Events – Danspace Project
Photo: Ian Douglas

Skeleton Architecture: Workshop #1

Open to Black identified folks ONLY, Skeleton Architecture will share practices that support collecting and centering in solidarity.

The Skeleton Architecture collective, the 2017 Bessie recipients for “Outstanding Performance,” originated through Eva Yaa Asantewaa’s curated evening during Danspace Project’s Platform 2016: Lost & Found. The collective is a vessel of Black womyn and gender non-conforming artists rooted in the rigor and power of the collective in practice. They commit to engaging embodied research to support the African Diasporic experiences. Join Skeleton Architecture for the culmination of their year-long Danspace Project Research Residency. There will be three offerings that include improvisation, movement, fellowship, music, and discussion.

Skeleton Architecture members are: Maria Bauman, Davalois Fearon, Marjani Forté-Saunders, Melanie Greene, Kayla Hamilton, Jasmine Hearn, Marguerite Hemmings, Nia Love, Paloma McGregor, Sydnie L. Mosley, Grace Osborne, Leslie Parker, Angie Pittman, Samantha Speis, Charmaine Warren, Edisa Weeks, Marýa Wethers, and Tara Aisha Willis.

Reserve your spot online and pay at the door — $5-10 sliding scale. Cash only, please!

Photo: Ian Douglas

Skeleton Architecture: Workshop #2

Open to all, this workshop offers a space to share Skeleton Architecture’s practices around improvisation, dance, and community.

The Skeleton Architecture collective, the 2017 Bessie recipients for “Outstanding Performance,” originated through Eva Yaa Asantewaa’s curated evening during Danspace Project’s Platform 2016: Lost & Found. The collective is a vessel of Black womyn and gender non-conforming artists rooted in the rigor and power of the collective in practice. They commit to engaging embodied research to support the African Diasporic experiences. Join Skeleton Architecture for the culmination of their year-long Danspace Project Research Residency. There will be three offerings that include improvisation, movement, fellowship, music, and discussion.

Skeleton Architecture members are: Maria Bauman, Davalois Fearon, Marjani Forté-Saunders, Melanie Greene, Kayla Hamilton, Jasmine Hearn, Marguerite Hemmings, Nia Love, Paloma McGregor, Sydnie L. Mosley, Grace Osborne, Leslie Parker, Angie Pittman, Samantha Speis, Charmaine Warren, Edisa Weeks, Marýa Wethers, and Tara Aisha Willis.

Reserve your spot online and pay at the door — $5-10 sliding scale. Cash only, please!

Photo: Ian Douglas

Skeleton Architecture: An Evening of Performance

On this special evening, Skeleton Architecture will share a performance that emphasizes the collaborative process and highlights the power of Black womyn within community. This sharing imagines and activates a site of InterSections – a crossroads, a place of high-stakes, risks and magic — through improvisation, dance, song, text, and spirit. Open to all.

The Skeleton Architecture collective, the 2017 Bessie recipients for “Outstanding Performance,” originated through Eva Yaa Asantewaa’s curated evening during Danspace Project’s Platform 2016: Lost & Found. The collective is a vessel of Black womyn and gender non-conforming artists rooted in the rigor and power of the collective in practice. They commit to engaging embodied research to support the African Diasporic experiences. Join Skeleton Architecture for the culmination of their year-long Danspace Project Research Residency. There will be three offerings that include improvisation, movement, fellowship, music, and discussion.

Skeleton Architecture members are: Maria Bauman, Davalois Fearon, Marjani Forté-Saunders, Melanie Greene, Kayla Hamilton, Jasmine Hearn, Marguerite Hemmings, Nia Love, Paloma McGregor, Sydnie L. Mosley, Grace Osborne, Leslie Parker, Angie Pittman, Samantha Speis, Charmaine Warren, Edisa Weeks, Marýa Wethers, and Tara Aisha Willis.

Photo: Nomi H. Rave

Valerie Green/Dance Entropy: Utopia

Community ACCESS provides subsidized off-season rental opportunities for Danspace Project community members.

What does Utopia mean to you? Is it a physical, external place—or, might it reside internally? Valerie Green/Dance Entropy, in collaboration with visual artist Keren Anavy, explores the idea of Utopia through dance and visual art in her newest evening-length work.

Green questions whether Utopia might be an internal place, investigated through personal and intimate moments and alongside the community. The notion of what it means to be safe persists inside an environment that is continually built and deconstructed. Anavy’s artwork displays on 10-foot cylindrical pillars used by the dancers throughout the piece.

