Category: Blogcast

Spotlight On: Lucie Vítková

Spotlight On

Roulette catches up with residency artist Lucie Vítková for a quick Q+A. 

Tell us a little bit about yourself and what you do.
I am a composer, performer and improviser of accordion, Japanese hichiriki, synthesizer, harmonica, voice, and dance, originally from the Czech Republic. My work consists of broad range of activities and activisms. I like to explore a perception of everyday life through musical analysis and analyze music through the lens of social relationships. In the past years, I have been focusing on the environment as a new way to educate myself in music. I have been transcribing sounds of environments into scores, and that way following and absorbing its aesthetics. I have worked musically on cityscapes, domestic space, and on sounds of things, especially researching trash. I have traveled and moved a lot, studying in Brno in the Czech Republic, The Hague in the Netherlands, CalArts in Valencia, Berlin, and New York.

Describe the project you are developing for Roulette.
A year and a half ago, I began to play in the Japanese Gagaku Ensemble at Columbia University. This summer I was chosen for the master / protégé residency in Tokyo, which was transformative for me. In the Gagaku Ensemble, I play Japanese hichiriki, a straightforward double reed instrument, which has became one of my solo instruments. For my upcoming project at Roulette, I decided to devote my musical research to the hichiriki, and I am preparing an evening of pieces related to this instrument. In those pieces, I am merging the construction and physicality of the hichiriki, habits around its use and making, and Japanese Gagaku notation with research on ethnomusicological methodology, the influence of continuity and discontinuity in Michael Jackson’s work, my environmental performance practice, dance, and accordion playing. I am preparing scores for lights, choreographies for sounds, scenes focused on things, and playing with water and wind.

What is the best way to spend an afternoon in New York City?
I live in Washington Heights and I love to go to Fort Tryon Park, which is just a 15 minute walk from my place. With that little botanical garden right at the entrance and stunning views, sometimes it feels like a very luxurious backyard. There seems to be a lot of people that have a similar relationship with that place. It’s a common thing to do, even if we don’t really talk or engage — just being in that space together brings a peaceful experience.

What is influencing your work right now?
Classes at Columbia University such as Music, Memory and Migration of ethnomusicologist Alessandra Ciucci and the Ecofeminism class of Branka Arsić, my involvement in Japanese and Raaga Ensembles, and working with my NYC Constellation Ensemble.

How did your interest in your work begin?
Probably when I was four and began to take dance and piano lessons, or listening to my mom and uncle playing guitars by the fireplace, or my father introducing me to The Wall by Pink Floyd at a very early age.

Lucie Vítková performs Spectacle as part of Roulette’s artist-in-residency program on January 27, 2018. Tickets + Info

ACFNY Presents: Studio Dan / Breaking News

What: US premiere performance of commissioned pieces by George Lewis + Oxana Omelchuk from Austrian ensemble Studio Dan.
When: Sunday, December 3, 2017, 8:00pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $25/20 Online: $20/15 Doors
Info: / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – Austrian ensemble Studio Dan presents an evening of US premieres and performances of commissioned pieces by George Lewis and Oxana Omelchuk, followed by works by Johannes Kreidler, John Zorn, and others.

The key work for the concert is George Lewis’ new piece commissioned by the group, followed by another commissioned piece by Belarusian composer Oxana Omelchuk, featuring two solo trombones. Both pieces will be premiered in October during the 50th edition of musikprotokoll held in Graz, Austria. The second half of the program will be dedicated a collection of short pieces for smaller ensembles, including Johannes Kreidler’s concept piece “Charts Music,” composed with the aid of stock exchange and trading charts.

Founded in 2005 for the first JazzWerkstatt Wien festival, Studio Dan started as big band, but has since morphed to perform in various permutations, depending on the project. The group operates on the borders between diverse subgenres of contemporary music: improvisation, new music, jazz, and (art) rock, and others. Studio Dan curates and produces new programs, concert series, and recordings, working alone or in cooperation with large institutions. In 2016, Studio Dan brought new programs to several internationally-renowned stages as Wien Modern, Kampnagel Hamburg, musikprotokoll graz, and the Tagen für Neue Musik in Zurich. The ensemble also presented works Anthony Braxton, George Lewis, Cornelius Cardew, George Crumb, and others during a  four-concert series at Vienna’s Porgy & Bess. Past guest soloists and collaborations with Studio Dan include Vinko Globokar, Elliott Sharp, Michel Doneda, and Friedrich Cerha.

