November 27 – December 3, 2017
Artist-curators Jonathan Gonzalez, Zavé Martohardjono, and EmmaGrace Skove-Epes approach Movement Research’s Fall Festival by considering collective practices and the workings of collectivity amidst economies of individualism in this current moment. Comprised of performances, workshops, and gatherings led by collectives, invisible material ponders interventions of unfolding in the fold, meandering and mess-making, and coordinating in the in-between.
Visit the schedule tab for the full festival lineup, and the curatorial statement tab to read about the curators vision.
Click here to download a PDF of the brochure.
All festival locations are wheelchair accessible. For more information or if you require reasonable accommodation please contact Anna Adams Stark at [email protected] or call 212-598-0551 (voice only).
"What does a collective mean in terms of the history of this city? We tried to give many different kinds of collectives and formats a opportunity to share their way of working together... which can maybe make a broader commentary on capitalism and the way that people are trying to imagine being paid for their labor, to dreaming creatively, and also finding a way to create liberatory acts inside of the structures that be." Jonathan Gonzalez
"It was an ambitious week... we were not trying to work with this idea of collective as a romantic one, more so to bring collective ways of working to the forefront. To kind of witness and learn, see what questions and problems rose to the surface." EmmaGrace Skove-Epes
Jonathan and EmmaGrace were featured on a live stream by Artists Space, speaking about the curation of Festival Fall 2017: invisible material. Find out more by listening to Maintaining Good Relationships: Starting from Zero, starting at 18 minutes.
These workshops are not curated by the Movement Research Festival Fall 2017: invisible material, but in the spirit of collective wellness, the curators recommend all Festival attendees visit!
1120 Washington Ave, Brooklyn
Throughout the festival week, visit MINKA -- a center for wellness and an inclusive environment in Brooklyn -- for sliding scale community workshops in different healing practices.
//Using the ACRE Platform: A Toolkit for Racial Equity and the Arts//
Tuesday, November 28 6-9pm
Gibney Dance 280 Broadway
Maria Bauman, Sarita Covington, and Nathan Trice, the co-founders of Artists Co-Creating Real Equity (ACRE), share a platform collectively devised by ACRE members, focusing on racial equity in arts education, funding, coverage in media, curation, casting, and in space allocation/availability, through which they will help participants examine their own artistic practices and artistic organizations with a racial justice lens informed by The People’s Institute for Survival and Beyond.
Skeleton Architecture is a vessel of Black womyn and gender nonconforming artists rooted in the rigor and power of the collective in practice. We create, organize, advocate, gather, curate, perform, play, challenge, and teach through the depth of our ancestral knowledges toward the liberated future of our worlds. Our members are Maria Bauman, Sidra Bell, Davalois Fearon, Marjani Forté-Saunders, Melanie Greene, Kayla Hamilton, Jasmine Hearn, Marguerite Hemmings, Nia Love, Paloma McGregor, Sydnie L. Mosley, Rakiya Orange, Grace Osbourne, Leslie Parker, Angie Pittman, Samantha Speis, Charmaine Warren, Marýa Wethers, and Ni'Ja Whitson.
Note: One of our core values is prioritizing the "us" versus our productivity. Thanks to you and to all of our supporters, ancestral and present, for being a witness to us and our process.
For this event Skeleton Architecture is in partnership with Caribbean Cultural Center African Diaspora Institute, who is working directly with cultural organizations in Loriza of Puerto Rico, Barbuda, Antigua and St. Croix for hurricane relief. The CCCADI, in partnership with our communities, is wholeheartedly committed to action in this moment of crisis. It is our duty to contribute to relief and recovery efforts and to support our brothers, sisters, families, and communities in the Caribbean.
A note from CCCADI:
"Hurricanes Irma and Maria have had a devastating impact on the islands that are our root homes. It is our duty, it is our obligation, it is our responsibility to reach out to our communities in this time of dire need. The Caribbean Cultural Center African Diaspora Institute is committed to raising resources to be equally divided amongst on the ground community cultural institutions working with the most vulnerable communities requiring immediate assistance in Puerto Rico, Dominican Republic, St. Croix, and St. Thomas.
