Some sweet day
Some sweet day is a three-week program of dance performances in the Museum's Marron Atrium by contemporary choreographers. The series, which pairs six internationally renowned choreographers engaged in an intergenerational and cross-cultural dialogue about each other's work, demonstrates how the current state of dance can engage with a variety of subjects such as aesthetics, gender, race, and history. Concurrently鈥攂y putting a focus on moving bodies in an institution that traditionally showcases static objects鈥�Some sweet day argues for the extended potentials and possibilities of the museum space.
The program opens with two works from the 1960s by Steve Paxton, founding member of New York鈥檚 Judson Dance Theatre, paired with French conceptual choreographer J茅r么me Bel's The Show Must Go On (2001)鈥攁 work that is, in many respects, a response to Paxton鈥檚 works. Over the following week, the Atrium will come alive with new commissions by Congolese choreographer Faustin Linyekula and American experimentalist Dean Moss, with visual artist Laylah Ali. Additionally, the week includes a two-day performance by American artist Kevin Beasley, who created a sound-based work that evokes and alters the social, emotional, and political contours of hip-hop. The final week features a pairing of Judson Church founding member Deborah Hay and Sarah Michelson in an intergenerational conversation on movement, space, and time.
Each Saturday, we invite you to join series artists and curators for a response in the Marron Atrium. Each conversation will be led by different respondents, among them Daphne A. Brooks (Princeton University), Douglas Crimp (University of Rochester), and Brent Hayes Edwards (Columbia University).
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Some sweet day is a three-week program of dance performances in the Museum's Marron Atrium by contemporary choreographers. The series, which pairs six internationally renowned choreographers engaged in an intergenerational and cross-cultural dialogue about each other's work, demonstrates how the current state of dance can engage with a variety of subjects such as aesthetics, gender, race, and history. Concurrently鈥攂y putting a focus on moving bodies in an institution that traditionally showcases static objects鈥�Some sweet day argues for the extended potentials and possibilities of the museum space.
The program opens with two works from the 1960s by Steve Paxton, founding member of New York鈥檚 Judson Dance Theatre, paired with French conceptual choreographer J茅r么me Bel's The Show Must Go On (2001)鈥攁 work that is, in many respects, a response to Paxton鈥檚 works. Over the following week, the Atrium will come alive with new commissions by Congolese choreographer Faustin Linyekula and American experimentalist Dean Moss, with visual artist Laylah Ali. Additionally, the week includes a two-day performance by American artist Kevin Beasley, who created a sound-based work that evokes and alters the social, emotional, and political contours of hip-hop. The final week features a pairing of Judson Church founding member Deborah Hay and Sarah Michelson in an intergenerational conversation on movement, space, and time.
Each Saturday, we invite you to join series artists and curators for a response in the Marron Atrium. Each conversation will be led by different respondents, among them Daphne A. Brooks (Princeton University), Douglas Crimp (University of Rochester), and Brent Hayes Edwards (Columbia University).
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