Projects tagged "Performance"

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The origin of the Soviet disco tradition, one that lasts to this day in the DJ-laden nightlife of Moscow and St. Petersburg, lay in the Stalinist era. Western culture – modernism, cubism, rock and roll, all that good stuff – was “decadent,” perhaps even a plot by Trotskyists or the Western intelligentsia to dull the steely nerves of the Soviet people. But dancing – this was a-OK.

Runners and walkers planning to take part in a 5K race in Asheville early next month might do better with a compass — a well-tuned political compass, that is.

In conjunction with the GUTS world tour, Olivia has launched Olivia Rodrido’s Fund 4 Good, a global initiative committed to building an equitable and just future for all women, girls and people seeking reproductive health freedom. A portion of the proceeds from all ticket sales at the GUTS world tour will go towards the Fund 4 Good.

Thelma Golden, curator at the Studio Museum in Harlem, talks through three recent shows that explore how art examines and redefines culture. The "post-black" artists she works with are using their art to provoke a new dialogue about race and culture -- and about the meaning of art itself.

UndocuNation, a performance and visual art conglomeration, took place this past Friday at International House. The Center for Race and Gender at Berkeley, CultureStr/ke, and the Theater and Dance Performance Studies department here at UC Berkeley helped put on the show specifically for Berkeley students. The show’s main focus was on the complex issues of undocumented immigration, and what that can mean for students especially.

In 1930, the Indian National Congress adopted satyagraha (essentially, nonviolent protest) as their main tactic in their campaign for independence. Mahatma Gandhi was appointed to develop a plan of action; he proposed marching to the sea to make salt in defiance of the Salt Act of 1882.

The Uganda National Contemporary Ballet (UNCB) presented a new powerful and moving production advocating for the child soldiers all over the world at the National Theatre in Kampala.

A short documentary about Artist Stephen Sheehan's performance called 'Weighed down by a cushion' performed at Liverpool One. The footage contains views from the public captured during the performance.

My skin is black,” the first woman’s story begins, “my arms are long.” And, to a slow and steady beat, “my hair is woolly, my back is strong.” Singing in a club in Holland, in 1965, Nina Simone introduced a song she had written about what she called “four Negro women” to a young, homogeneously white, and transfixed crowd.

“I sing because I genuinely think that if I don’t, I will die...The only thing that gives me relief is this.” - ganavya doraiswamy

Carolee Schneemann is largely associated with her performance art of the 1960s and 1970s, in which she boldly addressed feminist and political issues in ways that shocked and engaged viewers. But she has always maintained that she is a painter, a fact often overlooked in discussions of her larger body of work. At the heart of her approach is her ongoing exploration of the boundaries of painting and drawing, as in Up to and Including Her Limits.

La Casa Invisible project was started in 2007 in Malaga, Spain, when a group of socially involved participants squatted in a run-down building, aiming to eventually claim the legal rights to the property (Moor & Smart, 2016). The space was opened to local artists and creators, quickly becoming a hub for free local music, performances, and seminars as well as creating an important meeting space for social groups (Moor & Smart, 2016).