FringeArts Blog

Happy Hour on the Fringe: Conversation with Blanka Zizka

Posted July 19th, 2019

On this episode of Happy Hour on the Fringe, we depart from our usual watering hole (the FringeArts office and join the founder and President of FringeArts, Nick Stuccio, to toast The Wilma Theater‘s Artistic Director, Blanka Zizka, on her newest production,  There: In the Light and the Darkness of the Self and the Other, adapted from the poem by Lebanese-American poet Etel Adnan, with visual art by renown artist Rosa Barba.  There is one of the curated shows premiering in the 2019 Fringe Festival and performed by Wilma’s Hothouse Company.  There: In the Light and the Darkness of the Self and the Other will be at The Wilma this September 11–22.

Listen to the episode and read the transcript below.

Conversation with Blanka Zizka

[Music Intro]

Nick Stuccio: Welcome to Happy Hour on the Fringe, I’m Nick Stuccio, I’m the President and Producing Director of FringeArts. I’m here with Blanka Zizka, the Artistic Director of the Wilma Theater, the amazing Wilma Theater, and we’re gonna talk about There, help me Blanka, There… colon…

Blanka Zizka: So it’s There: In the Light and the Darkness of the Self and of the Other.

Nick: In the light and the darkness of the self and the other. Awesome. Before we start talking about There, of course this is Happy Hour on the Fringe, we gonna talk about what we’re drinking, and we’re at the Wilma, above Good Karma Cafe, right? Well, we’re above…

Blanka: We are above Good Karma Cafe.

Nick: Awesome. We’re looking down upon Good Karma Cafe in your awesome new office…your now windowed office…and we both happen to be both drinking the same thing. We’re drinking a couple of martinis, they’re fantastic, and we’re actually….

Blanka: Do you remember those like, those martini lunches? It used to be like in [the] 1980’s. I’m really old….

Nick: I’m close…I’m close.

Blanka: But, you know there was like, people who always had…not me, but…

Nick: I was gpomg to say….

Blanka: People, people. Those people out there used to have martini lunches….

Nick: In the other world; the for-profit world.

Blanka: Yes. Yes.

Nick: Here in the nonprofit world, we did not, except when we went to Europe on trips, I would have a beer with colleagues, which is awesome. I never actually had a martini for lunch, but dammit, it’s a tradition we should try. Anyway, so that’s what we’re drinking, we’re drinking a delicious San Pellegrino, today. So, Blanka, we’re very excited to have There in the festival this year. Very interesting…I’m very excited to hear about it…how it’s going. But, before we talk about There, I wanted to get some context from you. You and I have talked about this a lot, and I am your number one fan in this endeavor with the Hothouse Company. So, I want you to talk about the Hothouse…give us some context, it’s very, very cool…this company of actors that you’re holding, that is getting particular training, and you’re building this kind of unique, theatrical aesthetic. I actually read that on your website about the theatrical aesthetic you’re building, but what I didn’t read was what kind of particular aesthetic, if you can characterize that. Talk about Hothouse and talk about where you’re headed with it.

Blanka: So, I started Hothouse, maybe like five years ago…four or five years ago, and it came out of, really a crisis; and things do happen out of crisis, right? But the crisis was simply that in the theater world, we just kind of hire artists for a job, and then we let them go. So, actually you don’t solve any problems that occur, which could be whatever, it could be about us being in the room as people, as artists, as colleagues, as having confrontations about having different histories, and there are not getting solved; they are kind of left, you know, you have a conflict or something, and then you go. And it all kind of remains on a very superficial level. You don’t solve anything; you don’t dig deep or you don’t learn anything. And then also, I felt that living in this world when actors are doing nothing but waiting for a job, they actually do not practice in between. But you learned, or what you find out is that they don’t have a sense when they come back into the rehearsal of a collective; and that they are very much on their own, and they feel that they have to carry the world weight on their shoulders, and they have to come up with all the solutions on their own. So in the rehearsals, I would get a situation and ask for something and the actor would tell me “Okay, let me think about it, I will go home…I’ll work on it and I’ll show you tomorrow,” because they needed to show themselves only in their best possible light. They did not dare to take a risk to experiment in front of the others. And that has become kind of credo of the company: this daring and this need to be able to go far and deeply into unknown and not to be afraid to show your research and your exploration.

Nick: So, you’re really gaining a real intimacy with them, in a way that you weren’t…wouldn’t have…

Blanka: You wouldn’t never get that because when you get people [together] for the first time, everything is about fear, and it takes about ten days for people to actually start trusting the situation in the room, and so you are losing ten days of rehearsals. So I felt very strongly that I needed a continuity in order to build this trust and also to build a sense of company, having a feeling or a kind of understanding…having some kind of a meaning, right? So that we choose a play to work on, and then we explore it, so everybody’s working on everything. So that means all that all the actors are interested in why we are doing the play, what are the themes of the play…what we want to say with the play. And, they are not interested [in] only “How do I look in the part? What is my part about?”

Nick: You keep using the word, “play.” This, as you describe this process…as you know, I’m from the dance world; the physical theater world…it’s sounds more like the devising world, because…it’s a two-way street. You’re giving [the actors] the opportunity to bring themselves or their ideas, or am I wrong?

Blanka: No, no, absolutely. What I am doing through these improvisations, they are becoming authors of their performance. Even in spite of the fact that there is already a text, you know, the text is there. So they are not completely devising, because devising theater is mostly, you are actually generating text into the devising theater most of the time.

Nick: Yeah, most of the time.

Blanka: Some text, at least. Here, we do have a text already, so the methodology we developed is that we believe, or I believe that [the] body has all the information it needs, and all that you need to do through the methodology is open up and listen to your body, and we don’t learn that at school. We are actually being taught constantly how to [talk] instead of listening. If you talk to musicians, they will tell you the same things; the most important thing for creativity is to be able to listen.

Nick: Right. But the body…it comes from the body.

Blanka: It comes from the body, yes.

Nick: That’s interesting. Yeah, boy, that’s…where does that come from, that idea? Where’d you learn that from?

Blanka: I think that, you know, if you go back all the way to Grotowski, you know, it’s there already, Peter Brook, it’s in there. So, I think from Artaud and on, there are two directions in [the] twentieth century that theaters went, one was Antonin Artaud, and the other one as Stanislavski. Stanislavski is about psychology, and Artaud is more about [the] ritual. And so for [the] ritual, you have to actually be in your body. For psychology, you can be in your head.

Nick: Right. That’s interesting. So, where are you in this path, in these two, this fork?

Blanka: It’s interesting because I’m working with both. So, what we do a lot in the work…we don’t, for instance, read the text any longer. You know, [a] long time ago, I would be sitting the actors around the table, it’s the traditional way of working, and you are analyzing for seven days, a text, and make all of the decisions about it, and then you get on your feet and you have no idea what to do because all of the information that you gathered in your head is not helping you at all, to move your body around, and so you have to start again. So, I realized as we are working was that there is something about oral poetry and the fact that even during the time of Shakespeare, actors did not read the scripts because nobody could write, basically. Everybody learned it just from listening.

Nick: So, you read it?

Blanka: We are working with an idea of each actor having a ghost behind them. And that actor, the ghost actor, is whispering the text. But according to the way the text is structured – using punctuation so they are making pause[s], whenever a punctuation comes in. So, you are learning about [the] structure of the sentences by doing that as well.

Nick: Interesting.

Blanka: When you have a ghost, an actor who is playing the ghost, and he’s whispering behind you, the lines, and you then as an actor you have your body available to explore…listening through your back. It’s important that it comes through your back, not through the front….through the back, and you are now available because you are not looking at actors…your ghost’s face, only thinks he [is] not getting any signals…facial signals or body signals. You are getting just a whisper into your back; and there is something really powerful and amazing about it.

Nick: Wow. That’s great. I wanna ask you about…you have a very interesting group of Hothouse actors, tremendous people, but what are you looking for? Once you got this group, that’s who you got. I’m sure over time, some will come and go but, who…what kind of actor are you looking for in this group, that populates this group?

Blanka: Well, I think I was talking about the fact already that the need to be not afraid, and they need to be able to share, and they need to be willing to fail in front of each other. I am looking for actors who are open to…sometimes you create such in your head about what you can do or what you cannot do or how you should do it. You create these obstacles, and your brain is telling is telling you something it doesn’t allow you to actually connect to something; some information that is in your body…if it comes through memory that is in your body.

Nick: Right.

Blanka: Or, an idea that has taken root in your body, and it prevents you from actually connecting. So, I need actors…and that’s also the part of the practice is opening ourselves to this free kind of vibration inside of your body so that the mind and the body, and the emotions, and the history, and memories are all connected as one, you know, stream of consciousness.

Nick: This is very interesting, and again, being from the dance world…watching a choreographer work with a group of dancers he or she knows intimately is often very important for that choreographer; they can get things; they can extract things out of that group because of that intimacy, that’s hard. However, I’m wondering in the world of acting, if you bring in a new text or you bring in a new project, there’s a converse to that, then you sort of have to use these same people, are you all also stimulated by a new actor with a new project that’s gonna bring their own new set of experiences. Maybe this is a little existential, but, I mean, are you gonna miss that?

Blanka: No. I could be, you know, I would love to bring back our Zaynab Jah who played our Hamlet – there are people out there that I would love to bring. But they do through their own practice, there are all [on] kind of [a] similar level that the members of the company are as well, you know?

Nick: Absolutely. I see what your saying. I want to ask you this, and you and I talked about this…

Blanka: But what I want to say…

Nick: Please….

Blanka: But it’s different every time that comes, not so much an actor, it’s the author. Because with [the] author come completely new rhythms, new melodies. Every author has their own music in the language. And that is what you have to encounter now; that is the new encounter between the company and the author.

Nick: I see.

Blanka: And that changes, and creates completely new dynamics in the room.

Nick: Of course, that’s definitely a big input. The text, basically, the author, by you mean…the originator of the text.

Blanka: Yeah…the text, yeah.

Nick: Because I know the devising process, and that’s at the heart of our presenting practice, have you thought, or have you done this…I’m thinking maybe of Addis; this was kind of…it was a completely devised process where, you’re actually gonna ask…you might have writer in the room, but that writer would be no more an author of the end result than whoever else is in the room. Have you done that, or are you thinking about going there entirely?

Blanka: Yeah, no, but with Addis Theater that’s completely…like different. There is almost like a code that he has in his choreography that the actors have to learn. And there is a tremendous amount of drill that you don’t see really in a devised theatre as much.

Nick: Right. And there’s also that you didn’t lead…

Blanka: No, I didn’t lead that, I was watching it…yeah…yeah.

Nick: You’re right, that was not a good example, but is that something that’s you’re interested in, or you’re still really…the writing is key… the writing is king….

Blanka: Yeah, it’s still…it’s still probably as that – maybe Adapt was a little bit more of a…what you talk about because it was my own piece.

Nick: That’s right.

Blanka: And I have been working with the actors on it, so I was adjusting a lot because I was able to hear it in the rehearsals, so that…but that’s kind of normal practice for any author if you are working with a company or workshopping it, you want to hear it. That’s, I think the…big…I won’t say big…misunderstanding about theater is that people consider it literature; many people do, and it’s not.

Nick: And what is it?

Blanka: And that’s the thing: it’s a performance, and you know that a play, even a good play, can end up being a terrible production.

Nick: Right. Right. Yeah. I wanna ask you…and I’m not sure what I’m gonna ask you, because you and I talked about this, maybe this so deeply off the record…I’m gonna see what you say about it. Doing the Hothouse, adding the Hothouse, again, which I think has…added a great layer of richness to the work at the Wilma…in my small opinion – how has that institutionally been for the Wilma? What is the result? How is this work different from what typically you’ve been producing over these many years here? Is there a difference?

Blanka: You know, I think for people who are in the theater involved, you know, who are experts on theater, for them, there is a huge difference because they see the company working together. I don’t know for [the] audience that comes on a regular basis how much…I would hope that they would see the difference, but I’m not quite sure that they necessarily do. Because I think that we don’t really talk publicly about what acting and directing is. That’s why I’m going back to that theater is so many times…even the critics here, consider it [a] piece of literature, and it’s criticized by the writing, most of the time; and the work about actors is very…there is not [a] vocabulary for it, there is not [an] understanding for it.

Nick: So what kind of vehicles are…you’re picking authors; you’re picking material that’s different from this group. You’re not gonna pick the next interesting work from Off Broadway or that’s surfaced the next interesting writer. You’re more interested in a more considered process.

Blanka: So, one of the things that I, you know, why I [also] started the Hothouse was because I wanted to bring together people from different histories, and different life experiences together and work together because I think that is [a] very challenging thing to do. And with that, it’s very idealistic because I would love to also at the Wilma have audiences that are coming from different parts of Philadelphia; different ages, different races and all that stuff. So, in order to do that, you have to start with a company. But it obviously brings challenges [right away], because, nowadays, a lot of people just…authors are writing out of identity. So, you have a black actor, black writer…you want black characters. Same thing with Italian, you know and bla, bla, bla, you can just go on, and it’s just that identity is very much present right now in our society. And so, the question of the company is suddenly, you cannot really do those plays or you can do those plays with part of the company. So that now, one of the reasons why “There” became such an important text for us was it was the first text that I chose to work on because I was not completely clear [at the very beginning] what is the method we’ll be working. Of course, we can do classics, that’s always fine, but we don’t want to classics only. So, how do we do contemporary material with a company that are just…and smiling and stay shy. You know, people really…different people; and how do we create a repertoire for the company.

Nick: And so I was gonna ask you about how you have been picking this material. And so There is a very interesting idea, Blanka. It is this deeply ontological work asking the biggest, deepest questions about existence. I think that’s awesome. You described your vision to me on an awesome phone call a couple of weeks ago. Can you describe how you’re envisioning bringing this to the stage?

Blanka: Well, we are now a bit further maybe because we had the workshop with Rosa Barba, who is the visual artist who is collaborating with me on the poem. But the way I’m imagining that the poem is…the poem is basically about a process of thinking, you know. And when I read it, I imagine “Ok, this somebody who had some traumatic experience clearly.” Atel Ednan was born in Lebanon, in a country, in 1925, only a few years after [the] Ottoman Empire expired. So, her father was Syrian, who was working for [the] Turkish…he was in [the] Turkish military, and her mother was Greek Orthodox from Smyrna, and they end up living in Lebanon because Turkey in 1920s was too nationalistic for mixed marriages to be safe there. So, they move to Lebanon, a country that has been around just maybe seven years. So, the question of where do you belong, who are you, are you a person if you don’t have a nation, are very basic questions that she has been dealing with right away; already as a child. She was born in a family that spoke Turkish [and Greek] at home, but she went to French Catholic school and her language became French, and at the same time she was learning English. Now you have a person like, you know, like what is your identity, who are you? So those questions are becoming very…coming at you at [a] very early age, when you are born into this kind of situation.

Nick: And she…did I read that she…Etel Adnan, by the way, is the writer of “There,” who’s still living….

Blanka: She’s ninety-four years old.

Nick: Ninety-four years old, still living and working…

Blanka: In Paris.

Nick: In Paris, studied in the United States.

Blanka: So, she studied in Sorbonne Philosophy when she came to Berkeley in California, and she finished at Harvard; so she has two Philosophy doctorate[s] from France and from here. And then she was teaching in San Francisco, outside of San Francisco for many, many years. Then in [the] 70’s, she went back to Lebanon, but because of the Civil War, and that seen too many deaths of her friends, she came back to San Francisco and she lived here for about thirty years.

Nick: And she moved back to Paris. As you describe her life, as I read a little bit about her, she’s seen a lot of difficult things in her life. Yet, would you describe her in reading about her work, there’s a lot of optimism in her work.

Blanka: She has so much beautiful energy inside of her. I met her in Paris in her apartment; [the] first time I was there alone, the second time with Rosa. And, both times, I came out of the meeting so inspired. You know, she is so social. She is so bright and she remembers everything at her age, which is amazing; she can talk about anything. But, she loves living; she loves every moment of it. It’s the beauty of the poem is that there is the search for love, and that’s what she told me at our first meeting. The play…the poem is [actually] about love, and how do we learn to love our enemies, and if we learn to love our enemies, maybe we find some answers to our life on this earth.

Nick: You talk about identity, a lot of contemporary plays are about identity politics…

Blanka: That divide us…

Nick: But this is about the original identity about who we are. You describe her…she’s a Muslim? Is she a Muslim?

Blanka: No, she is not, but her father was a Muslim and her mother was Orthodox Greek. But she is very influenced by Sufism and by Sufi poetry.

Nick: Describe Sufism…I read a little bit about it, but it’s a beautiful…and I really enjoyed it, it’s ultimately…describe it.

Blanka: I don’t really that much about Sufi religion. All I know is that a Sufi is seeking God through love and self-knowledge. There is this Sufi philosopher, al-Gazali, who believes that in search for self-knowledge, you have to be able to able to answer some of these questions. Who are you? Where did you come from? Where are you going, and for what purpose? What does your misery or happiness consists of? In [a] similar way, Etel Adnan is seeking her own self-knowledge by posing many of these questions in the poem. So, through the poem, she wants to find out who she is and who we are.

But, I think this kind of search of spirituality is very much present in her, in spite of the fact that you would kind of say there is also Hegel, there is Neitzche reflected in the poem, very, very clearly. When you talk about the march of the history and whose history, on which side of history are you going to be…are WE going to be. That’s all the questions [that] are in the poem, but in spite of these questions about…are we going to be or are we going the way the dinosaurs did…there is this whole sense of, but we are here now and we have to connect, we have to love each other. You know, it’s said much more beautifully than what I’m saying right now. You know, how can you possess the smell of the myrtle tree? How can you possess [the] shimmering of the brook?

Nick: It’s just absolutely beautiful writing.

Blanka: Yeah, it really is.

Nick: In fact, you were attracted to it, you likened it to the Hamlet speech, “To be, or not to be…”

Blanka: Yes. I was thinking that this poem and the whole thing is basically “To be, or not to be…,” but it’s not coming out of the kind [of] depression that Hamlet is speaking in the moment. It’s actually coming out of this thrust of living, as she calls it.

Nick: And…not really narrative, it’s more spiritual…it’s more of a philosophical…process.

Blanka: It’s basically a thinking process, which is, you have in your head, many different voices that are in dialogue with each other. So, you can come with one thought and with the next thought may be defining [the first thought] further, or it can be a contradiction that the thought…or it can be an association to the thought.

Nick: How interesting.

Blanka: And that’s how it’s built. So, in my staging, I’m thinking about having one actress who is older, so who is closer to the age when the poem was written, I think…

Nick: 1997.

Blanka: Etel Adnan could have been in her sixties when she wrote it. So there is a mature voice, you know, and have this basic voice there, but, and all the other actors, the seven other actors, are all these other voices. There are five women, three men all together. And then the singing is that, so that the voices of the actors are connected to the life experience and to thought, and then, the singing is almost like what the thought can turn into, which is words can change the temperature of the room. Words can turn…you know, make you do things…make you open up to me. So there is the idea of those words can change into singing which is kind of the higher forum, let’s say, art. So you go from [an] experience of something that then remains in the world, which is through the music. So that’s why I want to [also] have the music as part of the poem.

Nick: You said the singing…so, the actors will be singing?

Blanka: I will have…the actors will be speaking, and in addition to that, four singers, who will be working with Alex Dowling, the composer. And they will be kind of adding another quality to, and maybe sometimes singing directly over…whisper over the text; repeating some of the words that are the defining words of the thought.

Nick: This sounds pretty awesome. As you’re talking, I’m thinking of the works, the many works that I’ve seen you make. This one feels like…your work’s been evolving since the Hothouse. But this one seems like even a bigger leap to…I don’t know to what…but away from what you have been doing.

Blanka: There are no characters, you know, there is no plot for sure.

Nick: Sure. And then we should talk about the stenography too. I wanted to ask about Rosa Barba. I’ve been looking at her work as well; very interesting artist. But I also want to say Etel Adnan, also a prolific visual artist, and I was gonna ask you why didn’t you ask her to make stenography, but she’s 94, stuck in her chair in Paris.

Blanka: Yes. She’s not traveling anymore.

Nick: And also her work is very two-dimensional…beautiful.

Blanka: You know, it’s so beautiful too, she has this studio, and in the studio in her apartment, she has two desks. One desk is for painting and one desk is for writing. She actually doesn’t bring those two forms of art together. It’s really interesting. She just said about the connection between poetry and the visual arts is that her paintings are

on purpose because that intimacy is present in her paintings as it is in the poetry.

Nick: Interesting. She may not have wanted to bring them together in a piece.

Blanka: Yeah, maybe not. No.

Nick: So, Rosa Barba, Italian artist, now living in Berlin. You met a very interesting artist and she’s gonna make this scenography, or even as you describe it, it’s almost an installation on the stage. Tell me about how you met her…why you chose Rosa.

Blanka: So, I actually met her here in Philadelphia because there was one collection I know that brought up together here. It was Mary Shaw. And we had a dinner together; it was about three years ago. I was working on this poem in Hothouse rehearsals, and so, it was in my head as I talk about it. She got so excited because of course, in Europe, everybody knows Etel Adnan. She is [a] very well known personality. Strangely enough, even though she’s lived most of her adult life in the United States, here, nobody knows her. It’s so weird; I don’t know why. But there, she’s very well known. So when Rosa heard that I was going to be doing something she said “Could I somehow be involved with it? I really would like to work on this.” So, that’s how it’s started, then about a year ago, when I was considering about the Pew [Charitable Trust] proposal…going to the Pew with this, she again, just out of nowhere wrote me a long email about a long email about how much she wants to be [a] part of that, if I’m going to be working on this, that I should talk to her. So, we talked afterwards, and also the people of the Pew Foundation knew her work, so they got very excited about the project.

Nick: Nice.

Blanka: They’re weren’t so excited when I was doing it (laughter).

Nick: Well, it’s good to bring this great artist to work with you.

Blanka: It is. No, it’s great…it’s wonderful. She’s terrific, and she’s working hard with projections, but she [always] using objects always as part of the…the objects become sculptures in her work most of the time. So, if she’s using…she loves working with 16 mm projectors, and we’ll be [for sure] using hand-held mics with cables. And so, some of the choreography and movement will be dealing with some of these objects and using maybe the small projectors to light up actors. I’m not yet clear about all this; we will have four weeks to work on this.

Nick: Is she not here yet? I thought she was working with you now.

Blanka: She was here for a week for the workshop, and then she’s coming back for the rehearsals.

Nick: I see. And so she’ll create some kind of installation, besides these sort of objects.

Blanka: Yeah, she’s creating this kind of huge platform that is going from the back of the wall all the way into the audience. We are seating audience on stage, so they will be like tennis seating. And so, they will be facing each other, and there will be some people also sitting in some of the audience seats; the old Wilma audience seats. But I think some of the actors will be there at the very beginning as well, we’ll see. That’s still not completely clear.

Nick: Interesting. That’s great, and the workshop with the actors; you learn something in the week with them?

Blanka: Yes. It was very clear to me that I needed Melanye Finister to become the central figure, so that it clarifies the situation, you know. And so, what happened is that I divided…actually I was starting to find [a] scriptical voice, and a more hopeful voice. The actors started to [kind of] have personalities through the voices. So with people sometimes talking in choruses, and sometimes two people and sometimes solo, you know. But not singing, just suddenly, two voices are on the same thought.

Nick: Right. The text sounds enormously powerful.

Blanka: It really is.

Nick: I’m sure it’s so lovely, you want to sort of get out of the way of the text…it’s probably a tricky thing for you.

Blanka: I think if Etel Adnan would not be Lebanese and would not be a woman, I think she would be by now as known as T.S. Elliot.

Nick: Really? You think that’s….

Blanka: I think she’s totally on that level.

Nick: I want to again, I started off this way, to congratulate you and thank you for the path that you’re on. I think that’s very interesting to me; it is on this…again, this path that I know around…more devising, and it’s the power of more minds pushing your work is very interesting.

Blanka: What I love is that a lot of my actors are becoming really strong personalities, they [now] have such confidence in the way they can speak about the work is really amazing. So, I feel like there is also…I’m also bringing up [a] new generation of artist[s], and that’s very exciting to me. Also, I started to teach at the University of the Arts, and being connected with these young people and seeing what kind of doors you can open up for them is really exciting. So, I feel that work is something that is very interesting to me, to work with giving [the] younger generation…sharing some of the experiences that I have gained over the years.

Nick: It’s interesting, and I see their ownership and authorship on stage in this capacity, so it’s great. We’re very excited to have There as part of the 2019 Fringe Festival. Thank you for letting us be part of it.

Blanka: Yeah, thank you for it.

Nick: Absolutely.

Blanka: It’s very exciting.

Nick: Thank you Blanka, very much.

[Music Outro]

‘The Greatest Step of Them All’: Anne Teresa De Keersmaeker Passes On her Fase to the Next Generation

Posted July 16th, 2019

Anne Teresa De Keersmaeker’s breakthrough came in 1982, at the age of twenty-one, with Fase, Four Movements to the Music of Steve Reich. For years, she continued to dance the piece herself. In 2018, however, the moment came for her to pass the torch to a new generation of Rosas dancers, who will perform it in Philadelphia September 12–14 as part of the 2019 Fringe Festival. Anne Teresa spoke to Rosas archivist and dramaturg Floor Keersmaekers about the relationship between the past and present of Fase, and the road traveled between both versions.

Floor Keersmaekers: Together with Rosas danst Rosas, Fase is the performance that has been on stage the most of all pieces, and has remained on the program all this time. Now, the time to pass on the choreography to a new generation of dancers seems to have come. Would you mind explaining why Fase is so important to you and to Rosas?

Anne Teresa De Keersmaeker: Strictly speaking, Fase is not my first choreography – before that there was Ash (1980) – but it really was a seminal work, showing the first traces of a composition style I was later to make my own. Ash still was an exploration, an attempt to spy out the land. Fase is about the art of choreography, the art of composing movements that I wanted to master so badly as an autodidact. Violin Phase was the starting point for that exercise. When I left for New York to study at the Tisch School of the Arts in 1980, I kept a recording of Steve Reich in my travel sack. During the first months of my studies, I was bent on creating my own dance. I continued to consider this solo as ‘my’ own piece of dance, mainly since it contained all the elements that defined the (now 36-year) road that tracked the tight relationship between dance and music, and the concept of choreography as the art of organizing movements in time and space, where the music determines the time format and the space is divided based on an underlying geometry.

Finally, it also speaks to a strongly ‘focal’ use of energy. The vocabulary of movements deployed is highly minimalistic, almost mundane. Turning, jumping, swinging arms… it somewhat resembles the way a child dances. Yet in opposition to the simplicity of movements stands the outspoken energy of its execution. It is that tension I explored further in Rosas danst Rosas. The investment of such a high amount of physical energy in a composition culminates in a discharge that shares a great deal of emotional tension. At the time, that was at odds with the main strands of American minimalistic dance, which were based on a detached, almost mathematical sense of calculation and precision that required little to no personal involvement on the behalf of the dancer. Conversely, and in spite of the very tight structure and formality, dancing Fase has a great physical and—thus also emotional—intensity to it.

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Two Men, a Bench, and a Radio: Hermes Gaido on Un Poyo Rojo

Posted July 15th, 2019

Hermes Gaido is the artistic director of Un Poyo Rojo, a non-verbal theatrical work that uses movement to explore different relationships between two men. Meeting in a locker room, the Argentinian performers Alfonso Barón and Luciano Rosso interact and communicate entirely without dialogue. The duo draws on a wide range of movements to express different emotional possibilities, incorporating elements of dance, sport, and theater. After a decade of performances throughout Latin America, Un Poyo Rojo makes it’s U.S. premiere September 19–21 in Philadelphia for the 2019 Fringe Festival. FringeArts talked to Hermes Gaido in May of 2019 about this piece’s themes and continuing evolution.

FringeArts: What inspired Un Poyo Rojo?

Hermes Gaido: The desire to work with friends. At that time Luciano Rosso, Nicolas Poggi, and I lived together in the same house in Buenos Aires, Argentina.

FringeArts: How has the company and performance evolved over the years?

Hermes Gaido: It was created in 2008 and the premiere was in 2009. After two years of doing the show, Nicolas decided to move to another country, and we had to find a replacement. We saw Alfonso Barón on stage and decided to include him in the project.

The show has been running for ten years, with more than a thousand presentations, so it has undoubtedly evolved. The bodies, the physical possibilities, and the radio propose different things each time, and I’ve watched every performance from the first day until today and make continuous adjustments, which makes this a completely handmade work.

At this moment we are working on a new creation and we are still inspired by the same things … working with friends.

FringeArts: How would you translate “Un Poyo Rojo” into English? Are there hidden meanings beyond the literal translation?

Hermes Gaido: The title literally translates as “a red rooster,” but it is also a play on the surnames of Rosso and Poggi, the first performers. After choosing the name, we incorporated cockfights into the piece. You’ll have to watch it to see the relationship between the name and the performance.

FringeArts: What themes or ideas are you exploring in the piece?

Hermes Gaido: Sport, dance, theater, music, sexuality, humor, physical, and spiritual possibilities.

FringeArts: The piece seems packed with different movement styles. How do the varied styles contribute to the ideas and themes you explore?

Hermes Gaido: We practiced a lot of sports: like rugby and swimming, we learned different styles and techniques of dance, music, and of course, theater. It’s inevitable to put all that we learned and experienced on stage. It’s our nature.

FringeArts: What would you like the audience to take away from the performance?

Hermes Gaido: We would like people to leave the venue wanting to do things. People come out to see it and tell us that they want to dance, or create a play, or have sex with their partner, or go back to watch cartoons. We like that people leave moved in some way or another because everyone sees and interprets different things when they see the piece.

