BODY AND SOUL: María de los Angeles Rodríguez Jiménez: Earth and Spirit

 

 

María de los Angeles Rodríguez Jiménez (photo: Lucas Cardoso)

 

I am wearing a white shirt, framed glasses, ultramarine blue pants, and a clipped-up casual hair updo, sitting inside of a cave. Picture is taken from inside of the cave, looking out into a green tropical landscape. I have in my hand a small cup with natural red ochre pigment dye (found from the same cave) and in the other a paintbrush, as I doodle on a rock. I am looking directly at the viewer/camera.

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I first learned about María de los Angeles Rodríguez Jiménez and her research when I was invited to an upcoming dance-and-ecology symposium presented by the New York Public Library's Jerome Robbins Dance Division (January 27; livestream February 3). I was immediately drawn to the direction of her interdisciplinary work which infuses performance with Afro-Atlantic spiritual traditions of reverence and care for the natural world. I was eager to learn more about Jiménez and share her ideas with you. I highly recommend the symposium which will also feature presentations by five other members of the 2022-2023 cohort of Dance Research Fellows--Juli Brandano, Rosemary Candelario, Lindsey Jones, Richard Move, and Rachna Nivas. Information and free RSVP for the in-person or livestreamed event here.

Listen to the Body and Soul podcast episode here.

Subscribe to Body and Soul for more.

Read below to learn more about María!

Eva Yaa Asantewaa

Jiménez in Ora Yêyê o (photo: Lucas Cardoso)

Location: Chapada Diamantina, Bahia, Brazil. Ora Yêyê o (performance still with mask ii), 2022. Duration 00:08:57

This performance is an homage to the orixá Oxúm of freshwater and femininity. Video still shows me wearing a knitted and crochet yellow and white mask looking to the right. Attached to the mask are beads made of eucalyptus seeds and black beans. I am inside of a small lake that has yellowish water wearing a white dress, the white dress looks yellow when submerged in the water. Image shows me sitting in the water with the mask at the center and the rest of the frame is the lake water and its reflections surrounding me.

BIO: María de los Angeles Rodríguez Jiménez is an interdisciplinary artist born in 1992 in Holguín, Cuba. She lives and works between Brooklyn, NY and Salvador, Bahia.She received her BFA from The Cooper Union for the Advancement of Science and Art in 2015 and MFA in Painting and Printmaking from Yale University in 2020. New York Public Library Jerome Robbins Dance Division Fellow, 2022-2023. Fulbright Research Fellow, Brazil, 2020–2022. https://www.mariadlarj.com/

At water's edge: Jennifer Monson/iLAND presents "ditch"

ditch--presented by Jennifer Monson/iLAND
at South Street Seaport Museum's Melville Gallery
(photo: Brian J. Green)

ditch
by Jennifer Monson/iLAND
River to River Festival 2019
Melville Gallery, South Street Seaport Museum
June 26 and 28

Happy hour at South Street Seaport is for something other than paying attention to post-modern eccentrics dressed in plastic materials like creatures ironically stuck inside reusable shopping bags. On this summer evening, folks pass the seaport museum's site or sit nearby or do whatever they do while Jennifer Monson's dancers do whatever they're doing on the cobblestones and iron steps. For a moment, I turn away from the building and, in a little parklet across the pathway, suddenly spy Monson herself. Her look and her positioning on the pavement suddenly remind me of a more familiar, mundane sighting--a pigeon. Like dancers, pigeons exist among us in the urban ecosystem and, to be honest, most of New York and its tourists pass by and pay them no mind. I recently learned that some people--may they burn in Hell--net loads of our pigeons and haul them out of state to shoot for sport.

When I turn back towards the steps to the museum's Melville Gallery, I see that audience is being admitted for the continuance of Monson's ditch--a multifaceted project motivated by the local effects of Hurricane Sandy (2012). I take a seat up front near one of the room's many wooden columns. The space feels confined; the lighting, dim. There's a dancer already in motion--swiveling, dipping, skittering and plié-ing barefooted and barelegged, her torso encased in a misshapen cube of black plastic with lime-green trim. There's a set up for composer/sound artist Jeff Kolar whose sonic communications, performed live over the course of perhaps 45 minutes, ebb and flow from nearly imperceptible, intermittent blips to deepened, driven pulses.

