Feature Focus
Reflections on a conversation with A K Mimi Allin and The Hunger of the Artist

Reflections on a conversation with A K Mimi Allin and The Hunger of the Artist

This post is Emily’s response to A K Mimi Allin’s project hunger. Learn more about hunger here: thehungeroftheartist.blogspot.com I am late for my meeting with Mimi Allin at Café Fiori in Ballard.  I arrived at the café early as I want to read and have a snack and some coffee. I don’t want to eat in front of Mimi. I want to respect her process and not tempt her by eating...
hunger

hunger

This poem arises from A K Mimi Allin’s project hunger. Learn more about hunger here: thehungeroftheartist.blogspot.com Photo of the artist performing hunger at the Nepo 5K Don’t Run 2013 by Kari Champoux.   four weeks ago i began a work called hunger about being dead and coming to life again for this i fasted 14 days i took only water and salt then i opened myself to...
Toward the Use of Hunger as a Control Mechanism for Dancers, Performers and Prisoners

Toward the Use of Hunger as a Control Mechanism for Dancers, Performers and Prisoners

According to Aristotle’s Physics, Zeno’s Dichotomy paradox states: “that which is in locomotion must arrive at the half-way stage before it arrives at the goal.” In order to travel from point A to point B, you must travel half the distance between them. It follows that, halving the remaining distance, you then have to travel a quarter of the total distance, followed by an eighth, then a...
You Call It Hunger, I Call It Bitchmuse

You Call It Hunger, I Call It Bitchmuse

LET ME INTRODUCE YOU What you are calling hunger I think is the same as what I call Bitchmuse. Let me introduce you to Bitchmuse. I’ve known her all my life in her many guises. We used to have a volatile, on-again, off-again relationship. I courted her, she demurred. She pursued me, I balked. The reunions were blissful, but often brief. Since I became “serious” about making...
Together // a chapter from Mattilda Bernstein Sycamore's new book

Together // a chapter from Mattilda Bernstein Sycamore’s new book

In one of my early club moments, I was inspired by a beat I hadn’t heard before to climb up onto a black dance cube in the red, green, yellow, blue spotlights and that’s where I first heard the deep droning voice in the song that went “People are still having sex. Lust keeps on lurking… Nothing makes them stop. This AIDS thing’s not working.” This was...
Dramaturgy and Time

Dramaturgy and Time

See more posts from the STANCE Focus ABOUT:TIME >> As a dramaturg, I spend my time supporting people’s art in every way I can. Dramaturgy, for me, is simply the art of asking questions of the artists and the art-making process in support of the emergent production. When I think about dramaturgy and shaping time, I see that my efforts are divided into three ‘time zones’ that...
How do you create time?

How do you create time?

See more posts from the STANCE Focus ABOUT:TIME >>   Time is measurable in science. Sixty seconds make up a minute and twenty-four hours make up a day. But in human experience, time fluctuates, flips, jumps and takes on varying slopes according to our perception of events.   In order to store information effectively, the brain cuts time into segments. These segments are like many small boxes...
Notes on the Cine-choreographer: Rituals In Transfigured Time

Notes on the Cine-choreographer: Rituals In Transfigured Time

See more posts from the STANCE Focus ABOUT:TIME >> “People do not ‘have’ a body so much as people actively do a body.” – Phillip Vannini, The Performative Body: Dramaturgy, Affect, and the Sociology of the Body   At the recent Telluride Film Festival, guest curator Geoff Dyer—a writer of unclassifiable tracts on photography, cinema, fiction, travel, and yoga for people who can’t be bothered to do...
Ruminating on Judson Dance Theater’s Pervasive Legacy

Ruminating on Judson Dance Theater’s Pervasive Legacy

See more posts from the STANCE Focus ABOUT:TIME >> I can’t write about dance without thinking about time, especially how work relates to the past and present and what it might say about the future. My head was in the past a lot this year. I wrote about the 50th anniversary of Judson Dance Theater, an early ‘60s avant-garde modern dance collective that performed mostly in NYC.  The...
How does the idea of queerness relate to your work and process?

How does the idea of queerness relate to your work and process?

To be a dancer means embracing the actual experience of living in a body. Body, not as known territory, but as the unconscious – repressed unconscious and that which is not yet formulated. As with our emotions, we don’t have a choice about what our experience is. We have a choice whether to feel, but not what we feel. We can choose to relate to the experience...
Thoughts on turbulence without the pressure of landing

Thoughts on turbulence without the pressure of landing

The first time I saw Keith Hennessy perform was about 20 years ago, as part of the dance company Contraband: in the performance, the dancers threw water balloons at the cement façade of an office building in San Francisco’s financial district, and as the balloons splattered onto the wall the dancers threw themselves at the building, seemingly attempting to climb even while falling. This image stands well...
How do you define queer? Does failure drive your work?

How do you define queer? Does failure drive your work?

Keith Hennessy defines queer in many different ways…how do you define queer? Queer is the possibility of a river not a lake, mutable, with temporary pockets of stillness and rage. A multiplicity of velocities and viscosities, co-existing, influencing and remaining singular at the same time. A telescoping vision that manifests a 1000-fold prism (and then destroys it). A practice in endless questioning and uncertainty.   Does failure...