No title available
Jules of Nature
if i look back, i am lost
wallacepolsom
AnasAbdin
Keni
Today's Document
@theartofmadeline
Lint Roller? I Barely Know Her
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Love Begins
Kaledo Art
dirt enthusiast
"I'm Dorothy Gale from Kansas"
cherry valley forever
h
Andulka
🪼
titsay
styofa doing anything
seen from United Kingdom
seen from Philippines
seen from Malaysia
seen from China
seen from Malaysia
seen from Switzerland
seen from Finland
seen from Germany
seen from Malaysia
seen from United Kingdom
seen from Singapore
seen from United Kingdom
seen from Iraq
seen from Argentina
seen from Singapore
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seen from United Kingdom
seen from Singapore
seen from Belgium
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@bamuthi
This person. Collaborator, Co-Conspirator, swift of Bic and full of wonder... Is OFFICIALLY making @ybca her institutional home. Beginning September 28th, Chinaka Hodge joins the staff of Yerba Buena Center for Arts as our Associate Director of Program and Pedagogy. Let the shenanigans, neologisms, and authentic culture hustle begin...
#Repost @theearthwarrior ・・・ 💫 Creative Time & The New York Times present: Black Joy in the Hour of Chaos: Bill T. Jones, Marc Bamuthi Joseph & Touré. Sunday, May 17th @6pm @creativetimenyc @lookitmbj #blackjoy
Enveloped in the Caribbean’s impossible blue, all four of us are hovering above the planet’s second largest coral reef… anemones and rays…urchins and angelfish… A school of dark-finned forms racetrack in the aquatic earth beneath, a black family, like us… We are alone inside the same memory, just close enough to not touch, deprived of the familiar weight of gravity on land, humans submerged without identity, sea…spell/bound…
A few moments later, back in the boat, my wife and I wistfully reflect on how much harder life will be for our kids. Tides rising, we connect the drought in California to this infinite sea off the coast of Honduras, the web of all life so clear in the afterglow of a natural wonder. This is today’s gift to our children, a clear picture in their mind’s eye of who they’re representing when they behave and speak on nature’s behalf.
Within the ecology of interdisciplinary performance, Meredith Monk is living progenitor, queen bee, impossible blue… Now in her 50th year of making art, she moves with intense, and earned elegance along the landscape of sound, outrunning, outhunting, and yes, out-vocalizing the buzzing generations of noble genre benders she’s helped to spawn. She sits in the composer’s chair at Carnegie Hall, or before the Dalai Lama with a vocal offering, or inside your favorite artist’s scope of reference just as he’s beginning to hum something new… Her evening length On Behalf of Nature isn’t a letter of compulsion to corporate interests, it is a meditation on the human potential to connect heaven to earth through lived action. It is an environmental treatise of the highest order, using frequency and vibration to suggest a hyper connected natural order, one that integrates spirit within the dimension of physical interdependence.
http://ybca.org/meredith-monk
Seasons change…
If we’re lucky…
In the Fall of 2012, less than a week after Sandy changed the public strategy and lexicon of environmental calamity, I rode the just-re-opened subway system from Brooklyn to Harlem to witness the world premiere of Kyle Abraham’s “Pavement”. While the Gulf and Florida coasts had been ravaged by iconic storms in recent memory, the impact of climactic climate on the nation’s media and business center shifted the gaze of policy makers, engineers, and the military apparatus in a different way. The governor of New York used phrases like “we must develop a defensive strategy against the inevitable”. Chris Christie publicly nuzzled into Obama’s pre-election bosom. Weird, cats hugging dogs stuff. Out of crisis, a symphony of hybrid opportunities and porous, honest, self-reflection composed itself for the acute listener, one central question rising above the din…”how do we prepare ourselves for whatever’s coming next?…” My curator self was asking a different kind of question…who the hell shows up for a dance performance in the middle of the urban pre-apocalypse?
