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Since the camera eye sees differently than the human eye, these video excerpts from the performance of Last Gasp! (First Draft) at the BAAD!ASS Women’s Festival on March 9th make BAAD!’s intimate space seem huge.


A few weeks after being invited to perform After All on September 29th at 7:30 pm, for Dixon Place’s Crossing Boundaries (curated by Marcia Monroe), I was surprised to receive an e-mail informing me that the floor of the theater will be painted red for the month of September. My costume is red and collaborating video artist Andrew Gurian was planning to project from the balcony, from where the video will spill on the floor as well as the walls.


Luckily, he is open-minded about this turn of events. He says we will have to wait until we see the color and finish of the paint and try projecting onto the newly-colored floor to find out how a red floor will affect the video projection. If the red is very dark, for example, we may have to rethink the placement of the projector and its spill. It is also possible that where the video is red, projecting it onto a red floor may result in white light.

Photo: Ian Douglas

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.


Above is a video capture from the performance of After All at Judson Church on May 19th. The energy of the space and the experience of performing in it were truly magical. We were delighted to find that Andrew Gurian’s video projections—created for the choreography—looked almost operatic in scale in Judson’s large, beautiful space. Now we know that it is a site–adaptable piece that can be configured for any space, and we are looking forward to performing it in a variety of venues.


In preparation for performing After All at Judson on Monday, May 19th, I have recently created a dynamic new entrance to complement Andrew Gurian’s video projection onto Judson’s light–colored floor and the abrupt beginning of Paul Rudy’s music for cellist Madeleine Shapiro and electronics.

I will be the only New York–based choreographer, sharing the program with three other dance–makers: Martin Lanz from Austria now living in Uruguay, Rosy Simas from Minneapolis, and Doris Uhlich from Austria.

Since Movement Research at Judson Church seats audience on three sides, I now run through the piece with a different spatial awareness—and on more than one occasion I have found myself facing side rather than front!


At a recent meeting with video artist Andrew Gurian, we found several clips of evocative, environmental footage in his portfolio: ruins, a construction site, and sanitation trucks, each including some kind of intrepidly surviving plant life. We also searched for footage of logging and logging machinery. Next week we will visit BAAD! to configure the projections specifically for the space.

I have been invited to premiere After All at BAAD!’s new home during the BAAD!ASS Women’s Festival on Thursday, March 13th at 8pm.

Having enjoyed performing in the Festival at the old Hunt’s Point venue in 2008, I look forward to juxtaposing my solo dance with video created by Andrew Gurian for this piece in the new space.


The Bronx Academy of Arts and Dance! has moved from the South Bronx to a recently renovated theater in a gothic revivalist style building on the grounds of St. Peter’s Episcopal Church, located in the Northeast Bronx at 2474 Westchester Avenue.


When I began my FAR Space residency in July, I thought I would be creating new material for Pig Tales—for other people to perform. The first day of the residency, I began generating movement in silence.

The next day, I casually threw a CD with environmentally–related compositions into my bag as I was leaving for the studio. The first piece on the CD, Paul Rudy’s “Vastly Shrinking Space,” worked uncannily with the fledgling movement and concept. I have continued to develop the movement in silence and underscore it with the music.

The more I worked with the movement, the more it began to feel idiosyncratically “mine” rather than something that I would set on the dancers. When video artist Andrew Gurian came to the studio to document a rehearsal, we discussed adding live and pre–recorded video of dance, natural environments and industrial imagery. Whether After All eventually becomes part of Pig Tales—or not—it functions as a stand–alone piece.