Category Archives: Uncategorized

03 Apr

Context Notes: Trisha Brown Dance Company

Each year for the past three years we at New York Live Arts have invited different writers to each reflect on the aesthetic and conceptual concerns of our season artists, as a way of providing entry points into the work that our audiences will be seeing, locating the work within a larger cultural context and encouraging informed discourse. It’s never been about suggesting how one should think about or respond to any of these works, but rather to offer a dialogue, to spark a conversation, to take these works and these artists seriously. 

This year I have joined as one of three writers, along with Aaron Mattocks and Ivan Talijancic. To date, I have contributed thoughts on three of the artists including Moroccan artist Bouchra Quizguen, French artist Jerome Bel who worked with the Swiss Company Theater Hora, Serbian artists Sasa Asentic and Ana Vujanovic and, upcoming, for the late French choreographer, Alain Buffard, whose work, Baron Samedi, will be presented in early May as part of DANSE – A French-American Festival of Performance & Ideas 

But it would be sheer hubris of me to suggest that I have something to say about the celebrated artist Trisha Brown that hasn’t already been said by countless knowledgeable folks – curators, international festival producers, critics, scholars, visual arts leaders, peer artists and longtime colleagues, etc.. This luminary, who has so deeply influenced succeeding generations of artists over the course of her long, brilliant, multi-directional and game-changing career, has had so much written about her, deservedly so.

So I am going to go personal. It’s of happy reminiscences for which I have enormous pride and even more gratitude.

I love and am interested in so many forms of art, but I love dance, dance with a capital D, for a whole range of reasons and love being in positions where I can follow and support various risk-taking investigations that may well move the forms of dance forward.

For me, Trisha is an artist whose means, spatial awareness and movement vocabulary have always given me delicious pleasure, not only on a cerebral level but on a deeper plane that speaks to our fundamental body-mind connection, how one literally perceives dance. Watching her dancers over the many years has given me the deep kinesthetic sense that I am somehow, like them, fully embodying the intelligent choices of movement and choreographic structures. That I can (magically) move like they move. That I understand without words why they are moving the way they are. That I literally experience a sense of being them, all while safely planted in my theater seat. That I am them.

Both Dance Theater Workshop (DTW) and now New York Live Arts operate out of a commitment to working with independent, progressive artists across generations. Identifying the young ones who seem possessed of nascent gifts and, as importantly, a steely will that insists on continuing to make work in an inordinately challenging field – a fundamental mission. And following through to the likes of those who have been honing their distinctive voices so keenly –artists like Reggie Wilson, Tere O’Connor, RoseAnne Spradlin, Annie-B Parsons and Paul Lazar, and many others. And artists in between. But it’s been rare over the years that either organization has had the opportunity to work with the likes of such an internationally acclaimed artist like Trisha who has been on some of the most prominent operatic stages in the world.

But why hadn’t an organization like DTW ever worked with her? I suppose that there are a myriad of reasons but it seems to me that by the time DTW might have been in a position to consider working with Trisha, her practice was distinctly different from the core of DTW artists, and she was then soon off to making larger scale works with notable collaborators, like Robert Raushenburg, Robert Ashley, Kurt Munkacsi, Donald Judd, Laurie Anderson, Cage, and others, and even silence as a collaborator (not in any order here).

But when it became public that the company was approaching its 40th year, I wanted DTW to be a part of it. As a tribute to her wide-ranging influence. And to be able to offer audiences the opportunity to see Trisha’s work on a stage that, while not operatic in scale, was reasonably sized AND offered the intimacy of a small house. First, Rebecca Davis organized the 40th anniversary year talk series at DTW in 2010, which was a precursor to our hosting the company the following year. And we had Trisha’s wit and memory in the house for each of those talks.