I know that our sacred communities, friends, and neighbors are all committed to assisting. Give what you can in whatever ways you are able to. Remember to be generous. Today, our friends and families on the islands are affected. Tomorrow, it could be us. Please make the effort to contribute what you can. It is our humanity, our love of others, and our devotion to family and friends that have provided the resilience and power to sustain. Let us continue to demonstrate the very kindness that binds us in this moment."
mayday heyday parfait
By The Commons Choir
Music Director, Composer, and Arranger: Anaïs Maviel
Assistant Director: Saúl Ulerio
Composer: Darius Jones
Dramaturg: Susan Mar Landau
Lighting Designer: Tuce Yasak
Sound Designer: Dov Tiefenbach
Costume Designer: Ashaka Givens
Performers: Martita Abril, Drew Devero Belfon, Ilona Bito, Lydia Chrisman, Alvaro Gonzales Dupuy, Jean Carla Rodea, Saúl Ulerio, C.D Woolfolk, NBJ Zhong, Carol Porteous, Sarah Chien, and guests
After developing mayday heyday parfait for the last 3 years, The Commons Choir reconfigured itself with the intention to unearth their process with the audience in regard to the following concerns. The backstory is The Age of Discovery: da Gama and Columbus sailing in opposite directions in search of the same spice (nutmeg) setting into motion a global interchange of people, crops, livestock, ideas and communicable diseases under the most exploitive terms imaginable. Although this ongoing momentum is coextensive with our extinction, we still have not put in place a counteractive Age of Undiscovery. For the Movement Research event/festival, we’d like to open up our process and problem set to directly address the audience with questions such as: Is divisive speech ever free speech? How could something or someone possibly be out of place? Is “peopling” of the planet potentially out of place? Is identifying with identity the problem? What happens when language is reduced to pragmatics, syntax, self-expression and merely what words can say? Without a practice of ecstasy (standing outside oneself, ek-‘out’ + histanai ‘to place’) will we only reinforce the harmful systems we intend to change? If 70% of domestic terrorist attacks are carried out by individuals acting alone, is singularity the enemy? What do your enemies believe about you? If we stopped arguing, would it solve the problems we’re arguing about? We’re in New York because beaver pelts could be felted to make waterproof hats in Europe. Are you more different from your group than mine? Shall we all meet all over again, free of transaction?
From the libretto:
If we divided the
earth into pieces the
size of juniper berries the
number of pieces would not-be-as-great-as-the number of times that each
being has been our mother
The Commons Choir is a variable group of people gathering around concerns that are addressed collectively. The work-to-be-done takes different forms, from discussions to educational programs to interventions to presenting performances. The work, to put it simply, is about who we are as we work together, placed in resonance with you. It’s not a choreography, play, score or improvisation per-se, though it involves all these components.
Fifty One Pounds
By Feminist Art Group
J. Soto, Amanda Hunt, Miette Maharry, IV Castellanos
Platform and handle fabricated by IV Castellanos
Rock harvested from Glenford, NY
Thank you Jennifer Maharry and Mor Pipman
By Collective States
Works by featured artists as part of Santuario(s):
Refugio by Hidelberto Utrera
Chicken Wire #1 by Isabella Cruz-Chong
Loop by Ssu-ya Hsiung
Santuario(s) panels and Q&A by Mónica Robles with Rishauna Zumberg, Chris Whitney, Beto Utrera, & Isabella Cruz-Chong
Collective States decided to focus their efforts in support of Santuario(s) - a space created by performances of immigrant artists whose first language is not English. To learn more about Santuario(s), please visit: santuarios.weebly.com.
The Featured Artists thank Collective States for greatly supporting and helping develop the work of immigrant artists. Collective States & Featured Artists thank the NYFA Immigrant Artist Program; our partners: Raúl Ramírez, Sarah Whitney, Adrian Coto; Nooshin Rostami for mentoring and support; Danspace Project (Lighting, Crew, Ushers, Admin, Box Office), St. Mark’s Church, Zavé Martohardjono for giving us this opportunity, Anna Adams Stark for support, coordination, and logistics; the whole Movement Research team for all their work to make this night and this festival happen; and Allison Corbett for recording equipment and language justice resources: langjust.com
you get what you paid for
Eleni Theodora Zaharopoulos, André M. Zachery, Jeremy Toussaint-Baptiste
What happens when labor evaluates its own worth?
The Tenets of Wildcat! Event-Making:
1. Every participant must have a solo.
2. There must be an element of exhaustion.
3. There must be an element of repetition.
4. There must be a cycle of 8 minute studies.
Thanks Jonathan Gonzalez and Movement Research for the support!
By Social Health Performance Club
Maria Hupfield, Ayana Evans, Geraldo Mercado, IV Castellanos
When We Stand Alone
Brooklyn Arts Exchange's Dance Performance Workshop (DPW) Level III
Choreographer: Skye Montante
DPW III Director: Helen Tocci
DPW III Performers: Ariel Gunnell, Ava Mascuch, Ana Mesa, Olive Raymond, Hana Jang
Music: Prelude by Nosaj Thing, Optimist(Live) by Zoe Keating, Level 1 by Clams Casino
BAX's Youth Education Programs are generously supported in part by the New York State Council on the Arts, NYC Department of Cultural Affairs, Bay and Paul Foundations, Sterling Bank, Park Slope Civic Council and our many individual supporters.
Thank you to the BAX's DPW families for recognizing your children's unique artistic gifts, for supporting them in their wholeness, and for being such an important part of the greater BAX community. BAX exists because of you and your commitment to performing arts and arts education as a vital way to connect and transform individuals and communities.
