Noa Weiss
The Master and Form: Ballet is Not Bondage
By Noa WeissIn his description of The Master and Form (2018), Brendan Fernandes claims to “queer” the illusionistic discipline of ballet by focusing on effort, which would be radical if it weren’t a few years late.
Living Through History: ABSCONDED #EjectionDay2020
By Noa WeissAs the slow crawl of ballot counting across America began on November 3, Dragonfly/Robin Laverne Wilson performed her own crawl through the streets of New York. Dressed as a statue of fugitive slave Ona Maria Judge Staines, the artist summons the power of a living monument.
Stretching Time in River to River’s 20th Season
By Noa WeissOver three weekends in June, Movement Research collaborated with River to River to curate a series of processional performances in Battery Park City. I attended Okwui Okpokwasili and Emilý Æyer’s “Procession,” which proved to be both simple and challenging.
Subtle Moments on the Roof
By Noa WeissSperber’s signature minimalism is, at its core, an exploration of friction and weight. The dancers set limbs against torso, fabric against wind, shoes against roof. These experiments produce movement and sound in equal measure.
A Choreographed Return to Theaters
By Noa WeissDance is back in theaters. The productions are better than ever, but the real choreography is happening in the audience. As we navigate a safe return to indoor space, how do we hold on to the pleasures of attending a show?
Moving Through Grief and Transition: devynn emory’s deadbird
By Noa Weissdeadbird + can anybody help me hold this body? is a reflection on devynn emory’s time as a COVID-19 hospice nurse and the American aversion to grief, death, and bodies in transition. emory brings their whole self into the piece, exposing the transitional nature of all people, especially those who are dying.