When we had the company here at DTW for a two-week run in March 2011 performing For MG: The Movie (1991), Watermotor (1978) danced by Neal Beasley, and Foray Forêt (1990), people commented over and over about how special that level of intimacy was for them. We also projected as a loop Babette Margolte’s dance film, Water Motor, on our lobby wall, allowing audiences to watch Trisha dance her solo, once at normal speed and then in slow motion. And then to compare the two genders and vastly different physicalities of Trisha then and Neal now. I remember presenting Foray Forêt in its US premiere at the Wexner Center for the Arts in 1990 when I was then Assistant Director of Performing Arts (the late Bill Cook was Director of Performing Arts), during the early years of that interdisciplinary arts organization when it was looking at and reflecting upon the work of the major figures in modern and post-modern dance. The acclaimed Ohio State University marching band played the John Phillip Sousa score behind the theater walls. Carolyn Brown and Diane Madden, now the company’s Associate Artistic Directors, along with David Thomson, an artist in his own right and on the New York Live Arts board, Shelley Senter, Lance Gries, Wil Swanson and others were in the original cast back then. Mesmerizing. I loved being able to work with Barbara Dufty, Diane Madden and Carolyn Brown to bring that work to our stage in 2011.

That same year, Movement Research (MR) honored Trisha and the original cast of Set and Reset (along with me as a former MR Executive Director.) To a packed, hushed and then jubilant house at Judson Church they performed the work, first with the original cast – Diane Madden, Stephen Petronio, Vicky Shick, Irene Hultman, Randy Warshaw and Eva Karczag. There was something very beautiful in the passing of the dancers metaphoric batons, from original cast to current members, something poetic about how influence and information is passed down, and on. Our lineages.

There is more to say – especially about the four iconic works to be seen tonight, Jodi Melnick’s work, One of Sixty Five Thousand Gestures, that she had Trisha create for her as part of her commissioned run at New York Live Arts in 2012, and the beautiful work, New Work for the Desert, by Beth Gill on our stage this March, inspired, in part, by Brown’s Newark (Niweweorce) (1987) – but I will end now with another lovely moment for me, tho insignificant for the field. When I was for a moment working as a video artist and documenting dance in the mid-‘90s, I got the chance to videotape Trisha in her prime dancing her indelible solo work If you couldn’t see me (1994) in Houston, TX (a work that has been since set on the beautiful and statuesque Leah Morrison). Watching Trisha even more acutely through the camera lens, her back (and spine and limbs) ever to the audience, and having to simultaneously follow and anticipate her intelligent, poetic and elastic expressivity, I had that delicious kinesthetic experience imprinted even more in my being.

I secretly hope that my 3/4 tape is still in their archives.

– Carla Peterson, Artistic Director

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24 Mar

Reading List & Links from “Bill Chats: When did the avant-garde become black?”

Black Dance Magazine –

Dances That Describe Themselves by Susan Leigh Foster – University Press of New England

I Want to be Ready: Improvised Dance as a Practice of Freedom by Danielle Goldman – University of Michigan Press

Dancing Many Drums: Excavations in African American Dance by Thomas F. DeFrantz – University of Wisconsin Press

How to Do Things with Dance: Performing Change in Postwar America by Rebekah J. Kowal – Wesleyan University Press

Harlem Nocturne: Women Artists & Progressive Politics During World War II by Farah Jasmine Griffin – Basic Civitas Press

African American Concert Dance: The Harlem Renaissance and Beyond by John Perpener – University of Illinois Press

Butting Out: Reading Resistive Choreographies Through Works by Jawole Willa Jo Zollar and Chandralekha by Ananya Chatterjea – Wesleyan

Geography: Art/race/exile by Ralph Lemon – Wesleyan

Not So Black and White by Alexis Wilson – Tree Spirit Publishing

Alvin Ailey: A Life in Dance by Jennifer Dunning – Da Capo Press

Joan Myers Brown and the Audacious Hope of the Black Ballerina by Brenda Dixon Gottschild – Palgrave Macmillan