Together and a Part
A Collective Choreography
Young Dancemakers Company Performers: Manuela Agudelo, Ciara Bowen, Hosbel Hernandez, Chloe London, Genesis Perdomo, Idania Quezada, Ariel Romage, Justin Torres
Upcoming Undoing Racism® workshops in our community and nation-wide can be found here.
After rich conversation, and an eagerness to connect, attendees to and panelists of this studies project pooled a list of shared resources surrounding activism in our community:
- Culture Push
- People’s Institute for Survival & Beyond
- Anti Racist Alliance
- Mayday Space
- We Make Noise
- Educated Little Monsters
- Mi Casa Es No Su Casa
- Sister Circle Collective
- Gabriela — Filipino Social Justice & Advocacy Group
- Brooklyn Anti-Gentrification Network
- Take It Back/Before It’s Gone
- Equality for Flatbush
- Resource Generation
Fall Festival | Opening Night Performance + Dance Party
Skeleton Architecture, The Dance Pit
November 278:00pm – 11:45pm
Fall Festival | Silent Walk
Jonathan Gonzalez, zavé martohardjono, EmmaGrace Skove-Epes
November 284:30pm – 5:30pm
Fall Festival | Appetizer to the Understanding and Undoing Racism Training
People's Institute for Survival and Beyond, Maria Bauman, Milta Vega-Cardona
November 2912:00pm – 3:00pm
Fall Festival | Studies Project: Diasporic Interventions
Chinatown Art Brigade, The South Asian Women's Creative Collective, Yellow Jackets Collective
November 296:30pm – 8:30pm
Fall Festival | Collaborating Cultures – Background Check
November 3012:00pm – 2:00pm
Fall Festival | mayday heyday parfait
The Commons Choir
November 308:00pm – 10:00pm
Fall Festival | Singularity: a point of contact
December 112:00pm – 2:00pm
Fall Festival | temporal translations
Feminist Art Group, Collective States
December 18:00pm – 10:00pm
Fall Festival | Potluck Project People of Color Brunch
December 212:30pm – 3:30pm
Fall Festival | Breaking White Silence: Conversations
Breaking White Silence
December 24:00pm – 6:00pm
Fall Festival | solo precarity
Wildcat!, Social Health Performance Club
December 28:00pm – 10:00pm
Fall Festival | immaterial bounding down
Young Dancemakers Company, Brooklyn Arts Exchange DPW III
December 32:00pm – 4:00pm
invisible material considers collective practices and the workings of collectivity amidst current economies of individualism.
We wonder, how does collectivity arise in the acts of:
unfolding in the fold
meandering and mess-making
coordinating in the in-between
The collective is often uplifted as an ideal, glorified potential model. But what are the operatives, and with this, the problematics of “collective:” collective thought, the collective unconscious, performance collectives, art collectives, and collective political organizing?
What is it that we are needing right now that makes us want to be together, work together? What do we gain from working collectively, and what do we risk?
entanglements for a future visioning
falling outside forever
a will to be together plus to undo capitalocenic* (or) anthropocenic structures structures
We resist any assumptions of collectivism — its presence among us and its meaning. Who is disappeared, forgotten, silenced, unthanked in an image of a “new” collectivity? Can we resist “the Resistance”? We want to call out the fallacies of the post-45, all-American, sanitized, branded with a “capital-R” “Resistance”: “Resistance” that has been over-utilized, thrown around, dangerously capitalized on. How is a mainstream notion of collectivity being crafted from the work of those unthanked, and altered by and accredited to “the Resistance”?
In light of this, we are curious about what collectivity really is, and really needs to be — in this contemporary moment.
a fine mist that spreads infinitely
intersections as interventions
something that is (curiously) without form:
an invisible material
Can the collective be a collision? What is memory in this space of multiples — who is storying and who is listening? And can the listening be a story in and of itself? To claim the communal — how does sustainability come to the conversation when sustenance is understood as capital? Is lateral working a landscape of abundance?
felt, non-productive resonance
We ask: Can a performance festival challenge the capitalist, Western, and culturally white individualist structures in the performing arts that sees the artist as solo genius, and values “choreographer” over dancer? Can we make visible the ecosystem of labourers and resources that makes all our work possible? And can we highlight those who are already making invisible labour visible?
multi-various, illegible, and unnameable forces of equanimity
We aim, as artist-curators, to connect, reflect, co-create, name, side-eye the fallacies, witness the magical, shine light on resilience, break solo-silos, and whisper back to our lineages, traceable and untraceable. To trust in our invisible material.
- Jonathan Gonzalez // Zavé Gayatri Martohardjono // EmmaGrace Skove-Epes
*Capitalocene is noted as an epoch in which the humos, or human, becomes the individual proponent, or center, with unsustainable patterns of production and consumption on the planetary scale.