Three other dancers appear here and there, sometimes wholly or partially obscured by columns that could be an abstract forest of trees or stalks in a hugely-magnified stand of grasses at river's edge. This is home to sensitive, elusive critters who shed their casings and pitch and swirl in imaginary waters and, surprisingly, ace synchronized scarf juggling. Intelligent and, when need be, well-coordinated beings. Ben Demarest's lighting evokes a natural and changing world while also marking this gallery space as a sanctuary--at once, protected and vulnerable.

• View the ditch rehearsal trailer here.

Monson premiered ditch on June 23 at the Lower East Side "ecopark" of Pier 35. At sunrise! How I wish I had been there for that or, later that morning and afternoon, for her iLanding Workshop where participants got to "dance, draw and map based on their observations of the movement and living ecologies of the pier, including birds, mussels, fish, plants, humans and other creatures."

Choreography: Jennifer Monson
Performers: Madeline Mellinger, Kaitlin Fox, Courtney Cooke, Jennifer Monson
Music/sound: Jeff Kolar
Costumes: Susan Becker
Lighting: Ben Demarest

ditch is closed. River to River Festival 2019 concludes today. For information on remaining programs, click here.

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

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"Our Planet": a new Japan Society commission

Jenny Seastone Stern ("Luna") in Our Planet
(photo by Julie Lemberger)

You get dizzy, you get dazzled, you get giddy.

--from Yukio Shiba's Our Planet

For each performance of Our Planet, audiences--each thirty people only--hike all over Japan Society's midtown East landmark building for ninety minutes. They stand and perch in public and private spaces amid music and startling animated projections as they follow the long (really, really long), developing relationship between two playful neighbor kids. Okay, what if I were to tell you that those kids are Earth (Terri) and the moon (Luna); that neighborhood, the cosmos; and that relationship a matter of life (all life) and death (of stars and pretty much everything)? Intrigued yet? You should be.

The powerful actor Julian Rozzell, Jr., who eventually plays the female Terri in a skirt wrapped around his pants, first greets the audience in the darkened lobby, dramatically backlit by the light of an open elevator. On his lips, Yukio Shiba's text zips past you in bursts of forceful and mercurial dazzle--catch and hold what you can--setting up your understanding of the birth of a universe that will teem with the massive and the microscopic, and of a planet that will host all human experience, thought, speech and feelings.

Like a Pied Piper, Terri takes her charges on a journey, integrating them into each new environment, also placing little tea light "stars" here and there, even in the little pools of the lovely indoor water gardens. Eventually, Terri leads her followers upstairs to encounter Luna, embodied by Jenny Seastone Stern, where begins an initially shy and then fervent friendship, one faithful even through distance, time and time's inevitable changes. Our relationship with the convincingly girlish Luna--and with the innards of Japan Society's home--also grows. You might even find yourself seated to tea at a family table where Luna speaks the entire communal dialogue. Stern brings vulnerability and lightheartedness to her role, drawing something of the same from Rozzell, Jr. Well matched, they are.

All in all, you can't help but get a little dizzy, a little dazzled, a little giddy. Happily, there are guides all around to help you watch your step.

Direction: Alec Duffy (Hoi Polloi)
Scenic design: Mimi Lien
Costumes: Becky Lasky
Lighting design: Jiyoun Chang
Music composition and sound design: Tei Blow
Motion graphics: Nobuyuki Hanabusa

No late entry. Be prepared to stand, walk up and down stairs and, at times, sit on little cushions or benches. You're encouraged to leave your coats and belongings at the coat check. I'd recommend keeping a light sweater with you: The building is fairly cool.

Running time: 90 minutes

Through December 8 (various dates/times). Due to audience-size limitations, a number of performances are already sold out. Click here for complete schedule details and ticketing.

