How to Continue (Together)? Is a two night event comprised of a panel discussion and a live zoom performance.
Friday 4/9 @ 6-7:30 pm PST
Panel Discussion: Where is the Body?
Facilitated by Emily Barasch in conversation with Moriah Evans, Anh Vo, & Estrellx Supernova
This discussion will explore expanded notions of the body inside virtual performance "spaces". We will discuss how locating the body in the liminal zoom space, leading to shifting possibilities for what intimacy looks, feels like, and how it can be accessed. How do we find each other across space and time and what are the technologies of emergent intimacies right now?
Anh Vo is a Vietnamese choreographer, dancer, theorist, and activist. They create dances and produce texts about pornography and queer relations, about being and form, about identity and abstraction, about history and its colonial reality. Currently based in Brooklyn, they earn their degrees in Performance Studies from Brown University (BA) and New York University (MA). Their artistic process has received support from Brooklyn Arts Council, Women and Performance, New York Live Arts (Fresh Tracks), Leslie-Lohman Museum, Brooklyn Arts Exchange, Jonah Bokaer Arts Foundation, Tisch/Danspace, and the Performance Project Fellowship at University Settlement. They are the founder and editor of the performance theory blog CultPlastic, the Co-Editor of Critical Correspondence, and a frequent contributor to Anomaly. https://www.anhqvo.com/
Estrellx Supernova frames choreography as a process of excavation, as edging and incremental gesture, task as meditation; they activate their work using psychosomatic state werq, Qi energetics, contemporary dance, club dancing, and structures of improvisation. They love getting messy by conjuring choreographic rituals and casting spells within quotidian, natural, subliminal, and imaginary landscapes. Their performances open portals for reclaiming, re-membering, and communing with their ancestral lineage whilst interrogating and shifting patterns of intergenerational trauma. reyes deepens their relationship to their body through somatics, prayer, divination, meditation, writing, and resting. Their choreographic praxis is inseparable from their healing werq and is grounded through these aforementioned practices, through identifying paths of least resistance, and physical patterns of migration [alone, and together]; through persisting on pleasure, surrender, intuition, accountability, generosity, vulnerability, and joy.
Moriah Evans is an artist working in and on the form of dance—as artifact, object and culture with its histories, protocols, default production mechanisms, modes of staging and viewing—and the capacity of the public to read dance. Her choreographies navigate utopic and dystopic potentials and tendencies within dance, approached as a fleshy and matriarchal form sliding between minimalism and excess. Evans's received the FCA 2017 Grants to Artists Award Her choreographic work has been commissioned and presented in New York by Danspace Project; MoMA PS1; ISSUE Project Room; Movement Research at Judson Church; and the American Realness festival; in California at CalIT2; as well as internationally at Kampnagel (Hamburg, Germany); Theatre de l'Usine (Geneva, Switzerland); Villa Empain (Brussels, Belgium); and Atelier de Paris Carolyn Carlson (Paris, France).e Project Fellowship at University Settlement.
Saturday 4/10 @ 6-7:30 PST
Live Zoom Performance: How to Continue (Together)?
Choreographed by Emily Barasch in collaboration with Sanchita Sharma and Miya Shaffer with original sound design by Isaac Silber.
The performance utilizes the liminal in-between zoom space to co-create a new world together. We engage with micro movements, energetic tuning scores, and emergent text construction to collectively develop a shared language which serves as material to propose a new framework for intimacy grounded in emergence, slowness, and economies of attention. We do not know what will come next, or how we will get there, but we can allow it to radically unfold if we practice deep noticing. This work is a rehearsal for new ways of being in relation with ourselves and one another; these are methods for engaging with nonlinear time, iterative language, and emergent fractal thought patterns.