what I'm into lately

I disabled my Facebook account- yay! The reason? Too many triggering news stories of late. I need a break. The only things I miss about Facebook are the ease with which I can see what’s happening in my friends lives; sharing events about my life; and the steady stream of interesting articles, podcasts, books, movies, and events that I find through my friends posts. I haven’t figured out how replace these features in my life without Facebook, but I’m working on it. And in the meantime, I want to share some consumables that I’m into right now.

This interview with Martin Shaw on Emergence Magazine. He tells and talks about stories in such an expansive, wondrous way. His thoughts reflect how I think about making dance: creation as an experience that happens in the dark, in the shadows of our consciousness. I loved hearing someone put words to this experience, and also hearing one wonderful story at the beginning of the interview.

This magazine is spectacular! It’s called Salty, and it’s “the new, radically inclusive media brand and community exploring everything modern dating, sex, and relationships for women, trans and non binary people” (from the website). The features, photographs, and interviews are inspiring because they challenge normativity on every level. They also have an Instagram worth following!

Seeing White from Scene on Radio was so damn good. It’s history, social science, sociology, and deep reflections on whiteness rolled into a 14-part podcast series. It’s a very sobering listen that looks at whiteness in the USA from different perspectives, and it was produced in NC by the Center for Documentary Studies at Duke. I recommend this particularly for white folks.

That’s it for now! Comments are on, and if you feel like sharing something you’re really into (or any thoughts about what I shared) than please do! I’d love to hear.

xo

Tunisia and Chouftouhonna: cracking open my world

Three weeks ago I got on a plane and flew to Tunis, Tunisia, to participate in the 4th annual Chouftouhonna International Festival of Feminist Art. I first heard about the festival from three friends who performed there last year. They encouraged me to apply, and go, by promising me that I would meet interesting people and see good art. Other than this somewhat vague idea of what could happen, I really didn’t know what to expect from the festival or the country.

My Eurocentric ass got a reality check the moment I disembarked the plane and walked into an airport filled with women in hijab. Unlike anywhere else I have been, hijab was not the exception- it was the rule. Waiting for my ride to the hotel, I watched the women as they went about their lives, wondering what it was like to be them. As I resisted the urge to impose an imagined narrative on them, I opened to the reality that I really don’t know what it’s like to be them; and was reminded of the fact that there are many worlds about which I know nothing. Tunisia in particular is different from anywhere I’ve ever been- it is an Arabic country with a very high Muslim population; a place where English is not the first or second language; and home to a population that overthrew its president/dictator only 7 years ago. Recognizing how little I knew about Tunisia’s history, culture, and people enabled me to approach the rest of the trip with an openness and eagerness to learn about other people’s lives.

Luckily, I got to do this through art and conversation! The festival was four days long, and full to the brim with activities: performances, visual arts exhibitions, panel discussions, films, workshops, and lots of hanging around. I met Faiza Ramadan, a visual artist from Libya who, in addition to displaying two incredible paintings at the festival, told me about life in Libya after the 2011 revolution. I met Reem Sabra, a student and activist from Egypt who grew up in Saudi Arabia, who shared so much with me about what it’s like to be a woman in these two countries. I met a Tunisian woman who spoke with me about her experience participating in the 2011 Tunisian revolution and how life-changing it was to put her body on the line for something in which she believed. I met Daiffa, a visual artist who draws scathing satirical cartoons on the subjects of women’s rights, economic inequality, and politics, and attempted a conversation with her in French that devolved into hand gestures and laughter. I saw a powerful performance by Palestinian artist Farah Barqawi called “Papa, viens chez moi” about a woman’s complicated relationship with her father, and took a life-affirming dance workshop with Anna Luna Serlenga of Corps Citoyen, a collective making “emergency artistic interventions.” The offerings, and people, were many, and the experience was a rich reminder in how big and diverse the world is.

I performed my solo ‘soft fists insist’* on the last day of the festival, and am proud to say that it was very well-received! I loved seeing the faces of some of my new friends in the audience, and it felt awesome to share this piece with them. I also received a wonderful compliment from an audience member afterwards, who declared that the piece “was like being sucked into a black hole- but a positive one!” I love this kind of creative feedback.