Marion Cuyjet and Her Judimar School of Dance by Melanye White Dixon – Edwin Mellen

Black Performance Theory by Thomas F. DeFrantz and A
nita Gonzalez

Dance Magazine “Finding the Power” By Charmaine Warren –

Parallels, Danspace Project Platform 2012




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24 Mar

Context Notes: luciana achugar


Since her childhood days in South America, the Brooklyn-based, Uruguay-born performance-maker luciana achugar developed an intimate understanding of the profound impact of politics on people’s personal lives, having witnessed first hand the vicissitudes of life under tyrannical governmental regimes but also the empowering sense of togetherness in the face of adversity. achugar’s formative years are tinged with memories of people organizing demonstrations in her parents’ home, of silent marches for the disappeared, and the feeling of connectedness originated by large masses of people coming together, ensuing in her keen awareness of injustice, violence, power structures and military oppression. 

Artistically, during those formative years achugar was first exposed to modern dance in her native Montevideo by training with a protégé of Jose Limon’s from New York. Ultimately keen on discovering other approaches, achugar pursued her university training at CalArts in Los Angeles, where she discovered post-modern dance and release techniques which greatly informed the future development of her own choreographic vocabulary in the ensuing years.

Originally dedicating herself to dancing, achugar came to choreography as a result of a desire for deeper participation in the creative process she had been a part of, which resulted in first collaborative projects with Levi Gonzalez, whom she found a common artistic ground. Countering the traditional hierarchical model, which endows the choreographer with all the decision-making power, achugar pursued a creative process based on dialogue. Interested in unlocking dance’s potential to engage in existential and philosophical discourses, and fascinated with the phenomenology of pleasure in movement, she embarked on an ongoing investigation of connections between the experience of living within one’s body and one’s life within a society. While discovering her choreographic voice in the United States as a foreigner, achugar also developed a prominent sense of awareness of her adoptive culture, afforded by her vantage point as an “other.” 

Both within her own practice and within the larger context in which her work is presented, OTRO TEATRO (literally translated, “another/other theatre”) is a call for a new paradigm. achugar believes that theatre is a forum for offering possibilities, a space for utopia, an incubator for the notion that another world is possible. For her, this work became an opportunity to question the very fabric of her practice, to investigate what performance is and why she makes it. Concerned with the capitalist model, where each work is ultimately viewed as a product that is served to the consumer in a supply-and demand chain, achugar was very keen on subverting that dynamic, instead approaching this work as a ritual involving a shared transformation of the performer’s body as well as the audience’s. This work evolves as a continuation of an approach she began to develop with her previous evening-length work, PURO DESEO, based on the premise of putting a spell on the audience through ritual, singing and repetition. This path is rooted in her philosophical principle of embodying pleasure, as a resistance to producing dances as material for consumption. Although achugar challenges herself by unapologetically pushing the boundaries of exposure and vulnerability to the fullest, she also manages to conjure a powerful act: being objectified by the audience’s gaze transforms into a true act of sharing and experiencing a sense of togetherness.

–Ivan Talijancic

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13 Mar

Context Notes – Beth Gill

The descent beckons
                  as the ascent beckoned.
                                  Memory is a kind
of accomplishment,
                  a sort of renewal
an initiation, since the spaces it opens are new places
                   inhabited by hordes
                                      heretofore unrealized,
of new kinds—
                  since their movements
                                    are toward new objectives
(even though formerly they were abandoned).

—William Carlos Williams, excerpt from The Desert Music


January 10, 2014 [notebook entry]
Specificity of body shapes, angles. Silence. Jennifer’s arms lifted behind her back like a cactus. Simplicity. Purity. Sculptural. Pictoral. Geometric.

