Winter/Spring 2021


Jessica Emmanuel: ‘kwirē/. Photo: James Mountford.


Embarking on what promises to be another unprecedented and groundbreaking year, Roy and Edna Disney/CalArts Theater (REDCAT), CalArts' downtown center for contemporary arts, is proud to announce its second all-virtual season of artistic exploration and experimentation.

Through streaming performances, screenings, conversations, and exhibitions, REDCAT will continue to reach audiences around the world with a program of innovative visual, performing, and media arts running January through June 2021.

“Given the current moment, the work of artists takes on an even greater urgency,” said João Ribas, REDCAT’s new Steven D. Lavine Executive Director and Vice President for Cultural Partnerships. “We must allow art and artists to lead us into ways of thinking, making, and acting for a better, more just and more equitable world. REDCAT is deeply committed to serving as a creative nexus for artists to engage thoughtfully, critically, and transformatively with our audiences and communities.”

REDCAT’s Deputy Executive Director & Curator Edgar Miramontes added, “As a presenter, REDCAT is a facilitator of experiences, and whose experiences we elevate is a question we should always be asking ourselves -- especially now, as the inequities experienced by our Black and Brown brothers and sisters and other marginalized communities have become impossible to deny.”

Although REDCAT will gladly return to live in-person performance when it’s possible, the season offers an opportunity to support artists from all over the globe by showcasing their work virtually, amplifying their experiences to Los Angeles and beyond.

REDCAT’s Winter/Spring 2021 season welcomes three international artists: Chilean actor Francisco Reyes with his critically-acclaimed one-person show (with puppets), Yorick, La Historia de Hamlet Feb. 12-14; Indonesian choreographer and dancer Rianto exploring history, culture, and gender through dance and film with Hijrah Feb. 18-20; and April 10-11, internationally renowned Chilean playwright and director Guillermo Calderón with The Second Life of Dragón, a reformatted version of his newest work for our current circumstances of confinement.

Internationally acclaimed theater company Elevator Repair Service recreates a profoundly relevant 1965 confrontation in a work-in-progress showing of Baldwin and Buckley at Cambridge on April 23-25.

Launching the season, on Jan. 15, REDCAT kicks off “Black Motion Pictures,” a series of interviews with radical Black creatives about race, performance, and representation conducted and curated by artist Gabrielle Civil

The season sees two other exciting REDCAT conversations: with CalArts MA Aesthetics and Politics Theorist-in-Residence McKenzie Wark on Jan. 20 and CalArts 2021 Katie Jacobson Writer-in-Residence and current U.S. Poet Laureate Joy Harjo on March 23.

A very musical spring at REDCAT includes performances by torchbearers of Chicago’s innovative jazz scene Artifacts Trio (Feb. 27); Global Studios and Audiotopias, a project exploring virtual hybridity and musical collaboration with artists from around the world (March 13); stuttering, Afro-Caribbean composer, performer, and writer JJJJJerome Ellis with a new piece commissioned by REDCAT (April 3); soprano and sound artist Micaela Tobin with an immersive, experimental opera (May 1); and GRAMMY Award-winning PARTCH Ensemble with seven new works (June 4-5).

The season also includes two works rescheduled from last spring and reimagined for a virtual stage: Dohee Lee’s ritual shamanic experience of music and dance, MU/巫: 9 Goddesses, March 19-20, and Rosanna Gamson/World Wide’s dark dance/theater prequel to Hansel and Gretel, Prelude to Sugar Houses, June 10-12.

Mixing ritualistic and visceral movement, sound, video, and text, Jessica Emmanuel’s new solo dance work,ˈkwirē/, considers a dystopian world live from the REDCAT stage March 4-6. And following the success of the livestreamed CalArts Winter Dance Concert, CalArts Dance returns April 29-30 with new work that expands the digital platform. 

A living and moving score and endurance mediation on current times, taisha paggett presents com.pleats.we (housecoat) May 10-22, during which the dance artist and choreographer will live at REDCAT under the surveillance of a 24/7 livestream.

