LIGIA LEWIS
SEP 19–22
WATER WILL
PHOTO: MARIA BARNOVA
(IN MELODY)
Dear Art Lover, I’m so excited to see all of you! Summer was great — all two weeks of it — but as the sky lowers, darkens and gets drizzly, I know that the end of summer also means the start of our season and the chance to huddle in the dark seeing amazing works of art together. Last weekend, a bunch of us witnessed the change of seasons together in Portland at PICA’s Time Based Art festival. A sundrenched Friday capped by an amazing evening in Ligia Lewis’s hands led to a rainy Saturday afternoon, spent with Mia Habib a cast of fifty brave, proteststamina-fueled performers, followed by Miguel Gutierrez and an all-Latinx-all-incredibly-adventurous collaborators seeking all kinds of situations and possibilities in bodies, relationships, and objects — creating, perhaps, the filthiest / funniest show I’ve ever seen. Shout-out to Victoria, Roya, Kristan, Erin, and Spencer for being such great hosts to us, as ever. Starting the Fall with you makes ending summer more OK. Ligia’s show is the one we’re bringing you this weekend. Water Will (In Memory) completes the trilogy of performances whose first two installments we saw together last spring. We’re so happy to have her back at On the Boards with this concluding work — a hard-to-pin down mix of singing, climbing, crawling, and mime (lots of mime!) built around a Grimm fairy tale. In Portland, in conversation with Bart Fitzgerald, Lewis explained her concern with black femme visibility on the stage — wanting to present these particular kinds of bodies without exposing them. All the glitches are therefore intentional. We begin by acknowledging this land is the ancestral home of the Duwamish and many other Indigenous peoples recorded and unrecorded, who have been the custodians of this land since time immemorial. As guests and — in many of our cases — as settlers on this land, we extend our deepest gratitude and respect to their ancestors and elders past, present, and future. On the Boards is beginning to engage in conversations to deepen our practices in a way that reflects and honors Coast Salish protocol. Part of our understanding of the protocol is making material gifts to the Indigenous peoples of this land as a way of recognizing their genealogical responsibility to the well-being of the territory and all beings who make a home here. We encourage you to donate online at realrentduwamish.org.
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If you haven’t already, it’s not too late to pick up a subscription tonight! This season, with OtB returns from Ahamefule J. Oluo, Taylor Mac, Dani Tirrell, and Markeith Wiley, and Pat Graney, and OtB debuts by Bryce Dessner, Autumn Knight, Jaha Koo, Tina Satter, and Timothy White Eagle, is a happening, a hit parade, and a dance party, and you won’t want to miss a bit of it. See you on the dance floor, Betsey Brock Executive Director, On the Boards P.S. We’re turning FORTY this year, and we’re having a party November 1. Got photos and stories to share from early OtB days? Let me know: betsey@ontheboards.org. 3
Water Will (in Melody) Concept & choreography: Ligia Lewis In creation with performers: Titilayo Adebayo, Dani Brown, Susanne Sachsse Replacement: Jolie Ngemi Dramaturgy: Maja Zimmermann Light design: Ariel Efraim Ashbel Sound design: S. McKenna Stage design: Eike Böttcher Technical direction & light technician: Catalina Fernandez Costume: sowrong studio Assistance: Gilad Bendavid, Carina Zox Production management: HAU Artist Office / Sabine Seifert Touring & distribution: HAU Artist Office / Nicole Schuchardt
This performance contains flashing lights and haze. Filming and photography are not permitted during performances.
This presentation of Water Will (in Melody) is part of the North American tour, which includes the Museum of Contemporary Art, Chicago; On the Boards, Seattle; Performance Space NY, New York City; Portland Institute for Contemporary Art, Portland; REDCAT, Los Angeles; and Walker Art Center, Minneapolis. Production by Ligia Lewis / HAU Hebbel am Ufer. Co-produced by Biennale de l’Image en Mouvement 2018 Centre D’Art Contemporain (Geneva), tanzhaus nrw (Düsseldorf), Arsenic Centre D'art scénique contemporain (Lausanne), donaufestival (Krems), Walker Art Center (Minneapolis), and Münchner Kammerspiele. Funded by Berlin Senate Department for Culture and Europe with support from Baryshnikov Arts Center (NYC). Thanks to Jarrett Gregory for residency support.
