DANCE REFLECTIONS: WHAT THE DAY OWES TO THE NIGHT
Joyce Theater
175 Eighth Ave. at 19th St.
January 28 – February 2, $12-$82
212-645-2904 www.joyce.org www.cie-koubi.fr
Last January, French choreographer Hervé Koubi brought down the house at the Joyce with his troupe’s stirring 2023 production, Sol Invictus, so it’s no surprise that Compagnie Hervé KOUBI sold out in advance its encore engagement of 2013’s What the Day Owes to the Night. A later production dazzled Joyce audiences in 2018, and it’s back to once again push the limits of what the human body can do.
In a program note, Koubi, who discovered his family’s Algerian roots when he was twenty-five, explains, “This project is at the crossroads of two preoccupations: my taste for the construction and the danced composition and a deep need to bring me closer to my origins in the land of Algeria. Links to be found, others to be renewed, and still others to be built.” Upon learning of his heritage, he spent four years in Algeria and came back with a movement language that incorporates hip-hop, the Afro-Brazilian martial art of capoeira, break-dancing, gymnastics, ballet, and contemporary dance, performed by an all-male North African ensemble.
The sixty-five-minute presentation is named after the 2008 novel by Yasmina Khadra, the pseudonym of Algerian author Mohammed Moulessehoul; the show does not follow the plot of the romantic drama as much as the feel and setting, structured around the midcentury battle of Mers El-Kebir, the Algerian War for Independence, and the hours in a day.
The insanely talented dancers — Badr Benr Guibi, Giacomo Buffoni, Mohammed Elhilali, Vladimir Gruev, Youssef El Kanfoudi, Abdelghani Ferradji, Oualid Guennoun, Bendehiba Maamar, Nadjib Meherhera, Houssni Mijem, Ismail Oubbajaddi, Matteo Ruiz, and El Houssaini Zahid — are dressed in white cotton pants with panels that swirl and shirts that eventually come off, revealing duly impressive torsos. The flowing costumes are by assistant choreographer Guillaume Gabriel, who also arranged the score, which features Johann Sebastian Bach, Sufi music, and the Kronos Quartet performing songs by Egyptian Nubian musician Hamza El Din, in addition to moments of poetic silence.
The dancers begin in a pile in a far corner, then stir in a hazy, smokey dawn. Over time, as Lionel Buzonie’s lighting gets sharper and brighter, resulting in different shades of shadows on the white floor and, for one section, two dozen golden circles, the men do jaw-dropping head spins; shoot our their arms as if defending themselves; lift up one man high into the sky; and form two groups that each toss a dancer up and others catch him.
They swirl like whirling dervishes, writhe on the floor, and arch and angle their bodies in unison. They run forward and backward, perform cartwheels and diving somersaults, and hold hands in a circle. At one point, twelve men line up on one side and all watch a dazzling solo. At another, they come together and do simultaneous handstands, their bare feet dangling in the air like roots growing out of the earth. They occasionally slow down, most likely to gather their breath before the next action-packed moments.
Part of the Dance Reflections by Van Cleef & Arpels initiative, What the Day Owes to the Night does become a bit repetitive — is it possible for remarkable head spins to become de rigeur? — but it is also utterly thrilling, a unified piece that immerses you in Koubi’s world, radically changed by his discovery of his secret family identity. It will likely make you think about your own ancestors and wonder what beauty might be hidden there.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Ronald K. Brown/EVIDENCE returns to the Joyce for the company’s fortieth anniversary
Ronald K. Brown/EVIDENCE, a Dance Company
The Joyce Theater
175 Eighth Ave. at 19th St.
January 14–19 (curtain chat January 15), $52-$72 www.joyce.org www.evidencedance.com
One of the highlights of Alvin Ailey American Dance Theater’s recently completed winter season at New York City Center was a new, even more exhilarating twenty-fifth anniversary production of Ronald K. Brown’s 1999 Grace The piece will now be performed by Brown’s Brooklyn-based Evidence, a Dance Company, as part of its winter season at the Joyce — and the troupe’s fortieth anniversary. Running January 14-19, it consists of two programs, both beginning with the company premiere of 2001’s Serving Nia, a sequel to Grace, set to music by drummer Roy Brooks and trumpeter Dizzy Gillespie and performed by eight dancers. That will be followed by 2005’s Order My Steps, a work for nine dancers, with music by Terry Riley, Bob Marley, and David Ivey and text by the late actor Chadwick Boseman, delivered live by his brother Kevin.
Program A concludes with the spectacular Grace, which features twelve dancers moving to a melding of modern dance and West African idioms as only Brown and co-choreographer Arcell Cabuag can do, with music by Duke Ellington, Roy Davis Jr., and Fela Aníkúlápó Kuti and live vocals by Gordon Chambers; the beats will stay with you long after the show is over. Program B ends with 2001’s High Life, a work for eight dancers, set to music by Oscar Brown Jr., Nikki Giovanni, Nikengas, Kuti, and Wumni.