And closing out the 17th annual New Original Works (NOW) Festival -- a celebration of Los Angeles' vibrant community of artists creating new contemporary performance works -- on Jan. 28-30, REDCAT will present the world premieres of new works from artists DaEun Jung, Maria Garcia and Samantha Mohr, and Genna Moroni (rescheduled from December 2020).

The season’s Film/Video programming comes from all corners of the cinematic and geographical world, from queer cinema to Indigenous culture, Latin American animation to female filmmakers from Post-Soviet Russia and feminist film collectives from South Korea, experimental filmmaking across the globe and so much more. Across ten screenings, organized by CalArts faculty Bérénice Reynaud and Eduardo Thomas with a dazzling array of guest curators, the season features films by Aquelarre Gonzo Camarena, Hyun Jin Cho, COUSIN, Mariah Garnett, Sky Hopinka(2020 recipient of The Herb Alpert Award in the Arts in Film/Video), Fernanda Pessoa, Ekaterina Selenkina, Eduardo Williams, and others.

The season will also celebrate the May opening of Aria Dean: Suite!, a newly commissioned work by prolific Los Angeles- and New York-based artist, writer, and curator Aria Dean. Co-commissioned by REDCAT and the Centre d’Art Contemporain Genève, Suite! is a film and installation that stars a chorus line of Kudzu plants occupying digitally rendered versions of Dean’s installation: a darkened chamber with a curved screen at one end, and a black and white checked floor that gives the optical illusion of a sunken hole. 

And that’s just the beginning for this even more extraordinary season at REDCAT. For dates, details, or ticketing information, see below or visit


Jan. 15, 2021
Black Motion Pictures
Curated by Gabrielle Civil, Black Motion Pictures is a series of Zoom interviews with radical Black creatives about race, performance, and representation conducted between June 2–14, 2020. Spanning a broad range of topics—Black punk music, heritage sites, re-enactments, queer ancestors— the series launches with Jasmine Nyende.  Who are you today and what do you do? Can you think of a performance--Black or otherwise--whatever that means--that has meant a lot to you? How is Black performance marked or archived? How does Black performance relate to time (to historicity or ephemerality)? What is a Black performance still? How does Black performance matter? What is a Black motion picture?  

Black Motion Pictures Series
Feb. 17, 2021: Ra Malika Imhotep
March 12, 2021: Ayana Omilade Flewellen
April 14, 2021: Fox Whitney

Jan. 20, 2021
McKenzie Wark 
Philosophy for Spiders: On Kathy Acker

Join CalArts MA Aesthetics and Politics Theorist-in-Residence McKenzie Wark for a conversation with MA faculty Matias Viegener about Wark's forthcoming book on the work of writer and artist Kathy Acker. Hosted by the MA Aesthetics and Politics program, School of Critical Studies, CalArts. 

Jan. 25, 2021
Mariah Garnett

Guggenheim Fellow Mariah Garnett introduces her experimental debut feature, Trouble (83 min), after its well-received screenings at the New York Film Festival, the BFI London Film Festival and CPH:DOX. Garnett creates a multilayered filmic texture that mirrors the fractured lens of history, pointing to the impossibility of “documentary truth.” Trouble delves further (with discreet poignancy) into the aesthetics of creative reconstruction and cross-gender impersonation explored in her earlier shorts. In Vienna, at age 27, she meets David, the father she had not seen since she was two. Born in Belfast, David had to leave Ireland after a BBC program exposed his interfaith romance with a Catholic girl. Shooting in Belfast, Garnett inhabits the traces of a lost history with a queer presence. In person via Zoom: Mariah Garnett

Jan. 28-30, 2021
New Original Works Festival: Week Three 
Rescheduled from December 2020, the 17th annual New Original Works (NOW) Festival continues with a triple bill of world premieres:

DaEun Jung
Byoul Part 1: 246 at 40

What would happen if the conventional flow of Korean dance is disrupted? Prompted by this question, dancer-choreographer DaEun Jung has built a compositional system inspired by Merce Cunningham’s “chance operation” and the Korean alphabet, Hangul. Assigning the segmented moves of classical Korean dance to each morpho-syllabic block of the alphabet, Byoul Part 1: 246 at 40—consisting of 246 syllables, moves, and beats at 40 bpm—finds Jung, pansori singer Melody Shim, and sound composer Daniel Corral exploring concurrences of rigor upon arbitrary, spontaneity upon rules, flow upon interruption, dependency upon idiosyncrasy, and the conditional upon the absolute.