Click here to watch a trailer for Utopia

Choreography by Valerie Green
Concept by Keren Anavy and Valerie Green
Visual Art by Keren Anavy
Performed by Emily Elizabeth Aiken, Daan Bootsma, Caitlyn Casson, Hana Ginsburg Tirosh, Erin Giordano, Kristin Licata, and Richard Scandola
Music by Mark Katsaounis
Additional vocals by Katie Mullins
Lighting design by Kathy Kaufmann
Costumes by Deborah Erenberg
Video Projection by Alex Lopez

www.DanceEntropy.org

 

Founded in 1998, Valerie Green/Dance Entropy believes in humanizing movement, both in Ms. Green’s critically acclaimed choreographic work and the company’s mission to plant creative seeds in communities across the world. Intersecting mortal and transcendent, sensual and sophisticated, visceral and self-aware, VG/DE invites the artist, the audience—the human—into a compelling, physical experience. Based out of its home studio, Green Space in Queens, NY, VG/DE combines performance and specialized outreach programs to inspire communities in cultural institutions throughout the word.

Keren Anavy is a NYC based visual artist who explores the dynamic relationships between nature, culture and site. Challenging the boundaries of painting and drawing as a form of installation, her settings examine broader social contexts through a diversity of imagery, materials and architecture. Anavy’s practice offers a platform for questioning our environments by creating immersive installations, places that often appear to be fantastic. She is interested in how cultivated landscape as well as wild nature can function as cultural agents in Eastern and Western societies. www.kerenanavy.com

Muriel Miguel, Gloria Miguel, Deborah Ratelle, Diane Fraher

Tëmikèkw: An honor and welcome gathering hosted by the First Nations Dialogues with The Lenape Center

CLICK HERE TO RSVP

Hosted by First Nations Dialogues with the Lenape Center; presented at Danspace Project.

First Nations Dialogues commences in Lenapehoking, the Lenape homeland; through protocol and ceremony, welcoming global First Nations leaders, artists, and allies. The afternoon honors leaders and grandmothers of Indigenous theater: Muriel MiguelGloria Miguel, and Deborah Ratelle of Spiderwoman Theater and Diane Fraher (Osage/Cherokee) of Amerinda. The SilverCloud Singers will be led by Kevin Tarrant of the Hopi and HoChunk Nations; with performances by Laura Ortman of the Apache Nation and fancy shawl dancer, Anatasia McAllister of the Colville Confederated Tribes and Hopi Nation.

All are welcome to join in this afternoon of exchange, performance offerings, and feast.

First Nations Dialogues acknowledges with great gratitude the naming of this gathering, Tëmikèkw.

The First Nations Dialogues Lenapehoking New York, is a series of Indigenous led performances, discussions, workshops and ceremony. First Nations Dialogues 2019 kick-starts the development of the groundbreaking Global First Nations Performance Network (GFNPN). The GFNPN is a pilot initiative focused on cultural change through commissioning, touring and presenting Indigenous performance and capacity building for the presenting sector.

Running January 5 – 12, First Nations Dialogues is in partnership with The Lenape Center, Amerinda, American Indian Community House, Danspace Project, Abrons Art Center, Performance Space New York, La MaMa Experimental Theatre Club through their Indigenous Initiative; Safe Harbors Indigenous Collective, American Realness, Under the Radar Festival, Association of Performing Arts Professionals (APAP) and International Society for the Performing Arts (ISPA).

First Nations Dialogues is organised by; Emily Johnson, Vallejo Gantner and BlakDance.

Spiderwoman Theater
Spiderwoman Theater was founded in 1975, when Muriel Miguel gathered together a diverse company of women, including both of her sisters. They were of varying ages, races, sexual orientation, and worldview. The collective sprang out of the feminist movement of the 1970s and the disillusionment with the treatment of women in radical political movements of the time. Spiderwoman questioned gender roles, cultural stereotypes, and sexual and economic oppression and took on issues of sexism, racism, classism, and the violence in women’s lives. The groups interweaving of humor with popular culture and personal histories along with their sometimes shocking style, excited the hearts and spirits of their audiences, in the U.S., Canada, and all over the world.

Spiderwoman Theater broke new ground in using storytelling and “storyweaving” as the basis for their theatrical pieces. Performers wrote and performed personal and traditional stories; with Muriel as the “outside eye,” pieces were organically layered with movement, text, sound, music, and visual images.

In the early 80’s, the company emerged as a leading force for Indigenous women, artists, and cultural artisans. Indigenous communities in New York, nationally, and internationally identified Spiderwoman Theater as a powerful voice for their concerns. Sisters and elders Lisa Mayo, and Gloria and Muriel Miguel, from the Kuna and Rappahannock nations, from that time, formed the core of the company.

Spiderwoman Theater bridges traditional cultural art forms of storytelling, dance, and music with contemporary Western theater practice. Born in Brooklyn, the sisters have created work that springs from their own experiences as “city Indians”. As grandmothers of the Indigenous theater movement in the United States and Canada, they are mentors to an upcoming generation of Indigenous performers, writers and educators. In addition to presenting their own work, they collaborate with and incorporate the work of these artists into the company. The women ( and men) of Spiderwoman continue to move forward in their ambition to create an artistic environment where Indigenous culture stands on its own as a vital element of the larger arts community.