Japan Society

333 East 47th Street (between 1st and 2nd Avenues), Manhattan

(map/direction)

New York dancer's migration to Kansas on behalf of butterflies

A story and slide show from this past summer about New York ballerina Gwynedd Vetter-Drusch's dance project in the butterfly research gardens at the University of Kansas for Monarch Watch

Concern For Monarch Butterflies Inspires Dancer To Action

by Julie Denesha, KCUR.org, June 23, 2013

Jill Sigman's field of dance

In Jill Sigman's work, the art of dance and the greater world out there are not strangers to each other. Her choreographic and visual creations arise from inquiry into the nature of humanity's complicated relationship with and severe impact on our environment. Now last days/first field--her latest work, presented at The Invisible Dog through tomorrow evening--takes this connection a step further. This contemporary ritual brings the living world inside where it can no longer be ignored or abstracted.

last days/first field takes place on a long, rectangular space surrounded by audience on three sides; beyond the fourth end, composer-singer Kristin Norderval holds forth with her Mac and her ringing, exhilarating vocals. Sigman and several other women--Hadar Ahuvia, Corinne Cappelletti, Donna Costello, Sally Hess, Irene Hsi and Paloma McGregor--wear costumes made of an elaborate patchwork of fabrics and plastics. (Given Sigman's penchant for recycling trash for art, I'm guessing designer kymkym formed these constructions from discarded material.) Their movements suggest a massive, repetitive, accumulating process and arc of labor--forcefully mechanical, like threshers, and alert, assertively present in the space, clearly transformative. Since they surge and gallop so close to where we sit, we can't help but feel their strength. When they bind their legs to long, slender branches with rope and strips of cloth, reduced to rolling side-to-side, we feel life turned even more driven by that temporary confinement.

As they move, another dancer, Devika Wickremesinghe, circumnavigates the space, carrying boxes of little plantings suspended from a long tree branch or encased in pouches stitched into the front and rear of her gown. This elegant Spirit of Time slowly, very slowly, makes her way around as other dancers channel the dynamic inner processes of soil, roots and shoots.

That larger, outer world grows increasingly visible in the Invisible Dog space. The dancers construct perfect rows of rich, black soil and carefully plant little green seedlings along the ridge of these rows. Their tending of this field, along with Norderval's music, can induce serenity--as can the proffered cups of hot, sweet tea and the invitation to join little groups of performers, fellow audience members, farmers, educators and activists for a friendly chat.

jill sigman/thinkdance's last days/first field continues this evening and tomorrow evening with performances at 7:30pm. Be prepared for a roughly two-hour experience (sans intermission). For information and ticketing, click here.

The Invisible Dog
51 Bergen Street (between Smith and Court Streets), Brooklyn
(map/directions)

This Earth, our home: Siobhan Burke interviews Jill Sigman

SOON THE EARTH WILL BE IN THE SQUARE
Jill Sigman with Siobhan Burke
by Siobhan Burke, The Brooklyn Rail, May 2013

Jennifer Monson premieres "Live Dancing Archive" at The Kitchen

At the outset of Jennifer Monson/iLAND's Live Dancing Archive, the audience sits without benefit of light for a very long time. We hear tiny, ambient sounds of one another breathing, shifting, rustling, settling into an alive, soft darkness. Recalling that Monson recently told me that she had come to think of her audience as the ocean, I'm also remembering a time when I sat and watched the open sea at night, its awesomeness shading into something even more mysterious and compelling than usual and more than a little scary. What's in there? What's down there? 

Jennifer Monson (photo by Valerie Oliveiro)

Live Dancing Archive, presented at The Kitchen, serves as a way for Monson to embody a decade of her history of research and making, her sensitive and searching relationship with ecological systems of environments and communities, and her understanding of herself within all of this as a queer woman, activist and artist. It includes not only her hour-long performance--a collaboration with two brilliant artists, lighting designer Joe Levasseur and composer Jeff Kolar--but also a video installation by Robin Vachal and a digital archive designed by Youngjae Josephine Bae.  Levasseur and Kolar accompany her live for the journey, shaping and toning her austere surroundings: Levasseur striding here and there, adjusting the position and varying intensity of portable lights; Kolar sitting at his table of wonders, manipulating "external weather phenomena, wireless technology systems and human activity" through an array of handmade radio transmitters and receivers. If all of this seems like a pretty packed package, it is indeed, necessarily, packed and yet rendered with elegance.

Having seen a preview of part of the video last year, I limited myself to Monson's live show last evening. Even so, I came away feeling full and privileged to witness the skill and authority of this performance.

