All posts filed under: Performance

Beyond the Page: Regina Martinez & Threewalls’ In-Session

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. For this installment, I interviewed Regina Martinez, Threewalls’ Artist and Artistic Engagement Manager, about the In-Session program — a critical interdisciplinary salon that incorporates reading, conversation, and performance together, now entering its third season. I spoke with Martinez in late July about the ideas and values behind In-Session, the theme she chose for its coming season, sensitivities of working between artists and institutions, and Martinez’s own path to and through this work. Check out In-Session’s third season, themed “The Art of Memory.” Find Threewalls @threewalls on Twitter and @three-walls on Instagram. This interview has been edited for length and clarity. Marya Spont-Lemus: Thank you for taking the time to speak with me about In-Session! I’m so glad I went to Udita Upadhyaya’s In-Session event in March, because I think this program has such a great premise and I’m excited to hear how other artists engage with it. Especially for readers who may …

Image: Ida Cuttler, wearing a red blazer over pink pajamas, sits with her hands on her knees center. On the ground around her, are red and blue balloons and red-white-and-blue beachballs. The beachballs have stars on the blue stripes. Photo courtesy of Brave Lux, Inc.

A Story – “Comfortable Shoes” at The Neo-Futurist Theater

Here: a story. When I was younger, as a chronic fidgeter, holes and gaps would creep into my clothes, always looking like a moth had found a cozy meal. Because of this, I became familiar with the fraying yarn, a piece of a piece of clothing that could not be separated, nor could it be its own item. I tugged at these threads, always wondering whether or not I could find the scarf’s spine or its guts or its nerve endings. We do, after all, understand where my skeleton is and where your skeleton is and if we had been inside the meat, then surely science must have been inside the sweater and understood those blueprints. Though, I never got too far: I stopped, knowing that I would have wound up shirtless midway through the day. Here: another. Ida Cuttler contributed to the infamous (and not at all that famous) Hot Blog Dogs, one of my favorite mid-2010s artifacts. I found the website inspiring; as a misanthropic, anxious bibliophile who wanted to be fun and …

Jenn Freeman, Po’Chop, and The People’s Church of the G.H.E.T.T.O

In 2017, I followed  burlesque dancer and performing artist Jenn Freeman, also known as Po’Chop, on Instagram while researching Jeezy’s Juke Joint, a renowned Black and Brown burlesque show. I was researching it with the hopes of being a performer, not an audience member. As a queer-married intersectional feminist, I saw burlesque as an outlet to express my sensuality and expand my art practice. However, in my research I didn’t find classes for Black women. Fast forward to August 2019. I received a direct message from Po’Chop on Instagram requesting to commission some of my portrait drawings for an exhibition about the empowering divine Black energies of Audre Lorde, Jackie Ormes, Elder Lucy Smith, and Beauty Turner. Po’Chop receiving a referral from a gallery I previously worked with aligned me to the motherload of manifested interactions. During our conversation about the commissions, we talked about the hurdles of Black feminist scholarship and the joys of performing it through our artistry.  The first time I saw Po’Chop perform was the first day of our phone call. …

Featured image: Chelsea Fiddyment performing at Unreal at Schubas. Chelsea stands at the front of the room, notebook in hand, speaking into a microphone while looking out at the audience. Behind Chelsea is a copper-colored wall, made of a grid of low-relief tiles; above that are several decorative beer cans on a ledge and a dark green section of wall. Chelsea wears a black cropped tee and red and gold sequined shorts. The backs of some audience members’ heads are fuzzy in the foreground. Photo by Joshua Clay Johnson.