— Introductory text by Seth Boyce

What: Un Poyo Rojo
September 19–21, 2019
Christ Church Neighborhood House
Created by
Un Poyo Rojo

Photo by Ishka Michocka (featured), Paola Evelina (above), Alejandro Ferrer (featured and below)

Happy Hour on the Fringe: Conversation with Zach Blackwood & Katy Dammers

Posted July 9th, 2019

On this episode of Happy Hour on the Fringe, we chat with FringeArts Artistic Producers Zach Blackwood and Katy Dammers about the themes of the 2019 Fringe Festival, some of the exciting events happening, and the return of the Fringe Festival Bookstore! Learn more about the Fringe Festival, running September 5–22.

Listen to the episode and read the transcript below.


Conversation with Zach and Katy

[Music Intro]

Raina: Hello and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premier presenter of contemporary performing arts. I’m Raina Searles, Marketing Manager at FringeArts.

Tenara: And I’m Tenara Calem. I’m the Audience Engagement Coordinator at FringeArts.

Raina: We invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence.

Tenara: On this episode, we’re talking to our incredibly imaginative artistic producers here at FringeArts, Zach Blackwood and Katy Dammers. Zach and Katy are the ones who curate the great work we get to see year round and at the Fringe Festival, which showcases the arts of not only a variety of genres that work outside of the mainstream, but also shows off the talent powerhouse that is the city of Philadelphia. We’re going to talk about their process and their curation for this year, and what they’re excited about this season. Hello Katy and Zach!

Zach: Hello!

Katy: Hello!

Zach: I imagine this is going to be a great conversation.

Katy: We’re excited to be back on the podcast.

Raina: So first question we have to ask, what are we all drinking?

Zach: I’m drinking a certain Brooklyn based cold brew brand that you can purchase, and I’m not going to name them because they don’t pay me.

Tenara: That’s true.

Zach: But I drink the espresso coffee one, which probably can zero you in, and for a few weeks I was drinking it I didn’t know it was a concentrate.

Tenara: Oh no. So were you just off your rocker?

Zach: No more than usual. Deeply productive. I’m deeply productive. I’ll say that.

Tenara: Katy, what are you drinking?

Katy: I’m drinking water as I usually am in the morning.

Tenara: Great. I’m also drinking water.

Raina: I’m having hot chocolate.

Tenara: What? That’s a power move.

Zach: High luxury.

Tenara: Oh my goodness.

Raina: Brought from home.

Tenara: So we, the last time the four of us were in the same room together doing this podcast was episode 16-

Zach: That’s impossible.

Tenara: Of last season. Yeah, no it’s not impossible. That was the last time-

Raina: Yeah, we’re on season three.

Tenara: Yeah. It was our Christmas episode where we were like, “This is who we are. Welcome.” So remind us, for those of our listeners who are new, remind us of your background and how long you’ve been working at Fringe.

Zach: My background. I grew up in Florida, in like Central Florida, we’re going to skip ahead now, and then yeah I first started working for the Fringe in 2013 with Tara Demi and Jordan Layman, and we had a really, really fantastic time actually work … That was another time that we presented a piece by an artist that we’ll talk about, a few artists that we’ll talk about actually later, they’re mostly doing work on independent Fringe at that time. So then it was called The Neighborhood Fringe, but I was working with independent artists a lot.

Zach: And then I was working at The Kimmel kind of before that and after that for a long period of time working a lot on PIFA, and Broadway Philadelphia and stuff, and yeah I came back to Fringe full-time in April 2017.

Tenara: Wow.

Katy: I am newer in Fringe. So I’ve been at Fringe for about I would say almost 10 months now. So it’s not even quite a year, but it’s been a very full 10 months. And before I was at Fringe, I was living at New York City and I was a curator at The Kitchen, which is a non-profit performing arts center and gallery space that’s known as one of the most innovative and oldest alternative spaces in New York. So it’s not a museum, it’s not a gallery, it’s a place for artists to create new innovative work across a variety of disciplines. And The Kitchen and Fringe have definitely collaborated in the past, and shared artists.

Katy: So actually, the first Fringe Festival that I’ve worked on maybe three weeks after I got here, so not in a curatorial capacity, more of a facilitating capacity. There was a show by Trajal Harrell that actually went from FringeArts to The Kitchen.

Tenara: Oh cool.

Katy: So we continued to have that collaborative relationship. But I’m thrilled to be in Philly and working at Fringe now.

Raina: Well let’s dive in. I mean, so we’re curious about the process that you guys go through in selecting works for the festival thinking about who approaches who. How do you guys as a team figure out who you want to bring in, and what is that discussion if there is disagreement or do you lean on one another that’s judging if you haven’t both seen the show? All of those questions.

Katy: Yeah. I think one person who’s not in the room I just want to name, who is often part of these discussions is Nick Stuccio, our Executive Director and producing director here at Fringe.

Zach: And Founder of the Fringe Festival in Philadelphia. Yeah.

Katy: And Founder notably. So Nick works with Zach and I to shape the festival, and Zach and I do the majority of the programming, but we do curate by consensus. So there are a whole host of different ways and artists is chosen. Sometimes they come to us, sometimes we go to them, sometimes it’s a relationship that’s decades long, sometimes it’s a new relationship that’s based off of us meeting somebody for the first time. It’s a whole variety of different things, which also then affects the scale of the work, and knowing how long is the presentation while they’re here at Fringe, how much support are we giving them and in what ways. It’s a really wide variety of scales.

Zach: Yeah. I think with some of these, the relationship with this particular engagement goes back a few years, and some of this goes back 10 months, and it’s just interesting kind of to look at as kind of people move into and out of the FringeArts orbit, kind of they bring new relationships with them, and it all kind of gets mixed together in this way. And I think, yeah, we were talking a little bit right before we started recording about there’s so many artists that I think all of us would like to present, and it really does become about who we all completely agree on to a certain degree, and how we’re thinking about them all in conversation with each other as well.

Zach: So I’m going to shout out another podcast, sorry, but there’s a really actually great episode of OK Radio, the Nature Theater of Oklahoma podcast where an artist straight up asks Phillip Bither-

Tenara: Who is that?

Zach: Phillip Bither from Minneapolis, who is their amazing, amazing curator.

Raina: Got it.

Katy: He works at the Walker Art Center.

Raina: Great. Thank you.

Katy: We have collaborated so many times, and our collaborating began last fall.

Image result for charlie day memeZach: Exactly. Yeah, with the work by that same artist. But it’s very interesting because they asked him straight up like, “What did it take for you to finally bring our show here?” And it’s interesting. All the intersections, it’s very the meme of Charlie Day with the red-

Tenara: Yeah.

Raina: Yeah.

Tenara: Absolutely.

Zach: That is very much how you actually get there because there’s a question of availability, there’s a question of scale, kind of what support you’re able to provide, all of those things kind of have to … The planets have to align to a certain degree. So get any single show here, and then also the curatorial part of it, kind of the matchmaking of how these things all fit together, what the kind of collage of that festival then looks like. Yeah, no. It’s magic. It’s witchcraft. That’s what we do.

Katy: Yeah. It really feels that way because we are always starting from a curatorial standpoint where we care about the work that the artist is doing, we’re in building a relationship, we’re curious about the thematic or the particular subject of that given work within an artist’s broader lifetime of creation. And then there are lots of logistic things that are not sexy and not interesting, but deeply important around visas. Are we able to even get them into this country? What are the costs of this particular production? A lot of that also comes down to partnerships.

Katy: If we’re bringing an international artist in as we are with EN-KNAP, this Slovenian dance company for the piece of Pursuit of Happiness, we frankly wouldn’t be able to do that unless we had the partnership of the Walker Art Center to share the costs in terms of travel, and freight, and visa preparation. And then you have to think about just scheduling. Honestly, that is one of the hardest things that we can decide all day, and we can curate for you probably 30 Fringe Festivals, but to have one that actually works does feel like a miracle, right?

Katy: We’re at the artist schedule lines with the venue that we’d like to put them in here with the support that we’re able to get, with the staff that we need from production otherwise to support it. There’s a lot of moving pieces.

Tenara: So that’s-

Zach: Frankly, some of these shows get put on a boat that then comes across the Atlantic Ocean.

Katy: Over a period of multiple months.

Zach: Yes.

Katy: Quite frankly, we put the freight that is currently in Japan on a boat like yesterday or this morning, and it is slowly going to make its way to San Francisco, and then get driven to Minneapolis, so it would be there the second week of September, and then it’ll get driven by a very generous person at the Walker Art Center.

Zach: Oh. Shouts to you!

Katy: Shouts to you Doug! All the way from Minneapolis to Philadelphia.

Tenara: So there’s a single individual not from a company, or an institution-

Katy: Correct.

Tenara: That is-

Katy: That is driving.

Tenara: Like, “To make this possible, I will drive the freight to Philadelphia.”?

Katy: And that is what we do. We have to make creative solutions because we are paying a freight company a whole arm, and a leg to put it on a ship, which is actually much cheaper than say putting it on a plane to get it to come all the way around the world. And yeah it’s still enormously expensive even though we do lots of fundraising, and lots of partnership, and creative cost cutting. And so that’s one of the things that we talked about as a team as I was looking up. When I’ve done this before, we put it in a U-Haul and drive it across the country, that’s going to be much cheaper than us hiring a freight company.

Raina: Right.

Zach: Yeah.

Katy: And so that’s what we’re going to do.

Tenara: Wow.

Katy: So that is the not-as-exciting part, but also equally important part of our job is what are all of these little details that we have to futz together of like one of the venues we’re working at doesn’t have laundry. But of course, all the shows that are there need to be able to do laundry each day. So what relationship can we have with our neighbors there to allow them to open their space so that this other theater company can do laundry in their space? What people can we work with to very generously give us their apartment for the summer, so we could have an artist stay there for three weeks or more?

Zach: And I mean, you know about kind of all the relationships Tenara. You know as well like all of the relationships that we’re building kind of around our public practice work this year. It’s a number of phone calls that is exponentially more than the number of presentations we will eventually present, that even likely how many people will see it, right? And it’s really kind of about stewarding this projects to not just to completion, not just to achievement, but to what we would determine as a successful presentation is one in which nobody knows that all of this stuff happened.

Katy: Right.

Tenara: Yeah. Exactly.

Zach: It has to look excellent, and effortless, and so that doesn’t get in the way of how it can impact an audience that way. How the art itself can interface with an audience.

Katy: And also be easy for that for the rest. We are thinking about our audiences all the time, but particularly in the Fringe Festival where we have more people traveling from out of time whether that’s just from New York or from Belgium, we want to make sure that they have an easy experience too in terms of their travel and hospitality. And for many of them, it’s their first time in Philadelphia. So we have to do a lot of work around that to, and be good ambassadors for our city.

Tenara: Well let me ask you a pretty philosophical question. I think we spend a lot of time thinking of in thinking of people who work in the performance industry. So you said, Zach, a successful iteration of this presentation would be one where the logistical stuff is hidden from the audience, that they don’t know that these are all the things we have to think about in order to present them an impactful experience. But I wonder in my position when I manage the ambassador program, one of the joys the ambassadors have is to find out all of the things that went into the decision to bring this piece or to the creation of this piece if they’re hearing directly from the artist.

Tenara: And so the lifting of the veil makes them feel more connected to the industry, and therefore better stewards of the industry to like a public audience. I just wonder the culture that we have in this country in particular separates performance as a product that’s really shiny with a bonnet for the public, and I wonder how much that actually serve us because does that actually create a bigger distance between the performance and the audience?

Zach: Well I don’t think it does because what’s important to me is to recede a little bit into the background, in the relationship between artist and audience. I want for them to interact with the work with no other expectations in the ones that the artist wants to get them, right? So backing up a little bit, I think that the presenter/producer kind of bisecting is not necessarily all the time firm, right? But I do think that we’re an arts presenter. We’re not producing most of this work.

Zach: So for me to take any kind of role interceding the relationship between audience and artist does not feel deeply appropriate to me. Well I think that all of this is so, so interesting and so cool. For me, it’s like I would rather do a wrap up of that after the festival or after everyone has seen the work than to, in some way, corrupt the expectations that a person has going into this experience because I want to feel the way I felt want I saw some of this work for the first time. Not to feel that way, but to have the benefit of a certain amount of blinders, about just, “I’m curious to see the piece.”

Katy: Well to play devil’s advocate because I get what-

Tenara: Do it. This is the sexy thing that I want to get us.

Zach: Yes.

Katy: And I get what Zach is saying. I think there are-

Zach: Well I’m probably wrong, but-

Katy: No, but I think there are curators or producers in the world who are very much interested in facilitating experience that is guided on understanding personal taste, and I think our ethics as we curate this festival is opposite of that. We’re not interested in this being the Zach and Katy show. You will know more about us by watching these pieces. That is not an interest of ours. But I do think we’re interested in arming the audience with context should they be interested, and I think one way that we’re doing that this year is through the Festival Bookstore, which we’re super excited about, which will give people an opportunity to come to my podcast recordings, talks with other artists, and dialog with community partners about the work.

Katy: We’re also working with our marketing team to provide a number of essays and other context building materials that people can read, so I think that kind of work we definitely want to share with people if they’re interested in it, and that also gives them an opportunity to figure out, “Do I want that pre-show? Post-show? In the middle of the show?” They can kind of design their own experience. This behind-the-scenes veil of like, “The budget was really crazy to figure out, but we did it in this way.” Or-

Zach: “This is how we did the genie lift moment in this show,” or something. That stuff is less.

Katy: I think we are so happy to talk about that with people, but as we see to facilitate a great relationship for the artist and a great relationship for the audience, we don’t want them to worry about that kind of stuff. We kind of feel like in a small way like the invisible hostess. We want to prepare a really beautiful experience for people, and I don’t want them to worry about how much it costs exactly, and if they want to talk about that with me later, we’re happy to be open to that. But for the most part, we want people to come, and enjoy, and experience it, and talk to each other.

Katy: And then yeah, we are happy to do podcast episode X afterwards to hear about the surprising experiences and challenges part one in Fringe Festival 2019.

Zach: And it’s not about gate keeping, right? If there’s a young producer or a producer of any age, right? Who is maybe, “I’m interested in being a curator,” and anything like that, you are always welcome to come talk to us. And all the context and thematics that we’re going to talk about here are just things that we discussed, and we’re interested in yours as well. You can always shoot an email to us and ask us what we think about work or anything like that, we’ll probably give you a time that you can come and speak to us in person about that really and truly.

Tenara: I love asking really pointed, biased, provocative questions because they get such good answers.

Raina: Yeah.

Tenara: You mentioned the Festival Bookstore, which I think you talked about the Festival Bookstore.

Raina: Let’s talk about more about the Festival Bookstore.

Zach: Yes please. The Festival Bookstore is back. We did take a little break last year for-

Katy: We took a breather.

Zach: We took a breather. Yeah. There were a lot of reasons for that that we are not going to get into. That’s behind the curtain stuff. But we’re back with the Festival Bookstore in partnership with Head House Books in Cherry Street Pier. It will also be a kind of site for additional engagement. We keep talking about this idea of self-selected engagement that you can be a person who just sees the show, and that’s great, and we completely support you in that. You can be a person who sees the show and talks about it at the bar after with your friends, or you can be a person who sees the show and then comes and talks to us with about it in the Festival Bookstore context.

Zach: Then buys a book that the artist says it’s in part source material or it’s just written by the artist or that maybe you’ll never understand the connection between this book and the work you saw, and the artist practice who recommended it. But it just gives people another layer of engagement, another way to get their head deeper, and deeper, and deeper in the festival.

Katy: Yeah. So we’re going to have live podcast recordings with artists, we’re going to have artists talks, we’re going to have community talks where our community Philadelphia partners on particular shows are going to be engaging with the themes of the piece either with or without the artist. There will be, like Zach mentioned, books, and essays, and publications, and periodicals that artists have suggested we stock in the bookstore and others I would say as well.

Raina: Mm-hmm (affirmative). It’s also at Cherry Street Pier, which is a great place to go. It will be open on festival weekends. So not during the week, but as you’re kind of figuring out your Festival schedule, make sure to plan to stop by just to check it out. For members, we, new this year, are also going to be giving out free tote bags.

Katy: So get your membership now!

Zach: Put it on a tote!

Raina: Yes. Get your membership now, and get your tote during the Fringe Festival.

Zach: Otherwise, what are you going to do? Just carry your books?

Raina: Yeah.

Tenara: Or in your arms.

Zach: Well no, it’s deeply exciting. Cherry Street Pier has been an amazing partner, and just a really, really cool site within our neighborhood. So just to have them right across the street acclimated by all of these artists, doing the great programming that they’re doing. It’s been really, really nice, and kind of stimulating for us to find a partner there, and to have a second site for the festival that’s so, so close.

Katy: Plus, it’s gorgeous.

Zach: It is gorgeous. You can take an Instagram there and it will get likes.

Raina: So we’ve been circling around the general programming and theme of the festival, and let’s really dive in and talk about what’s actually going to be happening during the 2019 Fringe Festival.

Katy: Yeah. So the 2019 Fringe Festival is what we call our flagship program. So we have a whole host of festivals that happen throughout the year, but the Fringe Festival happens in the month of September for about three weeks. We’re doing a little bit longer than that with one of our presentations Let Me Die by the artist Joseph Keckler, created in collaboration with O Festival this year. But otherwise, it’s predominantly in the month of September, and it involves curated shows, which Zach and I will talk about, and also our independent artists who will be creating new works and presenting them all throughout the city in a variety of different venues.

Katy: But it’s notable that the curated shows that we’ll talk about happen both in our home venue here at the intersection of Race and Columbus, that also in other places throughout the city whether they’re outside, in venues like Christ Church Neighborhood House that we often use year after year, or new places like 2300 Arena that we’re using the first time.

Zach: Yeah. So as we kind of alluded to in the past, we don’t really do our booking here based on any thematic element. Really we go in looking for balance, looking for a kind of diversity of form. That’s really how we start. But once everything comes together and we really start digging into some of the thoughts and considerations that the artists were making in their work, some themes do start to emerge, and that’s just truly serendipitous. One theme that we have been thinking about a little bit here in the office is kind of the conceit of the individual body, the public body, and maybe the absence of body. What does it mean to be present in the space?

Zach: Really looking at kind of Úumbal as one of those shows. Úumbal is a piece, a public practice work for a group of dancers. It’s co-authored by a group of Philadelphians who each donated thirty seconds of dance that was stitched together by a team into a kind of movement processional that looks at how a collected body takes up public space, and who has the right to public, and what does it mean to be visible as a coherent unit. A group that’s clearly showing that they’re taking care of each other, and looking out for each other through the unison dance.

Katy: So then it’s an amazing piece that we’ll be happening the first two weekends of our festival. It’s really honed by the Mexican choreographer Mariana Arteaga, and it will be happening outside in a South Philadelphian neighborhood around Mifflin Square Park. But thinking about that same thematic, another corollary to that might be the singular body. And so thinking again about a work of dance, we’re excited to be bringing back the choreographer Anne Teresa De Keersmaeker with her piece Fase, which is one of the first pieces that she ever choreographed when she was a student at New York University in the 80s.

Katy: This is a duet for two dancers that at one point is a solo, just an individual, and it’s based on music by Steve Reich and his compositional principle of phasing, which is what the that alludes to as well. So while the composition and the dancers start in unison, they slowly begin to phase out of sync with each other, and then have moments of repetition within close proximity, but not exactly the same. So questioning what it means to move from this singular kind of determined body to bodies that might become subtly, but certainly notable distinct from each other.

Zach: Another pieces that’s really looking at this idea of body and the presence of body in space is the Wooster Group’s The B-Side: “Negro folklore from Texas State Prisons,” a record album interpretation. In the piece, Eric Barryman, who is the lead artist in this particular production from The Wooster Group has an in-ear monitor in which a record album, the “Negro Folklore from Texas State Prisons” is being transmitted into his ear, and then transmitted to us the audience via him singing with a group of people, with a group of ensemble members.

Zach: What’s interesting about that is how it renders in kind of three dimensional space, the experiences of these people from years, and years, and years ago. So by having a body kind of be this intermediary between the sound, us and audience, everything feels more fleshed out, more round, and you really do kind of experience this music through a different gravity. It’s a really, really interesting piece.

Katy: I’m so excited for that one.

Zach: Me too. I’m so excited. I saw it at St. Ann’s Warehouse actually. A great, great partner of FringeArts, and it was really, really lovely, and I’m really excited to bring it to Philadelphia specifically.

Katy: Yeah. And one thing about this piece that I think is particularly notable is that it shows aspects of our government, of our prison industrial complex, and of racism more broadly that often sits beneath the surface. This particular album that Eric found, is actually from 1965 and depicts songs that were sung in Texas State prisons where workers were required without any recourse or opportunity for themselves to work in these prison farms. And really speaks to this larger industry of subjugation that is certainly the bedrock of our American government and history, but something that often is beneath the surface.

Katy: So that’s another one of the themes of a number of presentations that are in our festival this year are these kind of subterranean or often invisible systems that certainly have outside effects on the way that we live our lives, and the work that artists create that depict the systems that certainly affect us, but that we don’t always see. So one group that’s thinking about these things in a more conceptual way than The B-Side is Pig Iron Theatre Company, a local here from Philadelphia. They’re creating a new work that will premiere the first two weekends of the festival called Superterranean, and they’re working with lead artists Mimi Lien, who is a company member and a very celebrated set designer.

Katy: And for the first time, they are leading their devising process from the set, and the design of the theatrical space itself. So Mimi throughout the devising process has been thinking about subterranean passageways or systems whether it’d be public transit or otherwise that really power our universe, but that are often not fully present or visible to the naked eye.

Zach: Another piece that’s kind of thinking about kind of what remains unsaid or just right beneath the surface as far as kind of our society and how we all interact with each other is Nature Theater of Oklahoma, and in that kind of collaborative piece Pursuit of Happiness. The piece asks a simple question that should maybe follow every clause in our constitution, every clause in our Bill of Rights, and it just says, “For who?” I think it’s very, very interesting. It takes a good look at the mythology of an American Dream as well as the reality of one, and kind of who’s paying for it? Where is the bill addressed?

Zach: It’s a really, really, really interesting piece. I hope you all come out. It’s very, very zany in portions. It feels like cartoony to a certain degree, and then all of a sudden very sobering in a way that is kind of bisected very interestingly. I think he does a good job of preparing you for an experience in subverting that experience almost immediately after.

Katy: Another example is the work Cartography by Kaneza Schaal and Christopher Myers that we’ll be presenting at Christ Church Neighborhood House the second weekend of our festival. This is a piece that recently premiered at the Kennedy Center a couple of months where I saw it, and we’re really excited to be background it to Philadelphia. It’s a work that was created in response to and also in collaboration with a number of young people who have recently migrated to the United States from places around the world whether they be Syria or Venezuela, South Africa or Mexico.

Katy: And working with these young people, Kaneza and Chris really saw to illuminate the histories of migration both in this present moment, and more broadly throughout our history whether it be cause of social injustice and desire for greater economic freedom, or because of global warming or other environmental related disasters. So there’s actually a moment within the piece where all audience members are encouraged to bring out their phones, and using technology in real time to chart their own family’s migratory journey, acknowledging that there are very few of us who are indigenous to the land upon which we are here in Philadelphia, and as such that we all or at least most of us have a relationship to migratory patterns, in ways that again are often obscured or alighted over as history has continued.

Zach: I think about our friends who are asking parents, “Where are we from? What’s our culture?” And get the answer, “We’re American.” Again and again, and that’s becoming this thing that I think is common now to have some people who have almost no sense of where they’re from. So this is really only a sampling of the shows that we’ll be presenting at the curated section of the 2019 Fringe Festival, and we urge you to go to or download the FringeArts app, or come down to FringeArts and pick up a guide, maybe come diverge with one of us. There’s usually one of us downstairs eating a cheese curd or relaxing, and we look forward to seeing you at the 2019 Curated Fringe Festival.

Katy: It’s going to be so good. So good.

Raina: Also, at the time this episode is coming out, we do not yet have guides available, but we will have teasers. So do come and get a teaser, you can read about all our curated shows, and in August make sure you join us on August 2nd for our festival guide launch happy house or we will have guides available for you to pick up and start planning your full festival schedule.

Tenara: But never fear because all of the curated shows are online and on the app, and you can start getting your tickets now. So if you’re literally just at the edge of your seat waiting to find out when you can come see The B-Side for example, you don’t have to wait my friends. You can go on the website.

Zach: And if you have any additional questions about shows, you’re always welcome to reach out to someone from FringeArts and they’re happy to contextualize the work for you.

Katy: Yeah. And we’ll be announcing further late night programming here at FringeArts that we offer free of charge to everybody, as well as the full slate of our talks and community conversations at the Fringe Festival Bookstore.

Raina: We encourage you to become a member at FringeArts to receive 20% off of all tickets that you purchase as well as year round benefits such as a free FringeArts tote back coming up, and free ticket exchanges, invites to special events, and all kinds of other benefits that are really exciting that you can learn more about it.

Tenara: Thank you for joining us for this episode of Happy House on the Fringe. The Fringe Festival will be running from September 5th to the 22nd. Make sure to follow us on Facebook, Twitter, Snapchat and Instagram, and download the FringeArts app. Check out all of our shows with ticket information at

[Music Outro]

Happy Hour on the Fringe: Conversation with Mariana Arteaga

Posted June 24th, 2019

On this episode of Happy Hour on the Fringe, we share a drink with Mexican public practice artist Mariana Arteaga. Mariana is the artistic force behind Úumbal: Nomadic Choreography for Inhabitants, and she shares the original inspiration for the piece when it premiered in Mexico City. Now, part of the 2019 Fringe Festival in September, Úumbal is an exercise in meeting, recognizing, and celebrating a community gathered for the joy of movement and exploring new ways of moving through public space. The choreography of Úumbal is developed of, by, and for Philadelphia residents who donated their best dance moves to the project, and crafted by  Mariana and a local choreographic team. Úumbal: Nomadic Choreography for Inhabitants runs September 7, 13 & 14 as part of the 2019 Fringe Festival.

Listen to the episode and read the transcript below.

Feature Photo by Alejandra Carbajal

Conversation with Mariana Arteaga

[Music Intro]

Raina: Hello and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premier presenter of contemporary performing arts. I am Raina Searles, Marketing Manager here at FringeArts.

Tenara: And I’m Tenara, I’m the Audience Engagement Coordinator at FringeArts. We invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence.

Raina: Now, at the time this episode comes out, summer is in full swing at FringeArts. We have our free outdoor movie series featuring popular hits every Wednesday at 8:30, in our beer garden. We have Happy Hour deals from La Peg with a beautiful view of the water front. And, we on the FringeArts staff are working hard to make sure the 2019 Fringe Festival is ready to launch this September.

Tenara: So, today, we’re excited to be chatting with one of the artists who will be helping us launch the 2019 Fringe Festival with an exciting participatory dance piece on the heels of Le Super Grand Continental from 2018. Today, we’re talking with Mariana Arteaga who’s doing … Can you say the name of your piece?

Mariana: Úumbal.

Tenara: Úumbal.

Raina: Welcome, Mariana.

Mariana: Thank you very much for receiving me here, Raina and Tenara. And FringeArts, of course.

Tenara: Yes.

Raina: So, our first question that we always have to ask is, what are we all drinking for this episode of Happy Hour on the Fringe?

Mariana: Definitely coffee. I am addicted to. I’m having coffee because I already had some lunch and every time I eat I need my coffee after.

Tenara: Yeah, it’s one of those post meal stupors that you go into and, it’s like ready for a nap. Yeah, I feel that. I’m drinking water.

Raina: Yeah. I’m having, I’m in all natural Snapple. Takes Two To Mango tea. So, a very fruity flavor today.

Tenara: Amazing. Cool. We’re talking about Úumbal today. Can you tell us a little bit about where, where the idea for Úumbal came from.

Mariana: Úumbal was a response to a political situation that I was having in my country, Mexico. I mean, I like, I collect thinking as a Mexican citizen, I don’t know if you’re familiar, there were 43 students that disappeared and they were from Ayotzinapa, Guerrero. And first the first idea was my reflection about a body that is not visible anymore, and what does it say? Which is, for me, one of the greatest ways of torturing a country. And this idea of disappearance and this idea of not finding where this part is. So my reflection was about how important it was to make a body visible. And also it has to do with a conversation with virtual territory and geographic territory with bodies that are virtual and bodies that are walking in the streets.

Mariana: And this idea that also these bodies disappearing being seen physically in the space and public space. And at the same time when this happened, there were some demonstrations in my city against these phenomena that happened, this disappearance. And I notice during the demonstrations that there were a policeman or military groups being able to encapsulate part of the demonstration. And I noticed that it was really well rehearsed and choreographed.

Tenara: Choreographed.

Mariana: Choreographed and so it made me think about the power of choreography, whether you use it to be repressive, but maybe also I remember about some other kind of choreographic demonstrations that have made a great impact in our global history, which was for example, the Standing Man protest in Turkey in 2013. So I had these two comparative ways of making a statement through choreography. So this my field – my field is dance and choreography so, I thought that if there were policemen that could make this all choreography in order to repress the others, what about if we could rehearse a citizens ways of freedom or ways of organizing ourselves and to make a visible, collected body that organizes and that inhabits the public space in a different way. That’s how Úumbal was born as a nomadic choreography for inhabitants.

Tenara: Can you give our audience a little context? I think we in the states probably heard about 43 disappeared students, but we may not know the deep political things that were going on in Mexico. These were college students.

Mariana: Yeah. They were studying to become teachers and they were trying to make some protest. Now the thing is, I have to remember because I don’t want to give out wrong information.

Tenara: Mm-hmm.

