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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.
Bon Iver began collaborating with Minnesota's TU Dance, which was cofounded by Toni Pierce-Sands and Uri Sands, both Black veterans of Alvin Aileys American Dance Theater, to present Come Through, a contemporary dance performancemixing modern dance, hip hop, and ballet among other movement stylesalongside 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 Womens March.
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.