Jessica Emmanuel presents ‘kwirē/, a new solo, multimedia dance work that “considers a dystopian world where the majority of historical and ancestral information has been destroyed.”
The wealthy have left the planet and few humans survived. A dance and sound retrieval system has been created to help us restore our connection to our memories and the history that is stored in our DNA. Guided by Emmanuel’s ancestors, she gathers and collects information, nurtures the soil and roots that are used to restore the earth for those left behind.*
Filmed on the REDCAT stage and available to watch this week online, the work takes place in a sculptural installation created in collaboration between Emmanuel and Trulee Hall.
From top: Jessica Emmanuel, ‘kwirē/; Emmanuel in Reflections of the Vastness Within at TheChronicles of LA: Chapter 2:Self, 2018; Emmanuel in Trilogy: Witnessing Her + Decolonize That Mind + Proliferation of Joy, Teatr Studio, Warsaw, 2018; Emmanuel in Poor Dog Group, Dionysia (aka Satyr Atlas), Getty Villa, 2011.
When we speak the word “life,” it must be understood we are not referring to life as we know it from its surface of fact, but to that fragile, fluctuating center which forms never reach. And if there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signaling through the flames. — Antonin Artaud*
Film Maudit is here. Inspired by Jean Cocteau and presented by Highways, the second iteration of the festival of “outré” films brings together dozens of features and shorts for free streaming.
One of this year’s highlights is Adam Soch’s immersive documentary REZA ABDOH—THEATRE VISIONARY, a view from inside the transgressive work of the late, great theater provocateur, creator of such spectacles as The Hip-Hop Waltz of Eurydice, Bogeyman, The Law of Remains, Father Was a Peculiar Man, Minamata, Tight Right White, and Quotations From a Ruined City.
Featuring extensive documentary footage of Abdoh’s rehearsals and produced work at the Los Angeles TheaterCenter, the Long Beach Opera, New York’s Diplomat Hotel, and the streets of the Meatpacking District, the film includes interviews with the actors, artists, friends, and advocates in his circle: Alan Mandell, Tony Torn, Ken Roht, Tom Pearl, Tom Fitzpatrick, Jacqueline Gregg, Juliana Francis-Kelly, Peter Jacobs, Edwin Gerard, Diane White, Elsbeth M. Collins, Morgan Jenness, Bill Bushnell, AnneHamburger, Peter Sellars, NormanFrisch, Daniel Mufson, Sylvie Drake, Sandy Cleary, David Schweizer, Tal Yarden, Sabrina Artel, Anita Durst, Alix Hester, John Jahnke, Laurel Meade, Alyson Campbell, his mother Homa Oboodi, and his brothers Sardar and Salar Abdoh.
Phil has written sonatas for other instruments before, but this would be his first for the piano. I imagined how much he would pour into it given that the piano is the instrument he has spent a lifetime playing (at home and on countless tours). However, Phil is not an artist to let the potential of a “first” be tethered to what is known. His exuberance came from writing something that would far surpass what he could play, or be able to entirely hear on the instrument itself beyond imagining it as the composer. There would need to be someone who could bring the music to life and bridge the musical space between themselves, the audience and the composer.
In spring of 2019, Philip Glass sent Namekawa the score for the sonata, and the following summer the two longtime collaborators premiered the work at the Klavier-FestivalRuhr. The piece made its American debut in November of that year at the Morgan Library andMuseum in New York City.
This weekend, UCLA’s Center for the Art of Performance (CAP UCLA)—in association with ArsElectronica in Linz—will stream a prerecorded performance by Namekawa of the piece. Also on the program: Mozart Camargo Guarnieri’s Sonatina No. 3 in G-clef (1937), Alban Berg’s PianoSonata, Op. 1 (1907-1908), and György Ligeti’s Musica Ricercata.
LAZARUS was one of the last things dad created before he died. I know he was incredibly excited about it: working with new people in a new medium. His favorite place to be. As tired as he was, he was clearly loving it! The original London production will be streaming in January. — Duncan Jones
David Bowie and Enda Walsh’s LAZARUS—directed by Ivo van Hove—will stream this month for three days only, marking Bowie’s birthday and the fifth anniversary of his death. See link below to find your location, date, and time.