Evidence’s spectacular costumes, by Omotayo Wunmi Olaiya, are always a treat all their own, as is the lighting, by Tsubasa Kamei, helping make every evening with Ronald K. Brown a special event, as it has been across its forty-year history.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Japan Society Under the Radar presentation of Duke Bluebeard’s Castle is one of dozens of experimental works in January performance festivals (photo by Yoji Ishizawa)
Every January, many of us begin the new year with resolutions to make positive changes in our lives; I find the best way to start that is by checking out the latest in cutting-edge and experimental theater, music, dance, opera, film, and other forms of entertainment. Performance festivals abound this month, at tiny venues you’ve never heard of, places you’ve always wanted to go to but haven’t yet, and well-known spaces you haven’t been to in years.
You now have the chance to fill those voids at such festival as Under the Radar, Prototype, Exponential, Out-Front!, Live Artery, Winter Jazzfest, and more, none of them costing nearly as much as a Broadway show. Below are only some of the highlights of this exhilarating time to try something that might be outside your comfort zone — or right up your alley.
New Ear Festival runs January 3-5 at Fridman Gallery on Lower East Side
NEW EAR FESTIVAL
Fridman Gallery
169 Bowery
January 3-5, $20-$30, Festival Pass $50-$70 new-ear.org
“Focused on fostering experimentation in time-based media and interdisciplinary collaboration in New York City and beyond,” Fridman Gallery’s New Ear Festival, which began in 2013, is back with a stellar lineup of musicians and installations, including Henry Threadgill, Ash Fure, and Kyp Malone.
Friday, January 3
Main Room: Henry Threadgill, Justin Cabrillos, relatively special theories of spAcial relativities, medium (Yaz Lancaster & GG200BPM); 8-Channel Audio: New Ear Spatial: Echoes; 4-Channel Video: “Landscape of the Medium” by Marleigh Belsley, 7:30
Saturday, January 4
Main Room: Members of Irreversible Entanglements, Shara Lunon, Kamari Carter & Gladstone Deluxe; 8-Channel Audio: New Ear Spatial: Echoes; 4-Channel Video: \[ the hurricanes in your mouth \] by Johann Diedrick, 7:30
Sunday, January 5
Main Room: Ash Fure, Brian Chase, Kyp Malone, Brian House & Sue Huang (feat. Robert Black); 8-Channel Audio: New Ear Spatial: Echoes; 4-Channel Video: Ash Fure, Studies for the Coming Heat, 7:30
The Brooklyn Exponential Festival is a treat for curious theatergoers
Brooklyn’s month-long Exponential Festival consists of nineteen shows in such venues as the Loading Dock, the Brick, and JACK, highlighting pieces by “participants [who] are committed to ecstatic creativity in the face of commercialism. Exponential is driven by inclusiveness and a diversity of artists, forms, and ideas coupled with utopian resource-sharing, mentoring, and the championing of risky, rigorous work in eclectic fields.”
Friday, January 3
through
Sunday January 5 haircut play :€, by Eulàlia Comas, Loading Dock, 170 Tillary St., $28.52
Thursday, January 9
through
Sunday, January 12 Neck Down, f.k.a. Rainbow’s End, by Nic Adams, We Are Here Brooklyn Studios, 563 Johnson Ave., $12.51-$49.87
Friday, January 10
through
Friday, January 17 MEOW!, by Matthew Antoci & Meaghan Robichaud, Loading Dock, 170 Tillary St., $28.52
Wednesday, January 15
through
Saturday, January 18 Sapphire, by Ella Lee Davidson, the Brick, 579 Metropolitan Ave., $25-$55
Friday, January 17, 7:30
and
Saturday, January 18, 3:00 & 7:30 Braiding Water, by Xiaoyue Zhang, JACK, 20 Putnam Ave., $25-$50
Thursday, January 23
through
Saturday, January 25 Happy Birthday, Curiosity Rover!, by Laura Galindo, Brick Aux, 628 Metropolitan Ave.,
Friday, January 24, 7:30
and
Saturday, January 25, 3:00 & 7:30 Tongues by Yibin Wang and Yejia Sun JACK, 20 Putnam Ave., $25-$50
UNDER THE RADAR
Multiple venues
January 4-19, free – $120 utrfest.org
Under the Radar is the glittering gem of performance festivals, two weeks of unique, unpredictable, and fascinating works, many hard to define but need to be seen. Founding director Mark Russell brought it to New York City in 2005, teamed up with the Public Theater’s Oskar Eustis in 2006, and has been presenting intriguing and exciting pieces from around the world ever since. The 2025 UTR, celebrating its twentieth anniversary, takes adventurous theatergoers on a thrilling ride, introducing audiences to high-tech generative AI (the four-part interactive and immersive TECHNE at BAM), a time loop in a small white closet (The 7th Voyage of Egon Tichy at New York Theatre Workshop’s Fourth Street Theatre), a political prisoner in Tehran being visited by her husband (Blind Runner at St. Ann’s Warehouse), actual Russian refugee children who live in US shelters and their American peers (SpaceBridge at La Mama), a pair of skeletons digging for bones in the underworld (Dead as a Dodo at the Baruch Performing Arts Center), a reimagining of a popular musical (Show/Boat: A River at NYU Skirball), a Harajuku makeover of a classic French fairy tale (Duke Bluebeard’s Castle at Japan Society), a pair of rice cookers delving into the last twenty years of Korean history (Cuckoo at PAC NYC), and a marathon funeral for a company’s longtime home (Soho Rep Is Not a Building. Soho Rep Had a Building… at walkerspace). Below are only some of the highlights.
