All posts tagged: access

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 …

This image depicts part of a performance score, bound into a thin book. On the top page, toward its bottom-right corner, it reads “Dear Corey: Unfold (into you)” in black ink on grey paper. Across the binding, on the bottom page—the majority of the image—text, lines, arrows, and shapes appear in black ink against a whitish vellum background. Solid black abstract shapes connect and overlap, creating white space where they overlap. Lines swoop, loop, and change direction, and some end in arrowheads. Text appears in different sizes and spatial orientations (e.g., right-side up, upside-down, diagonal, vertical, and organic shapes), with some words/phrases expanded in space, condensed, or intersecting with other text.

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

“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 second 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 (read the first interview here and the third here). In late May, I met with Udita to discuss the book’s first mock-up, her aesthetic choices and decision-making process, and the role of intimacy, the body, and language in her work. Follow @uditau on Twitter and Instagram and check out her book launch at TriTriangle on September 8, 2018, 7 pm. This interview has been edited for length and clarity.   Marya Spont-Lemus: So, you made a book! Udita Upadhyaya: Yeah. This is not what it’s going to look like but this is the first mock-up with real pages of the scores and some of the color and stuff being decided. MSL: Wow. Can I look …

The photograph shows the artist at center, standing in front of one of the gallery’s internal, white walls, with performers and guests sitting or standing on either side of her. Black vinyl letters are installed directly onto the walls, in the form of words and phrases in English and Hindi. Text appears in different sizes and spatial orientations (e.g., right-side up, upside-down, diagonal, vertical, and organic shapes), with some words/phrases expanded in space, condensed, or intersecting with other text. English words/phrases shown in this image include “a tender beginning,” “offer,” and “of this winter.” A gestural drawing—also made of black vinyl—is shown on the left-hand side of the image.

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

“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 first 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 (read the second interview here and the third here). In early March, on the last day of her show “nevernotmusic” at Roman Susan, I met with Udita to discuss her processes of creating and “gifting” performance scores, transforming the scores into an installation, and learning from performers’ interpretations. Follow @uditau on Twitter and Instagram and check out her book launch at TriTriangle on September 8, 2018, at 7pm. This interview has been edited for length and clarity.   Marya Spont-Lemus: Knowing a bit about your work, and specifically your work with language, I already wanted to talk to you for “Beyond the Page.” And then I was so excited to hear about “nevernotmusic” — the …

Dancing in Public: Chicago Park District’s Resident Companies

Urbs in Horto: the official motto of the city of Chicago. This translates from Latin to “City in a Garden,” yet the construction of public green spaces around Chicago has a fraught, often troubled history. From its origins in the late nineteenth century, exhuming as corpses from plots on the North Side, the Chicago Park District emerged as a consolidated entity in 1934 and today proudly announces its status as “the largest municipal park manager in the nation.” As the Chicago Park District expanded, so did the city’s need for comprehensive, accessible arts programming. Though these needs existed prior to such expansion, the process of opening new public spaces threw them into a sharper relief. Landscape architects, like the Olmsted brothers who were commissioned to provide some recreational relief for the city’s overcrowded conditions, envisioned a new set of parks providing social and cultural services in addition to open green space. Parks might not merely be designated areas for fitness and recreation, they could also become an important facet of the Chicago’s cultural landscape. As it …

Interpreting Faye Driscoll’s “Play”: The Art of Audio Description and ASL Interpretation

None of the typical rules of a play apply here. Then again, when you come to a performance at the Museum of Contemporary Art Chicago, you aren’t really expecting typical, are you? Play is the second performance in a series called Thank You For Coming, created by Bessie Award–winning director and choreographer, Faye Driscoll. This performance “uses the ritual of storytelling to explore our reliance on stories to relate to one another and form identities as individuals and citizens.” What begins as a communal audience-participation on stage quickly delves into a parody of an absurd theater act. Employing multiple meanings of the term “play,” the cast performs a drama but an allowance for improvisation leaves room for the actors to engage in the more fanciful version of “play” as well. Play is also atypical in its breaking of the fourth wall. Not only does a sound engineer remain on stage, occasionally being called into the action, but Driscoll herself joins the cast. At times she is grabbing props or directing the actors, as if it were a rehearsal …