Jennifer Monson (photo by Ian Douglas)

In Live Dancing Archive, Monson presents herself as a hybrid creature of fur (fake pelt strapped to her torso, concealing her breasts) and human, womanly flesh (the wide mesh of her translucently pale, footless tights enclosing while revealing the nudity of her lower body). She initiates her dancing by pawing and pushing through the air, unfurling into and swimming into it. She endlessly channels organic forms, many presences coming and going in her movement and aspect. An inner wildness becomes external, and vice versa, all with precise control and calibration of pace, effort and coordination. A brief femme-drag sequence/lipsync to singer Antony's "Bird Gerhl" (with Monson ritually adorned by her costume designer, Susan Becker, in a completely uncharacteristic platinum wig, scarlet lipstick and saffron chiffon sleeves) serves as a solemn moment of vulnerability shortly before we experience, along with her, violent disturbance in the surrounding field of energy and sound.

There's so much more that transpires, in this ferocious, profoundly beautiful presentation, than I can say here. I hope you will jump at your chance to take it all in before Live Dancing Archive ends its run at The Kitchen tomorrow night.

Remaining performances: tonight and tomorrow night at 8pm. For more information and tickets, click here.

Vachal's video installation will be on view in the theater today (noon-6pm) and tomorrow (11am-6pm) for free viewing.

Browse, enjoy and subscribe to the Live Dancing Archive site: Click here.

The Kitchen
519 West 19th Street (between 10th and 11th Avenues), Manhattan
(map/directions)

Body and Soul: Listen.: Jennifer Monson

Dancer-choreographer Jennifer Monson (photos by Ian Douglas)

Situating myself in the American tradition of examining the frontier—the border between wilderness and civilization—as a dynamic arena for embodying the contradictions of freedom and power, my dance work navigates the territory between what is wild and civilized.

The usefulness of the term “nature” has become complicated for me as I struggle with the dialectic of nature/not nature. What is not nature? Wilderness becomes a more amenable concept for me in that it alludes to something untamable, unknowable and challenging, and it is a very human concept. Wilderness as a concept seems central to human evolution. Dancing is a powerful medium for addressing our “nature” and is one of the places I experience wildness.

 --excerpts from Artist Statement by Jennifer Monson

To listen to Jennifer Monson talk about her new project, Live Dancing Archive, download my Body and Soul mp3 recording, or subscribe to the podcast series here.

iLAND Web site

Jennifer Monson bio and artist statement

Live Dancing Archive at The Kitchen

February 14-16, 21-23 (8pm)

For more information, click here.

An interview with painter Sibel Kocabasi

Sibel Kocabasi

interviewed by Barbara Ann Levy

BALGallery.com

Call for film/video submissions for SEEDS 2010

SEEDS requests submissions of films and videos of any length, focused on ecology, social ecology, movement and/or science for SEEDS 2010. Wanted: dance and moving image films, environmental documentaries and related short experimental works. All work must be in NTSC dvd format. Please send dvds, promotional images and directors biography.

All submissions should be sent by April 16th to:

Olive Bieringa
3528 10th Ave South
Minneapolis, MN 5540

If you have questions or suggestions, please email olive@bodycartography.org

Thanks!

SEEDS Web site

Imperiled ground, imperiled body

Belladonna and CUNY Graduate Center present

a free panel discussion

Is Ground as to Figure as Ambience is to Body? Ec(h)opoetics of the Disfigured 'Land'scape

Fri, Sept 25, 10am

Room 1, Panel 1
CUNY Graduate Center
365 5th Ave, Manhattan

Discussion Organizer and Moderator: Jennifer Scappettone. Panel Members: Marcella Durand, Brenda Lijima, Kathy Westwater, Rita Wong and Linda Sormin

This discussion will sound reciprocal interference between the environment and marked (raced/gendered/polluted) corporeality in the face of landscape's harm-mediation-digitization-withdrawal. Presentations will address a poetics of systemic crisis, stalking solutions, obliging recognition of ambient relations of authority and compromise as compass through a stupefying enormity of damage: Marcella Durand on race and ecological disaster; Brenda Lijima on Agnes Denes's reclamation art; Kathy Westwater on bodily organization within transmogrifying 'nature'; Rita Wong and Linda Sormin on ongoing toxicities.