Beyond the Page: Chelsea Fiddyment & Unreal

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. For this installment, I interviewed Chelsea Fiddyment, the creator and emcee of Unreal — a fiction-focused, experimental open mic, now in its fourth year. In late June, I spoke with Chelsea about their reasons for starting Unreal, their own practice as a writer and performer, and the importance of creating welcoming spaces for experimentation. Check out Unreal on the third Tuesday of every month, in the upstairs space at Schubas (note: this space is accessible by elevator through the attached restaurant, Tied House; ask a Schubas manager for navigation support). Find Unreal @UnrealChi on Twitter and @UnrealChicago on Facebook, and Chelsea @whatthefidd on Twitter. This interview has been edited for length and clarity. Marya Spont-Lemus: Congratulations on a lovely third-anniversary show! Chelsea Fiddyment: Thank you so much! MSL: How are you feeling about that and how it went? What are you bringing out of it with you? CF: I’m absolutely ecstatic …

You Are Here: Nick Wylie / Elmer Ellsworth

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. Summer Love in Springfield by Nick Wylie / …

The Art of DJing: Morenxxx

DJing is a curious art form and rarely discussed as one. It is rarely discussed at all, except by other DJs in industry publications––what is there to say that can’t be expressed more vigorously on the dancefloor? If you’re talking, you’re not dancing, and you’re probably standing in the way of people trying to dance. Is it art? It’s entertainment, it’s a trade, it’s a party. I hear André Leon Talley in the documentary Catwalk, wrinkling his nose at a parallel question about that other commercial art form: “No, no, no. Is fashion art? No! Fashion is hard work, gritty; it’s not glamorous”—the question is an embarrassment to both art and fashion. Or DJing. To consider the question at all means that the answer is at least “sometimes.” DJing is work in the realm of aesthetic experience; it is a discipline with a touch of wonder and mystery and creative talent. DJs hear what others don’t, they surprise us with a blend, they tell a story, they improvise, they observe the energy of a room …

Counter Balance: Dance, Community, and Legacy

Integrated dance may be a new concept for some, but the fierce team behind Counter Balance: The Power of Integrated Dance have been bringing this powerful type of performance to Chicago audiences for years. Co-artistic directors Ginger Lane and Stephanie Clemens, along with Access Living, Bodies of Work, and MOMENTA, presented this 9th annual showcase of physically integrated works by choreographers and dancers with and without disabilities in early September.   The audience, which included families with children, disability community members, and dance enthusiasts, were treated to eleven pieces in two acts. Local choreographers included Ginger Lane, Sarah Cullen Fuller, Anita Fillmore Kenney, Kris Lenzo, Sarah Najera, and the internationally known Alice Sheppard. I had the opportunity to speak with Sarah Najera who not only choreographed the particularly lovely “Duet in C Major,” but also recently took the helm as Executive Director of MOMENTA. As the resident performing arts company of the Academy of Movement and Music in Oak Park, MOMENTA has been working with dancers and choreographers with disabilities since 2003. In speaking about …

Perto de Lá < > Close to There: Candai Calmon and Anna Martine Whitehead in Conversation

Candai Calmon is a dance artist and educator based in Salvador, Brazil. Candai has obtained an artistic education in Brazil and Uruguay, with a concentration on contemporary dance and Afro-referential, decolonial, and feminist practices. She holds a Bachelor’s in Gender and Diversity Studies and a Master’s in Dance from the Universidade Federal da Bahia. In her current practice, she creates workshops and immersive artistic experiences based on dance and improvisation with Black women in the quilombos [1] of Bahia. Anna Martine Whitehead is a multidisciplinary artist and dancer based in Chicago. Their work and research address a Black, queer relationship to time, as well as the prison industrial complex and the experience of incarceration. Anna Martine Whitehead has held residencies at 3Arts, Headlands, High Concept Labs, and the Museum of Contemporary Art of Chicago. They have also written for a number of publications and lectured at the School of the Art Institute of Chicago. Candai Calmon and Anna Martine Whitehead are two dance artists working through Black, queer, and female experiences. Both are part of …