Saturday, January 4
through
Tuesday, January 7 TECHNE: The Vivid Unknown, by John Fitzgerald and Godfrey Reggio, BAM Fisher, Fishman Space, $10
Saturday, January 4
through
Thursday, January 24 Blind Runner, by Amir Reza Koohestani and Mehr Theatre Group, St. Ann’s Warehouse, 45 Water St., $44-$54
Saturday, January 4
through
Sunday, January 26 The 7th Voyage of Egon Tichy [Redux], by Sinking Ship and Theater in Quarantine, New York Theatre Workshop’s Fourth Street Theatre, 83 East Fourth St., $30-$50
Tuesday, January 7
through
Friday, January 11 TECHNE: The Golden Key, by Marc Da Costa and Matthew Niederhauser, BAM Fisher, Fishman Space, $10
Tuesday, January 7
through
Saturday, January 11 SpaceBridge, by Irina Kruzhilina, La MaMa, Ellen Stewart Theatre, 66 East Fourth St., $10-$30
Wednesday, January 8
through
Sunday, February 9 Dead as a Dodo, by Wakka Wakka, Baruch Performing Arts Center, 55 Lexington Ave., $40-$55
A space traveler is trapped in a time loop in The 7th Voyage of Egon Tichy [Redux] (photo by Josh Luxenberg / Sinking Ship / Theater in Quarantine)
Wednesday, January 9
through
Sunday, January 26 Show/Boat: A River, by Target Margin Theater, NYU Skirball Center for the Performing Arts, 566 LaGuardia Pl., $60-$120
Sunday, January 12
through
Wednesday, January 15 TECHNE: Voices, by Margarita Athanasiou, BAM Fisher, Fishman Space, $10
Wednesday, January 15
through
Saturday, January 18 Duke Bluebeard’s Castle, by Shuji Terayama, Japan Society, 333 East Forty-Seventh St., $36-$48, 7:30
Thursday, January 16
through
Saturday, January 18 Cuckoo, by Jaha Koo, Perelman Performing Arts Center, 251 Fulton St., $58-$68
Thursday, January 16
through
Sunday, January 19 TECHNE: Secret Garden,by Stephanie Dinkins, BAM Fisher, Fishman Space, $10
Angie Pittman will present Black Life Chord Changes at Out-FRONT! Festival (photo by Brian Rogers)
OUT-FRONT! FESTIVAL
Judson Church, 55 Washington Square South
BAM Fisher Hillman Studio, 321 Ashland Pl.
January 7-13, free with advance RSVP (suggested donation $25) pioneersgoeast.org
The third edition of Pioneers Go East Collective’s Out-FRONT! Festival features presentations from such choreographers and dance companies as jill sigman/thinkdance, Angie Pittman, and Kyle Marshall Choreography at Judson Church and the BAM Fisher Hillman Studio in addition to an evening of films. “As a grassroots artist-driven collective, we create a high-visibility platform for dance and interdisciplinary artists whose rigorous, playful, and fabulously outrageous creative practices speak to our community in unexpected and beautiful ways,” artistic director Gian Marco Riccardo Lo Forte said in a statement. “We engage known and lesser-known artists to shape a joyful space to celebrate queer art and stories of vulnerability and inclusion.”
