Esoterico Collective open house supports social justice

A number of my good friends and Tarot students from the arts community are involved in this effort to support the new anti-racism movement for social justice. Please read the following notice, and give your consideration to joining this timely effort.

Thanks!

Eva

*****

Esoterico Collective Open House

Saturday, December 20, 1-5pm

Esoterico Collective

67 West Street (4th Floor, Suite 402), Brooklyn

(map/directions)

Book your session: 

http://esotericobrooklyn.setmore.com/

The Esoterico Collective stands in solidarity with the families of Eric Garner, Akai Gurley, Aiyana Stanley-Jones, Duanna Johnson, Mike Brown, Rekia Boyd, Tamir Rice and too many others whose lives have been cut short and impacted by police brutality. This open house event will take place on the Saturday just before the Winter Solstice, raising much needed monetary support for organizations doing work around issues of anti-Black racism and anti-police repression.

We will be offering our services as healers and intuitive counselors to all who seek it out. We are asking for donations of $25 and up for each 20 minute session. The services we will provide include Tarot, Reiki, Ayurvedic Consultation and I Ching readings (other modalities TBA). 100% of proceeds from those who book in advance (prior to December 18th) will be donated to Healing Justice For Black Lives Matter (https://www.facebook.com/events/728881563862374) and Equality for Flatbush : E4F

Book a session with iele paloumpis, Bobby Abate, Jasmine Spacher, Regina Rocke or Robyn Olds (other member offerings TBA) @http://esotericobrooklyn.setmore.com/ 

You will receive an email with information on how to donate to the causes above.

Generally speaking our open houses are intended to help Esoterico keep its doors open, so we will be accepting separate donations for the space on December 20th as well.

There are many ways to contribute to this movement - healing justice, self and community care are all vital components toward movement building. Our services will be free to organizers who need to take time to self reflect so that their work can sustainably continue, contact esotericobrooklyn@gmail.com. Our intention is to help create more space for healing to happen.

We are sending energy to the protesters out in the streets and activists organizing against state violence, moving us toward racial justice and all forms of social change. We hope that you will add your energy and voices in whatever ways you can. We hope we can support you on your path toward self reflection and healing in this time when community care is so needed.

Michel du Cille, 58

Washington Post Photographer, Michel du Cille, Dies in Liberia
by Ashley Southall, The New York Times, December 11, 2014

DoublePlus: new works by Anna Azrieli and Stuart Shugg at Gibney

Choreographer Stuart Shugg dances in Dear Washing Machine, Long Night
(photo: Alex Escalante)

Making work for the new DoublePlus series (Gibney Dance: Agnes Varis Performing Arts Center), choreographers contend with distinctive features of the theater space, including two stands of columns and a mirrored wall. My sense of this environment, its challenges and opportunities, has grown--largely on a subliminal level, I think--as I've attended these artist-curated programs over several weeks. But last night, as I watched ensemble works by Stuart Shugg and Anna Azrieli (curated by Jon Kinzel), it really hit me.

It's fascinating how both of these artists put themselves and their fellow dancers into the space, taking up strategies that previous choreographers have used and discovering their own approach.

That mirrored wall, for instance, could be avoided and even covered, I suppose, but DoublePlus choreographers often seem drawn to it. Columns can temporarily hide things from view. They can also suggest handy subdivisions in what what would be, for a piece with one or a few dancers, a fairly roomy play area. You can stash one or more dancers in one spot and force viewers to shift attention between that place and something happening elsewhere, making us work to piece together a relationship between the two or abandon all hope of finding one. Or you can even make the audience look beyond the space itself. For instance, while choreographer Audrey Hailes (showing Death Made Love to My Feet in an earlier DoubePlus program) danced alone in the center of the theater, a door opened onto a partial view of two dancers in a brightly-lit dressing room. We could only wonder what they were doing (playing cards, I think, and later, applying makeup) and why Hailes wanted us to be aware of their presence.

Shugg's Dear Washing Machine, Long Night
above: Hadar Ahuvia, front, with Shugg and TJ Spaur
below: Spaur, left, and Shugg
(photos: Alex Escalante)

I mostly liked Shugg's Dear Washing Machine, Long Night for qualities of springiness and momentum where one thing leads to another--a tilt, a swing, a toss of the arm, an easy communication that doesn't have to mean anything other than the flow of a body's internal messages continuously sent and agreeably received and acted upon. It pleased me to watch how Shugg and Hadar Ahuvia and TJ Spaur move. Shugg acknowledges the columns, seems to have made peace with them. His dancers touch, slide down or push away from them with gentleness. The columns could be partners, or wished-for partners, in the dance, and they lend an unobtrusive structure to something soft and evanescent.

Anna Azrieli's Averaging
(photo: Alex Escalante)

Like some other DoublePlus artists, Azrieli sends some of her dancers in Averaging to wash right up against the front row of the audience. Like the mirrored wall, the Gibney audience's edge seems irresistible to artists. And why not? We're right there on your level, dancers. Make us feel something. Even, as with Averaging, a touch of seasickness.