Feasts, Fasts, and Excavations: Interview with Devyn Mañibo

I recently had the opportunity to be fed by Devyn Mañibo at a performative four-course meal she hosted at Extase Gallery in collaboration with Marie Ségolène and Jake Collings called MARROW, a communion in excavation. I’ve wanted to talk to Devyn about the way she utilizes food and cooking for connection and dissection since coming across documentation of a feast she hosted as part of her ongoing project F(E)AST at Ground Level Platform/SAIC earlier this year. The photos featured vibrant green banana leaves as a table spread holding up brilliant citruses, mounds of white rice, and cross-hatched mangoes with guests using their hands to engage with the servings. The environment she built and served made people pay attention to their food, to examine each material in relation to others on the table by way of color, texture, flavor, or purpose. The first thing I noticed in the setting for MARROW was a flower in the centerpiece of the table. It  looked like a sunflower that swallowed an artichoke, sharp and demanding with many layers in …

Featured image: The cast of “KISS.” From left to right; director Monty Cole sits on the arm of an olive green couch, with his hands on his thighs facing us. He wears glasses and a blue checked shirt. Cassidy Slaughter-Mason stands in front of the couch arms at her side. She looks up and to the right. She wears a leopard print tank top and blue denim jeans. Her shadow grazes Salar Ardebili who sits on the couch staring out to the left. He wears a blue shirt and black pants. Arti Ishak sits behind him wearing a pink and brown floral dress, looking out to the left. There is a hanging lamp behind them, a door to their left, and a kitchen sink behind Ishak. Image courtesy of Austin D. Oie.

Review – “KISS” at Haven Theatre

[Spoilers for “KISS” below] “The cards spoke to a suspicion that many whose work is play can never be free of: that you can only flaunt your triviality for so long before punishment is due. A date has been selected, and on that day there will be a great culling…” – Helen Oyeyemi, “is your blood as red as this?” ~~~~~~~~~~~~~ The map is not the territory. This is where we must start because we must acknowledge that a play is not the story and a text is not an experience and that characters are not people and that words are not meaning. The map offers an idea of terrain, of forests and rivers, and creeks. From a map, you can discern a route and direction and make plans. When I was younger, I carried maps where my family went, charting courses across town through subways and over bridges. At the zoo, I tracked a path towards the birds of prey, making sure to pass the reptile house and always to avoid the picnic tables …

Beyond the Page: Miss Spoken’s Jasmine Davila and Rosamund Lannin

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. For this installment, I interviewed Jasmine Davila and Rosamund Lannin, co-producers and co-hosts of Miss Spoken — a live storytelling show and podcast featuring work by the female-identified, exploring a new theme each month. I spoke with Jasmine and Rosamund in late April about the show’s origins (and amazing themes), their own influences, and why creating spaces for women’s experiences is so important. Check out Miss Spoken at the Gallery Cabaret, the last Wednesday of every month at 7pm. Find @MissSpokenChicago on Facebook and @MissSpokenChi on Twitter. This interview has been edited for length and clarity. Marya Spont-Lemus: To begin, what is Miss Spoken and how did it come to be? Rosamund Lannin: Miss Spoken is lady live lit. It’s personal essays by the female-identified, which means cis-women, trans-women — anyone who identifies as a woman is eligible to participate. We have also had gender non-conforming people participate as well. “Lady live …

Black Monument Ensemble: Looking Back From Now

“Please join me in welcoming the Black Monument Ensemble.” The crowd roars with claps, whistles, loud whoops, and yelps. Applause melts behind wind chimes and bells as the band, singers, and dancers make their way to the stage. The audience quiets in anticipation. The voice of Damon Locks resounds in the room before his body appears. “Knowing what we know now, the mind searches for reconciliation…”  Stationed behind the singers, dancers, and drummers, he stands near his keyboard speaking into a telephone receiver attached to a soundboard. His voice reverberates throughout the space, bouncing against the drum sounds and vibrations as he recites his “Statement of Intent.” The drum intensifies and reaches a crescendo. “Some things never change–Black monuments!”, Locks yells. Angel Bat Dawid begins playing her clarinet. The choir begins.  I become transfixed by the electric synergy that emits from the band to the dancers, from the dancers to the singers, from the collective to the audience. The voices of Ruby Dee, Angela Davis, and Lena Horne coil around and reverberate within our ears. Suddenly …