Maria Garcia and Samantha Mohr 
Laocoӧn with Cabiria at 9

Maria Garcia’s Laocoön with Cabiria at 9 is a one-woman show led by Vatican Museums tour guide Cabiria, who in a nightmare, is confronted with a Trojan Soldier sharing her reflection. Brought to life by choreographer and performer Samantha Mohr, Cabiria’s obsession with the story of the Trojan Horse and the priest Laocoön sends her on a liminal journey of humiliation, pain, banishment, death, and love. Stuck between history and myth, Cabiria’s investigation of the Trojan war explores the designation of “foreign” bodies as dangerous, devious, and in need of discipline.

Genna Moroni

Employing unapologetically “ugly,” yet beautiful and raw physicality, dancer, choreographer, and artistic director of G.U.M. collective Genna Moroni’s More invites viewers into the vacuum of female relationships. Slipping between different worlds, stories and perspectives with no clear end in sight, More creates a labyrinth. The audience will have the opportunity to both witness and sense the effort, disappointments and complexities expressed in movement. Layered with music by Adam Starkopf, Moroni and her team of dancers explore the ever-evolving and shifting nature of relationships, inspiring us to find ourselves and leaving a lasting sense that there is still “more.”

Feb. 1, 2021
Seems like the path of coincidences
Films by Eduardo Williams

Eduardo Williams’ kinetic films carry the viewer through liminal and peripheral paths—alleys, hallways, jungle trails, and grocery store aisles—into the intimate lives of their protagonists. What propels the movement of the ambulatory teens in Williams’ films is less central than the visceral feeling of being along for the ride. The hyperlocal, yet often disorienting experience of place, be it Sierra Leone and France in That I’m Falling? (2013), or Hanoi in I Forgot! (2014), is deepened through the casual minutiae discussed by close friends, or the texture of beloved hangout spots. In Parsi (2018), the propulsive words of Mariano Blatt’s poem “No es” match the relentless momentum of the embodied camera, which meanders the streets of Guinea-Bissau. In person via Zoom: curator Aily Nash and filmmaker Eduardo “Teddy” Williams

Feb. 12–14, 2021
Francisco Reyes
Yorick, La Historia de Hamlet

Yorick, the story of Hamlet, is an appropriation of Shakespeare's Hamlet, structured according to Hamlet's main soliloquies and narrated by Yorick, a character who in the original is represented by the iconic skull of the late court jester. It is a one-person show, whose video version also includes characters played by plasticine puppets.

Yorick, la historia de Hamlet, es una apropiación de Hamlet de Shakespeare, estructurada en función de los principales soliloquios de Hamlet y narrada por Yorick, personaje que en el original está representado por la icónica calavera del fallecido bufón. Es un espectáculo unipersonal, donde en su versión video, los demás personajes aparecen representados por muñecos de plasticina.

Feb. 15, 2021
Fernanda Pessoa 
Stories That Our Cinema Did (Not) Tell

Award-winning filmmaker Fernanda Pessoa presents a notable revision of 1970s Brazil, a period of deep social transformations that saw the country open up to international investment, rapid urban modernization and increased tensions resulting from the sexual revolution, all happening as a military dictatorship ruled in power for over 21 years. During this period emerged a widely popular and vastly produced film genre: the pornochanchadas. Mostly a mix of urban comedy and erotic cinema, these low-budget films oscillate between voyeuristic exploration and raw visual exploitation. Made through a formidable montage from a selection of the pornochanchada films, Pessoa’s experimental documentary renders a most pleasurable audiovisual essay of urgent political and cultural implications. In person via Zoom: Fernanda Pessoa

Feb. 18–20, 2021

In Hijrah, Indonesian choreographer and dancer Rianto dives deep into the history and culture of Sulawesi to uncover the diverse and complex approaches to gender that exist in the traditional cultural and dance forms of this island. Exploring the migration of gender, memory, and the body, Rianto collaborates with Garin Nugroho, one of Indonesia’s most prominent filmmakers today to create Hijrah documentary film portraits.

