule as a dancer to explain this supposed deficit. She concludes, “Dorrance doesn’t look tired, but chances are she will, and so will her work, if she doesn’t sit down for a while.” Despite her evident love of dance, as a critic, Acocella either has no interest, or little, if any, understanding of what it means to be living the dance life. As someone who is both a dancer and a writer, I do.

We dancers need to make a living. This is a constant struggle, particularly for tap dancers. It is relevant that Michelle Dorrance, more than anyone, has employed more tap dancers of varying styles, as far as I can remember (and my memory is long). Dorrance does a lot of other choreography besides Dorrance Dance, and maintains this company with a seeming core, that changes often, and usually employs the talents of as many dancers as can deliver her complex and challenging work. Her full-length shows, featuring these dancers, require rehearsals and refreshing so that the shows are in tip-top shape when they arrive at the next venue. No doubt Acocella has seen the same Balanchine and Baryshnikov dances a zillion times.   If she loved tap dancing more she might not have practically rattled the death of tap after reviewing Brian Seibert’s tap history book. Acocella might get bored with only four shows in two years, but I saw The Blues Project three times and it just got deeper for me, with things I hadn’t noticed before, the way one discovers newness in a painting or in any of the lively arts.

Michelle Dorrance at Writing on Tap workshop (2012) above
and below with tap colleagues Derick K. Grant and Brenda Bufalino
(photos: Eva Yaa Asantewaa)

Dorrance’s work is diverse, collaborative, and far-reaching (amazing kathak/tap work; an interpretation of Martha Graham’s Lamentation; to name just two of many). Moreover, what is wrong with accepting every offer she gets while she’s “hot?”  Tap dancers don’t get the kind of venues ballet and even modern dancers get. We need to capitalize on offers when they arrive. Jacob’s Pillow certainly isn’t tired of Dorrance’s work, having hired her three years in a row, with two of the years presenting versions of the same work. The Blues Project when first presented at the Joyce lasted just a few nights – and it sold out. Because it is such a good piece, why not have it again and benefit both the 475- seat dance theater, as well as a blossoming choreographer and tap company? Consistent touring, which Acocella also complains about, gives Dorrance more access to more audiences, who might be inspired to go see more dance, enlarging the entire dance field. And, of course, frequent performing, usually a high, joyful, fulfilling, and giving experience for choreographer/dancers, keeps dancers working!

Dorrance is known for her generosity towards her dancers, paying them well and even before paying herself. She is also consistently generous in her recognition of her mentors and collaborators. If Acocella had seen Dorrance more than a couple of times, she would know that Dorrance has credited her North Carolina teacher Gene Medler in almost every panel discussion, concert program or public talk in which she was involved (including her recent appearance on Stephen Colbert). In the world of dance, rarely do I see anyone like Michelle Dorrance, who consistently goes back to her roots, to profusely credit others, and to celebrate her own good fortune. And her attributions are not done for reasons involving race, as Acocella implies. Her dancers are a diverse group brought together because they have the feet and attitude Dorrance clearly admires. In a world of schadenfreude, it is telling that I have heard no envious talk about Dorrance winning the prized MacArthur Genius Award. Only delight and pride from her fellow tappers.

--Jane Goldberg

Jane Goldberg
(photo: Jamie Laworitz Sherman)

Jane Goldberg is a “rara avis”: a dancer who is also a writer. She has been one of the most prolific voices in the field of tap dancing for the past three decades.

In 1972, after graduating as a political science major from Boston University, she saw the dancing of Fred Astaire and Ginger Rogers and was soon studying tap dancing. She began ferreting out many of the remaining entertainment greats of the 20th century. She became good friends with the late Gregory Hines, the actor/singer/tap dancer, as well as his chronicler.

By the 1980s, Goldberg had apprenticed herself to many of the old hoofers, while at the same time, interviewing and documenting their work. These classic jazz men were at the time living virtually “underground,” considered practitioners of a “dying,” or at best, “lost” art form. At least, that was the official lore Goldberg heard about this uniquely American art.

Determined to prove the two myths wrong, Goldberg began teaching and was only a few steps ahead of her students in her Bleecker Street basement. The experimental choreographer/singer/writer, Meredith Monk, was in her first class, and Monk sent many apostate modern dancers Goldberg’s way. Tap’s universal appeal attracted Japanese scholars, doctors, lawyers and “closet hoofers” to Goldberg’s underground quarters as well. She employed her newly developed “talking feet”, to pass down great steps and secret recipes from the originators.

