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Aiming to figure out how to project the video for After All, video artist Andy Gurian and I were able to rehearse at Eden’s Expressway yesterday evening. When it was performed at Judson last year, with the projector at the front of the balcony, the video covered the entire space and I had an enormous area in which to perform. At Eden’s Expressway, a smaller venue with a much lower ceiling, I discovered that the video works best on two walls and will need to move within a much smaller space, posing a different creative challenge.


My rehearsal overlapped with Kenneth King’s and we were able to watch each other’s piece, which we won’t be able to do on Friday as our pieces are being programmed back to back. Using a beautiful tone poem that Frances Alenikoff wrote and asked him to work with, he has created a dynamic performance piece, rich with his singular use of voice, gesture and movement.

Eden’s Expressway is on the 4th floor of 537 Broadway (Prince and Spring Streets, closer to Spring). Seating is limited. Tickets are $15 and will be sold at the door. Advance reservations may be made by e-mailing and putting “Bare Bones” June 19th in the subject line. For more information click here.


Longevity4After much trial and error during the creation of a new duet, Longevity Practices 4, its performance on May 24th at the Lower East Side Festival of the Arts at Theater for the New City went quite smoothly. Happily, all the seats were occupied as was standing room, and it was lovely to perform for such a warm, attentive audience.

In 2007 and 2008, I had created three short solos for myself titled Longevity Practices 1, 2, 3, each based on the Chi Kung longevity practice of walking backwards, and set to a different track from Jim Staley’s “Mumbo Jumbo” (Einstein Records 004). I decided to use another track from the same CD for this year’s LES Festival and titled the new work Longevity Practices 4.

Although Mari Sakahara has performed in several of my pieces since 2009, this was the first time we danced in the same piece, and she actively contributed to the give and take of its creation. It was challenging for me to find purpose in being onstage with a dancer many years younger than myself, yet this concern resolved itself through the choreography.