This discussion is part of the Advancing Feminist Poetics and Activism Conference and is sponsored by Belladonna and CUNY Graduate Center: Center For Humanities, Poetics Group, the PhD Program in English and the Center for the Study of Women and Society. For more info: belladonna

I'll Take Mannahatta

'Mannahatta/Manhattan - A Natural History of New York City'
by Edward Rothstein, The New York Times, July 4, 2009

The Mannahatta Project

Museum of the City of New York

Olive Bieringa: Body and Soul podcast (UPDATE)

Olive Bieringa of The BodyCartography Project, based in Minneapolis, talks about plans for next month's SEEDS Festival of arts and ecology. Now set to launch its second summer at EARTHDANCE in Massachusetts, SEEDS is an international, interdisciplinary festival, forging connections between innovative artists and scientists.

Special update from Olive Bieringa: The curators and Earthdance staff are in the process of reshaping the festival in order to attune to the changes that are coming up. In the upcoming weeks leading up to SEEDS, we will modify the format. For more details, look at the website: www.earthdance.net/seeds, or call us at 413-634-5678. Thank you.

SEEDS
The BodyCartography Project


MP3 File [Play]

Publicist, spare that tree!

I'm surprised that, in this day and age, dance publicists are still cheerfully handing me press kits--or snailmailing me press releases, for that matter. Don't you guys know that there's this newfangled thing called the Internet? (George W. Bush pluralized it, I guess, because it must have seemed so overwhelmingly threatening to him, as well it was and should be.) And when I use this Internet thingee, which I do every goshdarn day, I can readily access all manner of text, photos, audio, videos, the whole megillah. It's quite neat.

So, why not use the Internet to simply email me a URL where I can immediately go to view or download all the information about your clients and access whatever supporting resources I'll need to do my work?

Instead, when I go to your shows, I'm handed these big folders--filled with sheets of paper and sometimes photos and DVDs--that a) don't fit in the smaller handbag I now carry; b) mark me immediately to everyone in the theater as "one of those" (ick!); c) threaten to suddenly empty their contents into theater aisles or onto subway tracks; and finally, d) fail to include some significant bits of data or media resources.

So, just stop it. Stop it right now. Save a tree or two or two thousand. Get with the 21st Century and use the Internet!

This land is iLAND

iLAND Symposium
Saturday, March 28th

iLAND will hold its first annual symposium in New York City, this Saturday:

Connecting to the Urban Environment: Creating embodied and relational approaches to environmental awareness

Saturday, March 28
9:30am-1pm (no charge, registration opens at 9am)
Refreshments will be served.

Eugene Lang College
The New School for Liberal Arts
6 East 16th Street, Manhattan
Room #D1009 (auditorium)

Connecting to the Urban Environment, iLAND's first annual symposium, will address issues emanating from the creative collaborations of past iLAB residencies. iLAB alumni will be paired with representatives from environmental organizations who are actively designing new relationships to urban space. Presentations will share the results of grappling with the project of finding shared language and processes across the arts and sciences while centering dance and the body as the mediator and resource for experience, imagination and knowing. The symposium will include oral and media presentations, workshops, and small-group discussions.

Symposium information

iLand Web site

iLand on Facebook

A call for emerging choreographers

Solar One is currently accepting submissions for its Fifth Annual Solar Solar One Dance Series to take place over two weekends this summer, as part of the 2009 Green Energy Arts Festival. Emerging artists are strongly encouraged to submit materials for consideration by the festival selection panel.

DEADLINE: April 1, 2009

After last year's successful season, Solar One is pleased to announce its fifth annual Solar Powered Dance Series. Over the course of our 2008 series, hundreds of visitors and artists appreciated and enjoyed the richness of the arts experience at our unique solar-powered venue in Stuyvesant Cove Park, located on Manhattan's East River waterfront. This year, we will again provide a much-needed new venue for dance and produce an exciting line up of performances by emerging choreographers.

Solar One's 2009 Solar Powered Dance Series will be held over two weekends in Summer 2009 and will be divided into two three-day programs (Program A: July 23-25, Raindate July 26; Program B: July 30-August 1, Raindate August 2).

Performances will take place in the evening on our 20-foot by 24-foot outdoor eco-stage, made from recycled materials and overlooking the East River. (Please note that the stage design does not include curtains, wings or lighting equipment.) As with our 2008 festival, the sound system for the Solar Powered Dance Series will be powered entirely by energy collected by the solar-paneled roof of the Solar 1 building. Each soloist or group will perform three evenings and is expected to contribute pieces ranging anywhere from 6 to 10 minutes in length. Performances should be accessible to a general audience and appropriate for all age groups. Ten hours of free rehearsal time on stage will be allotted to each individual or group, and each choreographer will receive an honorarium.