Mariana: The information, what I hear about this, they wanted, they stole or they took from some bus companies, tourist bus companies, some buses in order to come to Mexico and make this big protest, like every year for the killing of students in the ’68, right? So, that happened. Some people were warned about it. So, some policeman and militaries formed a zone and would try to stop these students for going or taking these buses, right? But the way of doing it, like, they stop two buses in the way they crossed in front of the buses and they wouldn’t let them go on. But one of the buses was like going around and when they captured these students, this last bus, they were supposed to take these students to one kind of police station and one part and in the way of delivering these students to that part, they disappeared and nobody knows where they are.

Mariana: At the same time when they stopped the first two buses there were some confrontations and two students were killed already in the confrontations. I will like to just to have accurate look –

Tenara: Yeah, that’s fine, definitely.

Mariana: To say that what I’m saying is absolutely true. But, it’s going to be a longer story in terms of the – this idea is kind of cris-crossed also with the Narco war that the criminal organizations that are in Mexico, because there is like this agreement between militaries, Narco power and they have control everything. So ,we had been in this for the last 12 years in these kinds of situation that people would disappear and then there would be found later on in this, I don’t know how to say it in English, that you create this collective –

Tenara: Grave?

Mariana: Graves, yes.

Raina: Oh, okay.

Mariana: So, in all these 12 years, like thousands, thousands of people having killed had disappeared and till now they are starting to discover new grave-sites. Yeah.

Tenara: Wow.

Mariana: So, but this was, so this was the frame. So what happens that of course we know there is a frame where the students can’t go out of the law, right? But at the same time, the way of solving this is for this kind of violence and extreme violence, which is disappearing the bodies and till now nobody knows where the bodies are.

Mariana: Yeah. So they were allegedly taken into custody. Like it says on September 26, 2014, 43 male students from the Ayotzinapa Rural Teacher’s College were forcibly taken and then disappeared in Iguala. So yes, they were organizing to go to this demonstration in Mexico City. That would take place October the second and there is a saying from 1968 until now, we do not forget after second and there was a massive killing of students who are in the protest of the ’68 in a very important public square in Mexico City that is called the Three Cultures Square, which in Spanish is Plaza de las Tres Culturas.

Mariana: So people every year we’ll go there and say “we do not forget”, right? So they were illegally taken into custody by local police members from Cocula and Iguala, but it is said that he was needing collusion with this organized crime, right?

Tenara: Oh, I see.

Raina: I guess just to kind of clarify, was the problem that they stole the buses or was it that they were going to protest?

Mariana: I think no, it’s not a way of going to the protest, it has to do with that kind of political geographical tensions in Guerrero where they are from. Guerrero is called Tierra Caliente. So it has, it is kind of warrior state.

Raina: Okay.

Mariana: And also some kind of nobody’s land. So is it well known that the police people, and as I said in narco power, would always work, assemble and so create their own kind of law.

Mariana: So, and this kind of a violence pattern that increases, with the rival or with the – not the rival, but opening up this narco power groups so everybody could know when this happened and the disappearance between the transporting these students from Cocula to another place that this way of disappearance has to do with this complexity. But this complexity, it’s not only about the ’68, it’s about power, it’s about money. It’s about the geographical place where Guerrero is. It has to do with the history of Guerrero. So yeah, I mean, the story’s pretty much as I said it to you, I was absolutely right, but I think I didn’t say it properly.

Tenara: No, It’s okay.

Mariana: So, what am I going to like kind of read it to you. Yeah. They, they were intended to travel to Mexico City to celebrate is no, not celebrate, commemorate the annual story of the 1968. So, the local police attempted to intercepted these buses.

Tenara: Again, because they had stolen the buses?

Mariana: Yeah, they have taken and that there is a practice by students that is kind of –

Raina: Is that common?

Mariana: It kind of also global thing. It’s not that we do it every day or like, oh yeah, they’re gonna take and then when they return back. No, but there is a practice in these university students that sometimes they might do that. The thing is that during that time there are so many gaps about what happened and who has information of where are they? And that’s the question, like where are they? Because there was like, for example, after a while there was so much social pressure about this that they said that they had found like this kind of grave, collective grave. So there was a group of forensics from Argentina. They’re really specialize people and they came to, you know, make tests and they said no, these are not the bodies. Still.

Raina: They’re just other bodies.

Mariana: And yeah, still they were other bodies, right?

Raina: So, the government’s response was to try and say that they had them even when they didn’t?

Mariana: Yeah. And there’s this kind of thing of we are doing the best that we can. We cannot find it but you don’t see like, they really working on finding out what happened. So yeah, I mean there were special groups, so the narco, they are located specifically in Guerrero, their group of power that controls locally and they are always, or almost all the time your relationship with the governor or the mayor or with the right in during times of this happened, during the times of Enrique Peña Nieto’s presidency. I think what is more, how can I say? This layer, or the layer underneath it is that, this is a story that is exhausting as society because it’s not the first time.

Mariana: And so imagine a society that is this receiving this kind of information or this kind of sensation of that you are living in, like no law at all and suddenly the happens to the promise of a Mexico of the future for students. Not that all lives are not important, but it’s like a symbolic thing and it’s very clear that they have disappeared.

Mariana: I think it has to do with the story how we name things and the importance of naming the things that are happening. So for me also these 43 students were not like only the 43. It was a way of naming all the thousands of bodies that had disappeared before. Like to make something, to embody something where ewe can create to support them but also all these bodies. So like it was the first time in my life I would see every day like demonstrations through demonstrations and demonstration and it was like – the streets of one of the main avenues in Mexico like packed full of people doing these protests.

Mariana: But it was the state of the nation, right? It was the state of the citizens. And it was, it was urgent to manifest this, anger and also this grief, it’s very important to grieve. But, at the same time, I think there was so much anxiety because you are only able to really grieve when you have certainty of that a body’s death

Raina: Right.

Mariana: While the body’s not death and it has just disappeared, and it in this kind of limbo that is not alive and it’s not death. So, how can you process that? And I think to be able to be conscious of that as a society that made us protest in this way. And for me also what happened is that I had never left my city in that way. It’s funny when I have never lived in war conditions, in other kind of political conditions and more extreme, but that doesn’t mean we’re not living in a very violent situation or we haven’t been living.

Mariana: But I hadn’t been very conscious of how this could affect us until that moment that, for the first time I’ve felt my city that is full of life, sad and undermine it.

Raina: Undermined, yeah.

Mariana: And it was a shock for me because, I would watch these videos at the demonstrations and everything what was happening. I was watching this in Japan, I was doing this artistic residency. So, for me, like arriving and just walking through the streets and feeling dizzy with like, “What’s going on?” It was very unique and sad and the sadness takes power to people.

Tenara: I think a lot about the kind of eruption of action and protest and an urgency that happened after Parkland. The school shooting in Parkland High School. That’s not coming from the state, which is different than the situation you’re describing. But similarly it’s violence enacted against students, the future of tomorrow. And what came out of it was the most – I mean, I don’t think that in my life as I have experienced consistent school and public space shootings in the United States, like the news of them, I haven’t felt that kind of – I felt like after the kindergartners, we were just all depressed. Like none of us could do anything about it.

Tenara: And like just the deep, deep sadness. And then after Parkland all of a sudden, because the students themselves were then starting this –

Raina: Speaking out.

Tenara: Yeah, they were speaking out. That felt similarly, like there’s something really electric happening that then pulls at the threads of all the states of the nation. If we’re talking about this, we have to talk about lobbying. We have to talk about racism. We have to talk. Like it just, it made us all start talking about things and yeah. Yeah. I’m resonating a lot with what you’re saying.

Mariana: The other thing that I didn’t discover, but later on, six months later, I will get there. It has to do with how does a collective lives you. So those were, I mean that was the situation, with the Ayotzinapa students. But as you can see, the situation itself reflects other historical, political realities that we were carrying out by that moment. Like everybody was like, “Oh”. Yeah. So, that was the situation.

Tenara: So can you tell us a little bit about Úumbal and the design of the piece as a way of pushing against the invisibility of these bodies?

Mariana: Yeah. I thought that our response had to be in different layers. First, against the disappearance is the appearance of a body and the appearance susceptible of a voice, a collective body. So I thought that the public space would be the place to do that and to take this kind of structure of doing things in the street, and to go through streets as our way of protesting.

Mariana: But at the same time, I thought that the idea of the rehearsed, the possibilities as a society to imagine ourselves living differently and like the only way of being a counter part of that would it be to kind of empower us and to take care of the other and to have agreements and to be able to negotiate and to be able to perceive and to be in public space in different ways that a demonstration is, right?

Mariana: Like we had to rehearse this possible ways of meeting each others. So there is this, other woman, really admired that is Hannah Arendt and she said freedom is also rehearsed. So, that was resonating with me very much this like phrase. I was like, yeah, we have to practice our own freedom and we have to feel what could that be? That made me think of structure of a nomadic choreography. Not a choreography that was going to be in a square where it’s meant to be when you’re doing this big festivals or celebration. We needed to be walking through the streets and dancing.

Mariana: Dancing is the way I communicate things. And also dancing for me was a way of recovering this power and the power of joy to be able to confront things. There is something very magical about this, this idea of living collective joy as a way of power. This idea of power to the people.

Mariana: But I really believed in that, because I had been doing some other collective choreographic works and I had witnessed it in them and in myself. The fact of that and the fact of that is that I was willing to be with others and to negotiate and to enjoy of the other and to trust the other. So I was talking in this global way, but I was very interested in the micro revolutions and in the micro politics.

Mariana: That’s for me where the things could lead us to little fractures that eventually will come in some kind of change. I’m not thinking in any like big pictures of – I do not believe in this kind of thing. I think because of our social economic health system, global system, that’s not that possible. So that’s why I was interested in this kind of micro politics. So if I say like, if we can expand it 50, 60 people or something, it’s gonna be great.

Mariana: And it’s going to be great just the fact that there will be 50 or 60 people willing to do that. It’s just like, so that’s another thing. And also this idea of if we were going to do a collective statement, then even if I had to say yeah, or if I could guide the project, the boys should be collective. So I say I’m not going to tell the others to dance my dance steps because, then they’re only talking about me.

Mariana: So how can I do it too to make it collective and to listen to the voices of everybody. That’s why I thought like, well that’s the steps of the people would be our raw material. That’s how the first phase was born. And then that thing led to the other. Like, say yeah, and the construction should be the same. The choreographic construction should not only be lived by me or by a choreographic team, but also by citizens.

Mariana: And it’s also a way to be needing and recovering some kind of power that you will acknowledge or you will recognize that you know and you didn’t know, that you know. And then third phase would be like calling to these other 50 citizens that will like to be part of this project.

Raina: So I’m curious, this piece has such like resonant meaning in Mexico City and with kind of all the history around the politics, what does it mean to bring this piece to Philadelphia and how do you translate meaning, or how do you find new meaning in building this with Philadelphia residents who, you know, don’t have that same kind of political history.

Mariana: It’s interesting because that doesn’t mean there is a political discussion going on right now. You’re right in terms that it’s a different one. What resonates with me and that the thing that made me want to do the project outside Mexico was a conversation about diversity.

Mariana: Some kind of racial encounter or dis-encounter maybe, that I could even sense walking the city. And, FringeArts say like, “we are very interested in a project like yours because community.” And I say, “yeah”, but the discussion is political, like I say, the origin of part of this. So we’ve got a long conversation and I say like, “we really think that we need some kind of way of encountering each other.” And there are Latinos, African Americans or white people. There are immigrants from Puerto Rico, Honduras, Cambodia, Vietnam, you know? And, in a way there are not like points of encounter maybe between all these people. Right. So, that was the political discussion. And for me, it was like lights there because as a Mexican I do also reflect a lot about this immigrant condition and its relationship with, the United States.

Mariana: And of course in this presidency is more, how can I say it? Tense. It’s more tense right now. Yeah. And we start our relation with the idea of getting out of the country to have a better future and what happens and what is the life of these immigrants here? So these are the things that I was really interested. I was really interested to find some kind of social dialogue conversation that we could work in. which doesn’t mean that of course we’re going to achieve it like that, right?

Mariana: Like, I mean, we still don’t know it. But for me, what made me say I want to be in Philly is intention. We have to start from one point. And the point is to be open to that intention and to work through that intention. It might happen, it might not happen, but that consciousness and then in the process to be learning what it takes to have that conversation. It gives us clues, reality clues of how to need better those bridges, to have the conversation.

Tenara: Do you find that Philadelphians are open to that intention so far, in your awareness?

Mariana: So far it’s been very interesting because I am like, my first approaches are with FringeArts team and with a choreographic team that is from Philadelphia. So in terms of human beings, like in terms of the space, it’s another conversation. I will go first with the people.

Tenara: The people.

Mariana: Well, first is the FringeArts team that they are the ones calling me. They have this urge, this intention, this desire of going towards there, which I really like in terms of that Úumbal is not in the regular production – performing arts production system because it’s a long term peace, it’s not made in 15 days or one month. It takes time and time is what makes it possible. Now, what I found is that FringeArts is also learning through this project a lot of things and that for me is the most palatable thing because it’s opening these reflections and this conversation in our FringeArts, I believe. I think I have this perception.

Tenara: You’re right. Yeah, I would say you’re right

Raina: Yeah, we’re learning a lot.

Mariana: So, with the choreographic team, I think it’s – the learning process for me has been different. First, because I ask clearly, I ask a diverse group that if we were going to have a conversation like this, I needed in the group a diverse group. It’s been interesting. Of course this choreograph team is really open. For some reason they were interested and they are working. They are also speaking out loud about the tensions about the neighborhoods and about the way a body moves, for example.

Mariana: And what power or un-empower body it might represent for a Latino than from African American, then from a white American, right? So this kind of dialogue and conversation is just giving me a side, a perception of a difference. Like there’s difference between though all these people, but it has become more clear through the neighborhoods.

Mariana: Not for the people that I’m working with side by side, but with the neighborhoods is the geographically designed city that barely is and what are the streets telling you? The way it’s organized, the street, how the houses are, the people that are outside of houses, how do they see us when we are walking around. And that is, in a way, giving me some disconnection. What talks about the city as it is, disconnection in terms that there is, only in a few places, there is this crossing intersection of conversations of our diversities.

Tenara: Philly is very segregated.

Mariana: That’s my perception so far. So, I think that definitely is not a process that a product like this will achieve. Like, “oh yeah, we made it.” Like, it’s so complex and it has to do with distribution of power, it has to do –

Tenara: Housing.

Mariana: It’s a conversation of race and a lot of conversation it has come out is gentrification conversation that is changing a lot of things. But, also that gentrification is related to race.

Tenara: Yeah.

Mariana: So far this reception about people, I still don’t know. I’m in that moment that I’m just perceiving only, and it’s in a very, very early stage. But what I have to say there has been for me really like a wake up call and I don’t know if the choreographic team is aware of that, is what has happened in the neighborhoods when people see three African Americans, one Latina and one white American walking together.

Tenara: This is you and the choreographic team?

Mariana: Yes.

Tenara: Yeah.

Mariana: So for example, that little example, it has been very interesting. Just the fact to see four or five people walking together and walking now, because we are walking to go to one place to the other because we need to work, but we’re just walking the neighborhood.

Mariana: And that is something that mainly people are like watching like, what is this? It’s not common. And that tells you so much. And in some neighborhoods that could be seen as, what? Like, what are you doing here? Like are we your curiosity? Like, this kind of a little bit defensive way. What, are you like, why do you want to come here and change the world, kind of. And another is just to an observation. And in others it’s a lot of curiosity, maybe. So, but like for example that it says so much about the idea of what a city is like, or how is it organized? What kind of conversations are needed? Also talks about the idea of walking, the use of walking. The abstract idea of walking, something I can see people, I feel like use a lot their cars versus walking.

Mariana: So that’s an interesting reflection for me. These are the things that I’m learning. And the other thing that I’m very happy about is that even the choreographic team hadn’t been in many places that we walked through.

Raina: Yeah.

Tenara: That’s great.

Mariana: And that tells me a lot about how a person maybe that lives in Philly, relates to the geographical space. Maybe it reduces too specific points and not very much moving from there. It’s a way of organizing life. But it’s interesting because everything is crossed by economy by cultural thing. Maybe.

Raina: I think it is really interesting because like I went to school in West Philly and obviously FringeArts is in Old City and when I was in college I would come to Center City, I’d come to Old City. And so when, now I still live in West Philly because I was kind of like looking for housing and I was like, well I know this area.

Raina: And so I kind of stayed in West Philly and like even now, just thinking about like the Market Frankfort line is like my go-to. But that doesn’t really include the Broad Street line. Like, I’m still learning about South Philly, North Philly, Fishtown areas, like all that’s still very new to me. And so, I think one thing that’s really cool about the Fringe Festival is that I get to go to so many different shows in different neighborhoods, but even that is like I might just be driving there. I don’t usually walk to a specific location and kind of explore the full neighborhood around that place.

Tenara: It was the Fringe Festival that that taught me the geography of Philadelphia, because when I moved to Philadelphia in 2016, I moved in August and the festival started a month later, and I just decided that I was going to see like four shows a week and I would get on my bike and I would just, I’d be like, I don’t even know where I am right now, but because I was like on my way to see a show, I really got to know how the city was laid out. And, so I would go to see shows. Like I lived in West Philly at the time too. And so I would go to see shows in Old City, but also in North Philly and also in South Philly and just like all over the place.

Tenara: And it’s, yeah, there aren’t a lot of occasions that people have to move on a map that is different then like, here’s where I live, here’s where I work, here’s where my friend lives, here’s where my gym is, here’s my favorite restaurant. And, that’s like it. You know? Those points on the map and the most frequented and so it’s not very common for people to have reasons to have to go out into different spaces.

Mariana: Definitely. I think it tends to happen in big cities. Cities at like for example in Mexico City that might happen because it’s so big. The city is so big. But anyway, the range of movement of, or transportation, is wider than I have found here.

Tenara: What, the Mexico City’s public transportation is –

Mariana: Like, the people in Mexico City, we tend to go a little bit further. I can say, but, and it’s not that I’m criticizing something, I’m just saying that we have a different cultural approach maybe and maybe also it is crossed with economical condition, of course. But like the phenomena itself is that we move more through the city.

Tenara: Well, I think there’s also something that’s a little bit lifestyle about it too because like I think about – Philly is really so big. Like, Germantown and Mount Airy. Those are…Glenside–

Raina: Those are part of Philly.

Tenara:  –Those are neighborhoods in Philadelphia, but they’re so far away and they’re so inaccessible by public transportation. The people who end up living there are people who are older or have families or commute in their cars to work. And I just think a lot about people that I know that live in those suburbs, that is still technically Philadelphia, their lifestyle also means that they move on a different map because they drive different places. And, to me to go out there, it’s like that’s so far away. It’s like going to a different state because then I’m just like on my bike and I’m going from West Philly to Old City. I’m like, I can’t go out there, you know? But it’s like, actually the city is enormous and so, and the kinds of lifestyles that different geographies promote, it’s just so different.

Mariana: And I also, my reflection it’s about like, it’s not the first time that I listened to this comment about some cities in the United States that do not have a very good public transportation system. And in Mexico we had kind of have the opposite. We have really good transportation system that connects everything with everything. The only thing that we have more people than the public transportation. I mean like our prop one, the connection lines.

Tenara: There are too many people.

Mariana: But, that there’s not enough, way too many people and yeah, that would be the problem, but that makes us be able to go to different places.

Tenara:  And Philadelphia’s public transportation really is commuter. Everything is pointing in the direction of Center City to get from West Philly to South Philly, even though the most direct route would be like southwest or southeast, you know you have to go and straight into center city and then straight down. I couldn’t go from West Philly to Germantown very easily. I mean, there is the commuter rail but it, but again it’s like only connecting these neighborhoods to the center of the city.

Mariana:  And then there was another reflection for me, which is about the city and compared to my city that it has other kind of political layers, is that our transportation system is public. It’s from the state and here it’s a private, subsidized private, right?

Raina: Is your public transportation free?

Mariana: No, but the state is the one in charge of handling everything

Tenara: Isn’t the set up – I don’t know.

Mariana: What I have learned –

Raina: I really don’t I think SEPTA is a private company but I think it’s like with – like very much in conjunction. But yes, SEPTA is its own.

Mariana: It’s managed by private company and that Mexico is like, there is a secretary like in Mexico City, that mobility secretary and that’s in charge of –

Tenara: It’s state created, like the state created it? We’re currently Googling, friends at home. One of the choreographer’s told you that it was privately owned?

Mariana: Privately managed

Tenara: Privately managed, that would not surprise me. Everything here is private.

Mariana: And so public, in terms of that it’s run the state, but it’s also managed by the state.

Tenara: Yeah, got it.

Mariana: There is not a private company managing the Metro subway or something, no.

Raina: We just have two final questions.

Tenara: You can make them snappy.

Raina: So, we’re really curious. Where did the name Úumbal come from?

Mariana: Oh, Úumbal came from a Mayan tongue from the Mayans that are in the south of Mexico. So Úumbal means balancing like to do that balance. But I didn’t even look for the word because of the meaning but because how it sounded. Úumbal! So I was thinking it was like a call to war, and I was so angry at that time, that I needed a sound, and I didn’t want to have this artistic name, the flock, or like the like this thing that is recognizable. I just wanted something that nobody knew what it was like, but just saying it would provoke something.

Tenara:  I mean it really is quite provocative. Like even an English to say Úumbal: Nomadic Choreography for Inhabitants. People were like, “what’s that?”

Mariana: Yeah, actually yeah.

Tenara: So our last question for you, what are your highbrow inspirations and your low brow inspiration?

Raina: Yeah, so like we can say, what are your high class like fancy –

Tenara: Intellectual, fancy.

Raina: Those kinds of inspirations. And then what’s just like your –

Mariana: In terms of culture, art or something like that?

Raina: Yeah, it could be –

Tenara: Like, give a lowbrow inspiration for yourself.

Raina: So, I will say a highbrow one. Well, actually, I always go back and forth. I think Shakespeare is a little bit both highbrow and lowbrow, but this idea of high art and artists who inspire you. And then lowbrow is like, what’s that trash TV show that you like watching?

Tenara: Wow.

Raina:  I don’t know. Something just really basic.

Mariana: Oh okay. My highbrows are, I have so many.

Tenara: You’re such a classy person.

Mariana: I am, I’m sorry, I am. I love architecture. I’m inspired by Architects, such as like Juhani Pallasmaa, kind of techs or this group from Japan called Zhanna or Kengo Kuma architect. I could go on and on about architects because I do love architecture like, it’s an inspiring part but for me. I’m inspired by some kinds of music, different kinds of music. My like high what?

Tenara: Brow.

Mariana: Highbrow.

Tenara: Your eyebrow.

Mariana: There is a group from Columbia. They’re doing very traditional Columbia, somebody had something like really earth and so truth. So that could be like a high level inspiration as choreographers that maybe I also admire a lot or I have admired at some point. Or the other directors as I’m forgetting the name, my God, Philip King, we got in studio. Somebody that inspires me for example. And my lowbrow-

Tenara: Lowbrow.

Mariana: Definitely, definitely bloopers from Saturday Night Live.

Tenara: I love that that is your lowbrow.

Mariana: Oh my God. I can spend hours and bloopers from some TV series. I like, there’s nothing better for me. That scene character that breaks the character.

Raina: I love that.

Mariana: I’m so –

Tenara: I’m resonating with that so much.

Mariana: I’m so obsessed, like sometimes like I can feel down and I would be like watching chapters of like bloopers forever of some series and Saturday Night Live to see characters losing it. Like, Ryan Gosling, I remember one that it was great. Or, I remember or segments of Saturday Night Live, there was these things that I called the Californians.

Tenara: Yes, I know that one very well, Mariana.

Mariana: I would you just be like, I mean I am Mexican, I don’t have the American culture, but it’s so funny that I would be repeating it, I just love it, California.

Tenara: That’s how they actually talk. That’s how Californians really talk.

Mariana: That is my lowbrow. No, that would be like, yeah.

Tenara: That’s a good answer.

Raina: So, thank you so much for joining us on this episode of Happy Hour on the Fringe. It was great to have you.

Mariana: Thank you.

Raina: And make sure to follow Úumbal all around Philadelphia September 7th and 8th [Editor’s note: dates have since been updated to September 7, 13 + 14] and you can follow FringeArts on Facebook, Twitter, Snapchat, and Instagram. And make sure to download the FringeArts app ahead of the Fringe Festival this year.

[Music Outro]

Happy Hour on the Fringe: Conversation with Camae Ayewa aka Moor Mother

Posted June 7th, 2019

On this episode of Happy Hour on the Fringe, we share a drink with poet, noise musician and Afro-futurist  Camae Ayewa and discuss her latest project Circuit City. Known as a force of nature in the Philadelphia Arts scene, Camae has also made her mark world wide as the one-woman band, Moor Mother.  Camae discusses how Circuit City explores what the concept of freedom really is, through the lens of the housing crisis and its effects on those who’ve spent their lifetime in their community. Circuit City runs from June 20-22 as part of our High Pressure Fire Service.

Listen to the episode and read the transcript below.

Feature Photo by Bob Sweeney

Conversation with Camae Ayewa aka Moor Mother

[Music Intro]


Raina: Hello, and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premiere presenter of contemporary performing arts. I’m Raina, Marketing Manager here at FringeArts.

Tenara: And I’m Tenara, I am the Audience Engagement Coordinator here at FringeArts. We invite you to pour one up and enjoy our conversations with some most imaginative people on this plane of existence.

Raina: Now, we’re really excited right now, because we’re really just gearing up for High Pressure Fire Service, what we also also affectionately call “Hipfizz,” from the acronym HPFS, so we’re really excited to be talking to one of the most exciting artists that we have in this incredible lineup for High Pressure Fire Service.

Tenara: Yeah, today we’re talking to Camae Ayewa, is that how I say that?

Camae: Yes.

Tenara: Excellent. Or, as some of you might know her, Moor Mother. Camae is a poet, a noise musician, a visual artist, and for the first time this Spring, a playwright. So Camae, welcome.

Camae: Hello everyone. Thanks for tuning in; thanks for having me.

Raina: Hey (laughs). So, our first question, cause it’s Happy Hour on the Fringe is, what are you drinking?

Camae: I’m drinking a spice chai.

Tenara: Oh, it’s so good. Like, vanilla spice, or…?

Camae: No, just the…just spices, ’cause they had vanilla, but I said, “No, I’ll go for the spice.”


Raina: I’m opting for water today, still.

Tenara: Yeah, I’m opting for water…sparkling.


Raina: Well, we’re really raging hard here. You know, you have Moor Mother as your stage name and we wanted to kind of see where did that name come from and how did you, you know, get there.

Camae: The name comes from what I figured what was most important to me and that was with music, and that was honoring mothers. So, I said “Ok,it’s going to be mother something,” and then I picked “Moor” because I wanted to expand the idea of blackness, and not just have people feel like my music is just for America, or something, you know, it’s for the world.

Tenara: Is Moor Mother, just your like…your performance title? Is it also a persona; is it…like a stage presence; like, is just like, the title of your band?

Camae: I would say it’s the title of the project, but of course, I’m utterly in the life of Moor Mother, so I definitely would love to continue to be more dramatic and more theatrical with my work, and creating the world of Moor Mother. But, uh, right now it’s the name of a project and I’m just taking where my imagination goes, you know, with the limitations that I have, you know?

Tenara: Mm hm.

Raina: Yeah. And with looking at where you’ve gone so far; looking at visual art, music and like now, this world of creating a play, have you found a medium that you kind of lean more into as like, your favorite?

Camae: Well, I would say that…I think Punk Rock is my favorite, and I’m not doing that in a traditional sense, you know, I do that with I have the attitude of it. But, um, I was just saying recently that, you know, I would like to have a rock band, you know. I really would love to do that. So, I’m still figuring out all the pieces to me. There’s a lot of things that I’m not doing yet that I would love to do.

Tenara: What is the attitude of, like, Punk Rock, that you feel like you feel to like you channel in your work?

Camae: Just the no fear to be free and the no fear about perfection or masters or rules, you know; just to say like “Hey, I’m just gonna do it and trust that and not trust the accomplishments that I need or the prerequisite of whatever, you know.

Tenara and Raina: Mm hm.

Raina: So when you enter into a new form, are you also going into that mindset of also breaking the rules and kind of changing that form into whatever you want to to be?

Camae: Well, yeah, and I mean, I speak about Punk like it’s a choice. I mean, it’s kind of a choice to say what kind of punk you like or whatever you chose to listen to, but…it’s more about the…the idea of punk, you know, the idea of “Hey you wanna be a famous Rock band, well get in the basement, find two other people…”

Tenara: Mm hm.

Camae: “…find some sort of instrument, make a bunch of noise until you figure out how to make a song.” You know, just kinda like that attitude of like, “You don’t need anything,” or feeling like you are enough, you know. Kind of like that is what…that’s how I came into the game, you know. If I came into music coming from Berkely and I did all of this a youth, playing violin or something, then maybe I’ll have a different perspective. But I didn’t…I didn’t come from that, I just come like dreams and imagination. So, it’s like…

Tenara: Yeah.

Camae: …everything has that approach to it because I’m must trusting my heart and just saying that I have an interest in this…what skills do I have that I can try to pull this off.

Raina: We had the chance to kind of read a little bit about you and…so you kind of grew up going to like, joining like, your gospel choir at church, but you didn’t play instruments growing up?

Camae: No, I did not. You know, I wish I played instruments as a kid but, you know I didn’t know where you buy instruments, it was like, do you play in the school band, what is that? I’m a dreamer type of kid so, my head was more in the clouds then actually being practical. And I…I love basketball, so that was the first dream that I had to like, be a professional basketball player.

Raina: Really?

Camae: Yeah.

Raina: Wow. That’s such an interesting, like, path can go from like basketball to music. Do you kind of still think like…I could have made it?

Camae: Definitely!


Camae: Definitely! But you know, school is like a business and everything so you gotta be able to get through the school part, you know, and I was never a good student.

Tenara: Do you still play basketball?