AMERINDA
Founded in 1987 by Diane Fraher, an Osage/Cherokee filmmaker, American Indian Artists, Inc. (AMERINDA) is the only Native American multi- arts programming and services organization of its kind for contemporary Native American artists in the United States.  These artists comprise an unknown, organic, highly diverse Native American art movement, based in New York City – a movement that encompasses the founding of contemporary Native American theater and film in the United States as well as the strongest contemporary Native visual arts movement outside Santa Fe, New Mexico. Native visual artists who were directly influenced by abstract expressionists, developed Native modernism and post- modernism in the visual arts. The innovative, sophisticated visceral language and provocative paradigm shifting work of Native performing, media and literary artists established contemporary Native theater and film and were some of the first Native writers and poets to be published and widely recognized. Three generations later they continue to create important work through Amerinda that advances the construct of contemporary Native American art. Amerinda’s mission is to promote the indigenous perspective in the arts to a broad audience through the creation of new work in contemporary art forms—visual, performing, literary and media. In pursuit of that mission Amerinda has launched the careers of the famous and resurrected the work of previous generations that were ignored, thus changing the landscape for Native artists working and presenting in New York City.

The First Nations Dialogues
The First Nations Dialogues has been initiated and led by Indigenous artists and organizers from the US, Canada and Australia in order to support Indigenous performance work. It is designed to create new opportunities for production and dissemination of work internationally, to overcome the historic under-representation of such work in the US and a dearth of support for artistic exchange between Indigenous communities globally.

We build on four years of convenings and conversation within formal and informal networks in the Indigenous and non-indigenous performance sectors. We build on forty years of vibrant dialogue between Australian Aboriginal and Torres Strait Islander and First Nations North American contemporary theatre and dance leaders.

The First Nations Dialogues is led by the tri-nation consortium of Blakdance, Ilbijerri Theater Company, Blackfulla Performing Arts Alliance, Emily Johnson/Catalyst, Vallejo Gantner, Indigenous Performing Arts Alliance and is creating the Global First Nations Performance Network (GFNPN), a transnational, Indigenous led infrastructure and resource that will increase the amount of and capacity for Indigenous performance works.

The Lenape Center
The Lenape Center’s mission is to continue Lenapehoking, the Lenape cultural presence in New York City by promoting Lenape language and the creation, development, distribution and exhibition of Lenape arts and culture.

Photo by Ian Douglas; edited by Raja Feather Kelly
Photo by Ian Douglas; edited by Raja Feather Kelly

Reggie Wilson/Fist & Heel Performance Group: …they stood shaking while others began to shout

Monday, January 7, 8pm
Tuesday, January 8, 8pm
Thursday, January 10, 8pm
Friday, January 11, 8pm
Saturday, January 12, 8pm
Each performance is followed by a conversation with Reggie Wilson.

Co-presented by Danspace Project and Gibney as part of American Realness 2019.

Commissioned and premiered on the occasion of Reggie Wilson-curated Dancing Platform Praying Grounds: Blackness, Churches, and Downtown Dance (Platform 2018) …they stood shaking while others began to shout is a dynamic tapestry that recalls the past into the present moment.

This work is influenced by Wilson’s ongoing research related to Ring Shouts and traditional American Baptist, Trinidad and Tobagonian Spiritual Baptist, and Shaker praise songs. Major inspirations are the Black Shakers, particularly prominent Shaker Eldress, Mother Rebecca Cox Jackson; the Ibeji, an orisha (god) of the Yoruba religion that is represented by twins; the challenges of duets and pairing; and the 1995 work, The Littlest Baptist – Wilson’s first attempt at incorporating his field research of Black shout traditions into contemporary experimental performative theater.

Performed by Fist & Heel Performance Group: Hadar Ahuvia, Yeman Brown, Paul Hamilton, Raja Feather Kelly, Clement Mensah, Gabi Silva, Annie Wang and Michelle Yard
Live vocals by Rhetta Aleong and Lawrence Harding

(L): Arthur Avilés by Francis Giacobetti; (R) iele paloumpis by Adrien Weibgen

Food for Thought: curated by Arthur Avilés and iele paloumpis

Danspace Project’s Food for Thought series presents two unique evenings of performance selected by a different guest artist curator each night. Curators for this season are Arthur Avilés (January 25, 8pm) and iele paloumpis (January 26, 8pm)

Admission for each night of Food for Thought is $5 with 2 cans of food, or $10 with no cans!

Friday, January 25, 8pm
curated by Arthur Avilés
featuring artists:
Arthur Avilés
Alethea Pace 
Matthew Perez/ColemanCollective
Richard Rivera / PHYSUAL 

Saturday, January 26, 8pm
Pulling Back the Shroud: uncovering and reimagining our relationships
curated by iele paloumpis
featuring artists:
mayfield brooks
Marielys Burgos Meléndez
Kayvon Pourazar
Ita Segev

Canned goods collected through Food for Thought are donated to The Momentum Project. The Momentum Project fosters health and wellness by providing nutritious communal meals and supportive services to any person in need in New York City, especially those living with HIV/AIDS or other chronic illness.