We’re Here: The hub of drag and queer culture in Central Illinois

When one thinks of epicenters of drag culture, places like San Francisco, New York, L.A., and other large diverse areas are what comes to mind. When thinking of Illinois, the mind automatically goes to Chicago and the thriving drag community there. You just have to look at pride events in these areas and the vast amount and variety of entertainers, queens, performers, and queer culture, to see why. No one thinks of looking a little south of the windy city at Peoria, Bloomington, Springfield, Decatur, and Champaign, for example. For anyone who comes from a small town, myself being from small town West Virginia, it often seems like these large cultural hubs are the only place where drag performances and pride events are possible. This, however, could not be further from the truth. There is a rich culture of drag spread about and hidden amongst the cornfields; a beautiful and diverse group of entertainers and artists maintaining a thriving culture of drag outside of the metropolitan areas. I have been performing in drag for about two …

A portrait of Tara Aisha Willis, the Associate Curator of Performance at the Museum of Contemporary Art Chicago. Tara is standing with elbows on a ledge, hands up toward her face and fingers intertwined. She stands in a space where there are plants and golden yellow lights hanging from the ceiling. Photo by Kristie Kahn.

Dance Manifold: A Conversation with Tara Aisha Willis

“…completely new yet familiar territory.” These words echoed after I revisited the accompanying publication for Relations, a performance that brought together pioneering artists Bebe Miller, Ishmael Houston-Jones, and Ralph Lemon on the MCA Stage in November 2018. In her introduction for the publication, curator Tara Aisha Willis offers a series of questions and propositions that draw from the historically-anchored yet generative tone set by Miller, Houston-Jones, and Lemon, while also honoring the shapeshifting and indefinable nature of Black dance and movement practices. When considered in full, Willis, too, is the “new yet familiar” manifested in many ways. As a returning Chicago native whose dance career has developed largely outside of the city, there’s a fresh familiarity to her perspective. The new is also visible through her role as a curator of performance and when considering the artists and projects she is bringing to the MCA Stage. Then, an additional familiarity is present within her work due to an awareness of historical context, a body of knowledge that is harnessed, in part, through her work as …

Beyond Representation: The Syndicate’s First Read Festival Shows up for Trans* and Non-Binary Artists

Developing a new play takes work—and not just from the playwright. In a cash-strapped world, one where the arts are under constant threat from budget cuts, it’s difficult to find solid companies investing in plays, especially new ones. And even more rare are the companies specifically focusing on plays by womxn, queer, and trans* artists. The Syndicate is this company, equipped with a mission to foster ethical processes and equity. Though originally founded in 2014 in New York, they split a producing home with Chicago and have a presence in five cities worldwide. Through grants, fellowships, and awards they’ve been able to sustain work that pays their artists and collaborators.   This summer, lead producers Ellenor Riley-Condit, Hal Cosentino, and Denise Yvette Serna are hosting First Read 2019, the 2nd annual new play festival uplifting the work of non-binary and trans* artists. After sifting through dozens of play submissions with a team of volunteer readers, they selected four plays that will receive readings in Chicago this June. Tickets to each play are pay-what-you-can and not …

The Breathing Thing – An Interview With The Directors and Cast of “Parched”

Free Street’s offices and theater space are on the third floor of the Pulaski Park Center. It’s a labyrinth of a building, with staircases branching off, echoes from a linoleum gymnasium. Enough places to get lost. The office in which I meet director Katrina Dion and assistant director Xandra Starks has high ceilings and figures painted on the walls. Two couches and a coffee table. It’s comfy, unassuming. J: What was the impetus for this project? How did the content for this project get decided upon? Katrina: So every year, we do a ten month process with our youth ensemble. They range between thirteen and nineteen – this year it’s more between fourteen to eighteen. Every year we go to them with a question or an issue facing Chicago youth and they spend the next ten months in critical inquiry around that; doing interviews, doing research and then training, learning theater creation skills and then building that play. A couple years ago, we were trying to really think about the 2019-2020 seasons really deeply because …

