You are currently browsing the tag archive for the ‘Dixon Place’ tag.


I am grateful that friends and colleagues provide positive feedback and am fascinated by the way each person relates to a performance according to his/her own mindset. Dixon Place was the third venue where friends viewed After All, and they mentioned seeing new things at each performance:

  • A musician friend was struck by the unusual timbres created by the cello.
  • A writer who works in film as well as print found the integration of music, movement, and visuals seamless.
  • A neuromuscular therapist and former dancer commented on the articulation, power, and intensity of the movement.
  • A colleague who teaches dance composition found the movement choices thought–provoking, and two Tibetan Buddhist practitioners saw bardos (in–between states).

One friend told me that After All looks like a completely different piece in each venue because the video projection changes so significantly in each space. A videographer who came to the spacing rehearsal in the theatre sat in the last row during one runthrough and in the first row during the second and also commented it was like viewing two different pieces.

Video capture After All at Dixon Place



In case you haven’t received the MailChimp announcement I sent out a few weeks ago, click here for ticket information for Dixon Place Presents Crossing Boundaries Series, curated by Marcia Monroe, on September 29, 2015 at 7:30 p.m. Also on the program will be work by choreographers Amos Pinhasi, Kyle Georgina Marsh, and Natalia Fernandes.


Photo: Ian Douglas

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

video capture: Mari Sakahara, Tatyana Kot, Rebecca Walden, Victoria Dombroski

The performance of Pig Tales at Dixon Place Presents: Crossing Boundaries, on June 26th, was sold out, and the piece was enthusiastically received. Colleagues commented on the performers’ wonderful presence, on well-made art that speaks to issues of our time, and on Andrew Lu’s beautiful lighting. One of my chi kung students, who works in publishing, e-mailed me: “Along with the elegant, fluid movement, your piece was so witty and literate! [My friend] liked the politics, too! Great work!”

Dancer Kaoru Ikeda-Billeci is joining the cast, making Pig Tales a ‘trio for five’ plus one, and I have more ideas for the piece, which  I am preparing for the Dixon Place Presents’ Crossing Boundaries performance on June 26th, than I will be able to present in 12 minutes! The material has taken a direction—and revealed a purpose—of its own, interweaving the variously playful, lively and literal, odd and abstract movement sections with song and text from a number of sources: Three Little Pigs, Charlotte’s Web, Sun of Wisdom as well as, most recently, an eloquent letter from the Mothers of Erie Rising requesting that fracking well-pads not be drilled adjacent to their children’s schools and playgrounds. For ticket information on June 26th, go to I look forward to expanding the piece into an evening-length work in the future. Please click here to find out how to support our endeavor with a donation in any amount that is tax-deductible to the extent allowed by law.

With the addition of two more dancers, Victoria Dombroski and Rebecca Walden, the new piece has become a ‘trio for five,’ with a working title of Pig Tales—a collage of movement, image and text. Currently under consideration are references to and/or quotes from  Charlotte’s Web and Animal Farm as well as Three Little Pigs, The Sun of Wisdom and current news. Come see how these ideas develop at the Crossing Boundaries performance on Tuesday, June 26th at Dixon Place, 161 Chrystie Street,  at 7:30 pm. Tickets can be purchased by phone, 212-219-7581, online at or at the door.

The latest development in my NYFA-sponsored,  multi-piece performance project, Globalization and its Discontents, is that I recently have begun rehearsals for a  new trio that I have been invited to show on Dixon Place’s Crossing Boundaries series on June 26th at 7:30 pm. It will feature Mari Sakahara, Tatyana Kot and Ingrid Kullberg-Bendz, who have performed in my work previously, and we are enjoying coming together for further exploration and experimentation.

As I have begun to create abstract movement phrases and generate ideas for the piece, an assortment of threesomes has come to mind, including Three Little Pigs, Three Sisters, Three Stooges and Three Musketeers— variously touching on themes of home, housing, displacement, loss, adventure, play, resilience and creativity.  For the first time in a very long time, in one section I find myself working with counts—in a meter of three, naturally, with a variety of subdivisions of the pulse, though a variable pulse seems to work better for the movement than a steady one!