I’ve now shown ‘soft fists insist’ at four venues in Berlin, and one in Tunisia. I felt a big difference performing at Chouftouhonna vs. performing in Berlin. In Berlin, there’s nothing radical or dangerous about a white cis-gendered queer female performer making feminist art- it’s quite typical, and in fact, something I love about Berlin is how surrounded I feel by queer feminist artists. In Tunisia, it is definitely radical to call oneself a feminist, and potentially dangerous to be queer. Performing my piece, and just being at the festival in solidarity with so many other feminist and queer artists, was a powerful reminder of how important the struggle for female and queer liberation is.

Something about this experience feels life-changing. That’s a big statement, and it’s only been a week. But here’s the thing: in Tunisia, I was immersed in an Arabic, mostly Muslim, non-European culture that is fully invested in - not to mention occupied with - the struggle of building a future different from its past, and that immersion was good for me. Meeting the interesting people and seeing the good art (as my friends promised) cracked open my world because I was surrounded by people who speak, and do, things differently than I’m used to. It’s been awhile since my desires to learn and understand new ways of being were so fully satiated, and it is exactly this kind of mind-bending world-stretching experience that reminds me of how big, beautiful, and diverse the world is; and that some things- like equal rights and visibility for women and queers- are always worth showing up for.

Check out some photos from my trip on Flickr and visit the Chouftouhonna website and Facebook page for more information about the festival. If you’re a trans or female-identifying artist, I encourage you to apply next year! And hopefully I will see you there <3

*What happens when dreams and reality collide? In “soft fists insist”, a woman is confronted with popular images and ideas about how she - young, white, and female — should behave in the world. As she grapples to interpret these ideations, she begins to lose track of her deeper needs and fears. A piece about the space between what we are and what we imagine ourselves to be, “soft fists insist” asks the question: how does the unconscious relate to social constructions such as femininity, ageing, and desire?

To see some highlights of my piece ‘soft fists insist’ check out my Instagram post from September 22 or watch the whole thing on Vimeo!

 photo by Zahra Banzi

photo by Zahra Banzi

oh hey!

It's been awhile! I've been busy taking care of business- important business- things like finding a long-term flatshare rental in Berlin, building a steady Pilates teaching schedule, and studying German. While it's been good (and necessary) to turn my attention to these self-sustaining activities, I've missed the fecund creativity and interpersonal connections spawned by big collaborative artistic endeavors.

Lucky for me I have some of these things coming up in the next weeks, months, and throughout the year! This newsletter covers a few of them - including info about performances both here and abroad; a link to an interview I did with The Field NYC; and an invitation to share your thoughts in order to help me prepare for an upcoming project.


I'm The Field NYC Meet Our Artists feature this month!

Check out this interview I did with The Field NYC! And do it soon, July is almost over!

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Faking It

This weekend I will perform in an improvisational dance spectacular with FAKE COMPANY about the intersection of reckonings (the time when one is called to account for one's actions) and antidotes (the balm, tonic, or cure). Don't know what that means? Neither do I! Ah, the beauty of improvisation!

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GRRL HAUS CINEMA and Chouftouhonna!

Over the next two months I will have the pleasure of performing my 15-minute solo soft fists insist at two different events: on August 15 at the next GRRL HAUS CINEMA event at Loophole in Berlin; and in the beginning of September at the feminist arts festival Chouftouhonna in Tunis, Tunisia! Both of these events are super cool, and I am so excited for the opportunity to share my work, meet new friends, and experience a totally new culture.

 photo by Zahra Banzi

photo by Zahra Banzi


  I See You   Last January in Durham I modeled in this super-fun photo shoot at the  Durham Fruit with  Moriah LeFebvre Clayton . We were photographed by  Jed Gammon &nbsp;and styled by  Alexis Artist .&nbsp;

I See You

Last January in Durham I modeled in this super-fun photo shoot at the Durham Fruitwith Moriah LeFebvre Clayton. We were photographed by Jed Gammon and styled by Alexis Artist


last but not least

I'm so excited to announce that I will be coming to the US over the winter to dance, teach, perform, and PARTY! (haha just kidding I go to bed at like 10:00). But come I will: to make things, deepen relationships, and stay connected to the complex, troubled, and nonetheless amazing country I call home. As a way of helping me prepare for the experience, I invite you to write to me your thoughts about one (or all) of the following:

- Three words that describe your 2018 so far
- Any thoughts about what has changed in your life over the past two years, specifically in relation to the current political climate and situations
- Your dream day, by which I mean THE BEST DAY YOU CAN POSSIBLY IMAGINE

That's it for now. Thank you so much, and have a beautiful day!

nicola

JULY FEATURED ARTIST at The Field NYC!