Feb. 22, 2021
Beyond the Frame: Feminist Film Collectives from Korea
Since their inception in the late 1980s, independent documentary film practices in South Korea have always been strongly tied with political activism. However, there was a prevalent lack of feminist discourse within the milieu. Showing for the first time in Los Angeles, this program presents works from two generations of feminist film collectives: Bariteo (1989 - 1992) and Let’s Play Younghee (2008 - present). These collectives challenged the subjugation of feminist perspectives in two distinct eras of radical politics and independent filmmaking in South Korea. The program highlights the ways in which these films, despite being stylistically disparate, come together in forever transforming both their media environment and the social reality they so courageously document. In person via Zoom: curator Hyun Jin Cho; filmmakers TBA

Feb. 27, 2021
Artifacts Trio
...and Then There’s This

Cellist Tomeka Reid, flutist Nicole Mitchell, and drummer Mike Reed are torchbearers of Chicago's innovative jazz scene, as well as the most prominent members and educators of the third generation of The Association for the Advancement of Creative Music (AACM), a historically important Chicago arts organization. The trio served on the organization's executive board from 2009–2011. Their music both touches upon and advances the organization’s motto, “Ancient to the Future,” and celebrates African-American culture while reaching across genres and integrating new ideas into the legacy of jazz, experimentalism, and composition.

March 4–6, 2021
Jessica Emmanuel

Mixing ritualistic and visceral movement, sound, video, and text, Jessica Emmanuel’s new solo dance work ˈkwirē/ considers a dystopian world where the majority of historical and ancestral information has been destroyed. The wealthy have left the planet and few humans survived. A dance and sound retrieval system has been created to help us restore our connection to our memories and the history that is stored in our DNA. Guided by Emmanuel’s ancestors, she gathers and collects information, nurtures the soil and roots that are used to restore the earth for those left behind. 'kwirē/ connects Emmanuel’s history with contemporary culture in a dialogue and reflection on meaning and understanding.

March 8, 2021
Aquelarre Gonzo Camarena
Livestreaming from Mexico City, Aquelarre Gonzo Camarena (“The Gonzo Crew”) is a regular online showcase of Mexico’s finest audiovisual ephemera. Culled from archives and dusty closets, the Aquelarre pays tribute to orphan film and video works through a weekly “clips party” and virtual hangout. Specially curated for this one-time-only REDCAT screening, Aquelarre Gonzo Camarena’s intrepid filmmakers and archivists have assembled a crash course videographic primer for those uninitiated in Gringolandia.  Enjoy enchanting home movie segments from dysfunctional families! Marvel at insane government propaganda from the era of PRI soft dictatorship and neoliberal sellouts! Allow yourself to be wooed by the charms of touristic destinations! Witness the unheralded primacy of ketchup potato chips as a subject of the late 1980s video art movement in Mexico! In person via Zoom: The Gonzo Crew

March 13, 2021
Global Studios and Audiotopias
Global Studios and Audiotopias, a project led by sound engineer, music producer, recording studio director, and musician Emily Evans, explores virtual hybridity as a model for musical collaboration and composition. "Audiotopia," coined by scholar, writer, journalist, teacher, and curator Josh Kun, describes music’s ability to create a unique virtual world for the listener in which “contradictions and conflicts do not cancel each other out but coexist and live through each other.” Using remote technology, Global Studios and Audiotopias presents the virtual and the global alongside the actual and the local.  The project features artists from around the world including Francis Ayamga’s Top Link Music Band (Bongo, Ghana), The Meridian Brothers (Bogotá, Colombia), Dustin Wong (Los Angeles, US), Takako Minekawa (Tokyo, Japan), MC Yallah (Kampala, Uganda), and Debmaster (Berlin, Germany). 