Tuesday, January 7
and
Friday, January 10
Miranda Brown + Noa Rui-Piin Weiss: !!simon says~~!:));)$$, and Nattie Trogdon + Hollis Bartlett: Vessels, Judson Church, 7:00
Wednesday, January 8
and
Thursday, January 9
jill sigman/thinkdance: Re-Seeding (Encounter #4), Judson Church, 7:00
Friday, January 10, 8:30
and
Monday, January 13, 7:00
Blaze Ferrer: Dick Biter and Stuart B Meyers: thegarden, Judson Church
Saturday, January 11
Out-FRONT! Film Series: dance and experimental short films by Dominique Castelano, Jueun Kang, Kathleen Kelly, Haley Morgan Miller, Pioneers Go East Collective, and Maamoun Tobbo, Judson Church, 3:00
Angie Pittman: Black Life Chord Changes and Kyle Marshall Choreography: Joan, BAM Fisher Hillman Studio, 7:00
zoe | juniper will present latest work as part of new York Live Arts festival (photo by Anton Karaa)
LIVE ARTERY
New York Live Arts (unless otherwise noted)
219 West 19th St.
January 8-18, $28-$40 newyorklivearts.org
New York Live Arts’ annual Live Artery showcases works by emerging and established choreographers; this year’s impressive lineup includes Ogemdi Ude, zoe | juniper, Joseph Keckler, Leslie Cuyjet, Miguel Gutierrez, and, if you are lucky enough to get an invite, Shamel Pitts, A.I.M by Kyle Abraham, and Bill T. Jones/Arnie Zane Company.
Wednesday, January 8
through
Saturday, January 11 My Body, My Archive, by Faustin Linyekula
Friday, January 10
through
Monday, January 13 The Marthaodyssey, by Jesse Factor
Saturday, January 11 Major, by Ogemdi Ude, 3:00
time/life/beauty, by Michael Sakamoto and Paul Miller aka DJ Spooky, $15, 6:00
Saturday, January 11
and
Sunday, January 12 For All Your Life, by Leslie Cuyjet, CPR — Center for Performance Research, 361 Manhattan Ave., $25
Sunday, January 12
Artist Salon, with Janani Balasubramanian, Gabriela Carneiro da Cunha, Kayla Farrish, Heather Kravas, and Tere O’Connor, free with advance RSVP, 11:00 am
The Missing Fruit (Part I), by Roderick George — kNonAme Artist, $15, 1:00
UNTITLED, by zoe | juniper, with Xiu Xiu, $15, 6:00
Sunday, January 12
through
Saturday, January 18 Super Nothing, by Miguel Gutierrez
Monday, January 13 Turn. Turning.TURNT, by Cynthia Oliver/COCo Dance Theatre, 6:00
A Good Night in the Trauma Garden, by Joseph Keckler, 8:00
SFX FESTIVAL
the wild project
95 East Third St.
January 9-11, $23.33 thewildproject.org
The seventh iteration of the Special Effects Festival (SFX), founded by Caden Manson and Jemma Nelson, takes place January 9-11 at the wild project with three evenings of new works “to rekindle the spirit of the avant-garde and create a shared space to gather for contemporary performance.”
Thursday, January 9
Illuminated Skies: A Night of Puppetry, with Cumulo by Emily Batsford, an excerpt from Shiny One by Jon Riddleberger, Cast from Heaven by Jacob Graham, and Where Did You Go, Connie? by Amanda Card, curated by Amanda Card, 7:00
Friday, January 10
Works by Wonderful Cringe (Nicholas Sanchez), Harlequin (Adonis Huff & Jelani Best), and Lele Dai, curated by Kyla Gordon, 7:00
Saturday, January 11
Gray Spaces, with Idiot Void (working title) by David Commander, double column by Marissa Joyce Stamps, and 5G Maitreya by Glenn Potter-Takata, curated by Lisa Clair, 7:00
Founded in 2005, “Winter Jazzfest celebrates the music as a living entity, wherein history collides with the future in every note. Creative improvisation in the digital age continues to stimulate thought and emotion of its listeners, embracing innovation, defying instrumental boundaries and the old cliches of ‘What is Jazz?’” Among this year’s highlights are poet, writer, lyricist, and activist aja monet, pianist and composer Vijay Iyer, Sun Ra Arkestra, and two days of marathons at such venues as Le Poisson Rouge, Nublu, Mercury Lounge, Baby’s All Right, and the Bitter End.
