The Brooklyn Rail

Can we create lasting mutual aid structures?

By Nicole Loeffler-Gladstone

On May 14, I sat down at my tiny table to listen in on “REAL TALK!” the first public discussion of the “Creating New Futures” document. The CNF document is an urgent response to the wave of COVID-19 cancellations that have decimated the performing arts, assembled by a group of choreographers, producers, funders, and others within the dance world. As facilitator and noted choreographer Maria Bauman-Morales opened the evening, she called in the legacy of revolutionary anarchist and labor organizer Lucy Parsons as one of the ancestors we can learn from in this moment.

The Bon Iver Race Dance, Reviewed

By Adlan Jackson

Bon Iver began collaborating with Minnesota's TU Dance, which was cofounded by Toni Pierce-Sands and Uri Sands, both Black veterans of Alvin Ailey’s American Dance Theater, to present Come Through, a contemporary dance performance—mixing modern dance, hip hop, and ballet among other movement styles—alongside a live Bon Iver set. With Come Through, Vernon chooses to engage directly, for the first time in his career and with unfortunately haphazard treatment, with images and media like a hoodie superimposed over the word "breathe," and audio from a speech by Viola Davis about Jim Crow racism given at the Women’s March.

In Conversation

LIZ WOLFF with Ivan Talijancic

By Ivan Talijancic

This month marks the return of the Dance on Camera Festival, which has been taking place in New York annually for nearly half a century. As the world is still reeling in the throes of COVID-19, this festival too takes an unprecedented turn towards an all-virtual edition for the first time in its 48-year history.