March 15, 2021
Post-Soviet Histories
From Moscow, award-winning filmmaker and curator Ekaterina Selenkina presents the work of female filmmakers from Russia and the Russian diaspora to introduce U.S. audiences to new radical voices. The program involves reflections on the Soviet past and its traces in the present, on the territorial belonging and exile, and on how patriarchy, militarism, borders and tourism affect people and especially women. At times humorous, at times achingly personal, these films map out the complicated geographical, political, and psychological landscape a post-Soviet person inhabits. The evening will include works by Sasha Litvintseva, Polina Kanis, Vladlena Sandu and Anya Tsyrlina. Their experimental films and installations have shown at Berlinale, IFF Rotterdam, Venice Biennale, Lincoln Center’s Art of the Real, Cinema du Réel, among many others. In person via Zoom: curator Ekaterina Selenkina; filmmakers TBA

March 19–20, 2021
Dohee Lee
MU/巫: 9 Goddesses

MU/巫: 9 Goddesses is a new ritual theater shamanic experience where ancestral traditions are transmuted through dance, singing, drumming, and electronic soundscapes, with immersive video and stage design, and community participation. By transforming into nine goddesses from past, present, and future, Dohee Lee transports audiences on a mythological journey through ancestral legacies and indigenous resistance.

March 23, 2021
U.S. Poet Laureate Joy Harjo
CalArts’ 2021 Katie Jacobson Writer-in-Residence

REDCAT and CalArts School of Critical Studies is proud to present Joy Harjo. Serving her third term as the U.S. Poet Laureate, and author of nine books of poetry, several plays and children's books, and two memoirs, Crazy Brave and Poet Warrior: A Call for Love and Justice, Joy Harjo’s approach to writing as inseparable from orality, memory, culture and performance invigorates her creation of an ever-unfolding cross-genre literary form.  Her acclaimed writings map a rich cosmology, where time, body, heart and knowing shape her compassionate dedication to a poetics that empowers Native American voices in tribal history, struggle and everyday life.  Her national bestseller, An American Sunrise, threads her personal experiences and tribal histories to reflect on the blessings of her homeland and confront the site where the Mvskoke people, including her own ancestors, were forcibly displaced.  As she makes clear in her poem, “Break My Heart,”: “Baby, baby, baby/You can’t say what’s been said/Before, though even words/Are creatures of habit,” holding space for recuperation and new beginnings insists on the inimitable power of vulnerability, rooted in resistance, in land and love, wisdom she is celebrated for. 

March 29, 2021
Bodies of Animation: Analogue Tales from Latin America
As part of the collective Moebius Animación, Juan Camilo González is dedicated to amplifying the voices of animators from Latin America. For this program of short films, he proposes a reading of analogue animation as a means to exorcise personal and collective traumas. By paying close attention to the materiality of these productions—an indexical trace of the bodily labor that went into the creative processes—the program underlines an experimental approach that recognizes animation as a vehicle of performative dimensions. These films reclaim lo-fi style, recycled animation techniques, and the use of analogue materials as aesthetic decisions rather than the outcome of economic limitations. The evening includes works by Joaquín Cociña, Cristobal León, and others. In person via Zoom: curator Juan Camilo González Jiménez; filmmakers TBA

April 3, 2021
JJJJJerome Ellis

TWO PSALMS was filmed in Ellis' apartment on May 18, 2018 and features musicians Catherine Brookman, Starr Busby, Haruna Lee, James Harrison Monaco, Ronald Peet, and Shu Wang. The piece's three movements are settings of Psalm 42 and Psalm 23 from the Hebrew Bible, in both English and Latin translations, with spoken interludes. During the evening, REDCAT will also present a new commissioned psalm setting, as Ellis continues his ongoing contemplation of devotion, yearning, and uncertainty. 