Thursday, January 9
aja monet, Faye Victor, Sophye Soliveau, LPR, 158 Bleecker St., $45.42, 6:30
Friday, January 10
Manhattan Marathon, multiple venues, including Endea Owens at LPR, Jenny Scheinman’s All Species Parade at City Winery, Vijay Iyer & Wadada Leo Smith at Performance Space NY, the Christian McBride Band at Mercury Lounge, and Sophye Soliveau at the Bitter End, $85
Saturday, January 11
Brooklyn Marathon, multiple venues, including Sun Ra Arkestra at Brooklyn Bowl, Vijay Iyer Trio +1 Featuring Adam O’Farrill at National Sawdust, Peter Apfelbaum’s New York Hieroglyphics at Loove Labs Annex, Matthew Shipp Trio at Loove Labs, Lion Babe at Baby’s All Right, and Ken Butler’s Curious Cave of Anxious Objects at Hybrid Visions, $85
Sunday, January 12
Impressions: Improvisatory interpretations on A Love Supreme, featuring the Ravi Coltrane Quartet with David Virelles, Jeff “Tain” Watts, and Dezron Douglas, with guests Allison Miller, Angelica Sanchez, Ben Williams, James Brandon Lewis, Joel Ross, Kalia Vandever, Kassa Overall, Kenny Warren, Linda May Han Oh, Mali Obomsawin, Melissa Aldana, Nasheet Waits, Orrin Evans, Rafiq Bhatia, Sam Newsome, Theon Cross, Tomoki Sanders, and more, Roulette, 509 Atlantic Ave., $63, panel 6:30, show 8:00
Monday, January 13
Strata-East Rising, A Landmark Concert with Charles Tolliver, Cecil McBee, Billy Hart, Billy Harper, Christian McBride, aja monet, Endea Owens, Steve Jordan, Keyon Harrold, Camille Thurman, and more, Le Poisson Rouge, 158 Bleecker St., $57.47-$105.06, 7:00 & 9:30
Cofounding directors Kristin Marting and Beth Morrison have put together another outstanding group of shows for Prototype, which “is committed to surprising our audiences and confounding their expectations through content, form, and relevance.” This year they will be accomplishing that with eight presentations, including an art bath, concerts, a streaming hip-hopera, and five works at HERE, La MaMa, and the Village East. Watch out for Eat the Document, based on the novel by Dana Spiotta, exploring activists from the 1970s underground to 1990s suburbia, and Black Lodge, inspired by the lives and careers of William S. Burroughs, David Lynch, and Antonin Artaud.
Thursday, January 9
through
Friday, January 17 Eat the Document, alternative opera by composer John Glover and librettist Kelley Rourke, directed by Kristin Marting, HERE Arts Center, 145 Sixth Ave., $35-$150
Thursday, January 9
through
Sunday, January 19 TELEKINETIK, a Catapult Opera production by Khary Laurent, directed by George Cederquist, available on demand, free
Saturday, January 11
through
Tuesday, January 14 Positive Vibration Nation, rock guaguanco opera by Sol Ruiz, with Rey Rogriguez, Alejandro Sierra, Fernando Sanchez Abad, Margarita Arranz, Adonnas Jones, and Shira Abergel, HERE Arts Center, 145 Sixth Ave., $35-$150
Saturday, January 11
through
Wednesday, January 15 Black Lodge, goth industrial rock opera by composer David T. Little, librettist Anne Waldman, starring Timur and the Dime Museum and Isaura String Quartet, film by Michael Joseph McQuilken, BRIC Arts Media, 647 Fulton St., Brooklyn, $40.25-$155.25
Thursday, January 16
through
Sunday, January 19 In a Grove, chamber opera by composer Christopher Cerrone and librettist Stephanie Fleischmann, directed by Mary Birnbaum, and starring Metropolis Ensemble, La MaMa Experimental Theatre Club, Ellen Stewart Theater, 66 East Fourth St., $35-$75
PhysFestNYC
Stella Adler Center for the Arts
65 Broadway
January 9-19, $20 www.physfestnyc.org
PhysFestNYC was started last year as “a community-focused festival that celebrates, enriches, and envisions our field of physical theater . . . [which] tends to be experimental, innovative, and genre-breaking.” The second annual event, taking place January 9–19 at the Stella Adler Center for the Arts, consists of workshops, panel discussions, masterclasses, and live performances. Below are some of the highlights.
Tuesday, January 14 The Fluxus Brothers Present: Good Art Bad Art, performance art lecture demonstration with Ben Rosenthal, Morgan Rosenthal, and Morgan Fitzpatrick Andrews, $20, 7:00 & 8:30
Thursday, January 16 Pat Frisk/Duck, with Joanne Edelmann, and Stop, Replay, with Abhirami Rao, $20, 1:00
Friday, January 17
and
Saturday, January 18 Broken Box Mime Theater, $20, 7:00 & 8:30
The Triple Empathy Problem, with Noah Ortega and Asa Page, Here Is Siya, with Joey Antonio, and Do You Still Believe?, with Noel Olson, $20, 7:00 & 8:30
Saturday, January 18 It Goes Without Saying, created and performed by Bill Bowers, 20, 4:00
Saturday, January 18
and
Sunday, January 19 Please Ship This Wet Gift, with Marta Mozelle MacRostie, followed by a panel discussion, $20, 1:00
THE FIRE THIS TIME FESTIVAL
FRIGID New York at the wild project
195 East Third St.
January 23 – February 2, $25 www.firethistimefestival.com
Founded in 2009 by Kelley Nicole Girod, the Fire This Time Festival, now in its sixteenth year, “provides a platform for early career playwrights of African and African American descent.” The 2024 iteration comprises six ten-minute shows at the wild project, presented by FRIGID New York, that take on such topics as Billie Holiday, queer identity, the search for a missing sibling, and an unusual night for Hagar and Abraham.