Camae: Well…, I…yeah, when I can, I mean, I coached, for over ten years at Friends Select school, here in Philadelphia.

Tenara: Wow.

Camae: So, when my album dropped, that was my last year of coaching, and I just said, this music thing is doing better than this coaching thing.


Tenara: So when you were in those…like you were singing in the gospel choirs even if you weren’t playing any instruments?

Camae: Oh yeah, as a kid, yeah.

Tenara: So, you grew up singing. There is like, was there…did you come from a particularly musical house, like was there music, like, you know, everywhere in your life?

Camae: Yeah. Yeah…like my dad was a singer in the choir, my grandmother, my aunt, you know the choir was jumping. So, it’s kind of like you wanna be a part of it. But I…, I quit the choir as a kid to practice Taekwondo.

Raina: Okay.

Camae: I also was like, in love with this idea of like, monks, and ninjas and…so that was end of my singing in the church, or pretty much going to church.

Raina: Well, I’ve…I just decided I’m gonna take up kickboxing.

Camae: Cool! That is so cool!

Raina: So I’m…(laughter) I’ve yet to take my first class but I just signed up for this Saturday, so, it’s gonna happen.

Camae: You gotta sign up two more people.

Raina: I signed up my boyfriend; I drag him everywhere.

Camae: Ok. So you got one more, you gotta bring one more person. (inaudible) little bit, you know.

Raina: Yeah.

Camae: And then bring someone because…especially women because we need all these fighting skills.

Tenara: Yeah.

Camae: Why not?

Tenara: Yeah.

Raina: Yeah.

Tenara: I took kickboxing for like, a couple of months and it was really like…they form an entire community, and it’s like mostly women, that like, they want you come to matches, they want you to like, like hang out. It’s like, really supportive and it’s all about…don’t do a move that you’re not proud of, you know, it’s like, always like, finding your strength and being like, holding the integrity of the strength, which is a lesson we can take to every part of our life.


Raina: So, I’d love to shift gears a little bit to talk more about Circuit City. So for us, High Pressure Fire Service as a festival is all about Philly, all about artists who are making Philly their home, and creating work that’s centered in about and kind of reflecting Philly in a lot of different ways, and so, I kind of wanted to ask you then, about how Philly’s influenced your work, and thinking about different elements like the Philadelphia housing crisis and how that’s become rolled into your thought process as you develop this.

Camae: I came to Philly in 1999, so Philly, like I’m sure many other communities…they go through a lot of waves, yeah, like, where I used to live now is like, luxury condos, you know, downtown where my college dorm was. So like, wow it’s been through so many different changes, so I would just say the, you know, the relationships, every day relationships with people and neighborhoods and students that come in and out of the city; just a movement of the city and the people, the everyday people that I’ve been able to meet. It’s just really, um…amazing. Philadelphia…we don’t…we’re not really known for like, celebrating its citizens.

Tenara and Raina: Hmm.

Camae: You know, besides the old kind of Revolutionary War kind of thing, you know.

Raina: Ben Franklin is everywhere.

Camae: It’s everywhere. And I’m not, you know, saying that…well I…whatever but like, John Coltrane should be everywhere.

Raina: Mm hm.

Tenara: Yeah.

Camae: Billie Holiday should be everywhere. These are people that…not only we can appreciate their music, but there’s so many levels, that we can learn from them.

Raina: Mm hm.

Camae: W.E.B. DuBois, you know, Patti LaBelle, all of these…so many studios…. We…Philadelphia really, um, pales in comparison to other places where they celebrate it you know. Like, I went to Vienna; had no idea Mozart was from there. But, I mean, it’s in your face so much. I mean, that’s just one person, you know, or just a person that went to a…Andy Warhol went to this coffee shop.”

Tenara: Right.

Camae: And it’s like, we’re celebrating this moment, and not in a milking way of being like…here pay a ticket to come see this kind of thing. So, I feel like, and not just people who are well-established or rich, like the people that I, uh, named, celebrity-wise. Everyday citizens. North Philly has amazing community members that, you know, won’t get any type of shine, with…outside their own community that have been doing a lot of work, whether it’s street cleanup, whether it’s organizing citizens to vote or…and there are a lot elders doing this work that have been, so those type of people make Philly to me; these lone heros.

Raina: Mm hm.

Camae: You know, these people are dedicated to their community, no matter what the changes that come in, ’cause like I said before, Philly goes through so much changes since I just been here…

Raina: Mm hm.

Camae: So…in mainly housing.

Tenara: You know you touched on it a little bit, but, you know, all the things you love about Philly, but I’m curious…like…why…you moved here in 1999 and then you sort of stayed and continued to make work here. What is it about Philly that you here and keeps you making stuff here?

Camae: I mean…that’s a good question, you know, because I definitely prefer warm weather.


Tenara: Whoops.

Camae: You know what I mean?

Tenara and Raina: Yeah.

Camae: Like…I definitely prefer it. I want to always keep working; not have the option of being like, ahhh, it’s too cold to go outside.

Tenara: Right.

Raina: Mm hm.

Camae: You know like…I would prefer to move. I…you know, the relationships that I formed…

Raina: Mm hm.

Tenara: Yeah.

Camae: You know. I was here to form the band, you know. My best friend that was in the band moved to California. That was like a chance. Then I was in a relationship and then had this coaching job that, you know, like a mentioned before, basketball was, like my first love.

Raina: Yeah.

Camae: So, to be able to coach for so long is like…I can can get this kind of thing that I’m not getting in music.

Tenara: Mm hm.

Camae: But, you know, but, yeah…just…relationships. I was doing an event for about 14 years called. “Rockers, ” and it was a monthy event here in Philadelphia, so that was another thing. But, we just recently ended about three years ago.

Raina: Okay.

Camae: All of these things keep me tied to Philadelphia but, I’ve seen so many…some great places all over the world but I would love to build connections; build bridges.

Raina: Mm hm.

Tenara: Yeah.

Camae: I feel like a lot of people that I was here with, you know, when I first came to Philadelphia, have been able to do that. Or move to different places and create this bridge. Hopefully, yeah, I would love to continue repping Philly I guess.

Raina: Yes!

Tenara: Yeah!

Camae: That kind of thing.

Tenara: Yeah…I’m curious because lots and lots of artists that make Philadelphia their home. And like, I think a huge part of it obviously is the relationships and the collaborations that you make. But, I’m curious if there’s something like…quintessentially Philly, that is friendly to artists?

Camae: It’s really hard, because in Philly there’s not a lot of places that I know, that you can turn to that support artists.

Tenara: Mm hm.

Camae: And there’s still a lot of artists that I know in Philly that’s been working forever that don’t know certain grants that are available to them. You know, just yesterday, I told my friend, who was at the first Rockers performing with her band about the Leeway Foundation, and I’ve won it twice. So it’s like, we’re close friends, you don’t even know that I’ve won this, you don’t even know there’s this award….

Raina: Yeah.

Camae: You know, it’s just like, you feel as an artist kind of like in the dark. Philly is like, a working artists’ city where you go to do some work in your house or in a studio and build things and get things done kind of. And then you’ll go to of course, New York or something to showcase it, you know?

Tenara and Raina: Mm hm.

Camae: But Philly…and we’re getting new venues and I think more connections are being made at the City Hall level where we can start to have these conversations about, um…highlighting this and making Philly a place where other musicians can come to do a show instead of coming to go in the studio with one of our drummers, you know?

Tenara and Raina: Mm hm.

Camae: So it’s kind of like…you know, we’re like Newark or something, you like, they’re like the industrial artist city, you know. We write, we…you know?

Tenara: Yeah.

Camae: Um…but yeah, no, Philly’s hard. Philly’s hard.

Raina: Do you find that there is…this information gap between different people like where, you may have found out about the Leeway Foundation, like…why wouldn’t someone find out about that. Is there like a…marketing issue on the part of, like, these grants and foundations or, do you think it’s more just people being in different area of the city?

Camae: I think sometimes you feel like you don’t know the people that are winning these awards and you think, “Oh, they must be from Harvard, they taught for 10 years…all the kind of things, you know, and not understanding that being a musician for 10 or 5 years is a lot of work in your community, you know. And you don’t actually…you didn’t actually have to graduate from here, you know…just going back to that punk mentality thing that I was saying before…and I feel like…people don’t know…

Raina: They psyche themselves out…

Camae: Yeah…

Raina: …even if they do hear about it.

Camae: Yeah, because you kind of…I mean, I won the grant…I don’t know, it was a long time ago, very long time ago when I won the first Art and Change Grant. And no one…it was a crazy thing, they were like “Whaaat?” You know, we were so poor, we couldn’t even build the project, we were like, “Aww, we got this money! What?”
You know what I mean? It was just like a surprise. No one we ever knew had anything; I had did it from Rockers, you know? And so I didn’t apply for a very long time after that, because it was kind of like a fluke, or like…

Raina: Yeah.

Camae: …what was happening, you know? And so…to get the next one, then I’m like “Oh!” The next one was the Transformation Grant, years later, you know. Then I got to meet the Director of the thing and I got to meet this person, and I’m rubbing elbows, or…

Tenara: Right.

Camae: You know what I mean?

Raina: Yeah?

Camae: …with this other Humanitarian kind of charity group world, you know?

Tenara: Yeah.

Camae: So…that was like blessing and then I also started doing workshops for Girls Rock Philly.

Tenara: Hmm. Cool.

Camae: And then I was like, “Oh…well…now this workshop worked out, now I’m with the workshop people.”

Tenara: Yeah.

Camae: “Ok, let me keep me keep developing this skill.” Now I do workshops all over the world, you know? But it’s like, I didn’t know about that world.
Tenara: The thing that I like, really respect about Philadelphia artists is that even if they do get themselves into a cycle where they like, psyche themselves out, and they think, Oh, like yeah obviously Camae has won a Leeway grant, you know, Camae has done so much and blah, blah, blah, not really considering the fact they could get it if they really, like, worked at the application, but I also really love that there’s a spirit in Philly of like, even if I don’t get this grant, I’m just gonna do the thing anyway. I mean, that happened, you know, our Fringe Festival in September we have like, hundreds and hundreds of independent artists that just do it; they just put on their show and they find any way that they can for whoever wants to come, and that…that feels like really Philly to me. Like, and very punk also, like “Whatever. I don’t need to be authenticated by these other people in order to just do what I want to do.”

Camae: Mm hm.

Raina: But I do also feel like that is part of where Fringarts is able to help these artist by connecting them to these foundations and like, by sharing what information we have, because obviously we are a nonprofit, we’re applying for grants too through a lot of the same foundations, but like, we want to be able to help artists find their way because we love a success story, like, we love to see a show in the Fringe Festival and then it’s like, getting a lot of recognition, a lot of press, and then it’s going further, like that’s great for us as well as the artist. There is definitely a lot of, you know, making it clear to people that they are like, you said that they’re worth it, they can do; it’s not out of reach for them.

Tenara: Totally. So, this is a bit of a pivot, like a topic switch, but I’m curious, like so much of your work can be described by other people as Afro-futurist, do you describe your work that way?

Camae: I don’t really describe my work as anything, but, yeah, like, I’m a part of that Afro-futurism community.

Tenara: Mm hm.

Camae: I mean figured that some people say that, right?

Tenara: Yeah, totally.

Camae: Yeah.

Tenara: So for any listeners who might not know, could you define what Afro-futurism is?

Tenara: Afro-futursim was a term coined by a critic named(?) Mark Dery, and…it basically was just like a question or, you know an idea which had already been, you know, stated about black people, seeing themselves in the future. And also, using this idea of Afro-futurism also as a lens to see how we’ve been cut out of the future, you know whether we’re talking about movies, where we’re talking about literature, government, media, all kinds of things like this. But of course, black people have always thought about the future. I’ve always looked to the stars, I’ve always, you know, imagined this documented history of that, but, because of how the world is set up, because of economics, classism, racism…it’s not…everyone doesn’t have an equal playing field. We’re all not dealing with the same time, the same privilege.

Tenara: One of the other questions that we have of like, what is the sort of classic definition of Afro-futurism, and then also, what does it mean to you?

Camae: I mean, I guess that would be…I don’t know what the classic definition of it, you know.

Tenara: Or the more like, popular definition of it, like you saying it was originally coined by Mark Dery…

Camae: Yeah, I think it’s just about black people taking agency in their future. It means to me, I mean…that’s based…it means to me in way of like, imagination, and to visualize what you want for yourself and your future. And I feel like…it has worked for me, not just for me, other countless people. One famous…Octavia Butler, a famous writer wrote down dreams and aspirations and goals for herself that she was able to accomplish just by writing it down and believing that you, you know what I mean, that this can be for you; that you can daydream a better place for yourself, you know. Sometimes people don’t even take the time, to do that kind of thing.

Raina: I wanna tie this back in a little bit to Circuit City, because we talked about your show and that it isn’t set in one place in time.

Camae: Right.

Raina: But, I’m kind of curious because you’ve talked about how the characters are working towards something; they’re building something over the course of the play. Can you tell a little bit more like, what that means…however much you want to spoil for the audience ahead of time, but, you know, like, what is this idea that they’re working towards?

Camae: I guess, I mean it can be so many ways, you know that you can say “oh it’s too that; it’s too that,” you know, that’s why I like the audience to kind of, make up their own minds. But, just thinking about it for myself, I think it goes to this idea of freedom. You know, in your own accord, you know, and I feel like this is something that’s been, you know, it’s a historical word, grained in war and enslavement flipped in a way of Civil Rights of being a light at the end of the tunnel kind of thing; this idea of freedom. I feel like it’s towards that, but that’s such a clouded…thing, this idea of freedom, you know, and I’ve been playing around with this long walk to freedom kind of idea of this, that’s so many people have spoken about before but, it’s kind of like, what is this thing? We get there and we actually realize it’s not what it means. Who defines what it is…this idea to escape of freedom. So, kind of like that kind of idea.

Raina: Yeah. And even unless all the people who have talked about it, we’re still not there in so many ways and it’s still a long walk to get wherever it really is.

Camae: Right. You know, because I think about like, we just passed Martin Luther King’s birthday which is recently, was this what he envisioned that freedom was? You know, I don’t know, you know. That “I Have a Dream Speech” is really amazing and this kind of way of creating these multi layers of a dream, and also what freedom is. Because equality…and how do we get to that.

Raina: There’s also the idea, you, know, where you don’t quite know what you can achieve if you don’t see it. Like the…I forget the exact kind of hypothetical but like, where there’s a person and they’re like in a box and so they don’t know that if they get to the other side, like there’s all this around them because all they know…

Tenara: …is the box.

Raina: …is the box. And so as even as we talk about freedom like, that definition is constantly changing because we can only see what’s right in front of us a lot of times.

Camae: Mm hm.

Tenara: I think a lot about how like, the kind of equity that so many people, you know, in this country, in this community are trying to achieve. We don’t really even have the words to describe it yet because we’re only working with the words that like, accurately describe the box.

Camae: Yeah and trying for figure out how to be more inclusive, right? We’re still at the Basic Humanity 101 kind of thing.


Raina: Yes.

Camae: And then, when do you reach this inclusiveness that we’re all onboard?

Raina: Yeah. Just to kind of go back a little bit to, you know, your experience growing up…we really would love to kind of wrap up to hear what your advice would be for young people of color who are interested in the arts; interested in finding a creative path and what advice you would give them to start pursuing that future.

Camae: I would say don’t be afraid to reach out to other musicians who are doing that you’re doing and ask if, you know, they’re willing to mentor. I feel like you at least have to ask 100 people before someone says yes. Don’t be afraid; it doesn’t have to be someone that you want to be, as far as identity. It could just be someone in the field and you can still get valuable information. So, sometimes it’s not about setting our goals high to keep reaching out to Rhianna or someone, and it’s more about, okay, well here’s a video director that’s in the industry, you know, or here’s an engineer. Everyone has important pieces to the puzzle for you to learn, and it’s good to just ask questions and not feel embarrassed about it because most of the artists do this. So don’t think that no one’s reaching out to each other to get advice or mentorship.

Raina: And we haven’t had too much time to talk about this, but I also wanted to touch on you work with the Community Futures Lab in North Philly and like, what that means for you and how that’s centered in your work.

Camae: My collective, Black Crime Futurism received a grant of Blade of Arts, Blade of Grass Foundation in New York and we decided with the money we want to build a community space that would not only offer workshops and information to the community, but would chronicle what was happening in the community. They demolished two affordable housing towers right around the corner from the lab…Community Futures Lab, so we took pictures, we interviewed residents, we collected oral histories, and what we call oral futures…visions of what they would want in their community. We brought all kinds of specialists in that could share information on housing. My partner, Rashida Phillips, is a housing attorney, so was definitely able to pull resources in from her colleagues to come in. It was a beautiful project. It was for a year, and we just received the archives for all the oral history stories and oral future stories, and photographs and everything. So, we hope…we don’t hope…it will be a part of the community.

Raina: Wonderful.

Tenara: Is it going to be like, displayed in like a gallery or accessible to the public in any way?

Camae: We’ve been working on an online website for that.

Tenara: Okay, cool.

Camae: And hopefully, some library will take it.

Raina: Thank you.

Camae: Yeah, thank you for having me. I hope everyone enjoyed the show. Thanks for having me on, hope to see you in June for Circuit City.

Raina: Yeah.

Tenara: Thanks, Camae!

Raina: Thank you!

[Music Outro]

Nomadic Dancing in the Streets with Úumbal

Posted May 31st, 2019

This Spring, we launched our latest public practice work, Úumbal: Nomadic Choreography for Inhabitants, which will be part of the 2019 Fringe Festival. Made possible by the William Penn Foundation, and following last year’s favorite Le Super Grand Continental, Úumbal is a dance piece that builds a nomadic choreography out of dance steps “donated” by Philadelphians that are then woven together to form a piece performed by 100 people through the streets of the city. Each phase of Úumbal involves Philadelphia residents to create a dance piece that is truly by, for, and of Philadelphia, and now we’re looking for people to participate in the final performance this September!

Choreographer Mariana Arteaga came to Philly from México City in April to collect dance steps from all of you for Phase One of the process: the Step Library. Below are some of our favorite moves collected at Mighty Writers El Futuro, Teatro Esperanza, and the Kensington Storefront:.

You can view all the donated steps on the Úumbal website.

Next, the Úumbal choreographic team met for Phase Two, stringing together these steps into larger choreographic sequences that were then tested out and further developed by a group of 25 people during multiple Knitters Laboratory workshop sessions.

Now we’ve arrived at Phase Three of Úumbal, and we’re looking for even more people to participate in the final iteration of the piece! We’ll be holding open auditions on June 11, 13, and 15, and invite all Philadelphians who like to dance to participate! From July to September, 100 people will rehearse the nomadic choreography to ultimately perform it in the streets of South Philly duringthe first two weekends of the Fringe Festival! If you came to see Le Super Grand Continental last year, you know just how exciting these kinds of public dance pieces can be. There is something so beautiful about a diverse collective of people moving through public space in a way that is definitively joyous and celebratory. Like last year, Úumbal will end in a big dance party with the audience!

Uumbal dancers rehearsing under a tree

If you’re interested in learning more about Úumbal, including the opportunity to participate in the final performances, please visit You can sign up to find out more updates, including audition and rehearsal dates!

Happy Hour on the Fringe: Conversation with Ben Grinberg

Posted May 24th, 2019

On this episode of Happy Hour on the Fringe, we had drinks with Ben Grinberg, Artistic Director of Almanac Dance Circus Theatre, instructor at Circadium and Pig Iron, and the curator and host for Test Flights, a circus scratch night. Join our conversation about how Ben found his way into circus, the growth of contemporary circus in Philadelphia, Almanac’s 5 year anniversary celebration season, and a teaser for who you may see at this July’s Test Flights! Learn more about Hand to Hand Circus Festival, running June 28—July 1.

Also, this weekend (May 24th) check out the final performances of Communitas: Five Years Later by Almanac Dance Circus Theatre.

Listen to the episode and read the transcript below.

Feature Photo by Daniel Kontz

Conversation with Ben Grinberg

[Music Intro]

Katy: Hello, and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premier presenter of contemporary performing arts. I’m Katy Dammers, Artistic Producer here at FringeArts…

Raina: And I’m Raina Searles, Marketing Manager. We invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence. Here at FringeArts, our new work series dedicated to local Philadelphia artists called High Pressure Fire Service, or HPFS, as we like to call it, is coming to a close. At the time this episode is coming out, we have just two shows left coming up in June: The Sincerity Project #3, in 2019, by Team Sunshine Performance Corporation, which runs June 4th through the 8th, and Circuit City by Moor Mother, June 20th to the 22nd.

Katy: But today, we’re looking ahead to some of the events happening just the weekend after HPFS closes. We are presenting the second annual Hand to Hand Circus Festival, with Circadium School of Contemporary Circus, and with a dynamic performance by the Circadium first-year students on the 25th, called Circadium: Springboard, and then an exciting lineup of events happening June 28th through July 1st. Today, we’re chatting with Ben Grinberg, curator and host for Hand to Hand Scratch Night, also called Test Flights, and he’s the Artistic Coordinator and Theater Instructor at Circadium, and the Artistic Director for Almanac Dance Circus Theatre. Welcome, Ben.

Ben: Thanks so much.

Raina: So, our first question, as is tradition, is what are we all drinking for Happy Hour on the Fringe? Ben?

Ben: Well, it’s 2:30 pm, so I have an iced coffee, which is delicious. Thank you.

Katy: I’m drinking tea.

Raina: And I’m having a nice glass of cold water.

Ben: That’s pretty lame, isn’t it?

Katy: We’re doing our best. Doing our best in the midst of a work day on this Friday. Happy Hour will come soon enough.

Raina: Well, we’re always happy, that’s… We’re just happy with what we’re drinking.

Katy: Ben, maybe you can start by telling our listeners, how did you get started in physical theater and in circus?

Ben: Wow, okay, sure. I was a member of the inaugural class of the Pig Iron School, which was sort of my introduction to physical theater. I had done a bunch of theater in my life previous to that, but I really had no idea that you could think about creating your own work, or think about making work that didn’t start from a script. Until Quinn Bauriedel actually came, I was in my senior year of college, and I was directing… I had a crazy idea to do a commedia dell’arte version of Agatha Christie’s The Mousetrap for the experimental theater company, because I was like “Oh, these characters are all such archetypes!” And it was very strange, but so, in order to get some commedia training, we reached out in the larger Philadelphia theater world and Quinn came in and taught a four-hour physical theater workshop on commedia for us, and I…

My mind was completely blown. I had never been exposed to anything with levels of tension or anything like that before, so I knew, Quinn and I knew that I wanted to go to the Pig Iron School and start getting really invested in physical theater, and then at Pig Iron, one of the classes you have to take is acrobatics, which at Pig Iron, which I don’t know if you know I teach at Pig Iron, and their acrobatics is definitely about coordination, getting strong and staying fit as a performer, but it’s also about acrobatics as a metaphor for all of the kinds of risk-taking you need to do in order to open yourself up to be an available performer.

So that was sort of my introduction to acrobatics and to circus, there wasn’t a real emphasis on technical circus, the technical circus world felt like a very different thing, when I started to encounter that, which I… At that time, Pig Iron had a relationship with the physical circus arts, so I was able to go and take classes there with Nick Gillette and Lauren Harries, which were some of my classmates that founded Almanac with me, and so, yeah, we got to start taking acrobatics classes and sort of just gone from there.

Raina: I am curious. You said you first met Quinn, like, your senior year of college, was that a path change for you? Did you have a different direction you were headed in?

Ben: Oh, yeah, I was about to go do Teach for America, and I didn’t really have any idea what I wanted to do, graduating from school. I had a strange college experience. I went for two years and sort of burnt out completely and lived in New York for a year and tried to be an actor, and realized I could come back and graduate in a year if I switched my major from Systems Engineering to Classical Studies, so I ended up graduating with a degree in Classics, and I really had no… I always knew that I wanted to be an artist and I wanted to be a performer, but I think I went through that thing that a lot of people go through, which is society and maybe some family and other things preventing me from conceiving of that as a real, viable career path, and so I was looking for anything else that I could be happy doing until I finally… yeah, I think that workshop with Quinn was the moment I realized, “Oh, no, actually this is what I really need to do with my life, so…”

Katy: Ben, since then, you’ve built kind of an incredible career as a performer, you have your own company, Almanac, and then you teach circus too.

Ben: Yeah, yeah. It’s sort of crazy. I’ve been doing a lot of reflecting, because… So, tonight actually is the five-year anniversary of Almanac’s first full-length show, that we performed in Philadelphia.

Raina: Congrats!

Katy: Congratulations!

Ben:  [crosstalk 00:06:10]. Yeah, awesome! And yeah, so it’s been crazy with everything that’s happened in five years, and yeah, I got really interested in the overlap between dance, physical theater and circus, and that’s really where Almanac’s work exists and that’s the lens through which I teach physical theater at Circadium, and I think, also, it’s what I bring to the acrobatics teaching at Pig Iron, so… Yeah, it’s kind of funny I teach acrobatics at the theater school and theater at the circus school, and I don’t know what that means, exactly, neither… I’m not… I don’t know. I’m not quite good enough to teach circus at the circus school or theater at the theater school, they’re just… Yeah, no, it’s great. I like being able to wear all of those different hats, so…

Katy: You really have feet in both worlds, and I feel like contemporary circus is increasingly moving in that direction.

Ben: I think so, yeah, and I think that is sort of… I think you could talk to a bunch of different people and get a bunch of different opinions about what contemporary circus is, but I think when you talk about the new circus as the roots for contemporary circus, you do talk about the desire to express something other than virtuosity inside a circus, and so when you talk about that in terms of performance, I think it’s so important to look to the art forms that have already been doing that, which are theater and dance, so…

Raina: I’m curious about what that scene looks like here in Philadelphia, because when you…I mean considering the fact that you started Almanac five years ago, Circadium wasn’t actually even a school yet, at that point. They’re in their second year now of having students, and so how has that changed for you, just in the past five years, but then also, what does that look like in other areas, and how does Philadelphia compare to other areas, even worldwide?

Ben: Yeah, absolutely. Well, all of us at Circadium are super optimistic that Philadelphia is going to become a real hub for contemporary circus on a worldwide level, and I think even nationally, that is becoming the case right now, and I don’t think that that was true five years ago, six years ago. So I think that’s really exciting, the audacity to start a serious three-year professional training program has started to attract lots of different artists. There are circus artists who are moving to the city, it feels like all the time. And that’s great, because that means there’s a community that’s starting to grow and there’s a sort of criticality that can come with that, and a sort of aesthetic proposition that can come as well, with time, which is something I’m really excited about. It’s something I think Test Flights is really trying to nurture, Test Flights/this Scratch Night. What was the original question?

Raina: I’m just thinking about how it’s kind of changed over the past five years and also how Philadelphia stands within that worldwide community.

Ben: Yeah. Philadelphia’s definitely in… I think in the circus world, there’s… You know, in all the different art worlds, there are these gravitational centers and Philadelphia is sort of in the larger orbit of Montréal. I think we get a lot of contemporary circus companies that come through because they’re touring to Montréal, or that are based in Montréal, but come to Philadelphia because it’s close and Montréal really is a world capital for the art form and for contemporary circus, and we’re lucky that we’re a seven and a half hour car ride away, so it’s still accessible for us to get up there. But yeah, we’re… I think… Okay, so six years ago… I don’t know, I always think of it like actually recreational circus schools are kind of a new thing in general in the United States, like now, you can sort of say “I’m going to take an aerial class”, or “I’m going to take a silks class”, and people sort of know what that means, maybe people need a little bit of an explanation, but that’s relatively common, and I feel like ten years ago, that just wasn’t the case.

And so, yeah, there’s really been this explosion of recreational circus in the United States, and I think that was partially due to a lot of reasons I mean the success of Cirque Du Soleil, and sort of people seeing the… Yeah, this physical virtuosity in performance through that and people getting interested in it, but now all through the States, you have a lot of recreational studios that have opened, and then you have people who go through the ranks and learn all of the things they can learn at these recreational places, and then they want more, and they want to know how to turn what they’re doing, which has been a really straightforward learning of technical tricks, it’s not [inaudible 00:11:21], it’s really tough, it’s fulfilling and it’s self-actualizing and all of that, but then they want to say “Oh, what can I do with this now? It doesn’t just feel like a show that has ten different people all performing the same tricks in slightly different costumes with different music, right? How can I start to really innovate inside of this form and start to express myself with it?”

And so that’s where we are now on a cultural moment of… There are lots of people who have a lot of technical skills and want to start to become artists, and I think that’s where Circadium comes in, it’s how do we yet take people who have been training in circus, maybe their whole lives, a lot of these young people have been doing circus since they were four or five and are coming to Circadium when they’re 18 or 19, and so have incredible technical vocabularies and know how to perform in a sort of more traditional showmanship kind of way, but how do we give them the tools to be able to create work that really says something and is meaningful to them and to audiences and is sort of vital for the world? Yeah, again I feel like I didn’t really answer your question, I just went off on a different tangent!

Raina: I thought that was all great commentary.

Ben: Yeah, five years ago, Philadelphia school-

Raina: Can I just give you maybe one more question? What made you start Almanac as a dance and circus and theater group when that wasn’t as big five years ago?

Ben: Yeah, absolutely. Well, okay, so I was at the Pig Iron School, with such giants as Jenn Kidwell and Scott Sheppard and Jess Conda, all the people who are here for High Pressure Fire Service, and a classmate of mine, Nick Gillette and I started to get really interested in acrobatics, and we started to look at… “What if we could create a language of storytelling that was acrobatic inherently?” And we got inspired by some videos that another classmate, Justin Rose, was sharing with us because he had some connections to the contemporary circus world, and we started watching some videos from some French companies, like [inaudible 00:13:37] and some 7 Fingers videos and performances we were able to see, and we also were learning about clown at this moment on our, you know, Pig Iron track, and so we were really interested in this idea.

