Why I Hated Sasha Waltz’s “Kreatur” at BAM and the Arts Funding Econo-system
Art / Performance

Why I Hated Sasha Waltz’s “Kreatur” at BAM and the Arts Funding Econo-system

I did not hate Sasha Waltz’s U.S premiere of Kreatur at the Brooklyn Academy of Music because it enlisted every cliché in ‘avant-garde’ dance-theatre—dancers speaking gibberish aloud, awkward jerky movement, bodies colliding, self-conscious actorly dancers, same-sex kissing, topless women, dancers pulling down the briefs of other dancers, expensive couture costumes, hi-tech lighting, an electronic score, gratuitous use of special-effects props. Continue reading

What Bodies And Whose Stories Do We Primarily Witness Onstage?: Intersectional World-Making With Kinetic Light’s “DESCENT”
Performance

What Bodies And Whose Stories Do We Primarily Witness Onstage?: Intersectional World-Making With Kinetic Light’s “DESCENT”

In Feminist, Queer, Crip, Alison Kafer speaks to the presumed lack of disability in imagined, idealized futures. “If disability is conceptualized as a terrible unending tragedy,” she writes, “Then any future that includes disability can only be a future to avoid. A better future, in other words, is one that excludes disability and disabled bodies; … Continue reading