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Melodrama is a point of departure for Ligia Lewis latest choreographic work, Water Will (in Melody). Lewis is a dancer and choreographer and has worked in multiple contexts including theatres and museums. Her work engages with affect and sensations — visual, auditory, and physical. She uses color, embodiment, and dramaturgical unruliness to twist ingrained symbols of the body and the theater with playful abandon. She says, “The theater, which feels distant and cold, at times overdetermining and overwhelming, also invites the potential to create transformative work.” As an artist she seeks out the edges, frictions, and ruptures of these sites (the body and theater), in order to pave a different way for an othered experience in time and space. She is interested in exploring “how bodies come to mean something or make things meaningful, together.” Within her practice, Lewis continues to provoke the nuances of embodiment. Water Will (in Melody) is the final chapter of Lewis’ BLUE, RED, WHITE trilogy, which began with Sorrow Swag in blue, succeeded by minor matter in red. Lewis speaks about the creation of the trilogy as “oscillating between hope and hopelessness” and how all three pieces work through her own thoughts, experiences, affects, and impressions, as well as those of her collaborators. The performance uses the Brothers Grimm tale “The Willful Child” to think through notions of willfulness. This dark Gothic tale is told to German children in order to make them behave. Reading the English translation is rather frightening to think about how the child in the story is forced to become ill and dies because she was willful, and would not do as her mother wished. A dystopian fantasy unfolds, creative impossibility becomes the engine by which states of hopelessness, darkness, and unexamined emotions are explored. Four performers enact this gothic tale, which is set in a wet, cavernous landscape. Lewis “likes when something familiar suddenly touches upon the uncanny, or a series of activities or movements is interrupted, or sonic and visual shiftiness disrupts the flow of things and creates a hiccup in perception.” Her performances are nonlinear and intuitive. The piece disrupts our notion of a theatrical narrative and allows the viewer to be able to sit inside of various directional narratives. Water Will (in Melody) contains many interrelated references — nineteenth-century Southern Gothic, German Romanticism, early silent film — all entangled through the creation of a swampy theatrical space. Rachel Cook Artistic Director, On the Boards
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About the Artist LIGIA LEWIS, Choreographer and Director Ligia Lewis is a dancer and choreographer. She has worked in multiple contexts including that of the theatre and museum. Engaging with affect, empathy, and the sensate, her choreography considers the social inscriptions of the body while evoking its potentiality. Her work can be described as experientially rich and complex. Within her practice, Lewis continues to provoke the nuances of embodiment. In 2017, Lewis was awarded a Bessie for Outstanding Production for her latest stage work, minor matter and was awarded the Prix Jardin d’Europe for her work Sorrow Swag. In 2018 she was granted a Foundation for Contemporary Arts Award in the field of dance. Both her stage works minor matter (2016) preceded by Sorrow Swag (2014) continue to tour internationally.Her work has been shown at various venues and festivals including the following — Abrons Art Center/American Realness (NYC), Flax/Fahrenheit (LA), Palais de Tokyo (Paris), TATE Modern (London), Stedelijk Museum/ Julidans Festival (Amsterdam), REDCAT/Pacific Standard Time (LA), and Tanz im August presented by HAU Hebbel am Ufer (Berlin). As a dancer, Lewis has performed and toured extensively for artists including Ariel Efraim Ashbel, Mette Ingvartsen, and Eszter Salamon. She has collaborated with visual artist Wu Tsang, musical artist Twin Shadow, and with the DJ collective NON Worldwide.Ligia Lewis is currently managed and produced by HAU Hebbel am Ufer Berlin and she is a factory artist at tanzhaus NRW Düsseldorf.
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THANK YOU
On the Boards is grateful for the generous support of the following organizations
IN KIND & MEDIA SPONSORS
COMING SOON
About On the Boards Founded by artists in 1978, On the Boards invests in leading contemporary performing artists near and far, and connects them to a diverse range of communities interested in forward-thinking art and ideas. We believe if we are successful in our work that we can grow our field, enrich peoples’ lives, and contribute to civic and global dialogues. We value: artistic risks while being fiscally responsible; leadership in our field and the multiple communities we serve to strategically advance the role contemporary artists play in society; racial and social equity, and accountability, to ensure our organization includes multiple viewpoints; provocative art as a vehicle to connect people of diverse backgrounds and perspectives; our local creative community as we engage with international artists and peers; and professional and transparent management.