“Okay, what if we could just play ourselves and not have any real performative character-based artifice, and what if acrobatics can become kind of like task-based choreography, and so it was really hard for us. We were very, sort of thought of ourselves as folk artists in this way, we didn’t have any real technical training, but we were like, “We can learn how to do this”, right? So it really was us self-teaching ourselves in a studio for many, many hours, sometimes biting things off, like clips we found on the internet, and sometimes just contact improvising until we found some kind of lift or something that we thought was interesting, or some kind of balance, and because we didn’t really have any technique and because these things were so new to us, I think the performance of them felt really new to an audience, and then one thing that people have always said about Almanac is that we really…

The work that we make lives in this place that just vibrates between the kind of risk that makes them really concerned for the performers and also this place where they’re like, “Okay, I get that there’s some craft and some artifice around this risk”, but definitely that thing that I think a great circus does, which is it puts you on the edge of your seat, and I think the thing that you realize which was really awesome is that you don’t have to be doing the best tricks in the world in order for audiences to be engaged in that way. Actually, if you’re approaching your own limits, and if you’re testing them, if you’re letting that be seen, that’s just as exciting or can be just as exciting for an audience as seven back-tucks off a Russian swing.

Katy: But I like what you’re saying, Ben, about circus being… I think it’s so enticing for people because on the one hand, people are doing amazing virtuosic things that an average person probably looks at and is like “Oh my God, I could never do that. I could never balance in that way, I could never juggle 20 balls at the same time.” But at the same time, they’re also, as an audience member, being like “I can see myself in those people, like what would it mean to get myself there?”, or “I do know the feeling of a fear of falling, even if it’s just down the stairs”, and so circus is kind of this fascinating balance between something that’s so out of this world and yet something that is so deeply human.

Ben: Exactly, and when I think about one of the reasons why I’m interested in continuing to make circus, I think it’s because now Cirque Du Soleil, just to, you know, hate on them for a little second, not really, it’s all based in love, but it becomes so great because their shows are so amazing, they’re so spectacle-based, but for me, there’s something that’s lost, because there’s not really a sense of intimacy.

I think the scale of the production value and some of these really elaborate costumes that sort of obscure the humanity of these people. If you see people do five back flips, they sort of seem… It’s almost like you’re watching a movie, it’s almost as if it’s a special effect, right, and you don’t really get to feel breath, you don’t get to be connected with those people in any kind of human way, often, and so I think that’s why there’s a movement now in contemporary circus, to make things that are smaller in scale and more intimate and let audience members more directly interact with performers as people.

I always tell a story because when we were first making Communitas, we heard… I think it was Totem was in town, and we just overheard someone recount the story of being outside after a show, and they were like “I want my money back! If I’m going to pay that much money for a ticket, that juggler better not drop any balls!” I mean, that’s so funny, because it’s like, “Right, how have we come to a place where we watch circus performances in Cirque Du Soleil, and we expect perfection, which is the opposite of humanity, right?”

You know, there’s nothing human about getting it exactly right every single time, and for me, and I think for a lot of contemporary circus artists, the moment where something goes wrong, the moment when you drop a ball is the most important moment, it’s the moment when you can really be let in, and I think that’s to discount any traditional circus lineages, because I think lots of really traditional circus families have such an artistry around crafting that sense of “Okay, we’re going to do something and it’s going to seem really hard for us, and we’re going to craft that experience”, and the artifice around that is really useful and traditional and has been honed over many years, but I think it’s easy, for whatever reason, for artists to forget that and to say “I need to only do the things that are technically the most challenging”, so, yeah. Just reminding audiences and maybe artists sometimes of humanity.

Katy: Yeah. Well, speaking of the artists that you’re working with, tell us a little bit about who we might see on Test Flights..

Ben: Yeah, absolutely. So, yeah, there have been a couple of Philadelphia-based companies that have been operating for a while, in sort of circus adjacent landscapes, and so I’m really interested in bringing their work into dialogue with contemporary circus, as it sort of comes from a more traditional circus background, so I’m really interested in creating a night where we might see a performance by Tribe of Fools, which is a parkour-based theater company, or Brian Sanders’ JUNK, alongside some artists whose work is really going in the other direction from a really strong technical circus background into interpretive expression.

And so hopefully 3AM Theater, which is a new circus company that’s based in Philadelphia that is Kyle Driggs and Andrea Murillo, will be involved in Test Flights, and also Open Ring Circus, which is an interesting new circus collective that’s based in Philly. They’re making a piece about the Hartford Circus Fire, which is super interesting, because the combination of documentary, historical theater and circus is one that I think is super challenging, and I’m really interested to see how that piece grows and progresses. And you may end up seeing something from Almanac during Scratch Night as well, so… Yeah.

Katy: I know Almanac has so many things coming up as well, you want to tell us a little bit about all that’s on your plate for that.

Ben: Yeah, absolutely, so I mentioned earlier, this is actually the five-year anniversary of our first full-length work, so we’re in the middle, now, of our run of Communitas: Five Years Later, which has sort of been a reimagining and a reinvestigation of that first piece, and that is… I think there are two more performances, May 24th and 25th at the Funicular Station, and then on Sunday, on May 26th, we actually have a pretty giant outdoor family fitness, arts and culture fitness festival, and I think it’s really like FringeArts and Almanac and everyone’s sort of humming on the same lines here, because I think the Circus Midway that will be a part of Hand to Hand…

These invitations for the public to come and try these circus things, I think are such an important part of circus programming, because it’s just like what you said, when we watch circus artists, we do put ourselves in that place, and we imagine ourselves as these people who are taking on these incredible things and we really just naturally want to try it, so FitFest is going to be really great. We’re going to have participatory workshops from Almanac and from the Philadelphia School of Circus Arts, and juggling and wire-walking and acrobatics and also hip-hop fundamentals and the Old City Sweethearts, and dance and some martial arts forms…

Basically, anything that encourages you to creatively move your body will be there, and anyone can come, all ages, and it’s free, and then in the evening, we’re going to have some performances onstage overlooking the Delaware River in Penn Treaty Park, so we’ll have a special encore performance of Communitas: Five Years Later, and some performances from Circadium and other circus artists as well, and a few dance companies, so it’s going to be great.

And then, in June, we’re remounting the newest version of Almanac’s ensemble-devised solo show, featuring Nicole Burgio, which is called XOXO Moongirl, and it’s one of my favorite pieces we’ve ever made. It’s just Nicole and live music by Mel Hsu, and is a circus theater examination and processing of Nicole’s history of growing up in a house with domestic violence and physical abuse, and so… Yeah, there’s like a proposition for circus aerials, handstands and dance to be really used in a way that I don’t think I’ve ever used it before in my work, or I’ve seen often inside of that show, so I’m really excited to remount that, and then we’re taking it to Edinburgh in August, so I’ve got to hope that goes well.

Raina: Because you guys were in Mexico too, right?

Ben:Yeah, yeah, actually, yes, so XOXO Moongirl, Nicole was so mad at me when I told her that I told the producers that she would be performing the whole show in Spanish, but she learned the whole show in Spanish and we performed it in Mexico City, and also created an ensemble-devised work with emerging professional circus artists in Mexico as well, while we were there, so, yeah. Hopefully we’ll be going back again in the next Winter, so…

Katy: Awesome.

Ben: Yeah.

Raina: This is a little bit of just a divergent question. This idea of also speaking in circus theater, because I feel like so much of circus is that your body tells the story, and so I’m really curious, like, what… Is this one of the first pieces where, you know, also it’s like a solo show, so, like, what’s that process like building in text and language around the work?

Ben: Yeah, well, for Almanac, our first show, Communitas, didn’t have words in it, and then we started using words pretty much right after that, and I think that is something that’s really interesting, because so much contemporary circus doesn’t use any words, but some does, and… Yeah, so why do we do that? I think… Sometimes I see some contemporary circus shows and it feels like the artists have a really deep relationship with the subject matter that they’re trying to address, or they are addressing through their work, and it just doesn’t come across clearly to an audience because somehow the language isn’t as specific as verbal language can be, and so I think if you want to make work that’s really personal, it’s really about complex ideas that aren’t embodied and don’t start from a somatic place, and I don’t understand why you wouldn’t use words, actually.

I feel like, lots of times, not using words makes things feel distant and feel unclear, and if you feel really strongly about what you have to say, you should say it, and I think that circus is a really great way to express a lot of things, and sometimes it’s just not the best way. So, for example, in XOXO Moongirl, one thing Nicole says is “Last year, my dad hit my mom”, you know, and I think you could see a theatrical dramatization of that, but it’s not the same thing as being able to understand how Nicole feels about that by hearing her relate that to an audience, and so after that detail was clear, the movement that comes afterwards can be grounded and contextualized in a way that makes it reach an audience more, I think, than if that was never there in the first place.

Raina: Yeah. And I think it’s very much an ongoing thing that we have just within the contemporary art sphere, you know, not every artist wants to explain their work in the same way and so a lot of times, and people want the art to speak for itself, but it doesn’t always translate the same way, and sometimes having that language jump can help people get there much easier, or just possibly like more effectively, depending on what it is you’re trying to convey.

Ben: Yeah, absolutely, I think so. I mean, yeah, I think some contemporary dance suffers from this thing, which is that it’s quite academic and quite hard to understand for an uneducated viewer, and so I think one thing about circus is that it’s sort of always been a popular art form, and I think that it should stay that way. I think it should be the sort of thing that anyone can kind of come in and understand, so…

Katy: And contemporary circus rides this line between having a narrative, which sometimes can be a really easy way in for people, but also in terms of traditional American circus, it’s often a display of physical feats, which doesn’t always have a narrative. So I think contemporary circus is pulling from many different genres to create something that is interdisciplinary and has many different ways that an audience member could engage with it, which is cool.

Ben: Absolutely. Yeah. And that’s one reason why, when we do Test Flights at Circadium, it is an interdisciplinary works in progress show, so we have dance, theater, spoken word, music and circus all together, because it’s so true. All of us need to see each other’s work, we need to be inspired by each other.

Katy: Yeah, and likewise, why we include circus in our programming at the Fringe, so it’s all very good. And what are your highbrow and lowbrow inspirations, Ben? We ask everybody on the podcast this question.

Ben:  Oh, my goodness… Yeah, I was prepared for this and I still don’t really have great answers. Okay, so lowbrow inspiration, I think I can answer because I’ve been a little bit obsessed recently with shitposting.

Katy: So for our listeners, explain what that is.

Ben: So, shitposting is basically, like, innocuous sort of trolling of people on social media, like it is trolling, but it’s not like white nationalist trolling, or anything like that, it’s like…

Raina: Great!

Ben: Yeah. I mean, I’m in a group called “Fishtown Shitposting,” and it really is just a place where people can come and make mostly absurdist comments about this other Facebook group (I’m a Fishtown resident) which is called “Fishtown is Awesome, Old, New, Everyone,” and so, you know, where is the steam valve for society when we all have to behave decorously on these neighborhood Facebook groups, and someone’s like “Oh, somebody bumped into my bumper and I’m calling 911”, or whatever, you know, you can go and you can sort of let off the steam by making shitposts. And, yeah, so I’m really… I think shitposting is awesome, and I really am interested in what live-action shitposting would be, and how that could translate to performance, and so I’ve been spending a lot of time in some shitposting spheres.

And then in terms of highbrow, I really love the contemporary circus company Finzi Pasca Company. I’ve seen a handful of their works and the way that they integrate spectacle, storytelling and heart into everything and make it sort of really inspiring. They made a show called Donka: A Letter to Chekhov, which was sort of Daniele Finzi Pasca’s relationship to this, to Chekhov and all of the themes that are in Chekhov’s work, exploded into contemporary circus, and it was really a moving piece, and, yeah, I don’t know… We just performed at a benefit with the PA ballet, and now I definitely want to go and take ballet classes, so I don’t know what that’s about, but that’s another highbrow inspiration right now.

Katy: Awesome. Well, thank you so much for joining us for this episode of Happy Hour on the Fringe.

Ben: Yeah, thank you so much, it was super fun.

Raina: So, we will be having Ben Grinberg back here on July 1st, so Monday at 7 pm, and we’ll be hosting Test Flights, and we’re excited to see what that lineup of artists will be.

Katy: Yeah, and in the meantime, check out the rest of our Hand-to-Hand Circus programming, join us for our midway the Sunday before on June 30th and performances by a number of other companies. In the meantime, make sure you follow us on Facebook, Twitter, Snapchat and Instagram, and to download the FringeArts App.

[Music Outro]

Happy Hour on the Fringe: Conversation with Ben and Sydney Camp

Posted May 10th, 2019

On this episode of Happy Hour on the Fringe, listen to Team Sunshine Performance Corporation artist Benjamin Camp discuss getting older with his four year old daughter Sydney, featuring some dynamic costume changes and a rendition of Let It Go from Frozen. Read more about The Sincerity Project #3 (2019), running June 4–8 at FringeArts. Listen to the episode and read the transcript below.

Feature Photo by Jen Cleary. Pictured: Ben and Syndey Camp in the second iteration of The Sincerity Project (2016).

Conversation with Ben and Sydney Camp

[Music Intro]

Tenara: Hello and welcome to Happy Hour on the Fringe! FringeArts is Philadelphia’s premiere presenter of contemporary performing arts. I’m Tenara Calem, Audience Engagement Coordinator at FringeArts. I invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence.

Here at FringeArts, our new works series dedicated to local Philadelphia artists called High Pressure Fire Service (or HPFS) is in full swing. At the time this episode comes up, Pig Iron Theatre Company’s A Hard Time will be wrapping up, and you can actually still buy tickets for A Hard Time. It wraps up this Sunday, May 12, and then we’ve got two more HPFS shows going through June. But before we head on into this week’s episode, I’m joined by a very special guest. Special guest, can you say who you are?

April: Hi I’m April Rose, and I’m the Fringe Festival Coordinator.

Tenara: Amazing. So April, you’re joining me today to let our listeners know about a special program that they can be a part of, correct?

April: Yes! So this is a program that we’ve created this year to make up for some losses in microgrant opportunities for artists. So there’s lots of artists participating in the Fringe Festival, and we want to make sure they have access to funding, so we created something called the 2019 Independent Artist FestiFund. So – fun combination of Festival Fund.

Tenara: Yes!

April: So we are crowdsourcing funds and working with some community partners to fundraise for independent artists participating in the festival. Artists can register to be supported by the FestiFund on our website under the Artist Resources tab. We ask you to go to The Independent Artist FestiFund is a project of Culture Trust Greater Philadelphia – so we thank CultureTrust. Go online to donate and if you’re an artist, head to our website to see how you can apply for some funding.

Tenara: Amazing! And when is the Festival registration deadline for independent artists for the Fringe Festival?

April: Independent artists should register by June 3rd. If you’re still looking for a venue, things like that, I can certainly help you, so hit me up at and I can help anyone out interested in registering.

Tenara: June 3rd is coming up! Oh my gosh, so many things going on.

April: Yes, and there’s lots of ways you can participate – as a visual artist, as a digital artist, you can register your poetry performance. It’s not just theater and dance.

Tenara: Awesome. Thank you April! So now we’re going to zoom back a bit to High Pressure Fire Service, out of Fringe Festival land and back to HPFS. I want to give some context about this podcast episode, which you will notice has a bit of a different tone. So we’re gearing up for Team Sunshine Performance Corporation’s third installment of their 24 year performance experiment, The Sincerity Project. The show, which draws material from its creators real lives, follows the seven-person ensemble through the passage of time. As the piece reflects on aging and growing older, we thought it might be interesting to get one of the creators, Ben Camp, in conversation with someone who’s at a very different life stage than he is – namely, his four year old daughter, Sydney.

So in this episode you will hear many things – cats, some tunes from Frozen, four year olds leaping around the house, Sydney’s mom, and tricycles. Listen in on the sweet pre-school musings on what it means to be older, and also to be Elsa.

Sarah (Sydney’s mom): But this is one of the harder things to do on a kid’s head.

Sydney: Play!

Tenara: Play?

Sarah: Play what, what are you asking, Sydney?

Sydney: I was asking play.

Sarah: Like do you want to play? Instead of me doing your hair?

Sydney: Uh huh.

Sarah: Okay, guess what, I’m going to be done in about one minute. Can you wait one more minute?

Sydney: Yeah.

Ben: You can say, good job, mom, thanks for your help.

Sydney: Good job, mom.

Sarah: You’re welcome, kiddo.

Tenara: Have you ever seen your mom or your dad perform in a show at FringeArts before?

Sydney: No.

Ben: Did you see me in a show one time?

Sydney: Yeah.

Tenara: What show was that? Do you remember?

Sydney: No.

Tenara: What was it like watching your dad perform in a show?

Sydney: Um. I think it was fun.

Tenara: You think it was fun?

Sydney: And just like a little boring because we didn’t get to play!

Tenara: Yeah, that’s tough.

Ben: That can be a real problem with shows.

Sydney: I go to Elaina’s show with Nana one time and when I just got to sit it was boring but when Nana let me take off my shoes and get to dance and like play during the show, it was more fun.

Ben: My sister Elaina, her show had a sensory-friendly/relaxed performance evening and that was lots of fun.

Sarah: Alright Sydney, guess what. You did it. You have double braids that look incredible.

Ben: They do look incredible!

Tenara: That’s so good!

Ben: Whoa.

Sydney: I’m the teacher, you two are the students.

Ben: So Sydney, let’s do a couple more questions and then we’ll play school or we could try to do them at the same time, but if we could do at least one more question before we play school, that might be good.

Sydney: …How was your day?

Tenara: Oh that’s a really nice question to ask, my day so far has been pretty good, but I actually have a question to ask you.

Sydney: What?

Tenara: Well, this is an interesting moment, right, because your dad is working on a show that as far as I know right now they’re talking about getting older, so I thought maybe I could ask you some questions about getting older. Do you remember being a baby?

Sydney: Yeah.

Tenara: What do you remember about it?

Sydney: It was fun.

Tenara: It was fun? What was fun about being a baby?

Sydney: Because I love crying.

Ben: Yeah, when you pretend to be a baby now, you do a lot of crying.

Tenara: You remember crying when you were a baby? What’s the first thing you remember?

Sydney: Um…crying.

Tenara: Crying? Ben, what’s your earliest memory?

Ben: My mom – [to Sydney] I see you, you’re sitting on the table, I’m letting you get away with it. My mom was an opera singer, and she was in an opera in which someone utilized a firearm and she passed away. And 30 seconds later, in the opera, she is resurrected.


Ben: I see that. But I, I became hysterical.


Tenara: How old were you?

Ben: Like two and a half or something? I became hysterical and they had to take me out, and so I never saw the part where she was resurrected. So I remember being in the car with my like – I don’t remember who it was, with someone in my family, but not my dad – being sad that my mother was gone forever, but also being happy that I was allowed to play with the steering wheel. So that’s my earliest memory.

Tenara: So both of your earliest memories are crying.

Ben: Yes! I was hysterical. And then my mom came back and I was like, I was super thrilled.

Tenara: I bet.

Sydney: Would you like to play?

Tenara: You wanted to play school? You wanted to be the teacher. Is that something you want to do when you get older?

Sydney: Yeah.

Tenara: Have you thought about it at all?

Sydney: Yes.

Tenara: Sometimes it’s okay not to think about it.

Ben: What kind of things do you like to do, Sydney?

Sydney: Um play fair!

Tenara: Play fair? Like play like you’re at a fair? Is that what you mean? What kind of things are at a fair that you like to play with?

Ben: How many fairs have you been to? When did you start going to fairs?

Sydney: Let’s play!

Tenara: I know, you really want to play. You’re really jonesing to play.

Sydney: Let’s play doctors!

Ben: That’s far more common than teacher. Go get your doctor kit, Syd.

Sydney: I can’t get down.

Ben: Well, you got up, so you gotta figure out how to get down. One time, like a year and a half ago, I mentioned like, ‘oh when you’re a grown up and you don’t live with us, you can get whatever pet you want’, and she like, totally teared up and was like, ‘I’m not going to live with you?!’

Tenara: Yeah, I used to get scared about moving away from my parents and living somewhere else.

Ben: With this economy, you’ll never move out! Sydney, can I ask you a question? Do you remember when you were in a show with me? When we were in a show together and we were kind of like under the stage? And we would peak in and see the people getting ready? And sometimes you got to eat a donut? And then we went onstage and we waved at the people and you got to hang out with Aunt Rachel? That was in the second version of the Sincerity Project.

Sydney: No!

Ben: You don’t remember that?

Tenara: I remember seeing that show, Sydney, but it was for one of the performances that you weren’t there.

Sydney: Were you there?

Tenara: I was there, but it was for one of the performances that you weren’t there for. There was a pillow, instead!

Ben: Oh that’s right. Was it during the day, or was it late at night?

Tenara: It was like 11:30, it was one of the late night performances. And I was like oh, look at the pillow that’s supposed to be Sydney.

Ben: You don’t remember that because it was over two years ago. So you were only one and a half. You were very small.

[Sydney coughs. A cat meows.]

Ben: Ah, the sounds of my house. Coughing, meowing, the dishwasher.

Sydney: Now I’m a bad guy.

Tenara: Sydney, do you ever think about what your dad might have been like when he was three years old?

Sydney: No.

Tenara: Did you know that your dad used to be three years old?

Ben: Did you know that I used to be a kiddo?

Sydney: Yeah.

Tenara: Have you seen pictures of him when he was a kid?

Sydney: Did I?

Ben: Maybe only a little, like at Nana’s house or at Granddad’s house.

Sydney: How old was I then?

Ben: Good question. I don’t really remember a specific incident, so I don’t know.

Sydney: [to Tenara] Do you know?

Tenara: I have no idea.

Ben: Yeah, I think maybe not a lot of pictures. It’s kind of hard to imagine that your parents were kids, huh?

Tenara: Let me ask you another question. Do you like getting bigger?

Sydney: Yeah.

Tenara: What’s your favorite thing about getting bigger?

Sydney: Um…look how strong I am! [flexes her muscles]

Tenara: Whoa so strong!

Ben: Wait, show me again.

Sydney: [flexes her muscles]

Ben: So strong. How did you get so strong?

Sydney: Cause I’m three and a half.

Tenara: How strong do you think you’re gunna be when you’re four?

Sydney: Stronger.

Ben: When’s your birthday?

Sydney: March 8th.

Ben: And on March 8th how old will you be?

Sydney: Four.

Ben: That will be very exciting.

Tenara: That’s big. That’s really big.

Ben: Do you think we will have a birthday party?

Sydney: Yeah.

Ben: What friends should be at the birthday party?

Sydney: Everyone but not the bad guys but Gray.

Ben: Okay. So not the bad guys but yes Gray.

Sydney: Yeah.

Tenara: (to Ben) Do you still have birthday parties?

Ben: For myself? I love birthdays. I think birthdays are great.

Sydney: You should come to my birthday!

Ben: I will absolutely come to your birthday.

Tenara: That’s so nice to invite Dad to your birthday!

Ben: Thank you for the invitation. I definitely plan to attend.

Sydney: Let’s go upstairs to play now!

Ben: Well, I think we’re going to hang out downstairs because Tenara’s still here. I love birthdays, I think birthdays are the best. I think everyone should get a week during their birthday.  Sydney, do you remember when you saw me pretending to be somebody, and I was pretending to be someone angry? Remember that part?

Sydney: Tell me about it.

Ben: So I was onstage and I was pretending to be very angry and you thought that that was an exciting part.

Sydney: Who were you?

Ben: I was playing Fidel Castro. In an unlikely turn of events.

Sydney: Who were you in the game?

Ben: When I was in the play? I was pretending to be a person named Fidel Castro. He’s a famous person from another country, and I was pretending to be that person but it was more complicated than that.

Tenara: He’s pretty famous for being pretty mean and angry.

Ben: And that show was about 90 minutes long, and she made it through 35 or 40 minutes of it, which is pretty good!

Tenara: That is pretty good! Which is your favorite kind of show to watch, Sydney, is it one where your parents are on stage or one where you get to watch with your parents in the audience?

Sydney: With my parents in the audience. [climbing on Ben] Okay! Grab on! Pull it off!

Ben: What’s your favorite show that you’ve ever, ever seen?

Sydney: Um, Elaina’s show that I went to with Nana, it was cool.

Ben: That was cool? What was cool about it?

Sydney: STOP IT.

Ben: I’m doing what you told me to. You’ve gotta be more specific about your instructions.

Sydney: STOP IT.

Ben: But you have to tell me what you want.


Ben: Oh. Well, thank you for communicating that. I can’t read your mind. What was your favorite part of Elaina’s show?

Sydney: My favorite part was when Elaina got to be in there.

Tenara: Seeing Elaina onstage?

Sydney: Uh huh!

Ben: If Elaina hears this she will melt. I think Elaina liked having you at the show too.

Sydney: Now pull up!

Ben: You want me to pull up now? Sydney, I have one more question for you.

Sydney: What?

Ben: Who’s your favorite character to pretend to be?

Sydney: Ummm…Elsa.

Ben: I knew you would say that.

Tenara: Elsa from Frozen?

Ben: Can you show us some Elsa?

Tenara: Oh yes please yes please.

Ben: Can you show us some Elsa?

Sydney: Yes.

Tenara: Elsa’s the one with the magical powers, right?

Sydney: Yes.

Tenara: Okay. I saw that movie once or twice.

[Sydney goes to her costume drawer to prepare for Elsa]

Ben: So Sydney’s favorite thing to do right now is costume changes. On an average day she changes into probably 10 outfits and costumes. It can get up to 20 or 30. It’s constant.

Tenara: How many costumes do you have in there, Sydney?

Sydney: A lot!

Tenara: A lot. How many costume changes have you done in a row?

Ben: I guess Bienvenidos was a lot of costume changes. Cause most of the Team Sunshine shows weren’t costume heavy until Bienvenidos. So that was the most costume changes I’ve ever done in a long time.

Tenara: So I asked Sydney what her favorite thing about getting bigger was and she said it was getting stronger, but I want to ask you what your favorite thing is about getting older.

Ben: That’s a harder question from this age. I don’t know that I am getting stronger. For me personally – and I don’t think this is going to be true for everybody, but I have felt like a parent since I was 14.

Tenara: Are your siblings younger?

Ben: Yeah. But – we didn’t get along, it wasn’t like that. It was just something in my brain that self-categorized as like, parent for a long time before I had a kid, and so for me getting older and having Sydney has been living into an identity that I already secretly was in. For the listeners, Sydney has arrived in a princess dress on a tricycle. Are you gunna do some Let It Go?

[Sydney changes her dress again]

Tenara: And we’re back to another costume change.

Ben: Yep, another costume change. That dress was just for that entrance on the tricycle. Mission accomplished.

Tenara: So, growing into this role of a parent.

Ben: Yeah, I feel like I was meant to be 35 and a parent.

Tenara: This is your golden age?

Ben: I wonder. I wonder what will come next. I don’t know, I’ve always known I wanted to get here. To like, 35 with a 3 year old. I’m like, this is right. So I don’t really know what comes next.

Tenara: Wow. I feel like a lot of people don’t have that experience – like, they might be 35 and have a 3 year old and they’re like, wow how did I get here? Or at least that’s the cultural narrative.

Ben: Yeah, that is the cultural narrative. I don’t feel that way. I was like, how do I get to here? And I had a strategic plan, and it worked. But I think that’s also just what I bring to the table. Perhaps unusual.

[Sydney re-enters in an Elsa dress]

Tenara: Wow, that Elsa dress is beautiful.

Ben: That one’s common.

Tenara: When I was Sydney’s age, my Elsa dress was a Snow White dress, and I did birthday parties number 2, number 3, number 4, and number 5 in that Snow White dress.

Ben: Amazing. When I was Sydney’s age, I didn’t care about costumes at all, and would wear whatever was presented to me. But apparently my mother always used to say that I was going to be an executive or a director because I would never play by the rules presented, I would always adapt them and tell everybody how the rules should change.

Tenara: What do you think she’s going to be? When she gets older? If your mom can say what you were gunna be.

Ben: Maybe a gymnast – she lives to climb and jump, she lives for it. But I think – honestly, she’s incredibly observant, she just notices so much. She’s incredibly argumentative – she like gets the loopholes. She sees systems. Honestly, I think lawyer would be a great fit. She’s very observant. And she can really pick your argument apart. She’s very compelling. But I could also see her in journalism.

Tenara: I was going to say – observant, maybe science.

Ben: Yes, also science. We do lots of experiments. I could see her in science, or engineering. She likes to build and she likes to construct things. Really, anything but the arts would be great.

Tenara: Maybe this is a reductive question, but what kind of life do you hope she leads? What kind of person do you hope she grows up to be?

Ben: I mean, I hope she’s as brave and confident and powerful as she is now. I hope the world doesn’t break her down at all. Cause she’s doing pretty darn well. But when I say that I hope she’s not in the arts, I only mean that if the state of the arts in this country continues. I mean honestly, I wouldn’t advise young people to go into the arts right now.


Ben: We’re going to have a tiny bit more conversation.

Sydney: NO.

Tenara: I know, it’s so boring.

Ben: It’s boring. Such is the way. Grown-ups like to talk to one another. It’s how we play. Weird, huh? Will you sing a little bit of Let it Go?

Tenara: Please, please, please, please, please?

Sydney: When you guys go into the Mudroom House.

Tenara: Then you’ll sing?

Ben: Good negotiating.

Tenara: What if I go into the Mudroom House, Dad stays here with the microphone, and you sing?

Ben: If Tenara goes into the mudroom, then will you sing a little bit of Let it Go?

Sydney: Yeah.

Tenara: Okay cool I’m gunna go to the Mudroom House right now. Okay I’m in it!

Sydney: She’s the Anna and we’re the Elsa’s.

Ben: Perfect, let’s sing Let it Go together.