Image: Photo of the ensemble of "Parched" posed on the set. An actor stands center stage, looking straight ahead while holding a pitcher in front of their chest. They are surrounded by eight youths at various levels reaching longingly towards the pitcher, in their outstretched hands they each hold a water cup. Image courtesy of Joel Maisonet

Review: “Parched: Tales of Water, Pollution, and Theft” at Free Street Theater

I’m not saying that most Chicago theater is directionless and uncertain of what it’s trying to communicate. I’m not saying that it’s lacking in vitality. But if you’ve been in or around the community for more than a couple of years, you’ll start to notice a trend: feel-good-politics and virtue signaling taking precedent and place over well-articulated purposes and poetic truths (or truthful poetry). It’s the times, you know? Here we are, the 21st century, millennials searching for meaning and gen Z thirsting for justice, as the seeds of capitalism and white supremacy fulfill their nature as bloodthirsty mechanisms for deep extraction and a hollowing out of our planet, our souls, our home. What do we need other than the certainty of these things? So frequently, just the restatement of that conviction. And that seems to be enough for many people. I’m angry. I’m sad. If you’re reading this, I hope you’re angry and sad about what has been done to us. And I hope you recognize that reading this is not enough, nor is …

Composition and Improv: Interview with William Pearson

This is an excerpt from Sight Specific’s interview with sound artist William Pearson. Presented through Sixty Regional. In partnership with pt.fwd, a new series of contemporary music and sonic arts performances featuring new work by local and regional artists in Bloomington-Normal, Illinois, Sight Specific will be publishing conversations between the featured artists and pt.fwd director Eddie Breitweiser. William Pearson (Champaign-Urbana, IL) will be performing on Saturday, May 4, 2019 at 8pm at the McLean County Arts Center. All pt.fwd performances are free and open to the public. Follow pt.fwd on Facebook and Instagram for more information, including upcoming performance dates. Eddie: Part of the charge of pt.fwd is to find a diverse group of local and regional artists and musicians and to challenge them to bring something new to an open-minded audience. Would you mind speaking a bit about your background, your practice, and historically what we’re going to be hearing? What have you prepared for us and how does it both relate to your practice as a whole and indicate where you’re going next? Will:  Yeah. …

Fulfilling Fantasies: Contemporary Chicago Drag Works at Hokin Gallery

Visual artist, performer, and curator Kelly Boner has appropriately given herself the title of ‘Bubblepop Electric Creative Powerhouse’ with her own aesthetic and drag influences stemming from eclectic sources ranging from Georgia O’Keefe to anime. Boner’s curatorial project and exhibition Fulfilled Fantasies: Contemporary Drag Works, currently at Hokin Gallery at Columbia College, features photography where the image-making process is a collaboration between the photographer and subject. With both the photographer’s eye and the creative vision of the performer forming the final photograph, together they create a cocktail of colorful illusion, flawless execution, and original looks that capture a personality and/or character fully. In this interview, Kelly Boner discusses the endless and diverse talent in Chicago’s drag scene, the importance of representing it in non-traditional spaces, and the ways in which gender can be “both a prison and a palace.” This interview has been edited for length and clarity. Christina Nafziger: Let’s begin with your own artistic practice. Can you tell me a bit about your practice as a performer and drag queen? What attracted you …

