Issue #02

Winter/Spring 1991

Cover of Issue #02

This is an encouragement towards collectivization within the performing arts community. It involves redefining the term "alternative" and committing ourselves to be more participatory, more radically democratic and accessible and less reliant on traditional modes of organizational leadership. The unique action that an alternative space can effect is direct involvement with the community. The gap between administration, audience and artist has yet to reach that stage of detachment that exists in mainstream institutions-where a direct mail letter is as close as you get. Why not see the inherent intimacy of the alternative space as a powerful resource?

For example, let's look at the range of responses of our presenting organizations to A Day Without Art on Dec. 1, a day in which the arts community attempted to recognize the impact of the AIDS crisis. Should we have responded in ways so similar to Lincoln Center or the Met? To be more specific: What is the impact of an alternative space closing for the day or pausing for a moment during a performance? Our marginal position within New York City's culture suggests that such silence may carry little weight. Who did we consult in determining these actions ? Could we have found more active and engaging responses by turning inward and involving the members of our community? Reports suggest that many people perceived A Day Without Art as institutions' responses to the AIDS crisis and did not feel compelled to respond through individual or non-affiliated action. Instead of choosing the middle ground occupied by most organizations, could the performance community have represented itself in a more radically inclusive manner on Dec 1?

Are there any truly community events — "holy days"- for the performance arts? The largest gathering of performers in the city comes together for the annual "Bessie" Awards, an event shaped not by the community but by administrators and critics. This isn't a slam on that ceremony but should that be our only town meeting?

[Excerpt from Editor’s Note by Richard Elovich and Guy Yarden]

Editorial team

Editor-In-Chief

Richard Elovich

Contributing Editor

Cathy Edwards Ira Sachs Michael Sexton

Design

Larry Auerbach Tom Lewis

Ad Layout

Jennifer Herman

Articles

1-1

A Letter From Steve Paxton

Recently I was in Holland, on a committee to examine the state-supported dance schools. Among them are the SNDO, Amsterdam, and CNDO, Arnheim. These two postmodern curriculum schools are probably...

1-1

Editor’s Note

This is an encouragement towards collectivization within the performing arts community. It involves redefining the term "alternative" and committing ourselves to be more participatory, more radically democratic and accessible and...

2-3

Three on Performance

Palmer interviews performance artists Jo Andres, Ellen Fisher, and Tom Murrin about their careers, influences, and the future of performance art. Andres, Fisher, and Murrin find inspiration from a wide...

4-4

Sorting It Out

Bogart discusses the impoverished use of the theatrical stage. She argues that the American theater prioritizes empathy over the possibilities of spectacle, political discourse, entertainment, ritual, and participation.

5-5

On Adrian Piper

Als reflects on Piper's use of photography and consciousness in her conceptual art. Als finds Piper's work to be courageous, philosophical, and challenging.

5-5

Gang’s New School

Nunokawa reviews a performance by GANG, a lesbian and gay activist art collective, at the 1990 Conference on Gay and Lesbian Studies at Harvard University. The performance was a response...

11-11

Another Vocabulary

Martin explores the challenges and rewards of improvisation. She argues that while shared vocabulary can be seen as the folk element in dance, dancers and choreographers create unique texture using...