[Sydney brings Ben a glove.]

Ben: Thanks for this glove.

Sydney: Put it on.

Ben: This glove does not fit me.

Sydney: I think it will, try it on.

Ben: Um…what if I just put in on my fingers like this?

Sydney: No, I think it can fit you.

Ben: That’s as much as it’s gunna go on, sweetheart.

Sydney: No, I know it can fit you. I know. Try it on.

Ben: Baby, look at how big my hand is and look at how big this glove is.

Sydney: Okay, I’ll try to help you.

Ben: I really appreciate it, I just don’t think it’s a matter of desire, I think it’s a matter of physics.

Sydney: Let’s try together. Put your thumb in.

Ben: I don’t want to break this glove, sweetie.

Sydney: It’s not gunna break. It’s not gunna break, honey. You have to be in there.

Ben: That’s as much as it’s gunna go. I promise you.

Sydney: No, it’ll go more if we do something.

Ben: I have 35 years of glove experience and I’m telling you –

Sydney: Okay THERE’S your glove on.

Ben: Perfect. Alright, should we sing together?

Sydney: No I can’t, I have to put my glove on. Or maybe you’ll be an Elsa without a glove.

Ben: All that work and you just took it right back off?! Okay, I’m an Elsa with no gloves.

Sydney: You’re the partner Elsa.

Ben: Okay. I’ll always be your partner, Elsa baby.

Sydney: Thank you, partner Elsa.

Ben: You’re welcome.

Sydney: We will always make ice and snow for people except our sister Anna for people to play on and our sister Anna.

Ben: That’s very kind of us.

Sydney: We will always do that.

Ben: Even when you’re old?

Sydney: Yeah.

Ben: Okay.

Sydney: You will still be my partner Elsa.

Ben: Great. Ready to sing?

Sydney: Yes.

[Sydney and Ben sing Let it Go from Frozen.]

Sydney: Hey, where is she?

Tenara: I’m here, I’m playing with the cat but I’m listening. Do you want me to stand up?

Ben: Yeah, you need the audience. Let’s just go to the chorus! Do you know what the chorus means?

Sydney: No.

Ben: It means the ‘let it go’ part. Ready? Let it goooo. What are you doing, kid? For the listening audience at home, she’s in a full Elsa dress, including tiara and gloves. She’s using her ice powers to freeze Tenara. And I think she’s looking for her tricycle, though it’s not clear.

[Music Outro]

Tenara: Thank you for joining us for this episode of Happy Hour on the Fringe. Make sure to follow us on Facebook, Twitter, Snapchat, and Instagram, and download the FringeArts App! There’s still a couple more chances to catch Pig Iron Theatre Company’s new piece, A Hard Time, running through May 12th. Buy tickets for this and for Team Sunshine’s The Sincerity Project at Thanks for listening!

Reverse Gentrification of the Future Now: Essay by Rasheedah Phillips

Posted May 3rd, 2019

Commissioned in conversation with Moor Mother’s Circuit City, running this June 20–22, as part of the High Pressure Fire Service series.

The present realities of housing for low-income people living in Philadelphia are located temporally-spatially near the one in Circuit City. We are experiencing an affordable housing crisis, and this crisis is exacerbated by the average of 22,000 eviction filings each year and the unknown number of illegal evictions.  In my work as Managing Attorney of the Housing Unit at Community Legal Services, where we provide legal representation and advice to more than 3,000 low-income tenants a year, I hear countless stories of tenants who face racial, sex, gender, family, ethnicity, and disability discrimination from landlords; stories of tenants intimidated into not complaining about substandard housing conditions that exacerbate health and safety problems; or tenants who received eviction filings from disgruntled landlords that have resulted in virtual blacklisting from future homes and opportunities for stability. Growing displacement and mass evictions of entire buildings of often low-income residents is a particularly vicious form of eviction that has widespread health and economic impacts, and destroys economic, cultural, and racial diversity in neighborhoods. Mass evictions, often unexpected, further aggravate the city’s shortage of affordable housing—existing affordable housing units are often lost forever, putting pressure on resources and housing stock elsewhere in the City and concentrating poverty in particular neighborhoods.

Compounding these issues is pervasive housing discrimination –  single mothers and their children, seniors, Black people, LGBTQ people, immigrants, and people living with disabilities are disproportionately impacted by evictions and lack of access to safe, habitable, and affordable housing.  Tenants face systemic and individual discrimination at every stage of the process – they are barred from getting into a new home for discriminatory reasons, and often kicked out of their homes for those same reasons.1 The ACLU, for instance highlights how “women of color bear the burden of eviction,” noting that women of color made up 62% and 70% of the tenants facing in eviction in Chicago and Philadelphia respectively.2 These and other instances of structural inequity related to housing disproportionately impact the City’s poor, Black and Hispanic populations live in racially concentrated poverty.3 This loss of housing has a distinct racial impact, where 63% of African-Americans live in project-based housing compared with 44% of the city’s population, and where African-Americans are disproportionately more likely to carry severe housing cost burdens in the city.

These types of inequalities are often framed in terms of spatial inequality and displacement from location.  However, as Helga Nowotowny notes, “power, exercised by central authorities, establishes itself over space and over time.”4 (emphasis added). Hierarchies of time, inequitable time distribution, and uneven access to safe and healthy futures inform intergenerational poverty in marginalized communities the same ways that wealth passes between generations in traditionally privileged families. Sociologist Jeremy Rifkin says that “temporal deprivation is built into the time frame of every society,” where people living in poverty are temporally poor as well as materially poor.”5 For example, time poverty is routinely used to penalize marginalized people in the justice system, where being ten minutes late to court can mean losing your job, kids, home, and freedom. Time and temporal inequities show up at every step of the eviction process, for example, from the short or fully waivable notice requirements for termination of a lease agreement, to the time required for an evicted family to vacate a unit that is severely out of line with the time needed to secure new housing.  Inevitably, marginalized Black communities are disproportionately impacted by both material, spatial, and temporal inequalities in a linear progressive society, with many Black communities forced to occupy “temporal ghettos” as well as spatial ones.   

Circuit City considers both the implications of time and of space involved in privatization of public housing, gentrification, displacement, and redevelopment. There is no set year or place in the play, but instead a layering of multiple temporal spaces.  The residents of Circuit City  are integrating the time(s) of redevelopment, privatization,  and hyper-gentrification, into the pre-established temporal dynamics of the community, layered over and within the communal historical memory and the shared idea of the future(s) of that community. Nested within those layers are individual, subjective temporalities and the lived realities of the residents, at odds with the linear, mechanical model of time on which Circuit City and its external spatial-temporal constructs are etched.  It takes as its central provocation a practical strategy for achieving a Black flight, a reverse gentrification, and inverse displacement, and the conditions necessary for temporal autonomy and spatial agency.  Circuit City is presented using Black Quantum Futurism praxis as a critical framework, fusing Afrodiasporan philosophies and rituals with quantum physics, recovering artifacts of Black temporal consciousness, and dismantling oppressive social temporal constructs.

These images overlay cosmic time with slaveships with microchips, circuit boards, and public housing layouts, attempting to catch a psychic space that transcends times, or co-mingles with past, present, future.

1A recent study by the Urban Institute shows that two-thirds of landlords in Philadelphia refuse to accept tenants with Housing Choice (Section 8) vouchers,  A Pilot Study of Landlord Acceptance of Housing Choice Vouchers, The Urban Institute, (August 2018)

2Sandra Park, Unfair Eviction Screening Policies Are Disproportionately Blacklisting Black Women (August 19, 2017).

3Philadelphia’s Poor Who they are, where they live, and how that has changed, Pew Charitable Trusts, (November 2017); City of Philadelphia and the Philadelphia Housing Authority Assessment of Fair Housing (December 12, 2017)

4Helga Nowotny, Time: The Modern and Postmodern Experience, p. 148 (1994)

5Jeremy Rifkin, Time Wars, p. 192 (1989).

Happy Hour on the Fringe: Conversation with Shana Kennedy and Sierra Rhoades Nicholls

Posted April 26th, 2019

In anticipation of our Hand to Hand festival in partnership with Circadium School of Contemporary Circus, Katy and Raina sat down with Circadium’s Executive Director, Shana Kennedy, and first-year student, Sierra Rhoades Nicholls, to discuss the future of contemporary circus. Shana and Sierra walk the hosts through their personal introductions to the circus arts, the intense training required to pursue a professional career, the importance of Circadium’s professional program for the growth of American contemporary circus and how opportunities like the first-year student showcase, Circadium Springboard, is preparing students to succeed in the circus world and beyond. Read more about Hand to Hand June 28–July 1 and Circadium Springboard on May 25. Listen to the episode and read the transcript below.

Conversation with Shana Kennedy and Sierra Rhoades Nicholls

Raina: Hello and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premiere presenter of contemporary performing arts. I’m Raina Searles, Marketing Manager at FringeArts.

Katy: And I’m Katy Dammers, Artistic Producer here. We invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence. Here at FringeArts, our new work series dedicated to local Philadelphia artists, called High Pressure Fire Service or HPFS for short, is in full swing. By the time this episode is making its way to you, Pig Iron Theatre Company’s A Hard Time will be opening soon, and you can still buy a three show HPFS subscription for the final three shows through June. But today, we’re looking ahead. Coming up this summer we’re presenting the second annual Hand to Hand Circus Festival in partnership with Circadium School of Contemporary Circus. Today we’re out at Circadium’s campus in Mount Airy and are joined by Shana Kennedy, executive and founding director of Circadium, and Sierra Rhoades Nicholls, a current student at Circadium. Welcome, everybody.

Katy: Welcome.

Shana: Thanks, glad to be here.

Raina: So for Happy Hour on Fringe, we always have to ask, what are we all drinking? I’ll start. I’m enjoying a nice Poland spring water.

Katy: I have the chai tea today. And Shana, what about you?

Shana: I’m on Vitaminwater Zero. That is my drink of choice.

Raina: Which makes sense. We’re all healthy. We want to be hydrated. Excellent.

Shana: Very important.

Raina: And we’re a little bit between classes, but it’s really exciting to be here and to see people in the space and moving around. So we’re really just excited to be talking with you about Circadium and what you’ve been able to do here. But to just back up a little bit, you got your start in performance and so what was that like, finding circus in the United States when you were growing up?

Shana: Sure. So I’ve been doing circus in some capacity for a very long time. It did start when I was young, but the old days, gosh, it was such a long time ago. In the 1980s and 90s when I was growing up, I was growing up in Massachusetts, where the only circus to be found was traditional tented shows that would come around and set up their tent with their elephants and clowns, and spangly bikini clad aerialists and all that stuff. And every year it would come to town and I would just get so excited about it and leave feeling like, oh, I’m going to do this, I want to be this. But there was no clear path to do anything like that.

So by that time, I was graduating high school in the mid 90s and picking up little skills here and there, juggling, unicycling, on my own. There’s a little juggling club at MIT in Boston that I was attending to meet some other jugglers and I really wanted to pursue circus. To do that, I had to go out of the country. So I left in the middle of my college career to go to England where I spent a year training at Circomedia in Bristol. That was an eye opening experience for me. The European countries are much further ahead than we are in the grand scheme of contemporary circus.

And so I was able to see not only that circus was this really new and different art form, but that there was a lot of contemporary work that was being made with circus. It wasn’t just about the traditional images that I had from home. So with that new information, I came back to the States and started teaching and performing whatever capacities I could find. Back then there was a lot of just freelance gigs and I was doing everything from stilt walking and juggling and aerial performances and anything I could do to make a living as a circus artist. And I started teaching, also, as just a side thing to support my career. And my husband, Greg, is a professional juggler and he actually, his career has gone really quickly uphill. So in those years he was getting much bigger gigs, doing a lot more traveling and corporate work and big touring shows. And so I was following him along those things as well.

So in all that time I was really getting a sense of what the circus landscape looked like in the United States. And it was not great. Like there were big traditional shows that were shutting down or losing their audiences and the artists that were remaining were really just scrambling to get gig work. The capacity to create new theatrical contemporary circus work just wasn’t seen here. And people mostly blamed it on lack of funding. Well, you know European countries, they get funding for that sort of thing, we don’t have that here. So with all that, it became clear as my circus school was growing, the recreational circus school, that we really needed to create some pathway or a true pathway for professional artists who wanted to take the circus into the next level.

And that would not only help the artists here and the young people that want to do this, but also the art form as a whole. To move the art form forwards, this is what we needed to do. And so around 2013, 2014, I started forming groups of people from all over the country to talk about it and saying, what would this look like? How would this work, what are the obstacles? And we formed Circadium in, I think it was 2013 that we incorporated the school as a nonprofit, formed the board of directors and started planning the launch of the school. So it was a long exciting journey. In that time I really felt like I got a lot of chance to see so many parts of the country, so many different types of circus education that exist right now. And it gave me a lot of information about how I wanted to start this school.

Raina: Thank you for joining us during your busy class schedule, Sierra. We’d also love to hear from you about how you got your start in circus and how you found your way and how you ended up at Circadium.

Sierra: I was born and raised in Missoula, Montana and I started gymnastics when I was eight years old. I started as a competitive gymnast and found that I really did not like competitions. They were stressful, and we did the same routine every time, and it just wasn’t for me. So I transferred to a different gym in my home town, which was called Bitterroot Gymnastics. And I stayed there for a decade, and every year Bitterroot Gymnastics put on a show. And so that’s where I started doing acrobatics and that’s where I started dancing and I didn’t even know what circus was, but we were doing circus without really knowing it. So when I was 16, a friend of mine went to ENC for auditions and that’s the circus school in Montreal. And that was the first time I heard about circus schools at all because in Montana, we’re pretty isolated from the circus world. There’s one circus company there. It started when I was 18 years old, I was a part of it for a year. And so at 16 I decided to start pursuing circus arts.

And luckily in my hometown there was a woman named Holly Rollins who was in Cirque du Soleil O. And she was an aerial hoop artist. And so she taught me aerial hoop and I auditioned the next summer for ENC summer camp in Montreal. And I got in and I went there, and it was a two week program and it was the most fun I ever had in my whole life. I got to try all sorts of circus things that I’d never even seen before. I got to do German wheel, and I got to see Russian cradle, and I got to see all of these amazing other parts of circus. So at 18 when I was about to graduate, I auditioned for ENC for the full time program and I didn’t make it in. And I applied for a couple of traditional colleges, but just decided that I needed to pursue circus while I was young and while I still wanted to do it.

So I moved to Maine and I attended a full time training program at Circus Maine and they are now out of business, sadly. But I stayed there for a year and a half and studied hand balancing under Cory Tabino, as an apprentice. And then I auditioned for 10 circus schools when I was 19 and 20, and I went to Europe and I did all of these different auditions and all these crazy application processes and I learned so much and I failed a lot, but I succeeded a little too. And I ended up in Circadium, and I’m really glad I’m here.

Raina: I wonder, Sierra, if you can tell us a little bit about the variety of training that you experienced. Both in the States, in Canada, at the École Nationale de Cirque, the ENC that you mentioned, and more broadly in Europe. I think Circadium offers something that’s very unique here in the States.

Sierra: Yeah, absolutely. So my training as a competitive gymnast, when I was very young, it was quite traditional and really intense. I was eight years old and going to four hour long practices of gymnastics and expected to pay attention and strictly point my toes and everything that a competitive gymnast has to do. And then the program that I did for a decade was a little bit more lenient. It was a lot more fun. We messed around a lot more and we discovered new movement pathways and I really didn’t think about what I was doing as an art form until I was probably 17 or 18. For me, it was just a sport, an after school activity I did. It pretty much dominated my life, but I didn’t think about it as art until I started to transfer into circus. And when I moved to Maine, I had my world rocked a little bit because I was coming from a quote unquote recreational program of, we practiced like 12 hours a week. And then when I started the full time training program in Maine, it was 30 hours a week and I was exhausted.

And the hand balancing training was unlike anything I’d experienced so far. I was two hours of handstands, one on one, and I was pretty much on my hands for the whole two hours. I didn’t know if I was going to make it, but I did. The training at Circus Maine was very focused on the physical. It was very much about improving your technique and we did have theater, but not nearly as much as Circadium offers theater. It wasn’t traditional circus necessarily, but it’s potentially more what you would think about as a circus school and then when I auditioned in Europe, I experienced a new different kind of training that I didn’t know about and that was just an extremely artistic sort of evaluation.

I auditioned at Cnac in France, which is their national circus school. I remember feeling completely out of my comfort zone because we had to do this really contemporary exercise and be really fully committed into our theatrical presence and that was challenging and different, but I also thought it was really amazing because it was something I hadn’t felt or experienced before.

And then Circadium is also different. This audition, when I did it, was the most fun one. It was the most welcoming by far. The audition starts with a welcome dinner, which is just something no other school did. I auditioned in Finland and their audition started with a three mile run. So it’s a very different kind of culture here. And I think American circus now I feel is really still searching for its voice. You know, we had the golden age of circus, we had all the huge, the biggest and the best circus tents and all of these things that just are a little bit obsolete to the general public now. And so we have to find a new way to be grand and be great and be relevant. And I think Circadium is really at the forefront of that. And we’re excited, as the students here, to be at the forefront. And the training here is very, very artistic. We do a lot of theater every week. We do a lot of dance every week. And our training is physically exhausting, but it’s also mentally, emotionally, so full of life and challenges. And it’s great.

Katy: I wonder if we can back up for a brief moment for our listeners, and talk about what contemporary circus is. One of the reasons I love circus so much is that particularly in America, I feel like everybody has a connection to it, but it’s often grounded in nostalgia, which can be very powerful and enticing. But in America often it’s the three ring circus, the big top, the clown, the aerialist, but contemporary circus, which does have more roots in Canada and Europe and Australia, is pretty different from that. And I wonder if you can talk about that for folks.

Shana: Sure, I’d love to. And yeah, I’m noticing especially now, there’s a lot of circus nostalgia going on in the world and I do think it has something to do with the closure of Ringling Brothers and all that. But you’re seeing movies and shows and all kinds of things are these throwbacks to this traditional circus imagery, which I love as much as anybody else. I think it’s a beautiful history that we have, the circus in this country, but because it’s such a strong history, in some ways it has kept us from seeing circus as anything else. And that’s what you see, an interesting example is Scandinavia. Scandinavia does not have a very strong historical circus culture. And so when they started talking about contemporary circus, people were like, okay, sure. Like there was no baggage with it.

Katy: This is all there is.

Shana: Right. The idea that circus could be something that is relevant and modern and has more creative capacity just hasn’t been seen enough in this country. But we’re beginning to see it. So people often think when they hear contemporary circus, oh, we’re talking about Cirque du Soleil. And in fact Cirque du Soleil is not I would define as contemporary circus. Cirque du Soleil is what we call new circus, which came out of the 1970s and 80s, and that also included Big Apple Circus and a few other big companies that were trying to really take the stylistic and aesthetic choices of contemporary circus and make something different there.

They kept the format of tent, acts, clowns. Like some of the standard formats remained in new circus, but they did play a lot around with different music and costumes and just choices of presentation. Contemporary circus is the next stage of that and that is where we’re seeing almost all of the rules of circus being broken and played around with. Contemporary circus is often shown in a theater. It’s often shown in other alternative venues, site specific works, outdoor works, those would all be contemporary circus. And contemporary circus mainly needs to have something else besides circus tricks to hold it together. So there can sometimes be partnerships with other art forms. You’ll see a lot of blends with circus and dance or circus and theater or circus and puppetry, there’s all kinds of blends that are happening, but the main thing is it needs to be trying to say something. It needs to be trying to communicate an artistic concept. Sometimes that’s a very abstract artistic concept, sometimes a very clear narrative concept, but it is treated as a piece of artwork that has a similar research process, development process, influence from other people. It goes along a much more … a pathway that you’ll see in modern dance or in modern theater than what was traditional in circus. So it’s really exciting for us as artists because we are … In some ways we feel like in surface we’ve always been inventing the wheel, always been doing things from scratch for the first time, and now we’re learning that actually these other forms have been doing these things for a long time and we can learn from them. And we can learn from their processes. So contemporary circus is super exciting and we are especially excited that that’s being seen more here in Philadelphia. That’s very neat.

Katy: And Philadelphia is actually the home of the first American circus. So it’s exciting for us to have this history but also push towards this more contemporary way of seeing it. And I wonder if, Shana, if you can talk about how Circadium, particularly your accredited academic institution, is paving the way forward for people. And what people might expect to see at Springboard, which is the student showing included as part of the festival.

Shana: Great. Well, as you can imagine, circus in history was passed down in a family way, so if you wanted to become a circus performer you had to learn it from your parents or your grandparents. And then there was the concept of running away with the circus that happened in the golden age of circus. We could run away and join the circus. But circus education is a relatively new concept. Circus education, it actually began in Russia in the 1920s, 1930s, they were the first school to develop a circus school, that happened in Moscow. That evolved into circus schools in Europe and Canada, but still not til much later. We’re talking about the 1970s, 1980s, 1990s as these schools are becoming established. It’s made this entirely new way for people to approach circus. You don’t have to have a history, you don’t have to run away. You can do circus because it’s something that interests you and something that excites you. In our time in the United States, there’s actually two or three hundred schools of circus in the United States that all the students are at a recreational level. If you’re a kid or if you’re an adult that wants to just try stuff for fun, there are schools like that in almost every city in the US now. Everything from pole dance studios that have maybe a silks class, to after school circus programs that are part of regular schools. The whole gamut is there. There’s some really wonderful, amazing recreational circus schools, but still we want to take that next step like, okay, I love this, I want to do this professionally. There has been no place to do that in the US. There are a few other schools that offer what are called pro tracks, and they’re intensive trainings where you can go for nine months or a year. There’s one offering a couple year program now. They will allow you to just do that more, right? But none of them still approach what is real higher education. Higher education has lots of components to it, higher education means you’re getting all different types of classes, that you’re having many more ideas to bring into your practice. It means having a level of accountability to the accrediting bodies, to the state that offers your diplomas. All these things are checks to make sure that you as a higher education institution are really meeting the needs of students.

Now we formed Circadium as a vocational college, which means that our levels of accountability are much more on the professional front. They want to see that we are preparing students for jobs, which is quite tricky in circus. So as our students graduate next year, with our first graduates in 2020, we’re going to be really carefully tracking their professional pathways, to make sure that we can show we’re really doing what we say we’re going to do, which is to make sure students can leave here and work. So that’s how that’s going. Circadium is in its second year of operations right now. It’s a three year school, so that means we have first year students and second year students in the building right now. And our class three will start next year.

Raina: And you are teaching them things like entrepreneurship and bringing in your own … like the business side of circus.

Shana: We are. We teach a good number of academic classes and all of them are tied to circus in some way. So that’s everything from music and writing and theater to some of these business classes. We do everything from photography and stage tech to web design and business planning and financial management.

Katy: So Sierra, how are you feeling about the vocational focus? So much of Circadium is preparing you for a job after graduation. What are your dreams, in the next two years when you graduate?

Sierra: That’s a great question. I applied for 30 circus schools and auditioned for 10 and I knew that I wanted to go to a full time program that was going to end with some sort of degree or the vocational professional training. And I’ve actually started an initiative called CSAW, which is Connecting Circus Students Around the World. We have partnered with CircusTalk and our goal right now is to collect ambassadors from every circus school internationally. And so what that will do is just make information about circus schools just more accessible because especially in the United States, for me, coming from Montana, I only knew about three circus schools in the entire world. There are so many more and it’s just difficult to find information right now. And part of that is because in Europe, every country is so much closer together and so they just know a little bit more. So we are in a way more isolated here. And then part of it is just that circus and circus schools are a little bit newer than other art forms and other schools. And so we don’t really have a great way to access information about them yet. So I’m really passionate about helping circus school information become apparent for future me to be able to type in a Google search like we do for everything else in life and find actually the answers that you need. So that’s part of my dream here and that’s something that I’ve already started to do. And then, yeah, I think that in a lot of ways Circadium is preparing us to become artists and to start on our own and to struggle and to fail, to keep going anyways. I didn’t know it before, but I know it now that I am passionate about American circus in particular. And so I do think I would like to stay here and try to start a small company and change the way that America views circus in whatever way I can. I don’t know if I will succeed in that, but it’s time. It’s time for the US to have a bigger, louder circus voice and to have companies that are from here, and we’ve already started in some ways, but there’s so much room to grow. And I’m excited to start that.

Katy: Tell us how Springboard comes together. What is the process of creating the end of year?

Photo by Raina Searles

Shana: Circadium Springboard is the end of year show for our first year students, so this is the end of the first nine months of Circadium and it’s been a really eye opening year for all of them. They’ve tried so many different things they never expected to try, and we want to reflect that in the show. So every Friday the students do presentations here and presentations are mostly theatrically based. It’s often some kind of theatrical concept that they have to perform and then they tend to bring contemporary circus into it from there. And the pieces that we show in Circadium Springboard are a collection of those works that they have then refined over the course of the year. So it’s a fun, eclectic mix of pieces that all come from somewhere very new for them. It was important to us when we created the show that it was not about a recital of students’ individual best circus skills. No, that’s not what we want to see in the show. We want to see them getting out of their comfort zones a little bit and trying some new things. So whereas their audition pieces, getting into the school, were much more what they brought here to us, this show is what have you learned in the last nine months.

Raina: So for you, Sierra, what things have you learned over the past nine months and what are you bringing to the table for your Circadium Springboard piece?

Sierra: So the Circadium Springboard is, Shana mentioned, I think, going to be a compilation of our Friday presentations. And Friday presentations, we do every single week and they are theatrical exercises to help us improve in what we’ve been learning in theater class. But also just approach our art in a new sort of way. That is, it’s very easy as a circus artist to pick a three minute song and just put every trick that you know into a three minute act and then you have an act and it’s great, but it’s just like everybody else’s. And so the Friday presentations really push us to think about things from a new perspective and use other artistic tools like rhythm and composition and animals and elements. And so those are all things that you’ll see in the Circadium Springboard show. We are bringing back our best Friday presentations and we’re changing them and stringing them together. And one of the rules of the show in the creation process is that there aren’t any solos. Our entire school experience is extremely ensemble based, so it makes sense for our show to be ensemble based as well. We live and breathe together as the students here and it’s important that we support each other, but it also just opens up so many different avenues for expression when you have other people on stage. And so I think it’ll be exciting to see exactly the way that it gets put together. It’ll most likely be different from what you’ve seen from quote unquote circus.

Raina: Is there anything that you were really surprised to learn or really challenged by?

Sierra: Everybody has their challenges in the first year of this program, I think, and for me, I came into the school really, really knowing what I wanted to major in, minor in. Or so I thought. And I had been training in handstands for about two years really intensely. And I just wanted to keep doing that and I didn’t get to. The program starts at a very generalist focused way, which is really fantastic because it forces you out of your comfort zone and makes you learn new things. So coming into the school I could juggle three balls and now I’m working on five balls, and I had never touched a unicycle, but now I can ride a unicycle. And I didn’t really ever think about walking on a tight wire cause I just didn’t think I would want to. But it is a lot of fun. And now I can do that. So I learned things that I wasn’t really anticipating to learn, and at first was a little bit reluctant to learn, maybe. But I’m really grateful that I did, now, because it’s just opened up new ways to express myself and new techniques and it’s helped me with my hand balancing and just with life in general, to learn things that you didn’t really think you’d want to, but then get the most that you can out of them.

Raina: Awesome. And then I think our final big question is we would love to know from you, what are your highbrow and lowbrow inspirations when you’re making work?

Shana: That’s a good question. I was on tour with Cirque du Soleil for a number of years. My husband had a contract with them and so we got to tour around the world with Cirque du Soleil. And what I learned from that is that Cirque is such a giant scale operation that they can do amazing things that no one else can do. And so when we sometimes dream about the biggest capacities in production, in lighting, in staging, if you had all the artists you could choose from and all this support you could choose from, you’ll see that in Cirque du Soleil. And one of my favorite Cirque du Soleil shows is O in Las Vegas, because it’s a transformative world that they make for you there. That’s something they can do when they have a theater permanent in Las Vegas, that’s just for them, it’s full of water. It’s an amazing, amazing production.

So lately I’m finding much of my inspiration from some of the smaller companies that are doing really unusual things. There are quite a few in Quebec right now who I just love the work they’re doing. And we’ve got a few Australian companies here recently too, who are doing exciting stuff. I see shows all the time and so it’s hard for me to pick one or two. What have I seen recently? Gravity and Other Myths is a wonderful show that we saw recently. On a small, even smaller scale than that … as a solo show, the new Almanac show xoxo moongirl is going to Edinburgh Fringe this year and it’s wonderful. Definitely recommend that. For me what is most inspiring I think about circus is not one or two highlights but just the range that is coming out right now. There’s so many different ways people are thinking to present circus.

Raina: Awesome. What are your highbrow and lowbrow inspirations?

Sierra: So for me The 7 Fingers based out of Montreal is one of my favorite companies and I really respect and admire the work that they’re doing. The reason for that is two years ago now, I had auditioned for ENC in Montreal the third time and for ECQ in Quebec the second time and I didn’t get into either school again, and I was feeling so lost and frustrated in the circus world and I was coming back from doing a gig in New York and on the way we decided we were going to stop and see this 7 Fingers show and I was just coming into it like, whatever. I was so done with circus and I thought I would just quit and go to normal college, and call it there, and I saw this show, Cuisine and Confessions, and I just knew I couldn’t stop. I couldn’t stop doing circus after I saw that because it was the first time for me that I saw something and I was like, that’s it. That’s what I want to do.