As artistic director of Changing Times Tap, a non-profit preservation, promotion, and performing entity, begun in 1979, Goldberg began teaching at New York University, and giving workshops and master classes to college and serious dance students. Her company produced the first international festival, By Word of Foot in 1980, at the renowned NYC Village Gate. Her acclaimed memoir, “Shoot Me While I’m Happy: Memories from the Tap Goddess of The Lower East Side” with introduction by Gregory Hines, comes with a bonus DVD which highlights this celebration of teaching.

Some of her archives reside at The New York Public Library’s Lincoln Center for the Performing Arts, as part of the Gregory Hines Collection. Her personal archives, “Jane Goldberg’s Wandering Shoes, Tap (h) istory, Tip Top Tapes, Tapalogues, Tapology and Tapperabilia” is living testament to the future of tap.

Known as “the hoofer with angst”, Goldberg has performed her comedy/tap act, Rhythm & Schmooze, "topical tap with running commentary over the feet,” in countless jazz, contemporary, and experimental venues throughout The United States, such as The Village Vanguard in NYC, The Goodman Theatre in Chicago, and Harvard University in Boston. She is the recipient of two Fulbright Scholarships to India where she performed her highly idiosyncratic program throughout the subcontinent.

A Washington D.C. native, Goldberg spent her formative years as an investigative reporter and studying modern dance in D.C., Maryland, and Boston. She lives with the painter Owen Gray in New York City.

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I was interviewed for Movers & Shapers podcast!

Erin Carlisle Norton
Artistic Director of The Moving Architects
and host of Movers & Shapers
(photo courtesy of Erin Carlisle Norton)

The very gracious Erin Carlisle Norton, artistic director of The Moving Architects, interviewed me for her Movers & Shapers dance podcast!

You can find the episode here.

For more Movers & Shapers episodes, click here or subscribe on iTunes or Stitcher.

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John Gruen, 89

John Gruen, Cultural Renaissance Man, Dies at 89
by Margalit Fox, The New York Times, July 19, 2016

Writing for Time Out New York!

Eva Yaa Asantewaa
(photo: D. Feller)

Hey there, gang!

A quick note to announce that I have been invited to write dance reviews for Time Out New York (online) a few times per month. My first will be a piece on Mark Dendy's Whistleblower (now through September 26), a Dixon Place dance commission. I'll post links to the TONY reviews here, as well as on Facebook and Twitter, as they become available.

Otherwise, I'll continue reviewing dance and other arts here on InfiniteBody.

I hope you're enjoying the new arts season! See you around town!

Eva :-)

American dance criticism: RIP?

The Death of the American Dance Critic
Why are there so few mainstream outlets covering the art form?
by Madison Mainwaring, The Atlantic, August 6, 2015

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My comment:

If mainstream dance criticism is dead, the appropriate question is: What's next? Not all dance blogs are ballet-centric or inaccessible in language. Mainwaring could have explored a little further and discovered US dance writing in venues like The Brooklyn Rail and my own blog, InfiniteBody, that continues sensitive observation, documentation, analysis and sharing of meaningful experiences with dance. Dance writing in mainstream media has withered, yes, for all of the reasons that Mainwaring details, but dance writers are still out here, using our knowledge and skills in service to an art we greatly respect and love. We would appreciate your acknowledgement and support.

"Dance Criticism in New York" -- Thank you so much!

Glitter valentine, East Village
(c)2011, Eva Yaa Asantewaa

T H A N K  Y O U !

to everyone from Gibney Dance, especially Craig Peterson,  Margaret Tudor,  Julia Vickers,  Paul Galando and the entire team

to my esteemed panelists--Rose Anne Thom,  A Nia Austin-Edwards,  Jaime Shearn Coan,  Siobhan Burke,  Charmaine Warren and Marissa Perel

and to all who attended or participated online

Dance Criticism in New York was an unqualified success with our six panelists sharing diverse experience and perspectives, each speaker demonstrating professional commitment to honest, responsible work on behalf of this art that we all love. We can all agree that our writing thrives on the dynamic energy of multiple worlds--our immediate, one-to-one encounter with artists and their work; our own histories and inner landscapes; and our life OUT THERE in our communities with readers who value dance now or might recognize its worth through our special insight and passionate example.