Thursday, January 23
Friday, January 24, 31
Saturday, January 25
Saturday, February 1
Sunday, February 2 Pound Cake, by Brittany Fisher; OUT, by FELISPEAKS; Just One Good Day, by Jeanette W. Hill; But Not Forgotten, by D. L. Patrick; Security Watch, by TyLie Shider; and Immanentize the Eschaton, by Garrett Turner
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Who: Kat Georges, Peter Carlaftes, Jennifer Blowdryer, Puma Perl, Michael Puzzo, Danny Shot, Richard Vetere, George Wallace, more What: Annual tribute to Charles Bukowski Where:The Bitter End, 147 Bleecker St. between Thompson & La Guardia When: Thursday, August 15, $10, 6:00 Why: “What sort of cultural hangover keeps Charles Bukowski in print and popular more than twenty years after his death?” S. A. Griffin asks in his Three Rooms Press essay “Charles Bukowski: Dean of Another Academy.” “In light of the fact that a good portion of what has been published since his passing in 1994 may not be the man’s best work, along with some heavy editing at times, why does Charles Bukowski remain relevant well into the 21st century?”
The seventeenth annual Charles Bukowski Memorial Reading takes place August 15 at 6:00 at the Bitter End in Greenwich Village in honor of what would have been the 104th birthday of the author of such books as Pulp,Factotum,Post Office,On Cats, and Love Is a Dog from Hell, with tribute readings by performance artist Penny Arcade, musician and storyteller Jennifer Blowdryer, poets Puma Perl, Danny Shot, and George Wallace, and playwrights Richard Vetere and Michael Puzzo, hosted by Kat Georges and Peter Carlaftes of Three Rooms Press. Bukowski, who died in 1994 at the age of seventy-three, will be celebrated through poetry, oral history, rare videos, and live performances, with a special look at what he might have thought about the 2024 elections, presidential immunity, nonalcoholic beer, AI, and other contemporary issues. As a bonus, various prizes will be given away.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Sam Green and Yo La Tengo will team up for live documentary at Alice Tully Hall
LINCOLN CENTER’S SUMMER FOR THE CITY: THE EPHEMERAL CINEMA OF SAM GREEN
Alice Tully Hall
1941 Broadway at Sixty-Fifth St.
June 13-16, choose-what-you-pay ($5 minimum) www.lincolncenter.org 32sounds.com
Lincoln Center’s Summer for the City heads indoors for the three-part series “The Ephemeral Cinema of Sam Green,” consisting of a trio of documentaries by the American filmmaker featuring on-site narration by Green and live music.
On June 13 at 7:30, JD Samson and Micheal O’Neill will be performing Samson’s score to 2022’s 32 Sounds, with the audience listening on headphones that will be distributed at the theater. On June 14 at 4:00 and 8:00, Kronos Quartet (David Harrington, John Sherba, Hank Dutt, Paul Wiancko) will be on hand to accompany 2018’s A Thousand Thoughts, which Green wrote and directed with Joe Bini about the history of the group. And on June 16 at 7:30, local faves Yo La Tengo (Ira Kaplan, Georgia Hubley, James McNew) will play along with 2012’s The Love Song of R. Buckminster Fuller, which explores the career of the twentieth-century futurist.
Sam Green delves into how we listen and connect with humanity and nature in 32 Sounds
32 SOUNDS (Sam Green, 2022)
Alice Tully Hall
Thursday, June 13, choose-what-you-pay ($5 minimum), 7:30 www.lincolncenter.org 32sounds.com
Sam Green’s 32 Sounds might be about how we hear the world, but it’s also filled with a barrage of stunning visuals that, combined with the binaural audio, creates a unique and exciting cinematic journey.
Green was inspired by his relatively new friendship with experimental composer and musician Annea Lockwood, which blossomed over Skype during the pandemic, and by François Girard’s 1993 biographical anthology Thirty Two Short Films About Glenn Gould, in which Colm Feore portrays the Canadian classical pianist most famous for his interpretations of such Bach works as the Goldberg Variations. In 32 Sounds, Green teams with composer, DJ, and musician JD Samson, from such bands as Le Tigre and MEN, to present ninety-five minutes of remarkable delicacy and insight.
The film is best experienced on headphones, which is how it is being shown at Alice Tully Hall, with specially customized headphones with the audio mixed live inside the theater. The sound was recorded binaurally, so the audience can hear speech and movement as if it’s to your left or right, behind you, far away, or close up.
In 32 Sounds, Princeton professor and scientist Edgar Choueiri introduces us to Johann Christoff, a recording device shaped like a human head that “captures sound exactly how you hear it.” Similar technology has been used for such theatrical presentations as The Encounter and Blindness. Hollywood veteran and two-time Oscar winner Mark Mangini (Dune,Mad Max: Fury Road) designed the sound for the film, immersing the viewer into what feels like a three-dimensional universe.