Johannes Kreidler (1980) – Charts Music
George Lewis (1952) – New Work
Oxana Omelchuk (1975) – wow and flutter
Caitlin Smith (1983) – Wie schön ist es zu leben
Christoph Walder (1967) – vozmozhnost
John Zorn (1953) – Ceremonial Magic

Paul Pinto // Iktus Percussion vs. Paul Pinto

RTV sits down with Paul Pinto to discuss his performance with Iktus Percussion at Roulette, what aging does to the male psyche, and the artist vs. the athlete.

Paul Pinto creates and produces experimental music and theatrical works in traditional and non-traditional spaces, and is the founder and co-director of ensembles thingNY and Varispeed. His own compositions blend chamber music with theatre with a focus on total performativity. Specifically, his work centers on the human voice and the endurance of the human body. Paul has chosen to work equally with traditional instruments, lo-fi electronics, unconventional sound-makers and amateur musicians, creating one-minute opera, concert length chamber music, and durational performance art. Paul is currently a member of the HERE Artists Residency Program (HARP), where he is developing a new opera for 2017 called Thomas Paine in Violence.

Produced By
Jim Staley

Directed and Edited by
Wolfgang Daniel

Photographed by
Wolfgang Daniel
Sonia Li

October Show Highlights




Spotlight On: Teerapat (Gof) Parnmongkol

Spotlight On

Roulette catches up with artist Gof Parnmaonkol for a quick Q+A about his favorite artists, the best places to eat around Roulette, and his favorite spots in NYC.

What is the best way to spend an afternoon in New York City?
Reading and biking in Prospect Park

What artists are you interested in right now?
Puppies Puppies, Slavoj Zizek,Tristan Garcia, Tehshing Hsieh

What is your favorite place to eat or drink near Roulette?
Bedouin Tent (Middle Eastern; 405 Atlantic Ave at Bond St) and Ganso Ramen (Japanese; 25 Bond St at Livingston St).

What is your first musical memory?
The sound of airplanes landing and the hissing sound of a cassette player

Who would you ideally like to collaborate with?
Jacques Derrida and Alejandro Jodorowsky

What is your absolute favorite place in the city to be?
The dressing room on the 8th floor of the Whitney Museum


On Wednesday, October 4, Teerapat (Gof) Parnmongkol performs as part of RE to present Lunar Eclipse, an interactive audiovisual performance within an inflatable dome sculpture. Tickets + Info

Issue No. 004 of Roulette’s Zine is Here!


Fall zines have arrived and they are jam-packed full of new + exclusive content, including a feature on Phill Niblock​ from Kurt Gottschalk​, an interview with MSHR from Mia Wendel-DiLallo​, artist spotlights, season calendar, neighborhood dining recommendations, a word search, and much more. Pick up your copy in the lobby before a performance and keep your eyes pealed for these seafoam beauties around town.

Phill Niblock’s Solstice Tradition by Kurt Gottschalk

Phill Niblock
Phill Niblock at his laptop during 6 Hours of Music and Film at Roulette, 2018

There was a time when Phill Niblock’s six-hour winter solstice concerts were a key part of the Downtown winter holidays, every bit as much as Phil Kline’s Unsilent Night boombox parades from Washington Square Park to Tompkins Park or the annual New Year’s Eve sets with James Blood Ulmer at the old Knitting Factory. From 6pm until midnight every December 21, Niblock could be found at Experimental Intermedia, his home and performance space on Centre Street, playing extended, drone-based music alongside his films of people around the world doing manual labor.

Those days are gone. Niblock still hosts a run of performances and screenings at the loft—which will mark its 50th year of operation in 2018— every May and December. But conflicts with the building owner have forced him to scale back and keep a close count on attendance. His solstice concerts—where people would meet up to listen, socialize in the stairwell, pop over to Chinatown for dinner and return to submerge again into the penetrating volumes of the music—proved too popular to continue at the loft . When Roulette opened its new theatre on Atlantic Avenue in 2011, the annual ritual was on the bill and a new tradition was born.

Niblock presented his first solstice concert in 1976 and has been doing it ever since, some years augmented with a summer solstice concert as well. The original inspiration, however, seems at this point lost to history.