Because I’m motivated artistically through auditory medium a lot as well as through text. And it was one of the most theatrical circus experiences I’d ever had. And one of the most real and honest ones as well. The show is just about the people and you could tell that what they were saying was hard and vulnerable and true. It just was really amazing. And so I decided not to quit circus, to keep trying and keep trying and I’m glad I did. That show really changed my life in a lot of ways. Other than that, yeah, text is always inspirational to me. Like I made a handstand act based off The Yellow Wallpaper by Charlotte Perkins Gilman. And the newest work I’m working on is from Kate Tempest’s album Let Them Eat Chaos. I just think that circus can be really transformed through story and some of the best stories are written down. And so that’s a great source of my inspiration for sure. Other than that, David Stark, who I grew up with, the gymnastics owner of my gym is one of my greatest inspirations in life. He was really one of the first male figures I had who was strong and steady and just guided me through so much, and through the 10 years I spent there, showed so many incredible examples of leadership and of kindness and was always just steadfast as the helm of the gym. And they’re succeeding so much right now and it’s so great to see. So he’s definitely an inspiration for me as well. And my mom.

Raina: Yes, shout out to moms. [laughter] Well, thank you so much for joining us.

Shana: I’m so glad you came out here and I’m glad you get to see a little bit of the school in action today. There’s a lot of great classes happening right now, we have dance and I think juggling happening in the building, and many artists in residence training. So do take a look around before you leave.

Katy: A reminder to everybody to make sure to follow us on Facebook, Twitter, Snapchat, and Instagram, and to download the FringeArts app. The Hand to Hand Circus Festival presented in partnership with Circadium is coming at the end of June, and you can catch Springboard as the prelude to the festival in the end of May.

A Look Back at the History of Contemporary Circus

Posted April 19th, 2019
By Lexi DeFilippo, Communications Intern Spring 2019

This summer, FringeArts’ annual circus festival Hand to Hand returns to bring the wonder of contemporary circus to the heart of Philadelphia. In partnership with Circadium School of Contemporary Circus, the first and only diploma-granting circus program in the US, we’re excited to highlight some of the new and innovative performers taking on the circus scene. And in honor of World Circus Day (third Saturday in April, ie. April 20, 2019), we’re taking a look back at the history behind contemporary circus worldwide.

Sometimes known as new circus or nouveau cirque, contemporary circus can be perceived as an enigma. On a structural level, contemporary circus challenges the traditional circus by rejecting the use of animals, acts without any connected through line, and (in most cases) the big top tent as a performance space. Another notable difference from traditional circus is the shift in who is performing contemporary circus acts. Instead of the circus family model where skills are passed down generations to produce family units that travel with a circus and live on the road, contemporary circus productions employ conservatory-trained professionals from all over the world. These conscious steps away from the kitsch of traditional circus have helped push contemporary circus into the spotlight as a more intention-driven form of entertainment that highlights the excitement, finesse, and true artistry of the circus arts.

Contemporary circus began to emerge in the late 1960s-early 70s when groups in Australia, France, United Kingdom, and the West Coast of the United States began to combine the circus arts with more theatrical elements. One of the earliest circus companies credited with incorporating theater into their routines is the Royal Lichtenstein Circus, founded in San Jose by a Jesuit priest in 1971. They were also one of the first groups to use a one-ring format which allowed for the performers to create a more intimate connection with the audience.

This clip from their side-show in 1984 is an example of how the Royal Lichtenstein Circus used theater as a to tell stories through their performances. The choreography acts as a vessel to bring an abstract idea to life while showing off the physicality of the performers.

Another early contemporary circus group, the Pickle Family Circus, formed in 1975 by members of a mime troupe, was one of the first groups to start threading social commentary into their work. The troupe prided itself on being a democratic organization in which all of the performers received equal pay and played an integral part in the operation of the circus as well as the production. The Pickle Family Circus is known for telling a narrative with their productions and using circus acts to move the story along while keeping the audience at the edge of their seats with amazement.

This clip of highlights from their show, Cafe Des Artistes in 1988, shows off the troupe’s multi-faceted performers with the ability to seamlessly blend their circus skills with character work and humor.

As American contemporary circus continued to develop on the West Coast, Britain experienced its own circus revolution. In 1984, Ra-Ra Zoo Circus was founded in London and became recognized for being an integral part of the experimental circus movement overseas. Ra-Ra Zoo incorporated surrealism and satire into their politically-driven productions. The group also challenged the of circus by maintaining an equal number of male and female performers. Nofit State Circus of Wales was founded in 1986 by a group of friends looking for employment during an intense political climate. They developed the Nofit State Circus to act as a political reaction and outlet for creativity and expression. Similar to the American New Circus movement, these British troupes replaced animals with drama, music, and dance as integral parts of their circus productions.

The most well-known contemporary circus, Cirque du Soleil, was founded in Quebec in 1984 by street performers Gilles Ste-Croix and Guy Laliberte. The duo, which led a group of street performers, proposed to create a full-length show for the celebration of 450th anniversary of the discovery of Canada by Jacque Cartier. The show, called Circus of the Sun, was chosen to extend the anniversary celebration through a province-wide tour. Since that first tour, Cirque du Soleil has been creating new shows and touring the world ever since. The company is known for its sleek, high-end productions that use abstraction and ornate visuals that continue to push circus to entirely new heights. Cirque du Soleil is even responsible for Las Vegas on the map as a world-class entertainment hub with over six resident productions currently running on The Strip. This clip, from resident show, The Beatles LOVE at The Mirage, shows how each element of the productions is elaborately designed and constructed to bring the concept to its most heightened reality. The technical capacity of Cirque du Soleil’s state-of-the art venues is also highlighted.

Archaos, founded in France by Pierrot Bidonin in 1986, is known as being an alternative, punk circus. Although the company disbanded in 1991 due to financial problems fairly quickly after its conception, Archaos’ wild, spirited, and crazy circus left a huge impact on contemporary circus. The company brought danger into the circus in a way that was never seen before with the use of motorcycles, chainsaws, and metal deathtraps. This clip provides a taste of the debauchery that helped the rule-breaking Archaos build a cult following.

Newer companies, such as Montreal-based group The Seven Fingers, are continuing the rule-breaking rebellion of contemporary circus in the 2000s with work focused on each performer’s personal characteristics. The performers use their circus abilities to express personal stories and emotions, similar to the way modern dance embodies the human experience. Unlike the dreamworld of companies like Cirque du Soleil, The Seven Fingers create work from a realistic lens and highlights a genuine human experience. This teaser clip from the show, RÉVERSIBLE, is an example of contemporary circus with a specific kind of “stripped down” stylistic aesthetic.

These are just a few of the contemporary circus companies that helped save the legacy of the circus arts by adapting to economic, cultural, and artistic shifts in order to produce a more dynamic and forward-looking form of circus. Contemporary circus has now become a recognized and celebrated art form around the world and is accessible in ways traditional circus never was. Although some of the biggest circus companies in the world are no longer around, circus is very much alive and well thanks to contemporary circus.

At FringeArts, Hand to Hand kicks off with a showcase from Circadium’s first year students  entitled, Circadium Springboard, on May 25. The performance will showcase works by these  students who have completed the first of three years of intensive interdisciplinary study.

Swiss duo Compagnia Baccalà acts as the centerpiece of this year’s festival lineup and is bringing its world-renowned show, Pss Pss, to the FringeArts stage this June. The production, inspired by the theatrical world of Charlie Chaplin and other silent film stars, incorporates the key components of contemporary circus by using circus skills, abstraction, and humor to dazzle audiences of all ages. The pas de deux provides the perfect display of the unbelievable physicality and enchanting artistry behind the success of the New Circus movement.

There will also be an opportunity to try out popular contemporary circus skills with Philadelphia School of Circus Arts at Circus Midway on June 30. Juggling, plate spinning, and tight wire are just a few of the skills you can learn from this fun day of outdoor workshops. Then come see the skills in action during Test Flights, a circus edition of our works-in-progress series, on Monday, July 1.

Experience the tantalizing magic of contemporary circus at Hand to Hand June 28–July 1 here at FringeArts.

HPFS Splash: Never Change, Philly

Posted April 16th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big question: What do you hope never changes about Philadelphia?

Jess Conda as bartender at Fergie’s Pub

“Fergie’s Pub. The place has kept its welcoming, rock and roll authenticity through all of the gentrification in Center City. The Fergie’s attitude IS Philadelphia. It was here before Craft Beer was cool and it ain’t going anywhere. Hell, the place had an entire 26 story condo literally built around it and stayed open the whole time. Now THAT’s True Grit. It’s also where I cut my teeth as a bartender and have had the most one on one conversations with the widest range of people in the city. A bar is a tiny stage, and while I was coming up and waiting to get more work as an actor, I was learning about real life working there…[I don’t want] anymore diner closings. We’ve lost too many already. The day the Melrose or Broad Street Diner closes, that’s it, I’m outta here.
–Jess Conda, A Hard Time

“Rittenhouse Square and Christ Church. And walks along the river in several places, West side, East side and along 24th street and the bridges that are lit at night. And the Rowing Houses on Kelly Drive that are lit at night. And the sculpture gardens.”
–Marcia Saunders, A Fierce Kind of Love

Image result for chop shop south street“That old men in South Philly will continue to use the sewer drains as their trashcans. That the wheely gangs will continue to wheely their bikes against traffic down Broad Street. And The Chop Shop on South Street. No one works there for longer than a day and you’ve never had a worse haircut for under $20. Just kidding. If you go, go to Kate or Ruki.”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

Folks are a little rude, the food is awesome, and the arts are appreciated. I like that the Ave of the Arts gets mobbed by sports fans celebrating/rioting on occasion. Also, Broad Street moves through a lot of different neighborhoods and reflects that.
–Alex Torra, The Sincerity Project #3 (2019)

The only constant is change. And litter.”
–Alice Yorke, The Appointment

Image result for arch street umc

Arch Street UMC Church

The lone heroes, elders doing community work, people organizing voters and doing street cleanup, really make Philly for me, these people who are dedicated to their communities no matter what changes come because Philly has changed so much since I’ve been here, especially around housing.
–Camae Ayewa, Circuit City

“My church, Arch Street UMC is deeply involved in this city’s social and economic concerns with a focus on justice for those without shelter, the LBGTQ+ Community, Refugees/Immigrants, Education, higher wages for low income jobs and so much more. My involvement with Arch Street gives me a great sense of responsibility for those who are unjustly treated and the ability to feel as though I am making a difference.”
–Cathy Simpson, A Fierce Kind of Love

Read last week’s HPFS Splash: Gritty Edition, and thanks for joining us for the final installment of HPFS Splash!

hpfs splash hydrant*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.


Happy Hour on the Fringe: Conversation with Jess Conda, Jenn Kidwell and Betty Smithsonian

Posted April 12th, 2019

On this episode of Happy Hour on the Fringe, Jess Conda and Jenn Kidwell, two-thirds of the artistic team behind A Hard Time, sit down to chat with comedian Betty Smithsonian about what’s so freaking funny. They chat about what men should do at talkbacks, what audiences can expect at A Hard Time, and why people (men) believe that women aren’t funny. This episode contains explicit language.  Listen to the podcast or read the full transcript below.

Feature Photo by Jauhien Sasnou

Conversation with Jess Conda, Jenn Kidwell, and Betty Smithsonian

Musical interlude

Tenara: Hello and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premiere presenter of contemporary performing arts. I’m Tenara, the Audience Engagement Coordinator here. I invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence. Here at FringeArts we are getting ready for the Berserker Residents upcoming family-friendly piece Broccoli, Roosevelt, and Mr. House! which opens TONIGHT. Come on by with the whole family for this spectacularly silly show about fun, adventure, and friendship. Tickets are available on our website at But today, you’re going to hear a conversation between three fantastically funny comedians: Jenn Kidwell and Jess Conda – two-thirds of the trio of Pig Iron Theatre’s newest show, A Hard Time, opening at FringeArts on May 1st. Jenn and Jess sat down with legendary comic Betty Smithsonian, also known in Philly as Beth Eisenberg, whose claims to fame are vast and who organizes and curates the amazing comedy night The Bechdel Test Fest. Jenn, Jess, and Beth talk about A Hard Time, what’s so funny, and what men at talkbacks should do.

Jess: And the safe-word is: cut that, don’t you dare fucking put that in the interview.

Betty: Yeah.

happy hour on the fringe

Betty Smithsonian at Blue Heaven 2019. Photo by Kevin Monko.

Jenn: In my “interview.” Get that out of my “interview.”

Betty: Yeah, the safe-word is “these are new, is that a new stain?”

Jess: I love it.

Betty: Alright everyone, welcome to the podcast interview moment, this intersection of essay podcast and real conversation. I am Betty Smithsonian and I am joined by two fantastic individuals who are:

Jenn: Jenn Kidwell.

Jess: And Jess Conda!

Betty: Heyo! Today we are going to be chatting about something that we all know is the most non-controversial thing ever – women and comedy. Tell me how your show is going to fix the world. Tell me in ten seconds or less.

Jenn: This is what I was thinking this morning – I keep going back to this thing that our director said – our director who is a man. His name is Dan Rothenberg.

Betty: I know Dan!

Jenn: Yeah, everybody knows that guy. That guy.

Jess: That scalliwag.

Betty: I saw him falling asleep at a show once.

Jenn: That just means he likes it. So Dan said – he was relaying this quote that ‘women are afraid that men are going to kill them. And men are afraid that women are going to laugh at them.’ And I was thinking this morning that ultimately perhaps this show gives male-identified people – gives the patriarchy an opportunity to laugh at itself. And notice how silly and idiotic it is.

Betty: The patriarchy.


Betty: The patriarchy! So that’s fantastic, can’t wait to see the show. Go on and remind me what the name of this show is.

Jenn: It’s called A Hard Time. But the official title is Jess Conda, Jenn Kidwell, Mel Krodman Want to Give You A Hard Time.

Jess: Duh duh duh da duh duh.

Betty: Beautiful.

Jenn: *laughing* How do you spell that?

Betty: Is this a noir piece? Where is this piece living? What’s happening in the show?

Jenn: It’s not noir!

Jess: It’s like a pastiche, which is a snobby word for collage, of different things that are funny to us until they’re not funny. So we kind of were inspired by vaudeville and quick change and the way like, our bodies can morph into different characters. You know, cause we’re all trained in this kind of clown way.

Jenn: Yeah like using your body.

Jess: But also like what can this body do, can this body take on all these different identities over the course of the play.

Jenn: And is that funny?

Jess: Yeah, and is that funny?

Jenn: But it starts off with this sort of – so some men got together and defined comedy as the benign violation theory. It’s their theory about comedy. And we open the piece by discussing this benign violation theory, and then we sort of put it into practice in this Vaudevillian, quick-change manner. And then we continue to put the theory into practice in a long, drag sequence in which we are playing three drag personas. Two of them are Len and Stan. And I pointed at Jess when I said Len because Jess is Len, and I am Stan.

Betty: So you’re talking about what is going on in this show.

Jenn: Yes. This is what happens in this show. We start off with the benign violation theory –

Jess: SPOILER ALERT – that was the first forty minutes of the show.

Jenn: But just to say actually there’s a throughline which is: what’s so funny?

Betty: Yeah, so tell me that. What do you think is the issue right now with women being called out for either being too sensitive around comedy or women being called out for not being funny? Tell me what you think of that?

Jenn laughs

Jenn: Do you call somebody out for not being funny? I feel like, the call-out – I always attach that to politics.

Betty: Well, I guess like people saying that women aren’t funny. That is a thing that people have said. Men specifically. For a long, long time.

Jenn: I mean, they also say that women aren’t powerful. But that’s not true! Why would I believe them?

Jess: That is funny.

Betty: So what do you think about this show proving that thing that you just said? Do you think it’s possible to create theater that can unravel that very frustrating thing? I am a comic, I hear it all the time that women aren’t funny. So tell me how your show could unravel that. What do you think about it personally, not even just your show?

Jess: I’m going to go back into something I was tapping at, and this is just true for me – about my body. Which is that sometimes, I think that women get labeled as unfunny, because you’re too caught up in my damn body. And that’s a complicated thing that we maybe can’t unpack as a society in a play. But I think there is something in the way in which my/our bodies are revealed to this audience over and over and over and over again where hopefully my body becomes fucking irrelevant by the time I’m through. That’s just how I feel. I think that that’s one key that we offer to the audience.

Betty: And this concept of making your bodies into – like you were saying you morph into things in this show, and you’re kind of pulling apart that concept with that through-line?

Jess: There’s a lot of shapeshifting in the show.

Jenn: Can I go back to something – what you said, ‘I feel like maybe people don’t think women are funny because they’re so caught up with my body,’ meaning like they can’t even listen to what you’re saying because they’re so focused on appearance? Is that what you mean?

Jess: Yes. I think there is a –

Betty: Like the first thing that a female brings to the world is their body and the second or third or fourth thing is what they say, or the space that they take up outside of that. I think it’s part of the reason why we see some comics who have different shaped bodies have to do different kinds of comedy, right? The people that on the planet would be considered less average body shapes, and bigger shapes would have to do a different kind of comedy.

Jess: Or what are you looking at when you look at this? I’m doing a stand-up and you have to like rank my tits for five minutes before you maybe listen to what I say. And that is part of why the drag piece is kind of important to me because it’s just like, watch our bodies do this, now this, now this, now this, now this, and like, have you listened? Have you taken my tits out of the equation of your listening? Cause I don’t need to be sexualized when I do public speaking about whatever I might be public speaking about.

Jenn: I think, I appreciate what you’re saying and I think that the drag section works in a couple different ways. It works in the like, how about we take my tits out of the equation, or like, all of the ways that you want to sexualize me as like a woman out of the equation because we’re playing these dudes – I mean, they’re not calendar guys. I don’t know. The other way that that section works is this thing that you were trying to say which is like, how are you hearing me? We might actually be saying lots of the same things, so how is the humor working now that we’re inhabiting these other bodies? And also don’t forget that we’re still here. So actually all of this stuff is being said by and written by women. We just decided that the mouthpiece for this section is going to be these dudes. And then there’s more, but that would be spoiler alert.

Betty: What do you think is funny?

Jenn: I have no idea how to answer that question. You mean, just in general, in life?

Betty: Yeah, what’s funny to you?

Jenn: I’m trying to think of the last funny thing that happened today…

Jess: We’re just gunna cut that part out –

Jenn: Yeah, edit that out! “What do you think is funny?” “Uhhhhhhhhhhh… Stuff.”

Jess: We do make each other laugh a lot. Have you ever done that game with kids? Or adults? The theater game where you have two partners facing each other and you have to like make the other person laugh?

Jenn: Just like, do whatever you can do?

Jess: Like I would say a funny word and then you would say a funny word?

Jenn: Yeah, I think so. In like clown class.

Jess: I’m just thinking about that.

Betty: Have you ever done the game where you look at someone and you just have to just start fake laughing together? And then turn that into fake-crying?

Jess: Oh yeah. The membrane is so thin between laughing and crying!

Jenn: It’s true!

Betty: Well I guess I want to know what’s funny because I want to know what drives this show for you as you build something comedic. So you’re playing in a space and the thing that makes you laugh, or delights you is the thing that you’re doing, and then you have this like other social thing that you’re trying to push out there, so that’s why I’m wondering what’s funny to you.

Jess: I wish Mel Krodman, who is a comic genius, was here.

Jenn: She’s in Atlanta.

Jess: She’s in Atlanta. I mean, there’s general weirdnesses that are delightful to us. And I’m talking about like when we first started rehearsing basically we sourced this gigantic amount of – I’m going back to vaudeville – a giant amount of vaudeville costumes and put them in the rehearsal room. And we just followed our bliss in terms of inventing these characters and a lot of that is based on like stupidity, just like what tickles us in this stupid way. I’m thinking of our French teacher in grad school. She would say, ‘That is so stupid!’ and that was like the best compliment you could get in art school. So stupid things are funny to us. Mel has this real talent for being like, these teeth and these eyebrows and this belly and this cape make me wanna go, wooooo, and it’s just because it’s so pleasure-based, so that’s kind of the practice.

Jenn: You have a talent for those one-liners that are so wise but also just like everything gets distilled in just a few words.

Jess: Well, Len is dumb. Len is kind of a base man. But the maker is smart, so he gives me a vehicle to the kind of like, to have some dead air.

Jenn: But there’s some real wisdom there.

Jess: Yeah.

Betty: Do you ever feel – so I’m faced in comedy to be super clever, we have to be super clever, we have to always be at the top of our intelligence, we have to create and craft these words and these kinds of concepts and things that are the smartest. But the way I do it is more towards this, because I feel like that’s where you get people to really open up, to get them to laugh at something that they don’t realize is the funniest thing. It kind of shuts off their brain center a little bit and they react to the fun.

Jenn: I think it can be visceral. It’s visceral at times.

Betty: Mm. Yeah. So, if you could wave a magic wand and have someone who’s leaving your show have a thought in their bodies because of what they just saw, what would it be?

Jenn: Uhhh…I kind of would love for people to be like, I think I have to go throw up right now…but like enjoy it.

Betty: YES! Yes!

Jess: I mean, it would be nice – I would like to have a talkback where the old white men in the audience said nothing. But like, in a way where they were checked in but they didn’t want to speak first, or perhaps at all.

Jenn: That’s what the magic wand really does. It says: ‘you don’t have to say nothing.’

Jess: Right?! Like if they were like, ‘perhaps this is a gentle time in my life to allow listening to enter.’

Jenn: ‘Let me unburden myself from the feeling that I need to insert myself.’

Jess: Can you sing that again?

Jenn: ‘InSERT myself.”

Jess: No, what’s the song?

Jenn: You don’t have to say nothing, just sit there and be quiet.

Jess: But like if they really meant it! If they were like, ‘ahh…I can free myself from all this…. penetrating.’

Betty: Yeah, yeah, that’s what’s up.

Jess: That would be amazing.

Jenn: *impersonating a pastor* And every man becomes a wide receiver!!

Betty: A wide receiver for like a football team?

Jenn: I don’t actually know what wide receivers do.

Betty: *impersonating a pastor* Every man becomes a titan!

Jenn: I was just thinking like instead of constantly pushing themselves, you know it’s like, they expand, take it all in.

Betty: So they can check their privilege and really check in?

Jenn: But we don’t even have magic wands. We have magic vagina lips.

Betty: Yeah! Some of us do! I can’t wait to see your show. Is there a talkback for your show?

Jenn: We were just talking about that today.

Jess: We have to talk about that, I think there will definitely be. I think it’s nice to have a chance to put discussion in the room after a performance. I mean, all that said about how I want all the men to be quiet, but still be in the room and engage with the material.

Betty: Have the two of you ever done work before that’s tried to shift the understanding around gender on the stage? Or at least leave your audience with a new understanding? Have you done theater for social change before? I mean, I know nothing about the two of you except for a little bit. Where does this rank in terms of on your road of work?

Jenn: I tend to do politically charged work that sometimes makes people throw up.

Betty: Nice.

Jenn: Or faint.

Jess: Send emails.

Jenn: Oh yeah, send emails. Respond.

Betty: Did you get emails from a show you did?

Jenn: Oh yeah. I once had somebody watch something I did and when we were doing the talkback, and this individual stood up with no question, but just told me in no uncertain terms how much he hated what I had just done and how terrible it was. He was like, ‘I don’t know what you are, if you’re a man, a woman, a lesbian.’ It was beyond.

Betty: Was that the worst moment – well, I won’t say worst – was that the most intense review you’ve ever gotten?

Jenn: Noo…

Betty: Alright then, what was the most intense review you’ve ever gotten after a show?

Jenn: I’ve been accused of pornography, I’ve had an entire campus of students hate me and everybody else associated with the show. And they’re still mad, I think! I mean, that’s just such a long story. Somebody on the faculty just quit not because of our show, but I think our show kicked off some things on that campus that, uh…so yeah.

Betty: You shook it up! You jostled it!

Jess: I was recently called some things by the local press that were motivating.

Betty: What local press? Is there still local press?

Jess: I just like the phrase, you know, the local press.

Jenn: They were motivating?

Betty: Extra! Extra! Read all about it!

Jess: Well, yeah! I was doing a cabaret in the Fringe with the Bearded Ladies, and the reviews came out, and one said, ‘the half-screamed, half-bleated vocals of Jess Conda proved particularly inept.’ Bleated like a sheep.

Betty: Oh shit!

Jess: Baaaa.

Jenn: Baaa.

Jess: And the other one said ‘I wish I had skipped the self-indulgent Jess Conda’. Cause I do a lot of rock and roll singing in my underwear.

Jenn: I would say – a gentleman asked us – accused – it was an accusation. It was a j’accuse.

Jess: Oh! Are you going back to the very first question of our talkback in our works in progress showing?

Jenn: We had a work in process. He said, ‘I have a question. I mean…is metaphor dead?’ Right? That’s what he said. Is metaphor dead.

Jess: It was like louder and grumpier though. I HAVE A QUESTION.

Jenn: Yeah. ‘I have a question. I mean. Come on! Is metaphor dead?’ And then were we like – ‘do you mean, did we kill it?’ Is that what we’re getting at here?

Betty: Did you watch the murder of metaphor here?

Jenn: What did we say?

Jess: I’ve kind of erased that question.

Betty: I have a question. In terms of like why we make work and what the reviews say or don’t say, what is for you the ultimate point of doing this show?

Jenn: It’s pleasure. It’s fun.

Jess: Yeah.

Jenn: And it allows me to ask myself questions about like my point of view and how I’ve been conditioned, how I’ve been gendered or accepted a gendering of the world. How am I feeding into the patriarchy, what am I doing to buck up against it?

Jess: I do think humor is a rad vehicle to have conversations that are important but can maybe feel too earnest in other mediums. You know, I’m thinking about the funniest thing that I think happened this year was Michele Wolf’s White House Press Correspondents dinner bit. In the way that humor can be the thing that lets us say all this shit that if we were just doing some kind of autobiographical monologue play perhaps would be tedious for all. Perhaps. But you know, comedy is this boat that allows us to be like, ‘this is stupid. This is so stupid. This is so pleasurable, this is so stupid, stupid, stupid.’ And this is also so fucking stupid and it’s actually not funny anymore. And I think it’s just a medium to have these kinds of harder talks.

Jenn: It’s the truth-telling medium, and I think that is why tears and laughter reside so closely. I mean, I’m a big proponent of this. You know, just peeking over the fence of comedy is devastation. And that’s what we’re talking about when we’re talking about the patriarchy. That’s some real suffering.

Betty: Yeah, just to plug one of the things that I do –

Jenn: To anal plug it?

Betty: Just to anal plug one of the things that I do is an event called Porn Stash, which is a panel of comics where we look at porn and review different –

Jenn: Like a mustache? Or…

Betty: And a stash of porn.

Jenn: A stash of porn!

Betty: It’s a double entendre, I guess. We always have sex educators in the audience just to be there, but it’s all about sex education and sex positivity and we’ve been doing the show for a couple years, our goal is just to shift – by getting somebody to laugh, their mouth is open, which connects directly to their brain, and we can just throw the stuff in there, and it kind of jostles in there while they’re laughing. Like if you can get their mouth open laughing, you can insert in the bigger things, even if it’s just questions or curiosities or whatever. It sits in a different place, because you suddenly have all this access to the ‘HA!’

Jess: You mean something clinical’s happening when you’re laughing?

Betty: A hundred million percent.

Jess: I believe that.

Betty: It shifts a part of open mindedness that removes all barriers.

Jess: Boi-oi-oi-oing.

Betty: Well I think we’ve said it all – what do you guys think?

Jess: I think there’s plenty of material to cobble together into a piece!

Betty: I think women are funny, I think people are funny, I think men are funny, I think that we can do more, we have to do more–

Jenn: Anybody who would make a statement like, ‘women aren’t funny’ – I’m like, what? I just want that person to look themselves in the mirror with a finger in their butt –

Betty: I mean, are you in the comedy community? I’m about to bring you into some groups with specific comics where their main goal is to continue to make sure people know that women are not funny, that women can’t be funny, that women are not as funny as men, and there’s like incredible comics in this city. We’re talking Mary Radzinski, Chanel Ali, Michelle Biloon, who are phenomenal comics, who do not get booked as often as the most mediocre, straight white dude fucking two years out because there is this overwhelming sense that men are funnier than women. Or that audiences want to see male comics over female comics. So the reason that I’m saying it is because for some reason there’s a community out there that doesn’t fucking think it.

Jess: That’s so stupid.

Jenn: If you wake up in the morning and you think to yourself in any semblance of rational sense that women aren’t funny, you need to take your dominant hand and put it on your genitals. Take a finger from your other hand and stick it up your ass. Open your mouth. Thank you.

Betty: Well, you two are in the theater world, I think core, and then music and then comedy and clown and all that stuff. I do a bunch of shows every month and am always looking for comics to come on up and do a bit, a character, a song, even if it’s just chatting with the audience. There are stages with microphones filled with a bunch of people who think that women aren’t funny. So, when y’all wanna come down and fucking shake your shit out, I got a mic for you.

Jess: That is so kind!

Jenn: That is kind! We might take you up on it.

Betty: And when can I come see your show?

Jess: Come through! It’s May 1-12.

Betty: Dan is the director, and you three are the writers, and who is the lighting designer?

Jenn: Amyth. Justin Hicks on sound, Meredith Ries is on scenic design, Jack Tamburri on the Dramaturgy. LeVonne Lindsay on costumes. That’s a heavy lift.

Jess: That is a heavy lift, she’s doing great.

Betty: Where is the show? It’s going to be at FringeArts?

Jess: Right here at FringeArts.

Betty: Well, I wanna thank y’all for doing this, and please come to the Bechdel Test Fest –

Jess: Yo, thanks for all you do man, in the trenches, getting the funny to the people.

Betty: I’m in those other trenches in the other side of the stream, but I want to jump into your brook once in a while and you can come into my pond.

Tenara: Is metaphor dead?!


Betty: I also think we should start a Facebook group that’s just the bad reviews and emails and everything –

Jenn: Let’s start a WhatsApp group, cause I quit Facebook, because…fuck Facebook.

Betty: Yeah, dude, I’ll do a WhatsApp.