The Field NYC is a non-profit that serves artists of all ilk making work in the USA. It is totally awesome - it provides funding opportunities, workshops, resources, and more to artists. It also provides fiscal sponsorship, which means that artists can receive tax-deductible contributions and payments for their work as though they are non-profit agencies, thereby lightening the tax load and basically making the whole art-business more legitimate. And I am their featured artist of the month! Check out the interview here, or read below!

I am…
A dance-maker, performer, teacher, and student

I’m inspired by… 
The people who have come before me - back to the first humans to ever walk upright – and by the generations yet to come. I am inspired by the fact that dance has always held an important role in connecting people to themselves, each other, the world, and the cosmos. I am inspired by the endless wealth of ways that different bodies move as they seek to lead fulfilling lives.

I’m proud of… 
Championing the voices of local dance-makers in Durham NC by producing shows, cofounding an organization that curates a season of dance, and working with theater companies to bridge the theater and dance communities.

My goals are…
To hear the ancient wisdom of the body; to learn how to transmit a visceral sensation to others through dancing; to adventure places outside of prescribed roles and movement patterns; and to keep a good sense of humor while at it.

How does The Field help you? 
I'm excited to be a Fiscally Sponsored Artist at The Field! This allows me to fundraise and apply for grants with the backing of an incredible organization. 

Any advice for fellow artists? 
“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” - Samuel Beckett

 Couch photo by Noah Rosenblatt-Farrell.&nbsp;Field photo © Nicola Bullock.&nbsp;Mustache photo by Mayra Wallraff.

Couch photo by Noah Rosenblatt-Farrell. Field photo © Nicola Bullock. Mustache photo by Mayra Wallraff.

New Pilates Classes!

 photo by Jon Haas

photo by Jon Haas

Wednesday in Schöneberg @ Chalotte Nexgaard Pilates

9am - Allegro Reformer

10am - Mat

 

Fridays in Schöneberg @ Chalotte Nexgaard Pilates

9am - Mat

10am - Allegro Reformer

 

Saturdays in Friedrichshain @ Workout Berlin

10am - Beginner Reformer

11:15am - Reformer

*both of the studios take Urban Sports Club so check the app for more info!*

*also feel free to get in touch with me nicolajoy@gmail.com if you have questions, concerns, insecurities, fears, skepticism, or resistance in any way to Pilates or exercise in general. I totally understand, and I may be able to help*

That's a Wrap!

 ALL PHOTOS by Moriah LeFebvre

ALL PHOTOS by Moriah LeFebvre

Guten Tag Liebe Leute!

It's been six weeks since IMAGO wrapped, and to be honest, I still don't know what to do with myself. The project left me with awe, gratitude, and pride on a scale I have never before experienced. This level of life-changing event doesn't happen everyday, and it has made assimilating back into non-IMAGO life feel a lot like this. As anyone who follows me on social media already knows, I'm coping with said feelings by consuming chocolate croissants and making memes about life in Berlin. To be honest, they're helping. 

It also helps to know that IMAGO will live on in various forms - in festivals (in Berlin and hopefully several other places as well), in photographs of the show, and in the memories of the people who saw it.

As I move forwards with life post-IMAGO, I'm building a regular Pilates-teaching practice here and am looking for a flat to live in long-term. After a year and a half of adventures in different living-and-working situations, I am excited to return to a more structured and stable day-to-day.

Finally, despite the awkwardness of integrating this life-changing event into my understanding of how the world can work, I'm beyond grateful for the opportunity to do so. Thank you. To everyone who donated time or money, thank you for believing. To everyone who reached out with kind words, cookies, letters, and encouragement, thank you for your support. And to everyone who saw IMAGO, thank you for coming. I am so humbled by this experience, and hope that it touched you in some way as well.

xo

nicola

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from the media

Byron Woods' (INDYweek) and Susan Brioli's (Susan Brioli Arts) insightful previews brilliantly put into words my intention and instinct behind making IMAGO. After its premiere, Michaela Dwyer(INDYweek) and Susan Brioli's positive reviews provided valuable thoughts and feedback of the work, as well as giving my mom something to brag about (4 stars!).