“Actually, I don’t really know [how it started],” he said in August, speaking via Skype from his second home in Ghent, where he was preparing for concerts in Poland and Czechia. “I don’t have any memory of that whatsoever. It used to be eight hours long, and I don’t know what the fuck I did in eight hours because there wasn’t that much material then.”

Whatever the origin, the solstice concerts in a sense epitomize much of Niblock’s work. Extended tones, extreme volume and long, filmed scenes of people working are hallmarks of his artistic output. Asked what he thought people should take away from the concerts, he said with a laugh, “It’s not my problem, it’s their problem.” But he has plenty to say about the work itself.

“The volume is actually about two things,” he explained. “One is that it announces that the music is not a soundtrack for the film but is a dominant feature. The other thing, and probably the more important part, is that the music is all about this microtonal interference in the sound cloud that appears and that occurs much more at a very high volume. Sometimes the cloud of overtones that occurs is there only when it’s fairly loud and if you turn the music down, it becomes the sound of instruments rather than the sound of microtonal interferences.”

While making music might be what he’s best known for today, Niblock’s first work was in photography and filmmaking. When he arrived in New York City in 1958, he found a place in the jazz world, photographing Duke Ellington sessions and filming the Sun Ra and his Solar Arkestra, among others. Before long, he had had taken to filming dance and, later, creating installation projects with dancers interspersed among multiple screens projecting his films. (Some of those early multi-media events were revived in March, 2017, at the Tate Modern in London.) At that point, he said, he began to see parallels between the motions of dance and the motions of manual labor.

“I was working with a dance theater from ’65 to ’70 and I began doing this project called the ‘Environment Series’ in ’68,” he said. “There were three screens of video plus some slide pieces on a fourth screen with music and live players. I found it very difficult to do these pieces because there were five people and multiple screens and we simply couldn’t do it. I began to do a series of films that I could do with a single screen or possibly two or three when it was possible in ’73. I decided to do this series of pieces looking at the movement of people doing very ordinary work. I was looking at the movement of people working in the fields or fishing or whatever they were doing rather than live dance.”

Those early films are a major part of Niblock’s solstice concerts, but this year’s concert will give him a chance to present more recent work as well.

“There’s a lot of new video in the last few years, 100 minutes of finished videos, which is completely different than the people working, no people whatsoever,” he said. “We’re doing installations where there are three screens and a fourth set of pieces that are shot on video and look better on a video monitor than they do on a large screen.”

Niblock has a long history with Roulette, dating well before his moving the solstice concerts across the East River. As far back as 1982, he was performing at Roulette’s original loft on West Broadway (not so far from his own space), presenting a program called “Once More For the Road” featuring his films from Shanghai and Lesotho with Roulette co-founder and artistic director Jim Staley on “mobile trombone.”

That history made moving to Roulette an easy invitation to accept. While Niblock originally planned to find a new location for the solstice concerts every year, he said he is glad to have found a permanent home.

“I was thinking maybe we’d switch to different places but Roulette is really a great space for us,” he said. “I’m extremely happy to work with them.”

His image on the screen then jostled as he adjusted the camera on his laptop.

“Let me pull this down a bit,” he said, “so you can see the hand on my heart.” The gesture was followed by a laugh that might be as evocative of the experimental composer and filmmaker, at least to those who were at those early concerts on Centre Street, as the loud and prolonged tones of his music.

CONTRIBUTOR: Kurt Gottschalk

Kurt Gottschalk writes about contemporary composition and improvisation for DownBeat, The New York City Jazz Record, The Wire, Time Out New York, and other publications and has produced and hosted the Miniature Minotaurs radio program on WFMU for the last ten years.

A print version of this article appeared in Roulette’s zine ISSUE 004, Fall 2017

Joan La Barbara at 70

By Mia Wendel-DiLallo

The little chilling details speak volumes about the complexities of an individual.” — Joan La Barbara

