As a former student in a self-designed undergraduate program of study focused on dance, movement, and performance art in conjunction with visual arts and museum studies, I wanted a place to chronicle my (generally inarticulate, often embryonic, but always good-intentioned) thoughts on current articles, performances, and debates in this somewhat specialized field that I am attempting to skirt ’round the edges of.
Here’s the general idea: I see museums as a point of critical convergence for what we human beings traditionally love to see as two opposing motives: ephemera and permanence. When we place dance, as an artistic object, in museums, we challenge what a museum is, what dance is, what a spectator is, what dualism is, what forever is, what we are, and what now might be. This is incredibly exciting to me.
Rather than trying to cultivate a pretentious, pseudo-critical academic tone (which might be more easily done, considering the generally human desire to throw oneself into the onrushing waters, the molten marrow, the emotional core of life and art and emerge still sounding somewhat cultured/worldly/intelligent/unscathed), I would like instead to open up, with wild abandon and caution to the wind, a dialogue about some of the incredible work that’s going on in performance curation and site-specific performance (much of which is not nearly acknowledged enough) as a way to attempt honestly to process my own thoughts and feelings about it, and I do this without any pretense of qualification. Ultimately, I would like this space to serve as a living archive in which I am able to document and file my ideas, reactions, and dreams in response to some of the fascinating, disturbing, beautiful, confounding, ridiculous, moving, ephemeral and permanent art in the world (as well as past writings on the subject of critical dance studies), and let them sit, marinate, and ultimately change with me, as I do.
© All work is either mine or credited otherwise.