Well…
Mr. Abraham’s piece enthralled the sold out audience at Harlem Stage that afternoon with a critical, lyrical, haunting response to sociological crisis as well as the notion of an inevitability on the aesthetic landscape. Pavement is a moving pronouncement of environmental shift in modern dance, a clear descendant of both Merce Cunningham and Yo MTV Raps, orchestral black dance that transcends racial distinction.
The following Summer, Pavement was presented in New York again, this time by Lincoln Center Out Doors alongside my own evening length choreopoem Word Becomes Flesh. Backstage we talked about Trayvon Martin and the justice that our art couldn’t ever afford to his family. We talked with excitement about the poetry of our work being presented for free, under the open August skies, in a time of focused inquiry into the morass that follows the systemic extraction of black men from our social ecology. Then we heard the raindrops begin to fall on the stage above us…
Who the hell shows up to watch dance in the pouring rain?...
The audience who sat under umbrellas to watch the performances that night had their own courage mirrored back by the bravery of Mr. Abraham’s choreography. Awestruck, I watched from the wings as these sensitive souls digested the elemental depth and precision of Kyle’s work. A month later, the MacArthur Foundation awarded Mr. Abraham it’s “genius” fellowship, irrefutably aware that his creative response to conflating social structures creates emotional portals that anticipate what might be possible if we stand firm in the storm of our world shifting underfoot. YBCA presents Pavement this evening at the precipice of our own re-becoming, resonantly aware of this artist’s framing of an urban future, proudly joining him in an activist pathway that rains down like ‘someday’, that blows through like compassion, that makes the muscles work, like uttering the word ‘free’…
I was born and raised in a City big enough to swallow the light, so forgive me if I’m not fully trusting of shadows. I’m not deeply bought into the secrets they hide, or the matter they mask. Or at least I wasn’t until I encountered the work of Christine Marie, first in a theater in San Francisco, and then on the global stage at TED. She is an inventor of analog that intentionally uses the dispersion of shadow to speak silent poems. She makes color that the fortuitous eye absorbs into the body as emotion. She has the audacity to disrupt light, and to weave a timelessness into its shaped absence, to wordlessly make a story of ambition and migration out of negative space.
‘fore trains, we did what exactly?…dreamt a lot about ‘over there’…waited on boats and ponies…took endlessly long walks before following through on promises…
4 Trains is a contemplation on the moment before technology speeds everything up. The opposing forces in thematic play in this evening’s presentation tug hard at the dissonance of the present moment, a time of light beaming from silver boxes, hoping to conjure the intimacy of a darkness pulling us close. The performers produce a live silent film without the benefit of digital animation and in direct contradiction of the wizardry we are growing accustomed to in contemporary cinema. Christine Marie pays structural and spiritual homage to the Balinese tradition in which she apprenticed for more than a decade, but within her primordial evocations there is near future adaptation and grandly scaled wisps of the pioneer approaching frontier. This work arrives at YBCA seeking to model how we live with dignity in conditions out of our control, an expressionistic calling out in the shadow of days to come…
Discography for Seattle composer Byron Au Yong
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The #YBCA100 is a collection of minds, movements, and makers chosen by the curators at YBCA that are at the source of their current curatorial inspiration. These 100 entities may or may not engage directly with YBCA this season, but their provocations will drive a series of publicly-sourced think tanks that YBCA will nurture and present in the years to come.
Spring Dance 2011 hosted the world premiere of DV8's newest work Can We Talk About This? The performance deals with freedom of speech, censorship and Islam u...
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For nearly 20 years, DV8 Physical theater has been the most transgressive, physically bold, performative ethnographers working out of the UK. What they make is more than dance, theater, or poetry, and is astonishingly, exponentially more daring than the sum of its parts... they are unforgettable artists...
The #YBCA100 is a collection of minds, movements, and makers chosen by the curators at YBCA that are at the source of their current curatorial inspiration. These 100 entities may or may not engage directly with YBCA this season, but their provocations will drive a series of publicly-sourced think tanks that YBCA will nurture and present in the years to come.