But pretty much everything about Averaging feels organic yet odd and out of place in the space, bearing a hint of transgression. With her fellow dancers Talya Epstein, Evvie Allison, Megan Kendzior and Katy Telfer, Azrieli has created an environment of endless shifting, incremental change, that appears to reference how things in nature make their way over surfaces. Undulating, sidling, crawling, rocking, wriggling, flopping, splaying and sloshing while sometimes humming, sighing or moaning. Plainly, it's not so much about the feet or us two-leggeds.

One focal image, though, comes from the decidedly two-legged world of ballet--the arabesque penché, a step where the dancer stands on one leg, tilting the torso forward while raising the other leg in a high, backward lift. There's a lovely serenity about an arabesque penché and a deliberately soporific serenity about its serial deployment here in Averaging, isolated from a typical ballet sequence. According to the work's description, Averaging engages with "the inevitability of being average" and a certain "mediocrity" and "vulnerability," Azrieli sees in the arabesque penché. There's also a lengthy, repeated bit of business drinking glasses of water and making like water dispensers that, to be frank, got on my nerves.

Kinzel's program is the next to the last DoublePlus presentation of this interesting premiere season; next week, curator Bebe Miller presents works by Maree ReMalia and Abby Zbikowski. On Wednesday, December 17, come early (6:45) for a pre-show Q&A with Miller.

Azrieli and Shugg continue tonight through Saturday with performances at 7:30pm. Friday's show will be followed by a Q&A with Jon Kinzel and the choreographers. For schedule information and tickets, click here.

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

Jane Freilicher, 90

Jane Freilicher, 90, a Lyrical Painter of Long Island Landscapes, Is Dead
by William Grimes, The New York Times, December 10, 2014

Gotham Chamber Opera's "El gato con botas (Puss in Boots)"

Now here's a poor cat in a whole lotta trouble--and sans boots. But just you wait!
(photo: Richard Termine)

Are you tired of Nutcrackers? Want something a little different this season?

Then head to El Museo del Barrio where Gotham Chamber Opera and Tectonic Theater Project bring the fun with their opera/puppet show production of composer Xavier Montsalvatge's El gato con botas (Puss in Boots), directed by Moisés Kaufman and conducted by Neal Goren.

Yes, fairy tale fun for all ages. I'm sure the adults among you will have more nightmares from staring at the looming, lurching Ogre (the excellent bass Kevin Burdette) than will the little kiddies.

The Ogre in his dark castle
(photo: Richard Termine)

What you'll have to watch for with the kids is that they, like you, will fall in love with the desperate, wily Cat and take away the lesson that lying is an acceptable practice. Oh, wait. They've already learned that from the news.

Hmmm. The wiliness of this cat might be no match for the survival instincts of these rabbits.
(photo: Richard Termine)

A poor miller (baritone Craig Verm) receives an inheritance. Hooray? Not quite.

It's not riches. It's a big-eyed orange tabby (voiced last night by the supple mezzo-soprano Karin Mushegain), scrawny, trembling, weeping at the man's swift rejection. But this is one determined cat. Facing sure death, kitty brainstorms an elaborate plan to bring good fortune--and the love of a good woman--into the life of this simple (and clearly not PETA-friendly) fellow.

The cat knows a thing or two about gullibility and works it, and the forces of nature, to amazing effect. Along the way, we get to enjoy some deliriously amusing Bunraku puppetry by London's Blind Summit Theatre and choreography by Seán Curran.

As it turns out, so many lives are saved--and changed--by the actions of one feline who would not take no for an answer. Sure, take your kids. That's a damn good lesson.

El gato con botas continues through this weekend on the following schedule:

Thursday, December 11, 7pm
Friday, December 12, 7pm
Saturday, December 13, 2pm
Saturday, December 13, 7pm
Sunday, December 14, 2pm

For more information and tickets, click here.

El Museo del Barrio
1230 Fifth Avenue (between 104th and 105th Streets), Manhattan
(map/directions)

Juan Flores, 71

Juan Flores, a Scholar of Puerto Rican Culture in New York, Dies at 71
by Paul Vitello, The New York Times, December 9, 2014

Lisa Jarnot, Claudia Rankine to read, Poetry Project

The Poetry Project

presents

Lisa Jarnot and Claudia Rankine

December 17, 8pm

Lisa Jarnot is the author of six collections of poetry and a biography of the poet Robert Duncan (The Ambassador from Venus, 2012, University of California Press). She lives in Jackson Heights, Queens with her husband and daughter and works as a freelance gardener.

Claudia Rankine is the author of several collections of poetry, most recently Citizen, which was realeased by Graywolf in October 2014 and has since been nominated for a National Book Award. Rankine currently teaches at Pomona College.

Facebook event page

The Poetry Project
131 East 10th Street (off Second Avenue), Manhattan
(map/directions)