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We the Youth – Keith Haring Lecture Series

For this performance lecture movement-based performance artist, vocalist, urban farmer and writer, mayfield brooks, facilitates a space for children and young people to explore an embodied practice around decomposing grief, loss, listening, and deep belly laughter. Over the past four years brooks has been researching whales and the ways in which they move as a collective through their watery worlds, sing to each other, grieve the death of their children, and feed the oceans when they die–this process is called the whale fall.

Participants will play with whale sounds, be inspired by the whale fall’s ocean compost, and dance in collective pods as a means to move, imagine, and dream up watery worlds of our own. In this watery space of infinite possibilities we will playfully, and lovingly create spaces for our unique voices and bodies as individuals and as a collective.
We the Youth – Keith Haring Lecture Series invites children and their friends and families to meet luminaries who talk about ideas and social issues that are often left off of school curriculums.

This series is supported by The Keith Haring Foundation in honor of Keith Haring who collaborated with children throughout his life and believed in art’s ability to create a more accepting society.

ALOK on Gender invited by Puppies Puppies (Jade Guanaro Kuriki-Olivo).

Dr. Cornel West on Justice invited by Ariana Reines.

Fahim Amir on Animals invited by quori theodor.

Whale Fall: It’s all right to cry and laugh at the same time!

Invisible Trial

 
Brontez Purnell is an acclaimed writer (100 Boyfriends published by MCDxFSG Originals) and dancer (Brontez Purnell Dance Company) whose writing rises from movement and whose dancing is often steeped in language. His latest dance solo Invisible Trial–choreographed by Larry Arrington and dramaturgy by Jeremy O. Harris–is loosely based on the Sylvia Plath short Story Johnny Panic and the Bible of Dreams The protagonist, a receptionist at a mental health clinic, acts as a sort of medium for the living as he secretly records the dreams, fears, and anxieties of those he comes into contact with. His boss is the God of Anxiety himself who is keeping tabs on the protagonist snooping. The piece attempts to name those fears and fantasies around patriarchal inheritance, shadow work being done against us, and the burning question: are we ever the sole agents of our own fate?
 
Content Warning
This performance contains nudity, strobe lights, and images that may be disturbing to some viewers.
 

DIVINE JUSTICE

 
*This is a durational performance, with intermissions for meals and rest. All ticket-holders will also have access to a live stream. You will receive an email shortly before the event containing a live stream link and program.
 

In her 24-hour durational performance DIVINE JUSTICE, the poet, playwright, and astrologer, Ariana Reines has investigated the myths and scholarship around Medea, in order to stage a different kind of courtroom, one designed to mirror the inviolable and fundamentally uncriminal space inside each human being, no matter how vicious, no matter how abused. Disillusioned by failures of the American justice system, the artist asks what would happen if the planet Venus actually structured the American Judiciary, as it presides over Justice in the Zodiac. How would a justice system that truly answers to Venus, a planet of love and good fortune, be structured, how would wrongdoing be corrected, how would damage be addressed, how would victims be made whole? In DIVINE JUSTICE, Reines collapses trial and sentence, judge and jury, into light and sound– a single summer day of Venus tested, and time served.

 
*Content Notice
Please be advised, this event is structured around the Medea myth and contemporary events, and contains candid talk about sex, sexual violence, and gender. It is intended for an adult audience.
 

A 24-hour performance is also just an opportunity to literally spend a day with people, some of whom you’ll know, some who will be new to you. We want you to feel as physically comfortable as possible, and we are also inviting you to join the performers in going beyond what would ordinarily be comfortable. Seating is on a carpeted floor and chairs will also be available. Snacks, non-alcoholic beverages, and coffee, as well as breakfast, will be provided; there will also be breaks for food and physical refreshment. We recommend that you dress comfortably and bring with you:
 
⁠—A picnic basket/snack bag containing the foods and drinks you love.
 
—Meditation cushion, sheepskin, bolster, or pillow— a portable soft thing that helps your body feel held and comfortable.
 
—A toiletry bag containing your personal care essentials.

Jim Fletcher, “Jason”
Birgit Huppuch, “Medea”
Ariana Reines, “Chorus”
Yva Las Vegass as themself

 

Tip the Ivy

 
With Geo Wyeth, Bully Fae Collins, Cornelius (fka Mica Sigourney), and Dia Dear
 
Tip the Ivy is the latest multidisciplinary opera by Colin Self. In keeping with the artist’s previous works, it foregrounds its own making as a collaborative group process. Originating from a manuscript, the work mutates through collective authorship by the five collaborators and at points even extends to the public joining XOIR, Self’s experimental methodology for group singing. Tip the Ivy relies on Polari – an underground, queer language created in the UK at a time in which homosexuality was punishable by law. The encrypted language embraces illegibility and opacity as unique forms of queer creativity, community, and survival. The opera echoes an aesthetic embodied by the story of travesti performer Vera De Vienne, who has performed in Europe for the last 50 years as a gender illusionist. Equal parts cacophony and symphony, call and response, catharsis and rehearsal Tip the Ivy’s energy is both deviant and joyful.
 

Tip the Ivy is initiated by HALLE FÜR KUNST Steiermark and co-commissioned by Performance Space New York.

No Diving 2

Watching Storyboard P dance feels like glimpsing into another world. His dancing reminds us that our conventional understandings of what a human body is, what it can do, and where it starts and ends, are insufficient. As an acclaimed street dancer Storyboard’s lineage is Flex, but as an artist he might be more of an Afrofuturist. Using an otherworldly combination of skill, beauty, poetry, and emotion his dancing collapses space and time into an alternative universe.

When Storyboard talks about dance, he becomes a visionary poet—speech is a vessel for body language, dance a way to speak without speaking, a slang of movement that can carry vibrations like the animation of a stop motion film. “My style is Mutant. As a mutant my power is to project a sequence of images through my body that tells an elaborate story to music. The power to storyboard / ballet / jazz / African / contemporary / bruk up / flex / boogaloo.”


Co-Produced with Arika, the political arts organization from Scotland, UK, who Performance Space collaborated with on I wanna be with you everywhere festival of disability aesthetics in 2019. Film Still courtesy of Cinque Northern (cropped into heart).

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