I was also featured on Tamara Kissane's awesome podcast, Artists Soapbox, a labor of love that is also a huge gift to the local community - a platform for artists to speak deeply and passionately about their work and place in Triangle arts and the world. Check out my interview with her and listen to more on her website!

 

 

 

IMAGO team updates

Gifted, generous, gorgeous, and glorious, these wonderful people who came together to make IMAGO continue to create and inspire post-IMAGO. Here's a little about what they're up to!

Josephine Decker just premiered her film Madeline's Madeline at Sundance and Berlinale to wildly positive reviews.  She is now in LA getting her next projects off the ground and spending as much time in nature as possible so she remembers she is human and she used to know the moon like the eyes of her teddy bear.

Judith Förster got back to her studies in dance, context and choreography at HZT in Berlin, from which she will graduate this summer! In addition, she has been invited to the Cheers for Fears festival in Mülheim an der Ruhr (Germany) to show her research on melting mountains and melted hearts.

JaMeeka Holloway-Burrell is in the crux of planning - Black Ops Theatre Company presents The Bull City Black Theatre Festival, which plays March 15th-18th and March 23rd+24th at Manbites Dog Theater! Visit www.bullcityblacktheatrefest.wordpress.com to learn more.

Patience O'Neill is on to the next project, and then the one after that. No true break in sight, just how they like it.

Nicolle Wasserman has now been a resident of Santa Fe, NM for 6 months and is loving the desert life! Since IMAGO, she has thrown herself full throttle into her work at Meow Wolf, doing her arts management thing to support the creation of a new 50,000 square foot immersive art installation in Las Vegas, NV, opening December 2019. 


final thoughts

One thing I realized in making IMAGO was how important Durham is to me. By "Durham" I mean the people there - friends, family, artists, community members - and I want to spend a few months a year there in order to stay connected to the people and the place. If you have any ideas about how to make this possible, particularly if they involve creative collaborations, hit me up! I'm up for dreaming and down for working.  nicolajoy@gmail.com or WhatsApp +1 917 597 5057

herzliche grüße,
nicola

INDY review!

What's in Imago's shadows? Whenever you feel you're about to grasp the weirdness between the poses, between the scream and the giggle, it's already gone. This is what the piece does best: it throws a spotlight on what's hidden while insisting, Wait, there's more, there's more, there's more.

Check out this 4-star review from Michaela Dwyer @INDY Week!

(but only if you've seen the show! Otherwise be prepared for some serious spoilers!)

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IT'S HERE

January 11 - 13 and 18 - 20
Durham Fruit Company
305 S. Dillard St.
Durham, NC
doors open at 7:45 / show starts at 8:00
$10 tickets in advance / $12 tickets at the door

tickets available here


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I talked with Tamara Kissane of  The Artists Soapbox on Wednesday about all sorts of thing - from where the piece was born, to why I choose Durham as a performance location, to what international collaboration looks like. I will post it on my websitewhen it's up and ready sometime early next week!

A few more highlights from the past week

I performed soft fists insistan excerpt from IMAGO, two weekends ago at ada Studios in Berlin and they made a cool trailer for it - watch here!

soft fists insist will travel to Georgia (the country!) in 2018 as part of the experimental contemporary dance festival CIRCE! If you were looking for a reason to travel to Georgia, here is your excuse!

dramaturg Josephine Decker's most recent film Madeline's Madeline, starring Miranda July and Molly Parker, just got into Sundance!

Faye Driscoll, dance-maker extraordinaire, dropped into rehearsals last week to give her feedback about the piece. It was an honor and delight to work in the studio with her!

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And our ticketing website is live!

GET YOUR TICKETS HERE!

January 11 - 13 and 18 - 20

Durham Fruit Company

8pm

$10 tickets in advance / $12 at the door

*No one turned away for lack of funds*

KICKSTARTER REACHED!

Thanks to 76 super generous super supportive people, our Kickstarter succeeded yesterday and that means that EVERYONE WORKING ON THIS PROJECT GETS PAID FOR THEIR WORK! It shouldn't be as revolutionary as it is, but the truth is that lots of projects don't compensate the people behind the scenes. OR the choreographer (me) ends up playing the role of EVERYONE - production manager, technical director, costumer ... you get the idea. It's so much better that the folks who are actually good at these things do them! It means I can focus on the art-making. And the generous support of our donors makes that possible. Thank you to EVERYONE who donated, either through the kickstarter or directly to me through my fiscal sponsor. You are rocking my world!!!!!!