Moving on, we need to look at the power we invest in dance criticism, who claims access to that power and to what ends, who is denied access and the consequences of that exclusion. We need to create alternative, but adequately supported, venues for dance writing, and we need to value and compensate the dedicated time, skill and labor of that writing.

I hope our conversation will continue in many forms, generating new ideas and collaborations. Please reach out to me with your thoughts and suggestions. I am ready to partner with you.

If you missed this event or its livestream, you can access the recording here.

In the meantime, here is the text of my introductory remarks.

******

In his 2002 essay, “The Perfect Dance Critic,” Miguel Gutierrez wrote, “The perfect dance critic does not exist.” [http://www.miguelgutierrez.org/words/the-perfect-dance-critic/] And then Miguel went on to tell us the many, many qualities, abilities, tendencies and working conditions that would make it possible for that mythical unicorn, The Perfect Dance Critic, to exist.

But, perhaps, what we should be looking for in dance criticism is progress, not perfection.

Convening tonight’s panel is my way of asking, Can we get a little progress here in New York, a city that remains of great importance in dance’s history, its growth and innovation and, I trust, its future? A little progress, if not perfection?

Can we, as critics, be a meaningful part of this community? Or do we stay at the sidelines? Do we, as dance critics, have a meaningful place out in the world beyond dance? A world of beauty and also a world of inequities and injustice? Can we bridge the gap, bringing that world in, bringing dance out to that world?

Rather than perfection, can we seek humanity?  Rather than cool and lofty distance from the artist, can we respond to art and to artists with empathy?  Can we meet the poetry of dance with the poetry of words?  Rather than complacency, can we have insurgency? Provocation? Transformation? Shamanism? Can we value the diversity and complexity of a changing world in which we do not fear those changes nor fear how they require us to rigorously examine ourselves, to question our assumptions and to evolve? Can we foster communion, perception, intuition? Can we honor deep and broad experience and knowledge without resisting new questions, new tools, new pathways?

Do we truly love dance enough to give it the respectful attention and witness that it deserves?

I’m wondering. I’m hoping. And that is why we are here tonight.

Eva Yaa Asantewaa

(c)2015, InfiniteBody

We're livestreaming "Dance Criticism in New York"

Above, l-r: Charmaine Warren, A Nia Austin-Edwards, Marissa Perel
Below, l-r: Rose Anne Thom, Jaime Shearn Coan, Siobhan Burke

Eva Yaa Asantewaa
(photo: D. Feller)

If you can't make it to our Dance Criticism in New York panel at Gibney Dance: Agnes Varis Performing Arts Center tomorrow at 6pm, catch the livestream at:

http://www.danceandnewmedia.org/live

Also, we'll be taking questions for the panel via Twitter! All you have to do is tweet @GibneyDance with #AsktheCritics.

Time Out New York eliminates dance section. Take action!

I just received this news from a dance community colleague and wanted to quickly share it with you. Take action. Just do it!

*****

I'm writing with some urgent news about the state of dance coverage at Time Out New York -- and to encourage you to take action.

Dance editor Gia Kourlas has resigned. Her last day will be May 1, and the status of her replacement is unknown.

 
Gia's decision coincides with changes at the magazine that include the elimination of dance as a stand-alone section. Dance, in a much-abbreviated form, has been integrated into a new Theater and Dance section. This week, the magazine does not have a feature profiling a dance artist, and the section has been diminished to one page with just eight listings and no photos.

    
Write a letter to the magazine telling them how essential dance is to New York City cultural life, and how important -- and trusted -- TONY's coverage of dance has been. If you're a producer, ask the magazine why you should continue to advertise in a publication that doesn't respect dance on par with other art forms. If you're an artist, explain how crucial these features were in building an audience and support for your work.