In honor of her 70th birthday, vocalist and composer Joan La Barbara premieres a new piece for the stage — “The Wanderlusting of Joseph C.” — an epic song cycle materializing from the life, work, and dreams of the reclusive visual artist Joseph Cornell. For her followers, the work will be a surprising departure from the virtuosic vocal abstractions that they have come to know. Joan’s performances typically undulate from wordless whispers, warbles, and hums to her famous circular breathing acrobatics, examining the use of the voice-as-instrument in resonant pulsations of sound. By contrast, “The Wanderlusting of Joseph C.” returns in cyclical fashion to the artist’s interest in language itself. The libretto, written by author Monique Truong, unravels the tragic nature of Cornell’s personal relationships, and is sung by a collection of greats from the operatic world, including opera diva Lauren Flanigan, baritone Mario Diaz-Moresco, and the young soprano Julia Meadows. Music will be played by Ne(x)tworks, with cellist Yves Dharamraj, harpist Shelley Burgon, Miguel Frasconi on glass, flute, and laptop, pianist Stephen Gosling, trombonist Christopher McIntyre, and Joan La Barbara herself performing vocals.

Joan first became acquainted with Cornell through his melancholy shadow-box collections of trinkets, letters, toys, and photographs, but it wasn’t until she was sent a book of his dreams that she truly came to know him. The collection, which included fragments from his journals extracted by editor Catherine Corman, was sent to Joan from Exact Change publishing house as a request that she create a work inspired by one of their publications. Joan began to play with the excerpts, seeing what music they could reveal, and ended up composing “Habité par ses rêves et les phantasms,” for voice and hand-held percussion which she premiered in 2009 at Issue Project Room.  Like Cornell’s shadow-box pieces, the fragments provided a unique window into his world, and served as a jumping off point for Joan’s research into his life. Biographies such as Deborah Soloman’s “Utopia Parkway,” aptly named after the street that Cornell lived on in Flushing, Queens, further fleshed out his complex character for Joan.

Cornell’s life was stunted by an unhappy childhood, and as a result he never strayed too far from New York. He would spend hours wandering the city, scanning thrift stores, streets, and the Queens shoreline in search of the objects one sees populating his work. The little bottles that crop up in the boxes came from these expeditions, as do odds and ends ranging from scissors and small figurines to the “leftovers” from the 1939 World’s Fair held in Flushing. He would then take his spoils home with him and categorize them, and the objects would become his mind’s travelogue.

Dream-like themselves, the shadow-boxes created a purely imagined universe — one in which Cornell could live out the life he could never have. The shadow-boxes illustrate a “wanderlusting,” a coined word found within Cornell’s personal writings, in their desperate focus on distant places, intimate fan letters to famous actresses and ballerinas, and uncanny collaged creations of objects and images. In German, wanderlust is defined as a strong and innate desire to wander or travel. While this definition gives agency to the wanderer, it does, perhaps as in Cornell’s case, show the hopelessness of achieving true satisfaction in wandering. Through his artistic creations Cornell could portray a freedom that he could not find himself, and it is this passion and pain that lead Joan to her opera.

“The Wanderlusting of Joseph C.” was born from a creative process that Joan has honed for years: making lists. She begins every piece by writing down lists of her ideas. These verbal collections are sometimes borrowed from other people’s written or spoken words, but are mostly her own fragmentary contemplations. She then works over the fragments to discover where the music calls out to her. Over the course of her career she has compiled thousands of these lists, mixing and matching a collage of her selected thoughts and ideas to form the whole of the piece.

Although she doesn’t consider herself a researcher or historian, Joan’s recent ensemble works have been heavily focused on the excavation of real events through lyrics. “A Murmuration of Chibok,” with lyrics also written by Monique Truong, was created by Joan as a way of honoring the memory and willpower of the over 250 girls abducted by Boko Haram in 2014. To not let the world forget their voices, Joan imagined the joy and laughter of the girls right before their kidnapping, returning to school with lively innocent calls and chatter to each other. The piece, which was presented in 2016 at both National Sawdust and Merkin Concert Hall, will again be performed in May at the Bang on a Can Marathon at the Brooklyn Museum. The work features a heartfelt performance from a children’s choir comprised almost entirely of girls who are poignantly the same age as the young Nigerian women, when they were abducted. Joan has also undertaken a project on Virginia Woolf’s letters, writing, and personal history, in the hopes of weaving Woolf and Cornell’s stories together in a future piece. Through an award from the Guggenheim Fellowship in Music Composition in 2004, Joan was given access to the British Library’s collection of letters and notes. Inspired by Woolf’s communication with Leonard and her sisters, and her powerful suicide letters, Joan delved into a new work that will intimately bring to light Woolf’s words. The opera will focus on Woolf’s “Moments of Being,” the posthumously published collection of autobiographical essays in which the writer explores moments of reality, versus what she considers the status quo of non-reality. The performance will put special emphasis on Woolf’s difficulty processing the death of her mother, and, of particular interest to Joan, Woolf’s dream of creating a time machine.