Getting to know the IMAGO team week! Sunday: back on track with Josephine!

Talking to Josephine Decker is so fun. She's imaginative, articulate, goofy, and kind - all traits that draw me to working with her! I sat down with her for this interview yesterday. Her thoughtful observations and clear ideas blew my mind. I can't wait to start working with her in the studio tomorrow!

Check out our Kickstarter here and help support everyone who is helping make IMAGO come to life!

And stay tuned for interviews with Technical Director JaMeeka Holloway-Burrell and Costume Designer Judith Förster later this week!

Getting to know the IMAGO team week (detour)! Today: Learning to Let Go (the costuming edition)

Asking Judith Förster to be my costume designer was one of the best decisions I have ever made. I say that because it would have been so easy for me to have not made that decision, and stuck to the old habit of trying to outfit myself. I've done it this way for years: pulling out dresses and old leotards I never wear; or shopping at thrift stores and asking friends if they have something I can borrow. These methods may serve the end goal of having something to wear, but it's rare that said something is perfect. It's usually just convenient and inexpensive.

Judith and I met at pOnderosa last summer, and I was immediately drawn to her artistic sensibility, unapologetic style, and bold personality. I knew I wanted to work with her someday, but I didn't know any when or where or how.

This summer, as I began work on IMAGO, I realized that my old costuming habits would need to change if I was going to fulfill the vision I have for the piece. I knew that alone, I wouldn't give my costume the attention it needed; and I knew, too, how powerful a good costume can be (and how devastating a bad costume can be). Excited by the very idea of working with Judith, I asked her to be my costume designer. She said yes.

We met several times over the course of two months in Berlin. In the earlier meetings, Judith would ask me details about the piece: what are my inspirations and motivations? what is the color palette? what mood am I trying to achieve? She listened as I voiced my answers, and always reciprocated with her own understanding and take on the piece. Not only did these conversations help me see the piece from a different perspective, they gave me complete trust in Judith's ability to see the vision and make it better through costuming. As time passed and she brought me costumes to try out, my faith in her ability continued to grow and my gratitude for her sheer presence continued to deepen.

Because I'm not a costume designer, and I could never have made the costumes look this good on my own. What began as an urge to work with someone I liked and respected became a lesson in trusting the process of letting go of control. By designating the job of costume designer to Judith, who's really really good at it, the costumes and the piece are better. I am grateful for this lesson and I am REALLY grateful to Judith for the costume!

In the next few days, an interview with Judith herself will be on this web page. In addition to Judith, we will also post interviews featuring JaMeeka Holloway-Burrell, the Technical Director, and Josephine Decker, the Dramaturg. Stay tuned!

Getting to know the IMAGO team week! Wednesday: Jet Lag

Yesterday I flew from Berlin to LA. It was a long day (23 hours of awakeness - during the entire flight I cursed the airline for not turning out the lights in the plane, as we followed the sun westward...and then blessed them last night as my head hit the pillow, that I was tired enough to fall asleep almost immediately because I rested not at all on the plane). The travel, and accompanying recalibration to the new time, weather, and place, has thrown off my intentions to release an interview a day this week! But I wanted to say hi anyway. Here's a photo I took from the plane.

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I like the camera reflection on the window.

Stay tuned for tomorrow, when we will resume our Getting to know the team week! And if you haven't yet, be sure to check out our Kickstarter page and donate to support these fine folks!

Getting to know the IMAGO team week! Today: Nicolle Wasserman

Nicolle Wasserman talks about Arts Management, Instagram Filters, and Chili Peppers!

Nicolle Wasserman, Production Manager for IMAGO, and I have been friends for over 17 years! That's more than half my life. And I don't know what I would do without her. Brilliant, supportive, and with a great eye for detail, Nicolle has made this production possible from the start! 

Stay tuned for more interviews with the creative and production team this week! We'll publish one a day, every day, through Friday.