April 10-11, 2021
Guillermo Calderón
The Second Life of Dragón

Dragón, Guillermo Calderón's latest work, is a story about a group of artists who meet to begin creating the work that should anoint them as undeniable forces of nature in the avant-garde theater community. The plot provides a window, a reflection, on opportunism and violence written by the internationally renowned Chilean playwright and director. In The Second Life of a Dragon, Calderón has developed a new audiovisual vision that adopts the format of a micro-documentary, expressly made in the context of the new circumstances of confinement. The action is set against the compelling topics Dragón introduces as well as the artistic and cultural references at the core of the show, while juxtaposing them against the context of Chile's current political situation compounded by the consequences of the pandemic.

Dragón, la última obra de Guillermo Calderón, es una historia sobre un grupo de artistas que se encuentran para crear la obra que debe consagrarlos. La trama da pie a una reflexión sobre el oportunismo y la violencia escrita por el dramaturgo y director chileno de larga trayectoria internacional. En La Segunda Vida de un Dragón, Guillemo Calderón propone una nueva apuesta audiovisual que adopta el formato de una especie de microdocumental, realizada expresamente en las nuevas circunstancias de confinamiento, que trata sobre Dragón y cruza las referencias al espectáculo con el contexto político del Chile actual y las consecuencias de la pandemia.

April 17, 2021
Sky Hopinka
maɬni – towards the ocean, towards the shore

REDCAT proudly welcomes the 2020 recipient of The Herb Alpert Award in the Arts in Film/Video, Sky Hopinka, to introduce his debut feature, maɬni—towards the ocean, towards the shore (82 min), which world premiered at the 2020 Sundance Festival. Circling the origin of the death myth from the Chinookan people in the Pacific Northwest, Hopinka adopts unconventional documentary techniques (such as an oblique, non-frontal glance) to follow Sweetwater Sahme and Jordan Mercier as they wander through the splendid nature that surrounds them, shifting back and forth between English and Chinuk Wawa (both languages being subtitled). Sweetwater is pregnant and Jordan a family man; the separate paths they take to contemplate the afterlife, rebirth, and death hauntingly echo each other. In person via Zoom: Sky Hopinka

April 19, 2021
Cycle 0

The collective COUSIN was founded in 2018 by Alexandra Lazarowich, Adam Piron, Sky Hopinka, and Adam Khalil to provide support for Indigenous artists who expand traditional definitions and understanding of the moving image by experimenting with form and genre. To celebrate and impart their mission, the collective launched CYCLE 0, a curated program of select, previously non-commissioned films by COUSIN artists, sharing a survey of their aesthetic vision with diverse audiences.  These works embody COUSIN’s ethos and represent a robust and provocative array of films by Indigenous artists involved in experimental and avant-garde cinema. Including works by Olivia Camfield and Woodrow Hunt, Raven Chacon, Fox Maxy and others, the program was screened at the Camden International Film Festival.

April 23-25, 2021
Elevator Repair Service
Baldwin and Buckley at Cambridge
 (In progress)

In 1965 James Baldwin and William F. Buckley, Jr. were invited to The Cambridge University Union to debate the resolution “The American Dream is at the Expense of The American Negro.” New York’s provocative and award-winning theater ensemble Elevator Repair Service (ERS) returns to REDCAT to re-create their profoundly relevant confrontation in this work-in-progress showing of Baldwin and Buckley at Cambridge.  

April 29-30, 2021
CalArts Spring Dance Concert
Following the success of the livestreamed CalArts Winter Dance Concert, CalArts Dance commissions new work that expands the digital platform. Through live performance, experiments with technology, and the choreophers' distinct, strong, and very different, points of view, we explore where dance is right now and where it's going.