 

Send letters ASAP to the following individuals:

Editor-in-Chief Terri White terri.white@timeout.com

Deputy Editor Carla Sosenko carla.sosenko@timeout.com

Managing Editor Ethan LaCroix ethan.lacroix@timeout.com

with a CC to letters@timeoutny.com 

[UPDATE] "Dance Criticism in New York" panel at Gibney

Dance Criticism in New York

Tuesday, May 12 -- 6pm to 8:30pm

Gibney Dance: Agnes Varis Performing Arts Center

280 Broadway, Manhattan

Above, l-r: Charmaine Warren, A. Nia Austin-Edwards and Marissa Perel
Below, l-r: Rose Anne Thom, Jaime Shearn Coan and Siobhan Burke

Do dance critics play a useful, integrated role within New York’s dance community? How well do they serve the field and its audiences? How can dance writing and its presentation evolve to make the most of changed and challenging economic, social and technological environments?

Listen to insights from writers A. Nia Austin-Edwards, Charmaine Warren, Jaime Shearn Coan, Marissa Perel, Rose Anne Thom and Siobhan Burke, with moderator Eva Yaa Asantewaa, followed by a frank and lively discussion of your own ideas on dance criticism in New York.

Free admission

RSVP here

Note: As of Monday, April 13, we are at capacity for this event, but we will be livestreaming!

CLICK HERE: http://www.danceandnewmedia.org/live

Also, we'll be taking questions for the panel via Twitter! All you have to do is tweet @GibneyDance with #AsktheCritics.

Gibney Dance: Agnes Varis Performing Arts Center
280 Broadway (entrance at 53A Chambers Street), Manhattan
(map/directions)

Hold the date! Tuesday, May 12: Dance Criticism in New York

Dance Criticism in New York

presented by

Gibney Dance Center

280 Broadway, Manhattan

moderated by

Eva Yaa Asantewaa

InfiniteBody

Tuesday, May 12 

6pm to 8:30pm

Free admission

(RSVP information to come)

Do dance critics play a useful, integrated role within New York’s dance community? 

How well do they serve the field and its audiences? 

How can dance writing and its presentation evolve to make the most of changed and challenging economic, social and technological environments?

Listen to insights from our panel of dance writers--

A Nia Austin-Edwards

Charmaine Warren

Jaime Shearn Coan

Marissa Perel

Rose Anne Thom

and

Siobhan Burke

--as they respond to these questions as well as "The Perfect Dance Critic," an essay by Miguel Gutierrez. Brief presentations will be followed by a frank, lively community discussion of your own ideas and strategies around dance criticism in New York.

Sorry I Will Miss Your Show

Eva Yaa Asantewaa
(photo by D. Feller)

Gibney Dance Center has a running program they call Sorry I Missed Your Show. So I'm riffing off that title here because I want you to know that I'm aware how exceedingly tough it is to get press coverage (and decent press coverage) for dance shows in New York.

Throughout the year, I get numerous requests--not only press releases but also personal emails and Facebook messages--and try to juggle those requests along with my own interests and personal needs. No secret: I love dance a lot--as well as other arts and other activities; I am generally a quiet yet wildly multifaceted person--but have not managed to acquire bilocation or multi-location as my superpower!

Of course, ask, but there will be times when, for any number of reasons, I cannot get to your show (or even your rehearsal or informal showing). And it's better for all of us that I recognize those times and honor them. That way, I'm going to be more nourished, rested, resourceful, at ease and effective at what I do when I do get there.

Here's what led me to write this post:

How to Not Die: Some Survival Tips for Black Women Who Are Asked to Do Too Much

It's a terrific post, written in June 2013 by educator Robin M. Boylorn for the Crunk Feminist Collective blog. While it's directed to Black women, it contains wisdom that anyone should consider, and perhaps someday you too will take some of these ideas and recommendations to heart.

In the meantime, please remember that I'm grateful for what the arts, particularly dance, have meant to me throughout my entire life. I might not get to every show, but I stand with you in support and celebration.

Love,
Eva

Doris Hering, 94

Doris Hering, Dance Critic and Champion, Dies at 94
by Jack Anderson, The New York Times, October 26, 2014

Performing artist and student Daniel Foner interviews...me!

Thank you, Daniel!

Eva Yaa Asantewaa
(c)2009, Eva Yaa Asantewaa

Getting to Know Eva Yaa Asantewaa
by Daniel Foner, Monkeyhouse: Connect 2 Choreography, August 15, 2014

Mindy Aloff celebrates the dance writing of Edwin Denby

NBCC Reads: Mindy Aloff Picks Edwin Denby
by Mindy Aloff
Critical Mass (National Book Critics Circle), November 6, 2013