In accordance with our energy philosophy, we would prefer that you send us electronic materials only, to the extent possible. Please provide a link to a video segment of your work, preferably the work you intend to present in the series, along with contact information and a brief bio. If a new work is being created especially for the series, please provide links to a completed work and to the work in progress and/or notes. Text may be attached as MS Word documents, and all electronic materials may be submitted online to tamar@solar1.org no later than April 1, 2009.

Those unable to provide electronic submissions should send in a complete piece of work, cued to a five-minute segment, on DVD or video, preferably the piece they intend to perform for the festival, along with contact information and a brief bio. If a new piece is being created especially for this series, send a completed work, and a DVD of the work in progress and/or notes. Please refrain from sending extra materials, including publicity materials and extraneous packaging.

Submissions may be delivered to Solar 1, located at East 23rd Street and the East River in Manhattan (10am - 5pm, Monday - Friday) by April 1, 2009. Submission materials, postmarked no later than March 28, 2009, may also be mailed to:

Solar One
2009 Solar Powered Dance Series
24-20 FDR Drive, Service Road East
New York, NY 10010

If you would like your materials returned to you, please include a self-addressed stamped mailer with submission. (Materials may also be picked up at Solar One during the second week of April.)

For additional information regarding this year's Solar Powered Dance Series and Solar One's summer arts programs, please visit our website or contact Artistic Director Tamar Rogoff at (212) 533-8589 or tamar@solar1.org.

Solar 1 is New York's only stand-alone, solar powered learning center. Through unique green energy, education and arts programming, Solar One has dedicated itself to inspiring New Yorkers to embrace energy-conscious and environmentally responsible lifestyles.

Flight of Yanaihara's "Blue Bird"

There's a thin line between zany and hysterical, and Witness Relocation--award-winning physical theater of multi-genre collage and excess--tramples that line with manic abandon in The Blue Bird, running now through January 24 at the Clemente Soto Velez Center. Inspired by Japanese anime, Maeterlinck and environmental science, The Blue Bird takes a sleepless look at the role of human progress in the decline of the natural world. A troupe would have to have exceptional control to present a work so verging on chaos, so stuffed with stuff and yet so powerfully capable of shaking and stunning an audience. The talented, skillful collaborators here range from playwright Mikuni Yanaihara to director/choreographer Dan Safer to the versatile cast of co-creators and guest stars. Consider this one an assignment. Go!

Clemente Soto Velez Cultural & Educational Center (CSV)
107 Suffolk Street, Manhattan (between Rivington and Delancey Streets)

Information on Witness Relocation
Schedule and ticketing for The Blue Bird or call 212-868-4444

Layard Thompson: Body and Soul podcast

Bessie Award winner Layard Thompson joins me for a wide-ranging discussion of the interrelatedness of dance and watcher, art and the world in which we live. This week, Thompson will share an evening of new work with choreographer Kyle Abraham of Abraham.In.Motion at Dance Theater Workshop (Wednesday-Saturday, December 3-6, 7:30pm). My interview with Abraham will follow shortly. Program notes--http://infinitebody.blogspot.com. Guest information at http://www.dancetheaterworkshop.org. (c)2008, Eva Yaa Asantewaa

MP3 File

Program Notes: Upcoming on "Body and Soul"

Bessie Award winner Layard Thompson joins me for a wide-ranging discussion of the interrelatedness of dance and watcher, art and the world in which we live. This week, Thompson will share an evening of new work with choreographer Kyle Abraham of Abraham.In.Motion at Dance Theater Workshop (Wednesday-Saturday, December 3-6, 7:30pm). My interview with Abraham will follow shortly.

Thompson's Cup...puC......K......Ohhhh, Beauty, full, vessel: is a soul-o dance. It is a score, a channel, a vessel, and a body of work both choreographed and spontaneous. Composed with movement, vocalizations, performance meditations, and a costume and set with collaborator Machine Dazzle, Layard Thompson considers and questions the subjective nature of experience through the container of a performance at Dance Theater Workshop. Lighting brilliance by Chloë Z Brown.

DTW program information and ticketing

The Turning World (62)

"the ghosts of emily dickinson mourn the loss of the american woodlands"
by Mary Armentrout, Critical Correspondence