The film kicks off with Green and Samson in a playful scene that sets the stage for what is to follow. “This is a little bit of an odd movie in that we’re going to ask you to do some things,” Green explains. “Simple things, like close your eyes. If you don’t want to do them, don’t worry about it. But the truth is, the more you give yourself to the experience” — Samson then cuts in, finishing, “the more you get out of it.”
The first sound Green explores, appropriately enough, is of the womb, recorded by former midwife Aggie Murch, whose husband is Oscar-winning film editor and sound designer Walter Murch (Apocalypse Now,The English Patient,The Conversation). Over a purplish white screen with no figuration, Green discusses Walter Murch’s 2005 essay “Womb Tone,” in which Murch writes, “Hearing is the first of our senses to be switched on. . . . Although our mature consciousness may be betrothed to sight, it was suckled by sound, and if we are looking for the source of sound’s ability — in all its forms — to move us more deeply than the other senses and occasionally give us a mysterious feeling of connectedness to the universe, this primal intimacy is a good place to begin.”
Green then jumps from birth to death, taking out old cassette tapes of voice messages he has saved from decades past, telling us how “they hold the voices of so many people I’ve loved who are gone. I was wondering, How does that work? How does a little piece of eighth-of-an-inch magnetic tape hold a person? Make it seem like they are alive and in front of you more than any photo or piece of film ever could. I was wondering if sound is somehow a way to understand time, and time passing, and loss, and the ephemeral beauty of the present moment, all the things that I keep coming back to in my movies.”
He meets with Cheryl Tipp, curator of Wildlife and Environmental Sounds at the British Library Sound Archive, who shares the poignant and heartbreaking story of the mating call of the Hawaiian bird the moho braccatus. Lockwood, the subject of a short companion film Green directed, demonstrates how she has recorded the sound of rivers for fifty years, after gaining notoriety for her burning-piano installations.
Foley artist Joanna Fang reveals how she creates sound effects for films using unusual items in her studio, from a bowling ball to a wet cloth. “Art can elevate a truth beyond what is feasibly there,” she says. “And if we pull it off right, hopefully the emotional experience of hearing it and being part of it is enough to make you fully accept the poetry of what you’re hearing. Because isn’t that what we’re all trying to do, trying to take what we’re feeling on the inside and show it to somebody else, or let them listen to it, and have them feel the same way we do?”
Black revolutionary and fugitive Nehanda Abiodun listens to a tape of McFadden & Whitehead’s “Ain’t No Stopping Us Now,” transporting her to another place and time. Poet and cultural theorist Fred Moten marvels about “ghost sounds” of his relatives. Bay Area military veteran and environmental journalist Harold Gilliam postulates about sleep and foghorns in the context of “being part of this total community of life and nonlife on Earth.” Lebanese artist and musician Mazen Kerbaj recalls being able to make sound art during bombings when others were trapped in their homes or dying.
Green gives examples of recording “room tones,” a documentary process in which the subject is silent for thirty seconds as the sound recordist grabs the natural sound in order to help with later editing. It’s fascinating watching Philip Glass, Laurie Anderson, Rebecca Solnit, and others sit or stand uncomfortably as they wait, and we wait; we are not used to seeing such stagnation in a motion picture.
Annea Lockwood has been recording rivers for more than fifty years
Deaf sound artist Christine Sun Kim uses ASL to describe vibration and how she was taught when she was a child that sound was not part of her life, a concept that infuses her art. “I realized that sound is like money, power, control; it’s social currency,” she explains.
Along the way Green also looks at inventor Thomas Edison, polymath Charles Babbage, electronics engineer Alan Blumlein, and a classic Memorex commercial starring Ella Fitzgerald. We see and hear Glass playing piano, church bells ringing in Venice, Don Garcia driving through the city in his red Mazda blasting Phil Collins’s “In the Air Tonight,” and John Cage performing 4’33” outdoors. A Zamboni cleans the ice at a hockey rink. A cat purrs. Evel Knievel jumps over obstacles on his motorcycle. Samson blasts away on a whoopee cushion. Danny drives his Big Wheel through the empty halls of the Overlook Hotel in The Shining. Different groups dance to Donna Summer’s “I Feel Love.”
Oscar nominee Green (The Weather Underground,A Thousand Thoughts) edited the documentary with Nels Bangerter; the new, sharp cinematography is by Yoni Brook. The visuals range from a deluge of quick cuts of archival footage to nearly blank screens when Green asks the audience to close their eyes and just listen.
While the film is a technical marvel, it also becomes deeply emotional, as Green and several subjects listen to recordings of friends and family no longer with us, something you can’t get out of a photo album. It made me think of the messages I had saved on my answering machine of my mother, who passed away in 2017; while I try to avoid hearing them — they used to pop up after I went through new messages, sending me screaming into another room — it is comforting to know that they exist, that I can hear her whenever I need to. Such is the power of sound.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
“Our goal is dialogue, not divisiveness,” Art at a Time Like This (ATLT) cofounders Anne Verhallen and Barbara Pollack say about their latest event, a two-day summit featuring panel discussions, live performances, illustrated lectures, and more.
