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Tuesday, September 09, 2025
Trajal Harrell Brings a North American Premiere to New York City
dancemagazine.com: Douglas, Georgia–born choreographer Trajal Harrell is known for exploring speculative histories, imagining encounters between contrasting dance styles ranging from voguing to early postmodern dance, and even Japanese butoh.
1 comment:
Lauren Dursky
said...
The various paths people take in theatre are always enlightening. Their experiences and influences that lead to the art they create. The fact that Harrell had to create his own problems for his work to be successful says a lot about how art relies on conflict and flourishes in oppression. Harrell mentions that he spent more on costumes than on scenic is amazing. I’ve heard there are people who think Costumes gets the largest budget, but in my history and from what I’ve seen it’s been scenic that gets the largest budget. Yes, it’s the element that’s always there and never changes, but costumes tell you about the person and how they interact with the world around them. The use of various dance styles to convey the story and his realization that the runway always had to have someone on it speaks to the vacuum that can be created by dead space. The fact that Monkey has the artistic freedom and the funding to pull this off says so much about the current state of the arts in the US as we face attempts at large budget cuts, scrutiny and censorship for expression, and I hope that this work is well received even though it now seems like a fantasy to be able to create so freely.
1 comment:
The various paths people take in theatre are always enlightening. Their experiences and influences that lead to the art they create. The fact that Harrell had to create his own problems for his work to be successful says a lot about how art relies on conflict and flourishes in oppression. Harrell mentions that he spent more on costumes than on scenic is amazing. I’ve heard there are people who think Costumes gets the largest budget, but in my history and from what I’ve seen it’s been scenic that gets the largest budget. Yes, it’s the element that’s always there and never changes, but costumes tell you about the person and how they interact with the world around them. The use of various dance styles to convey the story and his realization that the runway always had to have someone on it speaks to the vacuum that can be created by dead space. The fact that Monkey has the artistic freedom and the funding to pull this off says so much about the current state of the arts in the US as we face attempts at large budget cuts, scrutiny and censorship for expression, and I hope that this work is well received even though it now seems like a fantasy to be able to create so freely.
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