Construction Update: We’re open! By car, access the parking garage from Groveland Terrace.
Deborah Hay: The Outlier as Insider
Michèle Steinwald, as told to Julie Caniglia
A founding member of the Judson Dance Theater, Deborah Hay went from postmodern dance in Greenwich Village in the 1960s to living virtually off the grid in the 1970s, developing a pioneering practice that transforms the relationship between choreographer and dancer. Once an outlier, Hay is now a quiet but powerful force in dance—a “choreographer’s choreographer” whose work matters to the rest of us.
“Only the Sky Will Stop Me”: African Women Changing Contemporary Dance
Where do we begin the conversation about the extraordinary contemporary dance movement afoot in Africa and some of its stellar young leaders? Will entrenched biases distort even fresh discussions about the continent? Dr. Joan Frosch looks at the work of choreographers Kettly Noël, Nelisiwe Xaba, and Mamela Nyamza.
Dance, Senses, and Distrust of the Body
Miguel Gutierrez as told to Michèle Steinwald
Distrust of the body, says firebrand dancemaker Miguel Gutierrez, is part of the reason why dance is sometimes perceived as a second-class art form: “There’s an idea that to go into an exploration of the body is this indulgent, non-rational thing.” In a recent conversation, he discusses dance, the senses, the mind/body split, and his new performance, And lose the name of action.
The Trace: Searching for the Imprint Movement Leaves Behind
As we consider new ways of looking at performance objects in a museum setting, we can’t ignore the ways physical movement has shaped them. The Walker’s acquisition of the Merce Cunningham Dance Company’s collection of costumes and decors has researcher Abigail Sebaly asking, “How do the various rubs, pills, and scuffs indicate an imprint of the movements that were performed in them?”
Performing Through Crisis: Patrick Scully on Art and AIDS in the 1980s
Patrick Scully as told to Paul Schmelzer
Turning 27 in 1980, Patrick Scully left the dance collective he called home to work independently and “explore what being gay meant to me as an artist.” A decade that began with optimism yielded surprises as political conservatism, the destruction of his downtown block, and AIDS rocked his world. For our continuing series reflecting on the Twin Cities in the 1980s, Scully shares his memories.
Identity and Institutionalization: Dorit Cypis on Minneapolis in the ’80s
Dorit Cypis & Yesomi Umolu
For Israel-born, California-based artist Dorit Cypis, the Twin Cities was home for much of the 1980s and 1990s, decades when she says the arts became institutionalized, identity politics became entrenched, and her own art more deeply embraced both politics and performance. For our ongoing series Then and Now: The Twin Cities in the 1980s, she shares her memories of a turbulent decade.
A Performance Chronology
In the 1980s and 1990s, the Walker welcomed performing artists like Bill T. Jones, Karen Finley, and Ron Athey, whose work reflected concerns of the day. In conjunction with the exhibition This Will Have Been: Art, Love & Politics in the 1980s, John Killacky, performing arts curator from 1988 to 1996, shares his memories of Walker performances—and politics—of the era.
The Walker Joins Minnesota’s Arts Community in Opposing Marriage Amendment
The Walker proudly joins with 120 cultural organizations in endorsing the Minnesotans United for All Families Campaign, which is working to defeat the marriage amendment on the ballot November 6.
Human and Natural Ecologies
“If we compartmentalize the environmental question, the whole earth burns, so we might as well get everybody in any way that we can,” says Marc Bamuthi Joseph, whose new Walker-commissioned performance examines issues of environmental justice. red, black & GREEN: a blues uses hip-hop, spoken word, and audience participation to expand the discussion about how to define that “environmental question.”