Publications
Irene Hsiao sat down with some performing artists to discuss their experiences as Asian Americans living and working in Chicago.
Daisy Matias processes grief with an experience of Helen Lee’s Curiosities of Wellness at the MCA.
Dionne Victoria returns with another response as she reviews the sultry songstress in Keya Trammell.
Bangali Meye by Tuli Bera returns with a response from Maya Odim as Bera presented it’s fourth and final iteration in Links Hall’s final season.
Ameera Nimjee offers insight into Ishti Collective’s newest work-in-progress Seen/Unseen.
Sarah Stearn responds to the evolution of her dance performance series , j e l l o with The Ooze from the mind of Mya McClellan.
Dionne Victoria of Art Center of Englewood shares her experience witnessing the short film “Invisible Giants: Honoring Black Women’s History.”
Sarah Stearn offers a response to Jeanine Durning’s “The Invitation Situation” from Links Hall’s 2023-2024 season.
adanya gilmore offers a personal response to Miguel Gutierrez’s Super Nothing performed at the MCA.
Tianjiao Wang responds to TaiTai xTina’s performance installation, “Digging Through Softness.”
Kevin Iega Jeff responds and adds context to a critical review of Deeply Rooted Dance Theater’s season opener.
Rachel Lindsay-Snow writes a response to Sophie Minouche Allen’s Hot, live and otherwise.
The Function: a response by Laaura Goldstein to Erin Kimurray & collaborator’s The Function
Laaura Goldstein responds to Elastic Arts’ first AfriClassical series featuring Yaw + Eva Supreme.
A response to SJ Swilley’s 2024 production residency at the Dance Center of Columbia College Chicago by embedded writer Aaliyah Christina.
Read responses by Ashwaty Chennat, Keyierra Collins, Shireen Hamza, Chrissy Martin, Bundo Onwueme, & Anand Venkatkrishnan to Anjal Chande’s The Next Cup of Tea.
Gabriel Chalfin-Piney previews Ruby Que’s closing performance as a response to their installation “Consider a Disappearance” exhibited at University of Illinois-Springfield’s Visual Arts Gallery through March 7, 2024.
Corey Smith responds to Genesis Ensemble’s new work, there are no dead people, with a letter.
Embedded Writer, Shireen Hamza reflects and responds to Maggie Bridger’s production residency at Links Hall sponsored by Chicago Dancemakers Forum & PRJ.
Laaura Goldstein responds to J’Sun Howard’s The Righteous Beauty of Things Never Accounted For.
J’Sun Howard responds to Tuli Bera’s new work presented in Steppenwolf’s LookOut Series through work around, curated by Kara Brody & Amanda Maraist.
Courtney Mackedanz reflects with the artists featured in Kara Brody & Amanda Maraist’s work around series as a part of Steppenwolf’s LookOut Series.
Carole McCurdy responds to Drew Lewis’s new work presented in Steppenwolf’s LookOut Series through work around, curated by Kara Brody & Amanda Maraist.
Sarah Stearn responds to Tuli Bera’s work-in-progress presented in Steppenwolf’s LookOut Series through work around, curated by Kara Brody & Amanda Maraist.
J’Sun Howard responds to Cat Mahari’s work-in-progress presented in Steppenwolf’s LookOut Series through work around, curated by Kara Brody & Amanda Maraist.
Irene Hsiao responds to Jaerin Son’s Dogs or Cats; Augmented Body through Steppenwolf’s LookOut Series.
Keyierra Collins responds to a prompt from PRJ2.0 presented in conjunction with the “Deconstructing Language: Liberationist Writing for Performance” workshop series during PRJ’s satellite residency in Summer 2021 with the National Center for Choreography at the University of Akron.
Keyierra Collins responds to a prompt from PRJ2.0 presented in conjunction with the “Deconstructing Language: Liberationist Writing for Performance” workshop series during PRJ’s satellite residency in Summer 2021 with the National Center for Choreography at the University of Akron.
Clara Nizard responds to Lucky Plush Productions’ in collaboration with Melinda “Mindy” Myers & Kurt Chiang’s “Unfinished Business.”
Keyierra Collins responds to a prompt from PRJ2.0 presented in conjunction with the “Deconstructing Language: Liberationist Writing for Performance” workshop series during PRJ’s satellite residency in Summer 2021 with the National Center for Choreography at the University of Akron.
laaura goldstein responds to Carole McCurdy’s just passing through: the disequilibrated map.
Keyierra Collins responds to a prompt from PRJ2.0 presented in conjunction with the “Deconstructing Language: Liberationist Writing for Performance” workshop series during PRJ’s satellite residency in Summer 2021 with the National Center for Choreography at the University of Akron.
Khalid Long considers the feminist lens in Chicago Fringe Opera and BraveSoul Movement’s “The Rosina Project.”
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Keyierra Collins responds to a prompt from PRJ2.0 presented in conjunction with the “Deconstructing Language: Liberationist Writing for Performance” workshop series during PRJ’s satellite residency in Summer 2021 with the National Center for Choreography at the University of Akron.
PRJ Co-Organizer, Aaliyah Christina responds to What to Send Up When It Goes Down by Aleshea Harris with Congo Square Theatre.
Keyierra Collins responds to a prompt from PRJ2.0 presented in conjunction with the “Deconstructing Language: Liberationist Writing for Performance” workshop series during PRJ’s satellite residency in Summer 2021 with the National Center for Choreography at the University of Akron.
Embedded Writer Christine Shallenberg responds to the making of Kurokami E{m}Urge by Yoshinojo Fujima (Rika Lin).
Embedded writer Benji Hart reflects in poem form on a rehearsal of Contra la Corriente, an in-progress performance by Ivelisse Diaz, at Segundo Ruiz Belvis Cultural Center.
Embedded writer Khalid Y. Long offers his first reflection from inside the rehearsal process of BraveSoul Movement’s The Rosina Project: An Immersive Hip-Hopera
Gervais Marsh responds to Faheem Majeed and Damon Green’s installation and performance Push/Pull at the Hyde Park Art Center.
This is the second response from embedded writer, Katerine Ricardo, to Rigo Saura’s production residency at the Ruth Page Center for the Arts sponsored by the Chicago Dancemakers Forum & the Performance Response Journal.
A response to Rigo Saura’s Pink Nights Never End work-in-progress. This work is made possible through a production residency at the Ruth Page Center for the Arts and the Chicago Dancemakers Forum.
A response to Jumaane Taylor’s Ugly Flavors made in a production residency at the Dance Center of Columbia College co-sponsored by Chicago Dancemakers Forum and Performance Response Journal.
A response to Nejla Yatkin’s The Other Witch made in a production residency at the Dance Center of Columbia College co-sponsored by Chicago Dancemakers Forum and Performance Response Journal.
Maya Odim responds to Lauren Warnecke’s article in See Chicago Dance, “Chicago dance has had a long love affair with process. Doubling down, are their audiences on board?”