The way Jennifer exists alone (mostly), as does Marilyn–they are a pair in their own isolation. Kayvon and Christiana as duet partners, dancing together but differently than the others (aesthetically even, or energetically), and Stuart and Heather as a single unit, like shadows of each other. The surprise and break of Stuart and Heather’s unison into same-sex duets with Kayvon and Marilyn is so exciting because of the duration of their unison. It is a break that allows us to begin to see them separately, in relief against these new partnerships. The energy shift feels dramatic and ushers in a new and very different kind of relationship, far downstage, both on their knees with their crotches forward. Kayvon’s foot finds Stuart’s rear, while Heather’s neck and chest stretch up and over Marilyn’s doubled-over back. Heather’s neck and the underneath of her jaw. Sensuality. I see animals and sex. An almost slow-motion copulation.

The way everyone is so evocative of landscape, of space and existence and plant and animal without a kind of literalness, but that inside the space there exists a place, and relationships, that are so carefully chosen and thoughtfully mapped out.  The build of dynamics and pacing is both restrained and considered. I see Merce Cunningham and Trisha Brown. It makes me think about how our field is needing to remember its history but also embrace its fluid future, a new wave of formal considerations, members of our own generation who are creating things informed by the past but very much on the forefront of our present. I feel that Beth is a choreographer of our time. I can only imagine with her sound and visual design collaborations how effective and quietly profound and stunning this dance can be. [end of entry]


February 3, 2014
For perhaps as long as the desert and art have co-existed, artists and writers have been inspired by its beautiful, spare landscape, its light and color. Gill has discussed at length the experience of working alone within the desert environment for two months, seeing an almost foreign geographic terrain, thinking about its vastness, its emptiness, the way open space framed what she saw and how she saw it, her capacity to see depth, and the experience of seeing that depth collapse into an almost 2D old-time film studio backdrop. Her interest in the visual and psychological ways that we perceive has been a thread throughout her work, as has a starkly imprinted formalism, symmetry, geography of the body and the body in relation to specifically demarcated and designed spaces. When I spoke with Gill, she told me that while she was working in the desert, she was filled with the memory of seeing Trisha Brown’s Newark (Niweweorce). (It is perhaps subconsciously present in Gill’s own title: New Work. Newark.) Gill talked with me about homage, about having an intense love for another artist (in this case Brown, though she also mentioned being inspired by visual artist James Turrell), wanting to immerse herself in the memory and feelings of her experience of that other dance, the expectations of historic reference, her responsibility for changing or transforming that memory. How she loves dance for its durational aspect – the way it can completely erase or alter the experience of time, or its ability to reveal the experience of time passing, reflecting our own human experience of the fleetingness of time, of mortality.

Watching that studio run through back in January, I couldn’t stop thinking about time passing, and lineage. I was seeing moments, refracted, of things that reminded me of other things, of the past. Watching the Cunningham company for the last time at the Park Avenue Armory was in my head while Christiana and Kayvon were performing their duet; the last time I saw the Trisha Brown Dance Company at the Brooklyn Academy of Music, just after it was announced that Brown would no longer choreograph, was there while Stuart and Heather danced in impossibly perfect unison. The past was very alive in the present. I was thinking about the spaces these titans of modernity fill in our history, the incredible impact each has had on our field, but also the voids, the spaces their absences have left. As I watched Gill’s work, it became clear to me that while we have these people (Cunningham, Brown, et al) and each their oeuvre to look back on and to revive, the thing that inevitably must occur is that new choreographers will emerge to fill these empty spaces. We won’t ever have a new Trisha Brown dance. But there is a generation of dancemakers who are making work in the 21st century and using these legacies as inspiration to make compellingly original dances of their own. Pam Tanowitz immediately comes to mind, the way she seems to be in some kind of constant conversation with, and simultaneously in homage to, the Cunningham heritage (not to mention the ballet lineage). And as I watched New Work for the Desert unfold, I realized that what I was seeing was a rich experience that clearly drew on a deep love and appreciation for Brown’s aesthetic, but was pushing beyond the past into strikingly new territory.  Perhaps it is a New Work for the Desert. But it is also a new work for the new millennium. A new work for now. A new work for Newark. History and originality as foreground and background, admirably blurred. A new landscape imprinted with the power of a memory. As William Carlos Williams wrote: “…a kind of accomplishment / a sort of renewal / even / an initiation, since the spaces it opens are new places / inhabited by hordes / heretofore unrealized, / of new kinds—…”

