I visited Alcatraz today.
It is the last remaining literal institution. The people were enclosed in concrete. In walls and grids and steel.
The prisoners could see SF through the concrete walls in their outside yard. Some choose not to see it. Some went back to their cells, to paint it from their memory.
Sometimes a prisoner would rip his button from his shirt, flip it in the air, and then look for it in the dark. Then flip it again.
You could see it from both sides of the prisoner/visitor window.
Where the rules are only remains of a practice.
The hard winds and the weather on the island made it impossible to maintain the building. Its becoming ruins of something that used to exist. Tjernobyl. An institution. Almost everything is institutions, the government, schools, workspaces. But we are not aware of it, since we don’t see the boundaries stepping from one institution to the other. But Alcatraz is the remains of a literal institution. On a small island. Very close to the civilization.
Visiting Alcatraz was like visiting Trisha Brown. Its the ruin of a dance that barely is visible. That you only can visit through its remains. Concrete walls, grids, and spacial limitations will never been seen in front of you, but yet they will always exist, in whatever you would try to make in the future.
Happy new time.
Bye Ruairi Donovan.
You are a fucking success.
This is not the end, this is only progression.
See you in six weeks in Amsterdam.
Amidst all the suffering and displacement, poverty and fear,
there is double parking, open doors, holding hands together, raising your arms up to the sky, crying, clapping and being together.
GLIDE offering new ways of being together, clever dramaturgy and emotional queuing through song.
While attending Performance Art offerings regularly in the Bay Area, our intrepid heroes adopt the standard euro trash dramaturg physicality.
Have you a photo of them about town interrogating modes of production and intention? send them to email@example.com
(a dance about the economy)
—A collaborative failure (in progress) choreographed by Keith Hennessy
Saturday-Sunday, December 17-18, 8pm, CounterPULSE
Share the Wealth $19.99
Performer/collaborators: Jassem Hindi (France/Lebanon), Julie Phelps, Emily Leap, Laura Arrington, Jesse Hewit, Jorge De Hoyos, Hana Erdman, Gabriel Todd, Ruairi O’Donovan (Ireland), Karina Sarkissova (Sweden), Jupiter Knows, Keith Hennessy plus special guests.
Unstable structures supported by unsustainable systems, this dance cannot stand up on its own. Turbulence (a dance about the economy) is a bodily response to economic crisis.
Turbulence engages the frictions between economic crisis, disaster capitalism, debt, precarity, propaganda, torture, union busting, magic, collaboration, war, and physical performance.
Instigated before the recent Occupy Wall Street actions, Turbulence is intended as both provocation and affirmation of global movement for economic justice.
Turbulence is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from the Andrew W. Mellon Foundation, the MetLife Foundation, and the National Endowment for the Arts.
Additional funding includes Zellerbach Family Foundation, the New Stages in Dance grant, and the SF Arts Commission OPG.
A contribution movie to our process sent by Joakim Heidvall the 15th of December.
from a distance
20 pence piece falling over the table edge