“Dangerous Art/Endangered Artists” takes place June 7–8 at BRIC in Brooklyn, hosted by ATLT and Artists at Risk Connection (ARC). ATLT started on March 17, 2020, as an online community focusing on art as a direct response to what was happening in the world, from the pandemic lockdown to racial injustice. ARC began in 2017, helping international artists and cultural professionals of all disciplines connect to such resources as emergency funds, legal assistance, temporary relocation programs, and fellowships.
Among the summit participants are Iranian artist Shirin Neshat, American journalist and author Nikole Hannah-Jones, Cuban American interdisciplinary artist, writer, and curator Coco Fusco, Kenyan rapper Henry Ohanga aka Octopizzo, Native American artist and activist Demian DinéYazhi’, Pakistani American artist Shahzia Sikander, and Vietnamese singer and sound artist Mai Khôi. “I was born in Vietnam, where freedom of expression and artistic freedom have always been suppressed,” Mai Khôi, who recently performed her autobiographical show Bad Activist at Joe’s Pub, said in a statement. “I have had to become an activist to protect my right to be an artist because the artist inside me doesn’t want to be killed by the censorship system.”
TICKET GIVEAWAY: “Dangerous Art / Endangered Artists” takes place June 7-8 at BRIC in Brooklyn; tickets are $30 for one day and $50 for both, but twi-ny has two pairs to give away for free. Just send your name and favorite sociopolitical artist to contest@twi-ny.com by Monday, June 3, at 3:00 pm to be eligible. All entrants must be twenty-one years of age or older, and all information will be kept confidential; two winners will be selected at random.
Here is the full schedule (times and participants subject to change):
Summit Day 1: Challenges Facing Artists in Authoritarian Regimes
Opening Remarks, with Anne Verhallen, cofounder and codirector, ATLT, 5:00
Keynote Speaker: Shirin Neshat in conversation with ARC artistic director Julie Trebault, 5:05
Performance: Henry Ohanga aka Octopizzo, 6:00
Artists at the Forefront of Social Movements, with Dread Scott and Samia Halaby, moderated by ATLT cofounder and codirector Barbara Pollack, 6:15
Resiliency in Exile: Rania Mamoun and Mai Khôi, moderated by Ethiopian American writer Dinaw Mengestu, 7:15
Closing Remarks: ARC artistic director Julie Trebault, 7:50
Reception, 8:15
Summit Day 2
Registration + Coffee, 10:30
Here and Now: Censorship as a Political Tool in the United States, with Nikole Hannah-Jones and Aruna D’Souza, 11:00
Global Censorship: What It Looks Like, Who Does It, How to Combat It, with Coco Fusco, Omaid Sharifi, Khaled Jarrar, and Henry Ohanga AKA Octopizzio, moderated by Mari Spirito, 12:15
Is Censorship Discriminatory?, with Lorena Wolffer, Demian Diné Yazhi, and Shahzia Sikander, moderated by Jasmine Wahi, 3:30
Who:Martha Graham Dance Company,Neil Baldwin, Janet Eilber What:GrahamDeconstructed Where: Martha Graham Studio Theater, 55 Bethune St., eleventh floor When: November 8-9, in person $20-$30 (livestream $25), 7:00 Why: “For me, growing up in the Manhattan neighborhood where Lincoln Center would someday be built, the name ‘Martha Graham’ conjured a distant image: A goddess-like, athletic personage in a tight, shirred bodice extended at the hips into a flowing gown, her bare right foot weighted and planted as if holding to the floor, left leg poised aloft at an impossible angle revealing a long, muscular thigh emerging from the play of fabric in the eloquent garment. Her right arm is bent, her hand half-crooked at the wrist, fingers contracted and crowning a smooth brow while she gazes, angular-featured, luminous half-closed eyes fixed downward and focused inward, seeking an undefined, urgent answer.” That’s how Neil Baldwin describes his subject at the beginning of his new biography, Martha Graham: When Dance Became Modern (Knopf, October 2022, $40).
On November 8 and 9 at 7:00, the Martha Graham Dance Company will present a special program as part of its continuing “GrahamDeconstructed” series. Baldwin, who has also written such books as The American Revelation,Man Ray: American Artist,Edison: Inventing the Century, and Henry Ford and the Jews, will be at the Martha Graham Studio Theater on Bethune St. to launch the book, reading sections — joined by MGDC company members who will perform excerpts from dances he mentions — signing copies, and participating in a discussion with MGDC artistic director Janet Eilber, followed by a wine reception. The event will be livestreamed as well.