Art + Love: Grace Needlman and Will Bishop

 As part of our Art + Love series, interdisciplinary artist and educator Grace Needlman and theater artist Will Bishop share a little bit about how being partners influences their practices and their origin story. On where it all started: Grace: We met at Redmoon, a spectacle theater company that operated in Chicago from 1990 to 2015. I had just moved to Chicago and was interning at Redmoon for the summer. Will was the Associate Producer. So, he was kind of my boss–not directly, but close enough to joke about it. On our first date, we went to a concert at the Lincoln Hall. We were biking home together after the concert, and I hit a pothole under the bridge on Halsted just south of Milwaukee and took a nosedive. I was really embarrassed, so brushed it off like it was no big deal. I biked all the way back to Hyde Park, where I was living, with a quarter-sized hole in my knee. I couldn’t walk for 3 days, including my first day of work at …

Featured image: Fawzia Mirza. In this medium-close-up shot, Fawzia looks directly and confidently at the camera, smiling with pursed lips and pointing at the viewer with both hands. Fawzia wears a long-sleeved denim shirt with a blue-on-blue, camouflage-like print and the top few snaps unsnapped. The cuffs of her shirt-sleeves are folded back, and she wears several bracelets and rings made of silver or wood. Photo by Bradley Murray, cropped to fit. Courtesy of the artist.

Beyond the Page: Fawzia Mirza

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. For this installment, I interviewed Fawzia Mirza — actor, writer, producer, and “artivist” — about the relationship between her writing and performance, her creations’ many forms and media platforms, the role of comedy and collaboration in her work, and how she hopes her work impacts others. Our conversation took place remotely, with Fawzia responding via audio recording to a set of emailed questions. Find Fawzia on Twitter and Instagram @thefawz. “The Red Line” premieres on Sunday, April 28, on CBS. This interview has been edited for length and clarity.   Marya Spont-Lemus: I first became aware of your work several years ago, when you emceed TEDx Windy City, at which two of my students were speaking. I thought you were such a charming, energetic, bold, incisive yet kind and generous host, and it was so lovely to officially meet you a few years ago and to discover that you’re just as smart …

Intimate Justice: Cameron Clayborn

“Intimate Justice” looks at the intersection of art and sex and how these actions intertwine to serve as a form of resistance, activism, and dialogue in the Chicago community. For this installment, we talked to Cameron Clayborn in his Bridgeport live-work studio space about popcorn ceilings, inner dialogue, and letting your freak flag fly.  This interview has been edited for length and clarity.  S. Nicole Lane: Are you from Chicago? If not, how did you end up here? Cameron Clayborn: I’m from Memphis. I was born in Pine Bluff, Arkansas, and then my parents moved me to Memphis. SNL: Cool. And do you live in Bridgeport? CC: Yeah. So this is a live-work space. Everyone who has a space here works here, except for one person. But she’s awesome. So she lives around the corner. SNL: And what did you study at SAIC? CC: I studied sculpture and sometimes sound. I never took a performance class except for one time, which was about the practicalities of being a performance artist. I don’t know, it just never felt …

Sonic Space: Interview with Michael Junokas

This is an excerpt from Sight Specific’s interview with sound artist Michael Junokas. Presented through Sixty Regional. In partnership with pt.fwd, a new series of contemporary music and sonic arts performances featuring new work by local and regional artists in Bloomington-Normal, Illinois, Sight Specific will be publishing conversations between the featured artists and pt.fwd director Eddie Breitweiser. Michael Junokas will be performing on Saturday, February 9, 2019 at 8pm at the McLean County Arts Center. All pt.fwd performances are free and open to the public. Follow pt.fwd on Facebook and Instagram for more information, including upcoming performance dates. Eddie: For the pt.fwd performance in February, we wanted to have a conversation with you so that we could get more familiar with your work. Today we wanted to talk about three different areas: history, region, and fun. So first, historically speaking, can you place the work you’re going to be performing for us? We ask that because part of the charge that we put on our pt.fwd performers is for them to bring something new that they haven’t …

Arial view of Stateville Correctional Center.