“The Wanderlusting of Joseph C.” and Joan’s relationship with Woolf’s letters mark a wonderful cyclical completion in Joan’s artistic career, in a return to words as a source of inspiration. As a young student, Joan was dually enrolled in the English and Music Departments at Syracuse University, and even recalls an essay she wrote during her studies, in which she explored color symbolism in Woolf’s beautiful novel Orlando: A Biography. This interest in words, however, receded early in Joan’s career, and was replaced by sounds and song that seemed to touch somewhere beyond our language, still communicating volumes, but without speech. In her works today, they have risen to the surface again, in wonderful creative collaborations with artists and writers, both living and legendary. Observing this cyclical narrative illuminates analogies between Joan’s list-making, Cornell’s collecting, and even Woolf’s stream of consciousness, that perhaps indicate an immediate induction of “The Wanderlusting of Joseph C.” into the canon of curiosities.

A Mixography of Mixology

By David Weinstein

The Philips Pavilion at the 1958 Brussels World’s Fair

In 1913 composer Maurice Ravel was recorded playing his own piano music using the exotic Welte-Mignon recording process. This was a player piano that captured not just the notes but dynamics and tempos as well. In that incredible year and for some decades forward, many composers did the same, including Paderewski, Busoni, Grieg, Scriabin, and Debussy. The remarkable thing about hearing these is the loose and funky approach they had to the music. Some of these characters made extra cash playing piano in bar rooms and brothels. Imagine The Sunken Cathedral as a barrel house, stride piano romp. Our romantic interpretations go sour.

These recordings are an historical marker in our appreciation of the composer as performer. This tradition is ancient but thinly documented. Mozart’s “embellishments” in his live shows are legend, and are preserved in transcription. The practice certainly goes back millennia. Imagine riffing in Gregorian chant, for sure.

The Festival of Mixology is Roulette’s celebration of this tradition. Technology meets the hand of the maker. This is key. The composer’s voice is uninterrupted by interpreters or production noise. The MixFest focuses on “new and unusual uses of technology that incorporate sound”. Technology liberates the composer to be more than two hands. Over the last century that has become very interesting.

For example, the use of the turntable as a musical instrument. John Cage’s Imaginary Landscape No. 1 of 1939 used variable speed turntables and pre-recorded test tone records. Pierre Schaeffer went further using a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. He is also the first composer to use magnetic tape (incredibly liberating then, but clumsy compared to our digital currency). Schaeffer also started incorporating noises as musical material, which launched musique concrète.

Then we have arguably the greatest multimedia event of the twentieth century (though John Cage’s HPSCHD is a close second). The Philips Pavilion of 1958 in Brussels was designed by architect Le Corbusier, and elevated by the great composer/engineer Iannis Xenakis and the sounds of Edgar Varèse’s Poème électronique (hundreds of speakers throughout!). It combined architecture, multi-channel sound, projections, sculpture, light, and audience interaction. You can’t touch this. They tore it down.

My own first experience with electronic music performance was nothing like this. The lights went down and two pin lights appeared on the speakers. In the dark we listened to a spectacle of stereo sound. Years later a revolt occurred. Composer/performers actually appeared on the stage with their apparatus. Diddling and tweaking sounds. Over time this, too, grew tiresome. Watching someone work is a piece you only need to see once. So, composers began to get off the table of gear, with controller gloves and wands and all types of gadgets. What do we need to see? What do we want to hear?

Where do we go now?

This year’s Mixology Festival is an investigation into space. Multi-channel sound can create illusion and wonder and an artful experience. Curator Michael Schumacher has long championed this aural magic. His Diapason Gallery was the longest running, and only dedicated, listening space for sound art in New York. The hand, and the voice, of the maker will be heard. Go listen.

David Weinstein is a co-founder of Roulette and curator of the first Festival of Mixology in 1991. He is currently working to restore historic radio broadcasts, digitize the Roulette audio archive, and introduce new artists on his radio show on WFMU.

