MRPJ#26/The Model?: “…IN A TIME OF DEEP-FREEZE” by Roberto Bedoya

Washington, DC – Winter 2003: cold days; a pending war; a tanking economy; Trent Lott; reality TV; instant messaging; orange alert: poets and the white house; rebuild/renew; and the list goes on. Where are artists in this mix of these conditions? Where are artists in the debates between needs and value? In the dynamics between […]

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  • 8.5.09

MRPJ#26/The Model?: Extras

If I could imagine a different system, it would be for presenters to see their spaces and programs as cultural centers, where the creation of work is also supported and respected; where one looks holistically at what the field and the community can gain from their active involvement in contextualizing, supporting and advocating for performing […]

MRPJ#26/The Model?: Table of Contents

Spring 2003 Editors: Guy Yarden and Miguel Gutierrez From the Editors Artists’ Congress
/Dancers Forum, Mission and Description …In a Time of Deep Freeze by Roberto Bedoya

MRPJ#26/The Model?: Editors’ Note

Editors: Guy Yarden and Miguel Gutierrez March 13, 2003 We invited artists, artist managers, presenters, advocates, funders and board members to examine operating structures both in the New York City dance and performance community and in the non-profit performing fields in general. What are these structures? How do they work? Do they work? What is […]

MRPJ#25/Dance Writing: Extras

Description is very useful when one is responsive to the appearance of dance activity: The interplay of intent and physicality within performance and structure as the whole is represented on the stage. But as contemporary performance has moved away from representation and the virtuosic action, and toward the conceptual and behavioral environment, their intents and […]

MRPJ#24/Fragile: Extras

The concept of separateness, absolute uniqueness, is an illusion. We all rely on each other, we do not exist alone, but are connected in many complicated and diverse ways. As individuals, our cells are connected to each other—we function as a system. Outside of ourselves we are connected to each other, through our families, our […]

MRPJ#24/Fragile: Editors’ Notes

Editors: Sarah Michelson and Jill Sigman THE VERY LAST PERFORMANCE JOURNAL, #23, WAS ENTITLED “NOW,” AND NOW, EVERYTHING IS DIFFERENT. –Sarah Michelson

MRPJ#24/Fragile: Table of Contents

Spring 2002 Editors: Sarah Michelson, Jill Sigman Editor’s Note by Sarah Michelson Editor’s Note by Jill Sigman Excerpt from “The Role of the Artist in Dark Times” by Dijana Milosevicv

MRPJ#24/Fragile: Untitled by Jennifer Monson

Oct 13, 2001 I teach dance at the Borough of Manhattan Community College in the Early Childhood Center. It’s quite close to the site of the World Trade Center and has just reopened. Last week when I went into teach, I gave the kids an exercise that they weren’t quite engaging in. Suddenly one kid […]

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  • 8.2.09

MRPJ#25/Dance Writing: Director’s Note

Rock The Boat, Baby: or, Early thoughts in the first few months of a new director’s tenure at Movement Research First of all, I can’t believe my good luck. As the new Executive Director of Movement Research as of June 1, 2002, I’ve inherited the worthy but daunting challenge of stewarding a tiny-budgeted, NYC-based organization […]

MRPJ#25/Dance Writing: Editors’ Note

Editors: Gia Kourlas and Sarah Michelson Obviously there is dissatisfaction with the state of dance writing in New York City. While the purpose of this journal isn’t to offer any concrete solution, we believe that the material covered—which includes essays by dancers and choreographers as well as interviews with three major critics—will encourage further discussion […]

MRPJ#25/Dance Writing: Table of Contents

Fall 2002 Editors: Gia Kourlas, Sarah Michelson Editors’ Note From the Director by Carla Peterson Tere O’Connor

MRPJ#25/Dance Writing: “Dance Writing” by Tere O’Connor

What would it be like if choreographers and dance writers rejected their present relationship—one akin to modern divorcees, whose differing points of view on raising their children are marked by polite misunderstanding and the odd stab at each other through an ostensibly non-acrimonious veil?

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  • 8.2.09

MRPJ#23/Now: Extras

See, when we go to a work of art, 90 percent of our reactions and our expectations are controlled by convention. We are used to seeing a certain kind of stylistic thing in the theater, and that becomes deadening, because once we are used to seeing it it becomes a lie. It no longer speaks […]

MRPJ#23/Now: Table of Contents

Fall 2001 Editors: Sarah Michelson and Samuael Topiary Editors’ Note Buyer’s Remorse by Mike Albo Richard Foreman interviewed by Ken Jordan

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