Smiling Behind the Sun: An Interview with Danny Franklin

Libyans sometimes refer to being arrested and taken away without warning as being “taken behind the sun.” This interview series celebrates—through conversations with formerly-incarcerated artists and their allies—the ways in which an artistic, creative life can transmute the impact and redefine the legacy of an experience within the prison-industrial complex. Danny Franklin is an actor and producer of the one-act play “A Day at Stateville.” The play was written collectively by a creative writing class of incarcerated students at Stateville Correctional Center, working under the guidance of attorney and Stateville volunteer Jim Chapman. It utilizes Augusto Boal’s applied theatrical approach to drama in an attempt to foment revolutionary change and is performed on the outside by men who were once confined at Stateville themselves. To date, more than 150 productions have taken place in churches, schools, and community organizations throughout Illinois. In 1997, after serving 12 years at Stateville, Danny Franklin came home to Chicago and founded Reaching Back Ministry. He’s been working with and on behalf of formerly incarcerated citizens ever since, helping to …

Kranky Celebrates 25 Years of Ambient Music in a Chapel

I was three years old when Kranky, the ambient music label, was founded in Chicago. In my late teens and early twenties, Kranky was vital to my auditory taste. The label, primarily focusing on ambient, electronic, or psychedelic music, introduced me to Deerhunter, Stars of Lid, Justin Walter, and The Dead Texan. My youth was spent through a spiral of gazing up towards my ceiling, or driving down dark North Carolina roads while listening to Labradford’s album, Prazision. So it’s only natural that Kranky would celebrate their 25th Anniversary at the Rockefeller Chapel in Hyde Park with a line up that brings you closer to god, or stillness, or clarity, or whatever brings you solace in a stained-glass building on wooden benches. Ambient Church is a nomadic event that traveled to Los Angeles, Portland, Chicago and New York, with various different performers in each location. In Chicago, we were welcomed by Matt Jencik, Justin Walter, Pan•American, and Steve Hauschildt. It’s a 25 minute walk from my apartment to the Rockefeller Chapel, a hub for me …

Featured image: Maggie Robinson and Allison Sokolowski performing in “I Am” at the Chicago Danztheatre Auditorium, as part of the Body Passages culminating event. Maggie balances with one foot, knee, and hand on the floor, as Allison stands on Maggie’s lower back. The performers hold each other’s left hands and look at each other. Both are barefoot and wear white t-shirts and jeans. Behind them is a well-lit stage, with a string of colorful paper suspended across it. Still from a video by John Borowski.

Body Passages: Culminating Collaborations

This is the fourth and final article in a series about Body Passages, a partnership between Chicago Danztheatre Ensemble and The Chicago Poetry Center (the first, second, and third pieces can be found here). These articles provide brief looks into a 10-month, interdisciplinary creative process between Body Passages poets and dancers, documenting and reflecting on aspects of that process as it happens. Launched in 2017, Body Passages is an artist residency and performance series curated and produced by Sara Maslanka (Artistic Director of Chicago Danztheatre Ensemble) and Natasha Mijares (Reading Series Curator of The Chicago Poetry Center; Natasha also writes for Sixty). Trigger warning: The performance “Blood Memory,” discussed below, contains references to sexual assault, including in childhood. During a culminating event featuring groups’ final performances, the Body Passages artists offered the audience sugar cereal, sparkling cider, and glowsticks; invited us to dance with them and record ourselves reading their poetic curations; and asked us to travel back in time with them to New Year’s Eve 1998. Especially appropriate given Body Passages’ collaborative focus and …