Roulette’s Mixology Festival Runs from Feb 22 – Feb 25 and presents works by: Jim O’Rourke, Olivia Block, Jason Lescalleet, Mario de Vega, Cecilia Lopez, Greg Fox, Stefan Tcherepnin, Eli Keszler, Kenneth Kirschner, Daniel Neumann, Anne Guthrie, Ben Manley, Liz Gerring, Michael Schumacher, Leila Bordreuil, and, Ursula Scherrer.



Jennifer Lafferty In Conversation with Alexis Convento

Since 2014, dancer and curator Jennifer Lafferty has invited choreographers to present as part of [DANCEROULETTE]’s New Movement Series. As she begins her fourth season this February, Alexis Convento, curator of the CURRENT SESSIONS contemporary performance series, speaks to Jennifer about the “emerging” artist, non-curation, and fluidity between curatorial and performance roles.

Alexis Convento: Hi Jennifer, thank you for taking the time. I’m excited to speak with someone else who moves between artistic and curatorial roles. Having experience on both sides can bring a lot to a curatorial practice. To begin, I’d like to learn a little more about how you started with the New Movement Series.

Jennifer Lafferty: It was good timing, really. The New Movement Series was my first curatorial opportunity. Most days I still call myself a performer–I work with a number of choreographers, most recently Rebecca Lazier and Beth Gill. But I also try to see as much performance as possible. I love how many ways dance can be presented to the audience. Works-in-progress at Movement Research, mixed-bills at Center for Performance Research, and seasoned choreographers at The Kitchen, New York Live Arts, and The Chocolate Factory… I try to see as much as I can. The city is always changing and filled with good ideas. After each performance, I like to start a conversation about the choreography presented. This is what led me to where I am now. After seeing one another at several shows, a former Roulette curator reached out about programming the New Movement Series. This was back in 2014, and February will now be my fourth series.

AC: Yes, great timing. So tell me more about the New Movement Series. What artists are involved? What sets this series apart?

JL: The New Movement Series was established as an “emerging” artist platform. I found that term a bit challenging at first and spent a lot of time trying to define for myself who I considered an “emerging” artist. Ultimately I decided to interpret the term broadly and focus on young artists who can create suspense through movement and experiment with different techniques. What’s most important is that I find choreographers who are always curious. It doesn’t matter to me if artists are classically-trained, but rather that they are immersed in a personal practice, and that they continuously explore their craft.

And to answer your second question, what separates New Movement is that I try to work towards an idea of non-curation. I think it’s particularly important when working with artists in the early stages of their choreographic development–

AC: –I’m so used to doing just the opposite. Whenever I put together a show I am always searching for a through-line, trying to fit narratives and themes together. It’s nice that you can let go of control in that way. Can you elaborate on what you mean by non-curation? Why is it crucial for emerging platforms like the New Movement Series?

JL: There are so many practices out there,  I want to let them come into contact with one another. As an organizer, I try to listen and keep an open mind. I also think it’s important to provide opportunities for emerging artists. With New Movement I want to give young artists the space they need to explore, make mistakes, and take risks. To allow room for failure as part of the research in early stages of making. If these choreographers have the opportunity to explore it’s unfair for me to limit their creativity by restricting them to a certain concept, style, or focus.  My first concern is to provide the resources, time, space, and personnel, for these artists. What I ask in return is trust, transparency, and a shared commitment to the presentation of great dance for an audience that is curious.

AC: It is important to make space for artists in early stages of development. Okay, last question: I feel like this may come naturally for you because you’re often around other artists, but how do you think the part of the curator differs from that of the performer. Do you find it challenging to switch between roles?

JL: Luckily, as a performer, I find myself among people who are constantly investigating, pulling apart, and discussing performance in a multitude of ways. This contact allows me to learn about new movement, and encounter artists as they are building work.

A question that I often revisit is how much my own aesthetic should read within the New Movement Series. I try to find balance by letting the space between performer and curator remain fluid while organizing evenings that allow for multiple perspectives and entry points.

[DANCEROULETTE]’S  New Movement Series runs from February 15-18, 2017, and presents choreography by Abby Levine, Anonymous – Cori Kresge, EmmaGrace Skove-Epes, Jessie Gold, John Hoobyar, Maddie Schimmel, Marc Crousillat, Marilyn Maywald, Melanie Maar, Netta Yerushalmy and Marc Crousillat, Rebecca Brooks, and Tatyana Tenenbaum.