May–October 2021
Aria Dean

Aria Dean: Suite! presents a newly commissioned work by Los Angeles- and New York-based artist, writer, and curator Aria Dean. Co-commissioned by REDCAT and the Centre d’Art Contemporain Genève, Suite! is a film and installation that stars a chorus line of Kudzu plants occupying digitally rendered versions of Dean’s installation–-a darkened chamber with a curved screen at one end, and a black and white checked floor that gives the optical illusion of a sunken hole-–as it appears in each of its presenting institutions. Featuring a choreography that draws gestures from sources ranging from the artist’s own movements to various dance traditions set to an original score, the film incorporates original writing from Dean alongside other texts in a bricolaged direct address. Compressing, converting, and dispersing the artist as a non-human entity through different digital and discursive operations, Suite! models a weird porosity between artist-as-maker, artist-as-product, and artist-as-subject.

May 1, 2021
Micaela Tobin

Bakunawa rose from the ocean, so mesmerized by the light of the seven moons that it devoured them all. Dismayed, the people emerged, making noise and begging Bakunawa to give them back the moonlight. Bakunawa agreed and spit the seventh moon back into the sky, thus creating the first lunar eclipse. Part sonic ritual, part diasporic storytelling, BAKUNAWA is an immersive, experimental opera based on Micaela Tobin’s critically-acclaimed album of the same name that reclaims the pre-colonial mythology of the Philippines back from centuries of violent, colonial erasure. Released by Deathbomb Arc in June 2020, BAKUNAWA was recently listed the #9 Release of 2020 in The Wire Magazine.

May 3, 2021
The Girl Can’t Help It: Trans Portraits at the Dawn of the Sexual Revolution
A platform for queer film, video, and performance founded in 2011 by CalArts alum, writer/curator Bradford Nordeen, Dirty Looks has dug deep into documents of trans history to assemble a program of archival trans portrait films that spool from experimental cinema of the 1970s, activist video, and nightclub documents. Spanning decades of production, illuminating (lost?) queer histories and liminal spaces across America, The Girl Can’t Help It screens poignant testimonials and early rhetorics of trans ideation. The centerpiece of the program, Joseph Horning’s short film Valerie, has not been screened publicly since its inclusion in the 24th Ann Arbor Film Festival in 1975. In person via Zoom: Curator Bradford Nordeen

May 10–22, 2021
taisha paggett
com.pleats.we (housecoat)

A palimpsest of real and invented realities, taisha paggett’s com.pleats.we (housecoat) aims to be a living and moving score and endurance mediation on our current times, in which the artist passes through pedestrian and non-pedestrian tasks, online public and “non-public” encounters, and different performative ontologies rooted in her daily life and ongoing research into botany, experimental anatomy, and the complicated aliveness of both Black collectivity and solitude. Under the surveillance of a 24/7 livestream, paggett will inhabit and thus domesticate the professional site of REDCAT and, across those 240 hours, perhaps also domesticate the lens that has commanded such a central role in most of our lives of late. In doing so, she hopes to offer a space for reflection on and interrogation of what has become our accidental new normal: a strange flattening and twisting of the public/private, the domestic/workplace, the professional/the vulnerable, the worker/the householder, and more.

June 4–5, 2021
PARTCH Ensemble

The GRAMMY Award-winning PARTCH Ensemble returns to REDCAT with seven new works for Partch instruments by Vicki Ray, Anne LeBaron, Ulrich Krieger, Daniel Rothman, John Schneider, T.J. Troy, and Alex Wand. The second half of the program features rare gems by Harry Partch, including the rousing Cloud Chamber Music based on Native American song, “9 Lyrics of Li Po,” culminating in the premiere of Sarah Swenson’s choreography of Partch’s Castor & Pollux “A Dance for the Twin Rhythms of Gemini.” The New York Times has celebrated her work’s “wonderful, rollicking, hunkering wildness…”

June 10–12, 2021
Rosanna Gamson / World Wide
Prelude to Sugar Houses

Celebrated choreographer Rosanna Gamson devises a live in-theater simulcast duet with performers Kearian Giertz and Kevin Zambrano. The two dancers/singers/actors are all alone together in REDCAT'S theater: generating video, sound, and lighting, marking the space with chalk, and creating an intricate intimate world of shadows and echoes. As a dark prequel to the Hansel and Gretel fairytale, Prelude to Sugar Houses imagines two boys who were lost, or abandoned, or escaped... and never went home again.