Hi I’m spending over a hundred hours of unpaid time to hopefully make it into the three percent of people who actually get funded by your organization. This narrative, or, “the fucking Grant I have to write,” as I’ve come to call it to my friends, my family or any random idiot who I hijack into conversation about it, may come off a little disjointed. That’s probably because I worked on it after rehearsal, exhausted, or on the subway as I headed to rehearsal, or during the afternoon instead of rehearsal, or on a weekend night while looking out the window with all the longing of a melancholic woman in an 18th century British novel watching all the carefree 9 to 5’ers cavort through another fun-filled weekend.

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As with so many experiences of erasure in real time, I am thrown off balance, into the incongruence of two perspectives that cannot meet. I shuttle through a lifetime of situations where this erasure is practiced—a lifetime of going to dance classes and concerts, looking around the room or the audience, seeing that the majority of folks are white, and thinking, “Who is not here? Who is not here?” READ MORE

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The perfect dance critic does not exist.

The perfect dance critic works for the perfect arts editor, who does not exist. The perfect dance critic writes in the perfect arts publication, which also does not exist. The perfect dance critic doesn’t secretly wish that everything was the way it used to be. The perfect dance critic doesn’t secretly love ballet more than anything else and feel like she’s just slumming when she sees “downtown” work.

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I was invited to speak on a panel on touring abroad for Dance/USA Winter Council, held in Washington, D.C. February 2006. it was definitely longer than five minutes.

Thanks for having me here. I have five minutes and I intend to fill them.

I am on this panel because of my experience as an artist in relation to the topic at hand. I will take advantage of the culturally sanctioned understanding that artists can and should say what they wish in order to speak plainly. It’s not that I think that people here at this conference or on this panel aren’t speaking plainly, it’s just that lately, as an artist, I am committed to pushing past or through, if you will, the professional niceties that subtly regulate the way information in this field is expressed or disseminated. let’s bring the back room talk to the front room. it’s what we all want to know anyway.

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This is an online blog that I add to very sporadically where I detail the emotional spinouts I have when I see celebrities in person.

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This is the transcript of the talk I gave on January 25, 2016 as part of the TEN ARGUMENTS class series by Bruce High Quality Foundation University, where they invite two artists to discuss/present on a topic chosen by BHQFU. I was asked to present on the topic of “Idleness and Labor.” The other artist was Nayland Blake! The event took place at their Industry City location in Sunset Park, Brooklyn.

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