STAFF Betsey Brock, Executive Director Rachel Cook, Artistic Director Samie Detzer, Director of External Relations Rich Bresnahan, Technical Director Kate Connerty, Communications Associate Sara Ann Davidson, Operations Manager and Office Witch Alexandra Harding, Assistant Technical Manager Clare Hatlo, Associate Producer Ben Marx, Sound Technician Erin McCarthy, Bookkeeper Pamala Mijatov, Director of Audience Services Eze-Basil Oluo, House Manager Erica Bower Reich, Patron Relations Specialist Charles Smith, Curatorial Administrator Sara Jinks, Production Coordinator
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BOARD Davora Lindner, Board President Ruth Lockwood, Past President John Hoedemaker, Vice President John Robinson, Treasurer Michaela Hutfles, Secretary Tyler Engle, Member at Large Tom Israel, Member at Large Norie Sato, Member at Large Kristen Becker, John Behnke, Kim Brillhart, Maryika Byskiniewicz, Jeanie Chunn, Florangela Davila, Jeffrey Fracé, Rodney Hines, John Hoedemaker, Tina LaPadula, Mari London, Lance Neely, Emily Tanner-McLean, Kate Murphy, Mary Ann Peters, Spafford Robbins, Jimmy Rogers, Robert Stumberger, Annette Toutonghi, Josef Vascovitz, Bill Way, David Taft, Lara Behnert, Mireya Lewin Corey Gutch
Community Discussion: The Work of Robert Mapplethorpe Sun, Oct 6, 4:00 pm Presented by Seattle Theatre Group and On the Boards, at On the Boards. Free. RSVP at stgpresents.org Join Sylvia Wolf (Executive Director, Henry Art Gallery) and Michelle Dunn Marsh (Chief Strategist, Photographic Center Northwest) in discussion about the influential and controversial works of Robert Mapplethorpe. Performance Lab: In the Round Oct 16 Co-curated by Curatorial Administrator Charles Smith and artist KT Kusmaul Performance Lab is a continuation of OtB's longstanding commitment to showcasing works-in-progress by artists from across the Pacific Northwest. Artistic risk is a cornerstone of OtB's mission & values: supporting new works by artists from our community is one of the most important ways we manifest this commitment. Each Lab includes a Q&A with the artists, who discuss their pieces and processes with the audience and each other. KT Kusmaul is a fat, queer, genderqueer femme performance artist, dancer, choreographer, and community builder. She is the founder and Artistic Director of Body Home Fat Dance. With a history of creating radical gender performance in the underground queer art scene, now she is using her creative skills to
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bring fat liberation performance art to life. In 2018 she was awarded the year-long Alembic Artist Residency at Performance Works NW. Her work has recently been produced as part of PDX Dance Collective Choreographers Showcase, Knock Out, On The Boards' NW New Work Festival, and Risk/Reward. Ten Tiny Dances Thu–Sat, Oct 24–26, 8:00 pm An experiment in confined space, Ten Tiny Dances® is a performance series dedicated to fostering inventive dance/performance art and providing an accessible performance experience for a diverse audience… all on a 4x4 foot stage! Choreography by Arson Nicki, Scott/ Powell Performance, Mike O'Neal (Majinn), Etienne Cakpo, KT Niehoff, ilvs strauss, Vis à Vis Society, Cheryl Delostrinos of Au Collective, Fox Whitney, and Jessica Jobaris & General Magic. Ten Tiny Dances® was created in Portland, OR in 2002 and continues to be produced by founder Mike Barber and others, with permission. Please see www.tentinydances.org for more information.
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COMING SOON
M _ _ _ ER AUTUMN KNIGHT
OCT 10 – 13
Employing improvisation, sculpture, sound, and lights, interdisciplinary artist AUTUMN KNIGHT’s newest work addresses a range of subjects, including the nature of intimacy with self, others, and objects-stuff. The title suggests various interpretations of the missing letters, and the performance itself addresses certain ideas such as “mother” “murder” and “matter,” while leaving room for ambiguity. M _ _ _ ER is a nonlinear,
scenic examination of entanglement from mothers to matter to the notion of twins as a metaphor for inextricable intimacy. The work investigates relationships that are common to almost everyone and probes at the nature of precarity born out of physical or emotional intimacy and proximity.
Autumn Knight: M _ _ _ ER is a National Performance Network/Visual Artist Network (NPN/VAN) Creation & Development Fund Project co-commissioned by DiverseWorks, Houston; On the Boards, Seattle; and Women & Their Work, Austin. M _ _ _ ER premiered at DiverseWorks in October 2018 and will be presented at Abrons Art Center in New York in March 2020.