Click here to read dancer Tuli Bera's review- "Hamlin Park Fieldhouse presents STUCK FOOT OPEN HAND RUNNING MOUTH Review- Transformative Movements."
Editor's Note: Ayako Kato, one of Chicago's leading choreographers, has shared her searingly intelligent insights with Picture this Post readers before-- about Merce Cunningham and more. (Click here to read a Ayako Kato review of Joffrey Ballet.)
Here, Ayako Kato (AK) shares her thoughts on dance and improvisation in general, and the recent STUCK FOOT, OPEN HAND, RUNNING MOUTH performance, reviewed by choreographer/dancer Tuli Bera.
What inspired the Art of Now series?
The works in STUCK FOOT, OPEN HAND, RUNNING MOUTH are described as being disparate. But are there ways in which they are also similar? How does this performance compare to Art of Now I and II?
What can audiences see in this series that is unique?
How did you select the artists’ whose work appears here?
-We Are Monsters by Sara Zalek & Molly Whedbee;
-In other words by Wilson Tanner Smith;
-Formosan Wood by Mitsu Salmon;
-Nonsense Point Mutant by Harlan Rosen;
-GRASP by Chrissy Martin;
- A Life Well Lived (?) by Mark Kater;
- Surface by Corrine Imberski;
-a drop in the dark by Rose Bouboushian;
- and Aurora Tabar performs the Existential Coat Check in the lobby.
Read more articles about dance from Ayako Kato's choreographer colleagues in Chicago--Choreographers' Eyes: Dancers Explain Dance.