—Aaron Mattocks

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07 Mar

Studio Series: Sam Kim’s Talkback

As part of Studio Series, Sam Kim presented a work-in-progress of her newest work, Sister to a Fiend, this past January. Below is an excerpt from her talkback moderated by Jen Rosenblit.

Check this out on Chirbit

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23 Jan

Context Notes: niv Acosta/Tess Dworman

“I am not that assemblage of limbs we call the human body; I am not a subtle penetrating air distributed throughout all these members; I am not a wind, a fire, a vapor, a breath or anything at all that I can imagine. I am supposing all these things to be nothing. Yet I find, while so doing, that I am still assured that I am a something.” -René Descartes, Meditations on First Philosophy

“Denzel surrounds me.” -niv Acosta, denzel mini petite bathtub happymeal

To place Tess Dworman and niv Acosta on a Venn diagram of contemporary performance would be to see two separate, gathering storms of creativity, but with virtually no crossover. However, in 2012 both collaborated on one of Acosta’s performance projects, called excerpt hearts, an “under rehearsed cover band” exploring “an abstracted stereotype of our lesbian past lives” in Ralph Lemon’s all day event, The End, part of Danspace Project’s Parallels Platform; but for all intents and purposes their own choreographic strains are pleasurably dissimilar. However, in each runs a dynamic strain of self-reckoning, an attempt to explicate the ways that we see and experience ourselves both inside of and because of our bodies. What histories, what dilemmas, these bodies present (and represent) is a central question to both, albeit in very distinctly different constructions. The presence of each as a performer in her and his own work continues to be a central (and heretofore essential) element.

Seen comparatively with Acosta’s deeply personal i shot denzel, Tess Dworman’s macromen is an anti-personal micro-scale study of the body, with its complex and mysterious stories. One regularly witnesses the bizarre body in juxtaposition with the trained body, a world of highly ordered strangeness that brings to mind the stream of consciousness crafts of both Ivy Baldwin and Tere O’Connor (with whom Dworman has performed). Herein lies a cultivated virtuosity coupled with an often quotidian manner. (To me, Dworman’s earlier trials & variations & variations is like an early John Waters movie–a close-up, intentional, almost perverse aesthetic of oddity). Idiosyncratic movement is executed with complete matter of factness, set against classical shapes and relationships. The pas de trois structure allows for an abstract and unique exploration of a classic form, with moments of unexpected pleasure in unison and opposition. The work develops inexplicably, with events or physical states beginning and ending with arbitrary abandon (delivered nonetheless with a captivating pre-determinism), but the continued emphasis on the micro-functionings of the three bodies both as separate entities and often as one meta-unit is fascinating, compelling us toward itself with its theatrics and internal dynamicism. What can the body (and three bodies as one) do? What can it tell us? How much does it contain? How much can it be? How much can we be?