Getting to know the IMAGO team week! First up: Liam (Patience) O'Neill

If there’s anything I want to be doing in this life, it’s playing, with imagination

an interview with Liam (Patience) O’Neil

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I interviewed Liam (Patience) O’Neill, Technical Director for IMAGO, on the phone last week. Patience, a good friend and long-time collaborator of mine, will work with me in the weeks leading up to the show on elements like building the set, hanging the lights, and perfecting the technical components of the piece. In this interview, we ended up talking about some of my favorite subjects: art, identity, and future dreams. Read on to hear their thoughts about these topics and more!

On names

Nicola Bullock (NB): You recently began going by the name “Patience” sometimes. Why?

Liam Patience O’Neill (P): I’ve been desiring a non-gendered name, and Patience is non-gendered. It’s also a virtue, and it is a value of mine that I find within a lot of the things that I like about myself.

On making art

NB: When it comes to art, what kind of projects do you like to do?

P: Anything that I think might be rather beautiful, weird/different than what’s expected, made by someone who I’m already a fan of, or important to do on a social level, I will say yes to.

NB: What’s the best part of making art?

P: In some branches of the arts the word “play” is used to describe what the artist is doing, like a musician plays music or people in theater perform “plays.” There’s a playfulness that is the main focus of these types of art. I try to incorporate that mentality in all the art I do and hope to invite any audience to play along with me. It requires a fair amount of imagination, and if there’s anything I want to be doing in this life, it’s playing, with imagination.

On IMAGO

NB: What is your connection with IMAGO?

P: I am very interested in the subject matter of the piece; I have a lot of connection with it. We’re all kind of creatures trying to figure out how to be embodied in this world. Being gender queer, there’s always a big question in my mind as far as: who am I, what is this body, and what is the relationship between these things? And what is society asking of me, in this body, or as someone with a mind, personality, and how are they separate?

On future dreams

NB: What else are you passionate about in your life right now?

P: I’m excited about film school (Patience will move to Denver to attend Colorado Film School next year). It will be a whole new exciting adventure in my life. I’ve never really moved away from home as an adult, so moving to a completely new city and doing a completely new thing is really exciting! Furthermore, I’ll be diving into learning how to utilize yet another form of art!

Stay tuned for more interviews with the creative and production team this week! We'll publish one a day, every day, through Friday.

Women's March Revisited

we marched

in a small town in rural Germany

we marched

 

we mazed 

our bodies through the labyrinthine remains of an old cement factory

four of us, together

venting fury and despair

throwing rocks

breaking glass

kicking formless metal objects

burning wood

cracking concrete

dancing atop rubble

 

protest music on a portable speaker

 

 

we came together to mourn

(the sadness in my bones wreaks them of strength as I collapse on the floor to stare blankly out the window into the grey-white winter sky

stay

stare)

 

 

we came together to fight

(terror spasms through me as I watch the Inauguration, certain that I hear him announce the end of democracy and the start of authoritarian rule with him as the big, red -faced rule-maker / rule-breaker)

 

 

we came together to do something

a symbolic gesture perhaps

done for our own sense of self-satisfaction

 

but what better reason is there than this, a sense of satisfaction in ourselves

that

 

we can come together

and we can do

anything

 

and everything

that has been done 

so that I can believe that 

is why I march

today

FANCY

When my friend Olympia Bukkakis asked me to perform as part of her show FANCY at Ludwig in January, I got really excited. I love the word, and the idea of, fancy. To me, it's something that is dressy but not necessarily formal; something suggestive of cocktail parties and carefree, laughter-filled evenings; something that takes effort but omits an aura of ease and self-assurance. It's a word one of my girlfriends would say to me when I got dressed up: in a very specific tone, full of little-kid awe and grown-up attraction, she would say, You look fancy. I knew that was a compliment, especially from someone who took pride in dirty fingernails and 10-year-old t-shirts. And it was her voice - both affirming and aroused - that went through my head as I began creating my piece for FANCY. 

And also - the inauguration. 

This performance was on January 25, less than a week after Trump's Inauguration. I went through all of the stages of grief around this time, with anger, denial, and sadness being the main three. There was no escaping the reality of the world at this moment, whether through performance or cocktail party or drunken escapade. Grief and despair followed me around very closely, and I couldn't relate to the word fancy (or anything else) without them.

This combination of things - self-assurance, arousal, denial, despair - were the ingredients of the piece. I used intuition to combine them, folding the past in with the present and stage-life in with real-life. The video below was recorded at the show and unfortunately there wasn't a single shot of the whole thing, but here is what I have.

Enjoy!