To step in and out of the space was to be jolted by the buzz of commerce in miniature, and then feel it’s rapid diffusion into the institution. Occasional or one-off visitors may not have noticed this immediate (yet subtle) transformation of a very specific energy. Yet I had the opportunity to routinely feel incarnations of transactional power morph jarringly back and forth within a larger setting in which “down market” is normally muted or shunned.
As part of the aforementioned army that haggled and mugged with those who were game, and occasionally disdained those who’d come solely to heckle, I incorporated this heightened awareness into my own artistic mediation and interactions with various “customers”. Over the course of the show, I participated in wide-ranging, revealing conversations with strangers on themes such as Fiat currency, memory, and the nature/notion of intrinsic value. The experience was incomplete unless visitors read Issues One and Two of the companion Garage Sale Standard.
This choreo-poetry collaboration with Vassilea Terzaki was presented at the Greenpoint
Pre-Apocalyptic Theatre Festival in 2013. Told through spoken word and movement, it explores issues of agency and authority. Imagining the unique challenges faced by a soldier, a human rights lawyer and an artist; the piece ponders the price paid by women who assert their will, and subsequently have their humanity challenged.
Photos taken by Carlos Rodriguez of PostColonialPrISM, a performance piece that merged West African and Native American dance and drumming styles. PostColonialPrISM was part of the 2011 ISM Project Gala, an annual performance produced by the New York University Center for Multicultural Education and Programs, or CMEP. Listen to sound of the project by clicking PostColonialPrISM.
This poem was written one the eve of the 2000 elections. The video for it was created in 2004, just before that year’s elections. It was shot and edited by Jason R. Wood.
This was a performance piece created for BYOB, a weekly cast-devised improv show that ran at the Brooklyn Lyceum in the fall and winter of 2001. Performers in this piece are: Mistah, E Okobi, Kaskade and Mariama Nance.
I was in the cast of this play, which used masks, puppets, live music and physical theatre to tell the story of the creatures encountered, and adventures had by a young girl as she journeys from night to day; sub-concious to unconscious. written by Lavinia Roberts and directed by Lily Raabe with an original score by Ahmed Alabaca. This performance won first prize in the New York City’s Cabrini Repertory Theater’s 2012 Thespis Festival.
I was a cast member in this original theater for young audiences (TYA) performance piece written and directed by Lavinia Roberts and produced by the NYU Steinhardt Department of Educational Theatre‘s Uproar Theatre Corps. The Time of the Wolves used mask work and live sound design by Michael Feld.
I was a cast member of this site-specific, multi-media performance conceived and directed by Jonathan Solari. The piece employed video, live music and puppetry. Read the review of it that was published in the New York Times.