niv Acosta’s i shot denzel is the sixth, and perhaps final, episode in the denzel series, which he has been building and performing since 2009. Acosta works regularly with notions of impossibility, failure, and confinement in relationship to his queer-identified black trans-masculine body/identity/experience. The role and psychological projection of the American black male and black masculinity, as represented (almost like a poster on a bedroom wall) by the actor Denzel Washington is, again and again, an opportunity for a confessional, autobiographical grappling with Acosta’s basic quest: his fluid, indefinable self. That this self is a political and physiological crossroads of race, blackness, gender, queerness, sex and class makes this a powerful framework to explore the many ways that he, and we, might seek to answer that question. And of course, in the culmination of that quest, Acosta has perhaps inevitably arrived at patricide. We cannot survive under the same roofs as our fathers. As both a creative and metaphoric method for annihilating the overarching stereotypes and embodiment of what is and isn’t a Black Man, the patterned ways of seeing that are used to constantly define his existence, the very images and experiences he has simultaneously emulated and rejected, Acosta must destroy the archetype in order to fulfill his own destiny, to make room for his own undeniable being, seen/taken/accepted on his own terms. Distilling the previous denzel editions down to a final solo state, Acosta goes to battle like Oedipus with these kings, using Stravinsky’s sacrificial Le sacre du printemps as his soundtrack. Then, with a live brass band to back him, one wonders that he isn’t giving Denzel, and denzel, a New Orleans style funeral parade. A phoenix will rise from these ashes. Die, die, die.

–Aaron Mattocks

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04 Dec

Cynthia Hopkins in Ljubljana

Through the Suitcase Fund, Cynthia Hopkins participated in a three-week creative and performance residency in partnership with Bunker in Ljubljana, Slovenia to develop her new work, Living Documentary, which will premiere at Live Arts from March 5-8, 2014. As part of the residency Cynthia performed a work-in-progress version in the Mladi levi festival on Monday, August 26 at the Glej Theatre and a jam session with Slovene musicians on Sunday, September 1 in the Stara mestna elektrarna – Elektro Ljubljana. Here is a report about the residency from Bunker, her host in Ljubljana.

It was a pleasure to host such a talented artist as Cynthia Hopkins. The programmers of the Mladi levi festival has been following her work for a long time and for years looking for ways to invite her to Ljubljana. When she performed for the first time in Slovenia, with the show Must Don’t Whip ‘Um in 2008 in Cankarjev dom, the main national institute for culture in Slovenia, they were once again convinced that she would be a perfect artist for the Mladi levi festival. By receiving the Live Arts Suitcase Fund, we were finally able to realize the long existing wish.

Cynthia Hopkins came to Ljubljana for a 20 day residency to work on her new performance A Living Documentary. The concept of a talk-show in which each characters’ appearance is accompanied with a song explores artistic integrity and its sacrifices made for the sake of survival, was developed much in comparison with the presentation in New York in the beginning of the year, when the programmers saw it for the first time. Cynthia has by now developed it into an almost finished work.

The residency took place in a small but charming theatre Glej, located in the center of Ljubljana, which Bunker, as the host organizer has rented for her. She was offered all organizational and technical support throughout the residency. After 10 days of creation process on a premade research material she made a short 45 minutes presentation. The theatre with the capacity of 80 people maximum was full and A Living Documentary was met with much acclaim by audience. Cynthia Hopkins has charmed the public with her extremely powerful presence: her innocent fragility encountered by feminine strength. She has also surprised with well constituted interlinking of characters and their fictitious life-stories with the overall themes of artistic/individual sovereignty.

It seemed that such a response gave Cynthia confirmation and new inspiration for further work. She continued with the process for another week, until the 1st of September, when she finished it with the concert in Stara elektrarna. The concert was also a closing event of the festival. At first we planned the event to be Cynthia’s jam session with the recommended local musicians but in the end the artist herself being preoccupied with the creation of the new show and not having enough energy for another one, which a jam session would be, preferred a solo concert. Cynthia played a selection of songs, old and new, hers and featuring other authors’, and once again proofed her artistry as a vocalist and musician virtuously handling her favourite instruments: guitar and accordion. Although the venue, Stara elektrarna (Old Power Station) which could accept 160 people was not sold out, it was a touching moment for everyone in the audience .