Mister Wallace and the Vessel of Futurehood

Erik Lamar Wallace II, a.k.a Mister Wallace, a.k.a It Girl, a.k.a Mister Cool Mom, is about to blow up. Erik Lamar Wallace II, a.k.a Mister Wallace, a.k.a It Girl, a.k.a Mister Cool Mom, is already iconic. Rapper, singer, producer, label founder, gender defier, culture maker, makes it all fashion, cosmic being, Wallace talks like a soothsayer. Which is to say she talks fast. She talks deliberately. She says about six things at once. They all hold together with an audible alchemy that precedes logic, but they hold there too, if you can catch it. She declares. The declarations sound like spells. Like whole hands and fingers reaching into a future only she can see to extract truths for us to roll around in our palms like rocks that turn to sand if you’re not quick. This is also how she performs. Wallace co-founded Futurehood with DJ/producer aCe a.k.a aCeb00mbaP (Anthony Pabey) in 2016. With artists like Roy Kinsey, Hijo Prodigo, Rozay Labeija, and Wallace themself on the roster, as a record label, Futurehood is the vehicle responsible for some of the most cogent, relevant, and hype-worthy sounds, visuals, and artists to come out …

Interview with Musician Bailey Minzenberger

Bailey Minzenberger is a Chicago singer songwriter whose music focuses on themes of love, loss, and intense emotion. Their debut EP, “Queen Anne’s Lace,” combines acoustic guitar with hauntingly beautiful lyrics to evoke an intimate listening experience, currently available on Bandcamp. Writer Cecilia Kearney had the chance to talk to Bailey and discuss their relationship with music and identity. Cecilia Kearney: Lets start with some background; tell me a little bit about yourself. Bailey Minzenberger: I was born and raised in Evanston and Rogers Park. I haven’t really left the area for an extended period of time, which I would like to change—I am changing, which is exciting. I feel really grateful to have grown up there; Evanston is a really cool place. I’m currently writing my own music. I would like to [have a] full band, but since it’s just me right now, it’s usually just acoustic guitar and vocals. Usually when I write music, I can hear the entire band in my head as I’m writing, so it’s really cool when I can get a …

Riding Interstellar Waves: A Performance Essay on Afro-Futurism and Time Travel from D. Denenge Duyst-Akpem

This essay exists as a record, a performance document and collaged concept map linking threads in an interstellar web charting the content of my lectures and presentations culled from over 25 years of study, teaching, sculpting, and performing, each coded element an entry point like portals to the vast arkestry of Afrofuturist future visioning. Highlights include references to performance ritual as the High Priestess of the Intergalactic Federation, Special Envoy to Mars, for the September 27, 2018 Decolonizing Mars/Becoming Interplanetary symposium convened by NASA/Blumberg Chair of Astrobiology Lucianne Walkowicz at the Library of Congress, Washington, DC, and content from performance-lecture-poetics for “Afro-Futurism and Time Travel” at the University of Chicago’s Gray Center for Art and Inquiry and from The Ramm Riff featuring Black Light Primal Nun ‘A’ at Red Bull Arts NY for No Guts, No Galaxy slide show series as part of programming for the exhibition Rammellzee: Racing for Thunder. This is an experimental collage, ideas and poetics intertwined, a performance-lecture-poetic in multiple stanzas, a Time Travel Riff from the outposts of Afro-Futurist vision …

Featured image: Udita Upadhyaya at the book release for “nevernotmusic,” at TriTriangle. The artist leans over a table, looking down as she writes in gold pen inside a copy of her book. Next to her is another copy, open to its centerfold, where gold thread is visible. The artist wears a light-colored, textured sweater. Photo by Caleb Neubauer.

Beyond the Page: Udita Upadhyaya’s “nevernotmusic” (the book)

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. This interview is the third of three with interdisciplinary artist Udita Upadhyaya about “nevernotmusic” — a solo exhibition of scores activated by curated, collaborative performances — and her process of developing these scores into a book (the first and second interviews are online). After the book’s release in September, I met with Udita to reflect on the book, the process of creating it (and personalizing each copy), and the connection between music and grief in her work. Get a copy of the limited edition book by contacting Udita. Find @uditau on Twitter and Instagram. This interview has been edited for length and clarity.   Marya Spont-Lemus: How are you feeling about Saturday’s book release event? Udita Upadhyaya: I’m still processing, but I am feeling good. It was great to see the book in its final form. The book is really beautiful! I have not spent enough time with it yet, but …