There's this running joke among performing arts presenters that every major city in america is building some new center for performance, but all the cutting edge performers want to present their work in the parking lot next door. While the tongue in cheek axiom is becoming increasingly true, the site specific, re-dedication and definition of sacred performance space is no droll trope of the times. It is sexy manifesto, trans-disciplinary post colonial usurpation, a giant middle finger to Reagan's gutting of the NEA, and beautiful, complicated, survival in aesthetic form. among those leading the pack in avant grade DIY is Degenerate Art Ensemble, a husband and wife team based in Seattle that sculpts, composes, choreographs, incubates, fetishizes and daydreams in obscure public locales or downtown museums with fluid ease and expertise. Absolutely one of my favorite groups working today...
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The #YBCA100 is a collection of minds, movements, and makers chosen by the curators at YBCA that are at the source of their current curatorial inspiration. These 100 entities may or may not engage directly with YBCA this season, but their provocations will drive a series of publicly-sourced think tanks that YBCA will nurture and present in the years to come.
Detroit-based artist collective Complex Movements explores the relationship between science and social movements through hip-hop, interactive technologies, and performance installations.
I first heard about a Detroit based emcee that folks were calling "Feminem" in the late 90's, and got swept up in Invincible's ridiculous lyricism when I first heard them on Platinum Pied Pipers' debut in 2005, so I was ALREADY sprung that they were collaborating with a couple of tech geniuses on the Beware of the Dandelions project that had its public prototype and launch at the Allied Media Conference in 2013. After seeing Complex Movements present their work at the Creative Capital retreat later that summer, and then getting to know Il and their vast civic engagement design for the Dandelions project I was BEYOND sold... Complex Movements is pushing presenters from Seattle to Dallas to Detroit to completely reimagine community development, hip hop, durational performance, and virtual reality platforms, and are musically accomplishing this feat with one of the best producer-lyricist combos to EVER come out of the MidWest.
The #YBCA100 is a collection of minds, movements, and makers chosen by the curators at YBCA that are at the source of their current curatorial inspiration. These 100 entities may or may not engage directly with YBCA this season, but their provocations will drive a series of publicly-sourced think tanks that YBCA will nurture and present in the years to come.
#Classick93 YBCA Curator's Statement
Hip-hop’s story is the choice to commit to one side of the line or the other…
To get so close to the edge / you can smell the afterdeath
In hip-hop it smells like cisco and sulfur
Cuz if you don’t commit to spinnin on your head
You WILL break your neck…
Within the context of hip-hop culture, “old school” is a fixed time in history and it’s Golden Age arguably ended in 1993. So like Sophocles is classic epistemology of Empiric Greece, KRS-ONE is classic folklore of generation me. The Clas/sick Hip Hop series at YBCA has two aims. The first is to eradicate a fear or suspicion of the soulful in our discourse. In fact, we seek to complicate the idea of our contemporary intellectualism through the lens of something reptilian, a jes’ grew balm over the glass and steel City. The second directive is to use the instrument of our downtown geography to further canonize a generational Blues. In our first iteration, we focused on the body in a post-hip hop movement context, and within one Forum, we were able to place masters of hip-hop descended dance forms in a variety of contexts: inside the Club, inside the Battle, inside the Symphony…
Tonight, in addition to the socio-spiritual aspects of the culture, YBCA privileges the text and sound forms from one of hip-hop’s most pivotal aesthetic and commercial years.
Full Disclosure: In the Fall of 1993 I was a Freshman at a Historically Black College in Atlanta, the undisputed capital of African America. 1993 hip-hop smells like Georgia red clay to me, like everything wrong with the world, like maybe if I dance close enough to her I won’t have to summon the courage to ask, we’ll just be dancing together, like a first taste of freedom… Just on the other side of the Sound Scan era, the full corporatization of the culture was being envisioned, but wasn’t anywhere close to the ubiquity of the urban radio format and the homogenization of hip-hop sound that followed. Sampled from a spectrum ranging from Blue Note to kung fu cinema, the music of 1993 was the cross-national, hood-global, teenage soundtrack for the people who brought you Obama.
