by Emmanuel Iduma It is truly a revelatory act: until you feel the kick of completion, like the formation of sinews in the womb, there can be no understanding. Meanings coagulate; a juxtaposition of disparate gestures. The dancers know they… Read more

  The adjectives were tentative. I rolled them in my mind. Writing coaches have told me the fewer adjectives the better. As a word-class, they said, adjectives are dependent on other words for their functionality; yet while I watched there… Read more

1 Fingers inclined skyward remind me of a certain woman who attends church services without fail. In the course of our singing I notice how her hands move to depict the words. Her wrists control gravity. Her palms are cupped… Read more

[One]  A dance dialogue: Kaitlyn Gilliland and Will Rawls sit opposite each other and read lines from text messages. A projector screen facing them comes on and off at their command, bearing screenshots or emojis or their photographs. Their voices… Read more

– It’s what DD Dorvillier says. Jenn Joy asks, in response, “Can we imagine a movement then from the spectral to the image?” (1) A room is often filled with ghosts. A room full of dancers, dance enthusiasts, poet-critics, and… Read more

Danspace Project has invited several writers, artists, and practitioners from our community to participate as respondents to our PLATFORM 2015 programs. Stay tuned to our Tumblr feed for weekly entries from Writer-in-Residence Emmanuel Iduma – plus other fabulous participants to be… Read more

On November 10, Danspace Project presented a four-hour Conversations Without Walls: Reflections on Some sweet day, a dance series at MoMA curated by Ralph Lemon with MoMA/PS1 curator Jenny Schlenzka. The following response essay is by Danielle Goldman, dancer, author and currently… Read more

“PUTTING THE BODY WHERE THE BRUSH HAD BEEN” In 1961, a tornado tore through Sidney, Illinois while Carolee Schneemann was studying painting as a graduate student at the University of Illinois at Chapmpaign-Urbana. She and the composer Jim Tenney lived in a… Read more

THE WEIGHT OF THE PAST In “An Evening with Lucinda Childs,” the choreographer performed excerpts from two solos that premiered at the Judson Memorial Church in the early sixties:  Pastime (1963) and Screen (1965). The solos provided a glimpse into Childs’s early use… Read more

“WHAT’S MORE IMPORTANT TO TALK ABOUT TODAY:  WHAT HAPPENS ON THIS STAGE OR WHAT HAPPENS OUT THERE?” In 1967, Steve Paxton created Satisfyin Lover, a dance for 40 people who walk from one side of the performance space to the other,… Read more