On August 28th Cynthia participated as a guestartist at a public debate The Economic Position of the Artist in a Society, organized in the frame of the festival program in collaboration with the 7th Triennial of Contemporary Art in Slovenia – U3. The discussion was planned in an open air amphitheater at the Metelkova museum platform, but instead due to bad weather took place at the MSUM – Museum for Contemporary Art. A mixed public of about 70 people gathered, besides festival audience also visual arts public. The focus of the debate were the economic conditions of artists and their creating processes: How exactly does an artist understand his economic situation and how is it seen by society? In what way do these questions permeate the content that is created and how can they influence the actual economic position of a creative subject within contemporary society? Are artists co-creating the economy of artistic creation or are they merely trying to survive in the given circumstances? The debate perfectly correlated with the topic of the Living Documentary. Cynthia contributed a valuable perspective on the artists’ position and their economic situation in the US and provoked a lot of interest from the other guests and the public.

Cynthia’s presence at the festival was a rewarding experience in many ways. The format of the musical theatre that she is creating is rare in Slovenia, and she is a true artist of it: being an author of all texts, a director, a song writer, a composer, an actress, a singer and a musician, all in one person. And it couldn’t have been a better moment to host her, since this years’ festival was dedicated to the marriage of theatre and music. Presenting Cynthia and her admirable work in the framework of the festival, enabled us to present her in the context that suited her most and ensured grateful public and wide publicity, the Mladi levi festival is one of the most prominent events in Slovenia in the end of summer.


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20 Nov

#payartforward with Cynthia Hopkins

Since our inaugural 2011/2012 Season, New York Live Arts has commissioned 83 artists who are moving the field into the future.

#payartforward is a campaign we’ve launched to spread the word about New York Live Arts and the artists we support. Each week until the end of the year we are releasing a new video by an artist who has been commissioned by us.

Please help us #payartforward by doing one or all of the following:

Watch our new series of videos highlighting artists from the New York Live Arts season and spread the word.

Make a contribution to the DTW Commissioning fund at or by using the Paystik app on your mobile phone (instructions below).

Watch these artists on stage and let us know when you’re here by posting and sharing on twitter, facebook and instagram.

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20 Nov

Get to Know Fresh Tracks Artist Martita Abril

About Martita
Martita Abril is a performer, choreographer and teaching artist from Tijuana, México. She earned her B.F.A. in Dance in 2009 from San Diego State University. She has worked with dance artists and companies throughout México, the U.S. and Ecuador, including a number of projects and performances with Lux Boreal Danza Contemporánea, Allyson Green Dance and Khosro Adibi. She was a lead organizer for the Fronteras México project that focused on teaching through the arts at orphanages and marginalized areas of Tijuana, México. She was named a 2010-2011 “Young Creator” PECDA Scholar by the State of Baja California, México with her project “Union Artistica Sin Fronteras” that explored transcendence of the physical and cultural boundary between Tijuana and San Diego through artistic exchange. Abril was recently selected for the national fellowship from FONCA 2012-2013, a year-long fellowship given by the Government of México to pursue scholarship abroad. In addition, she was selected for the 2013 New York Foundation for the Arts Immigrant Artist Program and is currently a staff member at the Trisha Brown Dance Company. Abril was selected as an Alumna to Watch in 2013 by San Diego State University.

Fresh Tracks
Featuring Martita Abril, Maximilian Balduzzi, Ben Grinberg & Nick Gillette, Daniel Holt, Leslie Parker and Gabrielle Revlock.
Tickets and Info

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14 Nov

#payartforward with niv Acosta

Since our inaugural 2011/2012 Season, New York Live Arts has commissioned 83 artists who are moving the field into the future.

#payartforward is a campaign we’ve launched to spread the word about New York Live Arts and the artists we support. Each week until the end of the year we are releasing a new video by an artist who has been commissioned by us.

Please help us #payartforward by doing one or all of the following:

Watch our new series of videos highlighting artists from the New York Live Arts season and spread the word.

Make a contribution to the DTW Commissioning fund at or by using the Paystik app on your mobile phone (instructions below).

Watch these artists on stage and let us know when you’re here by posting and sharing on twitter, facebook and instagram.

read more

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