Most of us who came of age in this era have associative emotional ties of the hip-hop sound to space, but more truthfully, almost all of us have words spoken during 1993 that ‘saved our lives.’ This is where Clas/sick Hip Hop: 1993 edition begins…with the re-imagination of the words spoken that became a generational foundation for code switching, border crossing, linguistic listening, and poetic frame. Saul Williams gave me his first book of poetry on that Atlanta campus in 1993. OutKast headlined the first public party I ever threw. Listen to Souls of Mischief or Wu Tang or De La Soul or Black Moon...something was in the water and found its way to the pens of Black men and women on a scale that could be described as a canonically climactic capstone in the explosion of Black literacy called rap. With Clas/sick Hip-Hop, YBCA challenges a new generation of urban oral linguists to unearth and newly contextualize this seminal moment in African American poetry.
1993 was also the year that the World Trade Center was first bombed. The year of Black Hawk Down…of Don’t Ask Don’t Tell. 1993 was the year Yerba Buena Center for the Arts opened its doors with a promise to be an arts center for ‘the people’ in a rapidly changing San Francisco. In a time of strange prosperity and electoral tumult, we continue to place the reaching of a generational litany within the foci of the loaded frames of ‘classic’ and ‘contemporary’. And we do it while having a GREAT time with two of the Bay Area’s most prodigious musical minds and more than 20 of its most treasured and emerging Masters of Ceremony. We remind the culture itself that we love it in spite… falling in love like an early 90’s night…but don’t push us / cuz we’re close…
Curator's statement for Radio Ambulante at @YBCA
My father is on the fire escape in Queens with a halo full of hair, a plate full of food, and a half smoked Newport, half-lit, in the corner of his mouth. The radio is AM buzzing, plugged into the socket beneath the bedroom window. Mom is working the night shift at the hospital. Or maybe she’s here, with us, sleeping…
I am not yet three. I hold these truths as (self) evidence. In my earliest memory I cannot make out my father’s face, but I am clear that the radio is turned up and hissing…
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Daniel Alarcon and I are sharing the fathers-doing-too-much laugh under the high ceilings of a shifting center. Blessed with both global reach and cursed with a mid afternoon curfew, he can only discuss the investigative diaspora but for so long before he rushes out the door to pick up his young children. Alarcon is of the class of writer that plays words like hyper instruments, they are strangely aware of their author and yield in the space between the impossible and our ears, make music for him in multiple languages, sandpaper time walking the night in circles.
Radio Ambulante invites us to access narrative in a way that echoes the experience of reading a great novel, to be empathic instruments in tune with DR or Peru or Argentina, invites us to see sound emanate from print as landscape. Alarcon’s co- conspirator Carolina Guerrero has stewarded the politics of the non-profit media frame to hone a team committed to composing unforgettable dispatches from a majority people living a minority citizenship. In simple audio prose, the program issues the complex warning of sedition moving closer to center.
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My son is three, and I am taking him to pre-school. The radio is on, FM buzzing, and the devil is hissing…something that sounds like drug addled violence maybe…something that sounds more like last night at the club than early morning in the soccer dad mobile. Radio Ambulante takes a global view of the global moment without the neoliberal aftertaste. It returns radio back to the days of civic benefit, and in its live presentation, glimpses into the future of new majority America through a latin@ lens. We at YBCA could not be more proud to be a site the radio (r)evolution, a place where memory is foretold in living color, if we only take the time to listen…
Miwa Matreyek's body of work, including solo performance, short films, installations, and work with her group, Cloud Eye Control
Entrevista del quincenario
Flying Lotus, 'Never Catch Me feat. Kendrick Lamar', a film by Hiro Murai. The song appears on 'You're Dead!', preview the album and learn more at http://fly...
#aiweiwei at the Brooklyn Museum...
@roberta_uno makes sense of shifting center in the arts through the example of @zentronix @chinakahodge @youthspeaks and more...
...meanwhile, THIS was happening outside the brasil/colombia game the other night in brasilia... #pehlotah