Tenara: You know, Facebook owns WhatsApp.

Jenn: FUCK.

Betty: Fuck!

Jess: Oh no.

Tenara: Thank you for joining us for this episode of Happy Hour on the Fringe. Make sure to follow us on Facebook, Twitter, Snapchat, and Instagram, and download the FringeArts app. Visit to purchase tickets for A Hard Time, which runs May 1-12. We’ll see you soon.

HPFS Splash: Gritty Edition

Posted April 9th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big question: What are your thoughts on Gritty?

“He’s ugly and he’s orange.  Someone said he looks like Elmo on speed.”
–Erin McNulty, A Fierce Kind of Love

hpfs splash

Photo by Kyle Ross

“He’s Philly AF of course and we love him dearly. I think it would be amazing if he helped lead some trash clean up campaign in the city. I think we can be gritty but not grimy, no? I would still have my angry edge if my city were cleaner and I think he would too.”
–Jess Conda, A Hard Time

“Crazy eyes, mad pride, pure mischief. Feels like a good representative of Philly.”
–Alex Torra, The Sincerity Project #3 (2019)

“He’s cute. Like, I would love to kiss him on his face.”
–Camae Ayewa, Circuit City

“After the initial shock, I’ve come to love him. I even put Gritty in Cinderella, the holiday panto I directed at People’s Light.”
–David Bradley, A Fierce Kind of Love

“He’s kinda cool. There’s more to come.”
–Michael McClendon, A Fierce Kind of Love

“We all know who’s under that mask…Geoff Soebelle.”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Unpopular opinion, I have no opinion on Gritty.”
–Alice Yorke, The Appointment

Read last week’s HPFS Splash: Philly Favorites, Bonus Edition, and stay tuned for next week’s splash!

hpfs splash*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.


HPFS Splash: Philadelphia Favorites, Bonus Edition

Posted April 4th, 2019

Continuing our HPFS Splash series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big question: What’s your favorite Philly…?


“Parallel and Jurassic”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

hpfs splash

Shakespeare in Clark Park, Photo by Kyle Cassidy

“Clark Park, West Philly (I’ve done 6 seasons of Shakespeare in Clark Park, which is an incredible summer pleasure of mine)”
–Jess Conda, A Hard Time

Not exactly a park, but I love the Navy Yard.
–Alex Torra, The Sincerity Project #3 (2019)

Fairmount Park
–Camae Ayewa, Circuit City & Cathy Simpson, A Fierce Kind of Love

“LOVE Park”
–Erin McNulty, A Fierce Kind of Love

Place to Get Coffee

Starbucks at the National Constitution Center

“The Starbucks at the National Constitution Center”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Cafe Ole, Old City”
–Jess Conda, A Hard Time

“It used to be Elixir but then they replaced their almond milk with oat milk.”
–Camae Ayewa, Circuit City

–Alex Torra, The Sincerity Project #3 (2019)


“TubThumping by Chumbawamba”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“‘When You’ve Been Blessed’ – Patti LaBelle”
–Camae Ayewa, Circuit City

“Um, Bruce Springsteen ‘Atlantic City’ I guess?”
–Alice Yorke, The Appointment

Image result for lizzo truth hurts“Lizzo ‘Truth Hurts’ is my forever theme song”
–Jess Conda, A Hard Time

“Elena Burke’s ‘LO MATERIAL’ (featured in ¡Bienvenidos Blancos!)”
–Alex Torra, The Sincerity Project #3 (2019)

“Otis Redding’s, ‘Try A Little Tenderness'”
–Cathy Simpson, A Fierce Kind of Love


“Do No Harm/Take No Shit”
–Jess Conda, A Hard Time

“That’s the job!!!!!”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Young Bol”
–Camae Ayewa, Circuit City

“The Harry Kalas classic ‘That ball’s outta here!'”
–David Bradley, A Fierce Kind of Love

–Shawn Aelong, A Fierce Kind of Love

Read last week’s HPFS Splash: Disconnecting With A Good Book, and stay tuned for next week’s splash!

hpfs splash*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.


Who’s Who in High Pressure Fire Service, part two

Posted April 2nd, 2019
by Raina Searles, Marketing Manager

In March, we kicked off High Pressure Fire Service (or more colloquially, HPFS, pronounced “hip-fizz”) with an incredibly moving production chronicling the disability rights movement in A Fierce Kind of Love, produced by the Institute on Disabilities at Temple University, and we followed that with a thought-provoking musical satire about the American abortion debate, The Appointment, by Lightning Rod Special. In just a couple weeks, we’ll kick off a highly interactive show made for a family unit and exploring the line between play and performance, Broccoli, Roosevelt and Mr House! by the Berserker Residents. But today, we’re talking about the final three shows in HPFS: where you’ve seen these artists, what to expect in their work, and breaking down Who’s Who in High Pressure Fire Service…part two.

Coming up this May,  A Hard Time by Pig Iron Theatre Company opens at FringeArts. Long time Fringe fans will recognize Pig Iron from many of their notable devised works presented by FringeArts. Most recently, they produced A Period of Animate Existence in the 2017 Fringe Festival. Other recent works include Swamp Is On (2015), 99 BREAKUPS (2014), Pay Up (2013), Zero Cost House (2012), Twelfth Night, or What You Will (2011), and many more going back to the origins of the Fringe Festival in 1997!

What makes A Hard Time stand out, however, is that this is the first production with female lead artists and with lead artists who are not one of the Artistic Directors of Pig Iron Theatre Company. Jess Conda, Jenn Kidwell, and Mel Krodman are no strangers to the FringeArts stage though. Jess Conda is a cabaret and performing artist who was mostly recently seen on our stage in the cabaret extravaganza, Do You Want A Cookie? by the Bearded Ladies Cabaret in the 2018 Fringe Festival, but you may have also caught her in 1812 Productions’ Broads this past February. She has also joined us onstage for Get Pegged Cabaret in the past, 99 BREAKUPS (2014) and Pay Up (2013) with Pig Iron, and as a band member of the popular group Red 40 and the Last Groovement. In Philadelphia, she’s also a Teaching Artist at Wilma Theatre, has performed with a multitude of organizations including BRAT Productions, Arden Theatre, and Shakespeare in Clark Park, and she is a two-time Barrymore nominee for Outstanding Ensemble in a Play.

Jenn Kidwell has collaborated with a number of past Fringe artists and is notably not only a company member of Lightning Rod Special, but is also the lead artist on their work Underground Railroad Game, which won an Obie Award in 2017 for Best New American Theatre Work and was hailed as one of the 25 Best American Plays Since Angels in America. She was last seen on the FringeArts stage in Geoff Sobelle’s HOME in the 2017 Fringe Festival, and was also seen recently in Sans Everything with Lighting Rod Special and 99 BREAKUPS with Pig Iron.

Mel Krodman is also a familiar face, especially if you came to see THE TOP at FringeArts in 2017 from No Face Performance Group. As a company member of Pig Iron Theatre Company, Mel was also seen in A Period of Animate Existence (2017) and Swamp Is On (2015), and she has choreographed a number of works with collaborator Kelly Bond, appearing in the Independent Fringe Festival (Elephant (2010) and Colony (2012)) and our season programming as well (JEAN & TERRY: Your Guides Through Dark, Light and Nebulous (November 2016)). Mel is also in another High Pressure Fire Service show, which leads us to June…


Team Sunshine Performance Corporation (TSPC) will be producing the third iteration of their 24-year series The Sincerity Project. This work, The Sincerity Project #3 (2019), will feature the same cast as the first two productions and follow the lives of the performer-creators as they change and grow every two years. Dedicated to creating opportunities for people to share in the pleasures and difficulties of our collective contemporary experience, Team Sunshine was last seen on the FringeArts stage in April 2018 with their bilingual production ¡BIENVENIDOS BLANCOS! or WELCOME WHITE PEOPLE!, and in 2017 for The Society of Civil Discourse, a co-production with The Philly Pigeon. The cast features Mel Krodman (see above), Benjamin Camp (Founding member of TSPC), Makoto Hirano (Founding member of TSPC) , Aram Aghazarian, Jenna Horton, Mark McCloughan, and Rachel Camp and is directed by Alex Torra (Founding member of TSPC).

These performers come from all over Philadelphia every two years to put together the next iteration of The Sincerity Project, and where are they now? Benjamin has performed with a number of groups around Philadelphia (Pig Iron, Shakespeare in Clark Park, etc) and was lead artist for TSPC’s Punchkapow, Terrarium, and Zombie Defense. Currently, he is also a realtor with The Kelly Group, selling houses to artists all over Philadelphia. A former US Marine, Makoto is currently a dance and theatre artist who has created over 20 original roles and collaborated with artists such as Bill Irwin, Thaddeus Phillips, and also Pig Iron Theatre Company. In addition to co-founding Team Sunshine, he also created an art duo, Gatto+Hirano. Aram is currently on the faculty at the Pig Iron School and has performed with the company as well (Swamp Is On (2015), 99 BREAKUPS (2014), Pay Up (2013)), co-founded Strange Attractor Theatre Company (Sans Everything (2017)), and has also performed with Lightning Rod Special and SwimPony Performing Arts in the past. A performer as well as a writer for thINKingDANCE, Jenna has collaborated with a wide range of artists including past Team Sunshine works, Annie Wilson, The Berserker Residents, SwimPony, Applied Mechanics, Lightning Rod Special, Shakespeare in Clark Park, Chris Davis, and The Bearded Ladies Cabaret.


Mark is one half of No Face Performance Group with Jaime Maseda (recently seen in The Appointment last month) and performed THE TOP (2017) at FringeArts. They are also a writer and visual artist, with poetry awards from the American Poetry Review and L+S Press. Rachel is a theater and teaching artist who has performed across the city with Philadelphia Theatre Company, Opera Philadelphia, Arden Theater, 1812 Productions and more, and she has been nominated for 5 Barrymore awards, winning Outstanding Supporting Performance in a Musical for The 25th Annual Putnam County Spelling Bee at Theatre Horizon. And finally, director Alex Torra is a Swarthmore professor, a 2018 Pew Fellow, the director for all of TSPC’s major works, a regular collaborator with Pig Iron Theatre Company, and he has received fellowships from the Independence Foundation, the Philadelphia Live Arts Brewery, the Princess Grace Foundation, Oregon Shakespeare Festival, and NY’s Drama League. The cast of The Sincerity Project #3 (2019) has touched just about every corner of Philadelphia theater.

In late June, we’re excited to close out High Pressure Fire Service with a new work that’s part musical, part choreopoem, and part play, Circuit City by Camae Ayewa, stage name: Moor Mother. Camae is a prolific poet and noise musician who has made Philadelphia her home and is taking on the housing crisis, highlighting the connections between public and private ownership and technology through original poetry and live music by the Irreversible Entanglements and the Circuit City band.

Camae is co-founder of Black Quantum Futurism Collective, a literary and artistic collaboration with Rasheedah Phillips, and Rockers! Philly, an event series and festival focused on marginalized artists. As Moor Mother, she has released more than a dozen EPs since 2012, and just recently became one of the newest members of the Art Ensemble of Chicago, a group whose work she’s long admired. She’ll be featured on their upcoming album We Are On the Edge later this year. In her music and her public work, Camae sees herself as an archivist of black memory against erasure, and this work will be no exception. You can get a feel for Moor Mother’s musical style by listening to her 2018 album, FETISH BONES.

We’re excited for such a creative and collaborative cohort of artists to be joining us at FringeArts this May and June. Click below for more information on each show, and make sure to purchase a subscription for the best deals on tickets! You can also check out our blog post: Who’s Who in High Pressure Fire Service, part one.

A Hard Time
Pig Iron Theatre Company
May 1–12, 2019

The Sincerity Project #3 (2019)
Team Sunshine Performance Corporation
June 4–8, 2019

Circuit City
Moor Mother
June 20–22

HPFS Subscriptions:
15% off tickets to 3-4 performances / 30% off for members

Single Tickets:
$31 general / $21.70 members
$15 students and 25-and-under
$2 FringeACCESS members

Happy Hour on the Fringe: Conversation with Brad Wrenn of The Berserker Residents & Christa Cywinski

Posted March 29th, 2019

On this episode of Happy Hour on the Fringe, Bradley Wrenn, part of the The Berserker Residents and Christa Cywinski, Director of Trinity Playgroup, sat down to talk about the planning and playing behind Broccoli, Roosevelt and Mr. House! and the connection between learning, playing, and building a show for a family unit to enjoy.We took a field trip to record at Trinity Playgroup, so you may hear the sounds of…well, playtime! Listen to the podcast or read the full transcript below.

Conversation with Bradley Wrenn and Christa Cywinski

Brad: My name is Bradley Wrenn and I am one of the ensemble members of the Berserker Residents. We’ve been making work together since 2007. Me and two other ensemble members – Justin Jain and David Johnson make up the Berserker Residents. And we’re making a show called Broccoli, Roosevelt, and Mr. House!.

Christa: That’s a good title. I am Christa Cywinski and I’m the director of Trinity Playgroup. Trinity’s a small little non-profit preschool for 2-5 year olds. I’ve been here for 20 years, the school’s been here for 50 years. We’re excited to be celebrating our 50th anniversary.

Brad: Wow.

Christa: So I’m curious about the name of your show. And you mentioned a little bit about being a clown troupe, I’m curious about that?

Brad: Yeah. The way we make work is by investigating something we’re interested in and following it to a logical end. Oftentimes that will be the show. All of our shows are always live events, meaning that we’re always acknowledging the audience, they’re always in the room with us. Oftentimes we will cast them. So we did a show in 2008 that was a scientific lecture, and so the audience was at a scientific lecture. We did one that was a sci-fi futuristic one and the audience was the last of humanity and we were trying to save them. They’re oftentimes there, in the room with us, and we acknowledge them. It’s sort of using theater’s superpower, one of the super powers of theater, that the people are actually in the room with us. We can’t beat movies when it comes to effects and visuals and stuff like that, but we can beat moves in that we’re here with them, experiencing something with them and making it very live. And I think actually in our last three shows, we’ve stripped more and more of that way and thought about how much control we can give to the audience and let them dictate or provoke us? It gets scarier and scarier. Because with the audience, the more control you give them, the more you let them be the main character in the show, the more you don’t know what’s going to happen. And so it gets scary.

Christa: Especially with a child audience.

Brad: Yeah!

Christa: So is it always for kids? This one is for ages 5 and up.

Brad: No actually, all of our shows have been for adults so far.

Christa: So you could go in some really different directions from Broccoli all the way down the tunnel with the kids.

Brad: Yeah, yeah! Our last show that we did was called It’s So Learning – it was actually all about industrialized education and sort of the mechanisms of education. The audience came in sat in little chairs and were given back-packs for the show, and we sort of put them through a whole sort of American education in about 70 minutes.

Christa: Like gum under their seats.

Brad: Precisely. Yeah, and specifically exploring some of the trauma around that, some of the hard things about school. Essentially, the show was about your experience in education, and viewing it through that lens, being like, oh I remember Lord of the Flies, I remember having anxiety around tests, I remember being promised these things and not knowing why I was working for these things and the reward and the punishment and all that. But then, both of my collaborators have kids at this point.

Christa: Okay. Makes sense.

Brad: So we’re always up for a challenge, so obviously giving with an audience of kids, giving the reins of the show to kids is really scary. That’s where we headed, and we’ve been working on the show for six, seven months. We’ve done a lot of showings.

Christa: So do you think of it as an improv group?

Brad: No, no.

Christa: So how do you give the reins away?

Brad: So right now the show is just a series of what I would just call bits at this point, or lazzis.

Christa: What are lazzis?

Brad: It’s an Italian word that means like, little schtick.

Christa: Okay. Lazzi. Sounds like a good food.

Brad: I know, right? Sweet Lazzi. So for example, there’s a moment in the show where we have enormous boxes of colored ping-pong balls and we say we’re going to play a “video game,” and we give the kids the ping-pong balls and let them throw them at Dave. And it just becomes—

Christa: That is gunna–yeah. A lot of laughter there.

Brad: Yeah. And we’re sort of saying like, how far can we go in that direction, of just like – it’s a playground, and it’s chaos and we don’t have control. And then sort of riding that line of can you then regain control after that?

Christa: You definitely can.

Brad: So we do improvise, that’s how we build our shows, we’ll improvise and say, oh that’s fun, we did that, let’s script that. And now let’s put it back on its feet and improvise some more. And then we’ll script that. That’s the cycle of how we do it.

Christa: And you try it out on your collaborators’ kids?

Brad: Oh yeah. I mean we’re a little limited. The showings we’ve done, like four at this point. We’re just like, how can we get some kids in a room? But at this point it’s very much like trying to find the boundary of how much play and free flowing whatever’s happening, and then we have a structure that we sort of go from place to place, but it’s a real give and take. We’ve done a super scripted children’s show but that’s not what we’re interested in with this one. We’re interested in something that says yes to the proposals in the room.

Christa: Mhm. Yeah, we’ve done shows like that here, where the troupe will take a few ideas from the kiddos, like a character, where they’re going and what problem did they have, and then just do a whole show from there.

Brad: Yeah, yeah. And I think, you know, it’s like a pendulum of how free and how open it wants to be, and also there’s a thing where it has to be fun for us. If it’s not fun for the three of us, we know that we’ll start hating it and then it won’t be fun for anyone.  So it has to be fun and it has to be joyful for us to do because I think sometimes when things are so open, it becomes chaos and you’re like, ah, this isn’t fun. It’s just crowd control. So finding that pendulum is important.

Christa: The kid audience though, you have experience with this audience, it gives you a lot. I can’t imagine it not being fun performing to the young audience.

Tenara: But I feel like so much of art and clown school is locating play in adult bodies.

Christa: Right. Right.

Brad: Yes. I mean, that’s 90% of the work.

Tenara: Exactly.

Christa: But kids go there super naturally. Right? Like, ‘jump into the pond!’ Okay, this is the ground and that’s the pond. They go there in a second. You have to like, leave a lot of stuff behind to put yourself back there.

Brad: Yeah. It’s wild. We went and studied with this provocateur clown teacher in France named Phillipe Gaulier, at his school. And essentially, all he cares about is pleasure on stage. He says nothing else matters but pleasure on stage and joy. But it is wild to see an adult get up in front of a group of peers and just fail to find that play, over and over, or comes with too many ideas, or comes with a desire to be clever. I mean, instantly it dies and it’s not watchable. And that’s why watching kids play tag is oftentimes more entertaining than theater because they are actually just purely alive and joyful and they just –

Christa: They hide in plain sight!

Brad: Yeah! And they find stupid games, and the inventiveness is just infinite! But with adults we start to edit ourselves, and we start to be clever, and are just “funny”. We want something from the audience, whereas a child who’s playing is just in the moment and present, and so is so watchable. Trying to get to that weirdly becomes work.

Christa: I mean, we’re just part of their play world, right? We’re facilitating play, we’re putting out offerings, we’re observing. Lots of observing, lots of listening to the really funny things that they say. And looking for those little sparks of what interests them and offering them something else, repeating things.

Brad: Do you think there is an age, or do you see it – what’s the oldest here?

Christa: The oldest would be almost six by the time they leave us, but in the beginning of the year, I’m gonna say 1 ½ to 4 ½ years old.

Brad: And six is like first grade, right?

Christa: Like, kids with late fall birthdays might be six when they’re going to kindergarten. Folks can stay here until entering kindergarten.

Brad: I just am curious about when it becomes hard to play. When it becomes – and maybe it’s not until teen years, maybe that’s when you start to become self conscious.

Christa: You see changes across even just our age group though. But in terms of being self-conscious a little bit, you see a little bit of oh, I don’t want to do that even creeping up in the Pre-K year.

Brad: Being aware of your peers? Like I don’t want to do that because I’m worried of what people will think?

Christa: Yeah. I think you see a little bit of that, you just see a little bit of I know that people are thinking something, so I’m going to showman a little. You start to see that awareness changing in this year before kindergarten, so it’s early.

Tenara: And doesn’t it develop alongside, you know, like, they talk about parallel play when they’re toddlers, just playing next to each other, and as they start to integrate play with each other they also start to integrate that awareness and testing boundaries of what people think?

Christa: Absolutely.

Brad: I mean, and that’s the thing about getting in front of an audience, it’s such an odd thing because the best clowns that I know don’t care what the audience thinks. It doesn’t mean they don’t want anything from the audience, they’re just present and there and open. But they’re present the way an animal is or in the way a very young child is makes them instantly so captivating. It’s like getting rid of judgment and just trying to find that fun and joy.

Christa: There does seem to be personality types where it’s easier to keep connected to play. So you don’t have to teach kids how to learn, or how to play. Everything they’re doing in terms of experiencing the world and playing is how they’re figuring things out. You can offer things, you can scaffold things, you can be part of it in a social piece, but you don’t really have to teach them that if you put water in this, this becomes the cup, you know? They’re just going to start experimenting. The toys with no explanation are better, with no beginning, middle, and end of how you have to use them and no like, this is what this is for. You can put out a box and they’ll just start making ramps and putting things in it, turning things upside down, they learn by just being hands-on, trying things. Then they start to watch each other , help each other do things a little bit, getting ideas from each other. You see that sort of brainstorming camaraderie develop. A little bit later comes the competition.

Tenara: When does that start?

Christa: I think you start to see it pretty young.

Brad: When you say competition do you mean like footrace? Like a competition for resources? Or like, ‘that’s mine?’

Christa: A little bit of both, yeah. I mean at this point with our kids, they’re young, so it all makes sense and it’s developmentally on target but there is a bit of, oh, I gotta do that the fastest, I gotta do that first, gotta be in the front. You know, they’re all still building their ego-strength.

Brad: That’s so interesting.

Christa: And then that sort of settles out again, those are just stages.

Brad: Peaks and valleys.

Christa: Yeah. Yup.

Brad: It’s something that we’re after with this show, like we’re looking at how to allow organic games to come up in a performance, like not even plot and narrative, just for organic games to come up. Like with the ping-pong balls. But there’s also this interesting thing in that making the show, we’re very cognizant that we’re not making “just” a kid’s show, we’re making a family show. We’re making a show for a unit. We saw a show in Edinburgh that really just bowled us over, because it was made for a unit. It wasn’t like, come drop your kids off in the front and then you go in the back. It was a show for a family unit.

Christa: That sounds fun.

Brad: Yeah. There’s something about if you just let play happen, the adults in the room get anxious? They’re like – ‘who’s in charge, what’s going on? This isn’t curated enough! It’s gone off the rails!’ So we’re cognizant of the adult presence, to be like, ‘hey, we’ve got this, this is supposed to happen here. Now we’ll get things back on the rails.’ And something incredibly virtuosic and composed will happen. And then we’ll let some organic play come into it. Doing that pendulum of keeping an eye to the adults in the room is really an interesting tight-rope.

Tenara: How do you get them to play with their unit?

Brad: I mean, one of the things that always works – always works – and we’ve done it and it works even in an adult context is that you go and get a dad. There’s something about the status of a dad. You can make fun of a big dad. And dads will then be performing for their kids, and it becomes this weird thing of bringing a dad up on stage work. Doing something really silly with that dad and making him really silly causes a whole audience to lean forward. It’s weird. There’s gender involved with that, there’s status involved with that, there’s family dynamics, but I’ve seen it work so many times. Pulling a dad up and putting a tutu on him. Dr. Brown, this clown we saw in Edinburgh literally takes a dad and turns him into a soccer ball and kicks him around the stage. And the dad does it because the dad wants to make his kids happy.

Christa: You gotta connect with the right dad though!

Brad: Yes, you’re totally right. There’s a particular kind of dad. You have to pull the right dad, you have to think and be looking for that dad in that moment.

Christa: My dad.

Brad: It makes the whole audience learn forward. It’s wild. It works. That causes that family unit to lean in.

Christa: I mean, the kids laugh a lot here when teachers get pulled into things, whether it’s like, ‘alright, Heather, show us your dance moves!’ or like ‘put on the firemen’s jacket!’ Whatever it is.

Brad: Yup. And I think there’s a whole way to access a whole new kind of audience participation by modeling an adult doing it first. And then you bring a kid onstage and let a kid do something. That’s its own narrative arc. You have to do it in a way that doesn’t feel forced and that takes really good care of everybody. It’s not great when a person gets pulled onstage and is not taken care of and is just sort of forced to do something really uncomfortable. Whereas with working with audiences and playing with an audience – it feels organic and the person should always know what to do. They always know what the right answer is. And know the right way to play. And know that there’s no wrong way to play. You have to set that up. Or you just give them a very narrow path to walk on – like, hey, can you make the sound of a cow? Boom! Of course they can! There’s no wrong. I think that’s the biggest thing, that’s the anxiety with play.

Christa: Definitely with kids a little bit older, but not in the beginning. There’s definitely no wrong at the beginning.

Tenara: So I’m curious, this is a question for both of you. For you, Brad – is there an age group that you have found in the showings of this piece that is the sweet spot for those kids, before the anxiety sneaks in? Or is it really just about setting up this culture with the unit? And Christa, is there – in what age do you see that ‘there’s a wrong answer, so it’s safer to not play’ start to happen? Is it developmental or is it external?

Christa: Oh. Both. For sure both. Because you can foster an environment that says it’s all okay, or you can foster an environment with a lot of limits. And that will change the nature of the way somebody grows. But I would say for almost all the time that we see kids in this school, they’re still pretty not rule bound, in terms of they’re taking risks, they’re just doing it. Not thinking, just doing it. In terms of like their play outside of their school settings, I think they’re probably still pretty open for a while too.

Tenara [to Brad]: Have you found that there’s an age where it’s harder to reach them?

Brad: Well, the showings we’ve done tend to run with younger kids, like two, three, four, five year olds, just because that’s the age of my peers’ kids. Which is not actually the group that we’re making the show for. We’re aiming a little older than that with five plus. It’s harder to get a group of just nine year olds. And also I think the other thing is because Justin, Dave, and I have all done children’s theater in other capacities, and performing for a group of kids with like five teachers is so different than performing for kids with their families. It’s a totally different audience and a totally different beast.

Tenara: How is it different?

Brad: I mean, a group of kids where the ratio is five adults to 35 kids are a frenzied beast, just like ‘Wahhh!’. I mean they’re easy to pump up but it’s a little like going to a concert with that group. With a group of kids with their adults, it becomes much more timid, and there’s also a lot of checking in with your unit.

Christa: But we all have different personalities in our family unit than we do out there in the school world or the work world – whichever world you’re in. So it’s different sides of ourselves get shown.

Brad: Yeah, yeah. And so I think it’s tough in making a show because it’s hard to get access to that thing. I mean, we’ll do showings up until the day we open at Fringe, but we probably won’t get the audience we’re going to have at Fringe until we open.

Christa: But then so why is that the age group that you’re shooting for? Not because it’s what you think is the sweet spot. You just want to try it with this group?

Brad: We just saw some shows in the Edinburgh Fringe Festival like 20-30 kids whows, and kids shows made for 5 and under – there was one that worked, and they did like every little bit in the book that you can think of for that age group. Cover your head with a blanket and have the person behind you sneak up, and they all go ‘he’s behind you!’

Christa: Oh they love it.

Brad: Yeah, they love it, and it works.

Christa: The slapstick.

Brad: Yes, and like, the peekaboo type stuff, yeah. But we knew that that wouldn’t be fun for us. For the three of us. We want to do something that was just a click up, and then there was something about this show that was called Dr. Brown and the Singing Tiger that was for more like a family unit, a little bit older, and it just felt really special for a unit. And we were like – I don’t know what that is, but I want to try and crack it. And I think that’s the thing that we’re interested in. We wanted to make a show that winks just a little bit to the adult not in a double entendres way, but more in the way that’s like, come along and play the way you used to.

Tenara: What is it about a family unit that is the thing that has the heat for you guys in this piece?

Brad: I guess there’s a way that there’s an audience built inside of a family unit. There’s parents watching kids and kids watching parents while they’re sitting next to each other, that becomes this force of kids watching the show, parents watching the show, kids watching parents – it’s just so interesting to me. When we’re setting up the audience at front, we thought, oh let’s put cushions down at the front, but then thought no.I want people to be sitting next to each other. I want whatever your family unit is, I want the adult/child mix that comes to the show. That is really important to me. And I think it’s harder.

Tenara: I imagine it’s harder also because of the culture around family programming specific to this country. Like, it doesn’t surprise me that it was in Edinburgh where you saw that done successfully.

Brad: Yeah, I think you’re totally right, I think there’s a way in which children’s theater in the United States is thought of as not important programming. It’s often seen as like, ‘oh well, then we’ll just do a family show.’ We’ll just put some funny costumes on and flounce about and that’ll be enough. But in Edinburgh there’s a real value behind that stuff. I mean there’s more value on family programming in general in Europe, but I think there specifically children’s shows are – well, there’s a lot more rigor in making them.

Tenara: Well I’m sort of curious about the values that foster the family programming culture of Europe. Are they the same that foster the kind of education systems that tend to have more success in those countries? Or are they’re coming from different places?

Brad: I mean, the cynical part of me says – this is really the cynical part of me – there’s just more value on art in, specifically in Scotland. I think there’s able to be more rigor around children’s programming because it’s just valued as important, so there’s more resources, more rigor, more time spent, and so you get something that is better crafted.

Tenara [to Christa]: I think a lot about something that you said to me once, which is that all preschools should be play-based, and so it’s so funny that Trinity Playgroup’s supposed ‘niche’ is that they’re a play-based preschool. But isn’t that what learning is at that age anyway?

Christa: Right. Yeah, I mean it’s – there is a little rush to ‘prepare.’ There’s this idea of preparing. You know, preparing kids for school. You know, I can’t speak for other places outside of here, but certainly we know that kindergarten is more like what first grade used to be, and so that trickles down to us. And what parents are thinking about is involved of course.

Tenara: Have you seen that trend change since you started working here?

Christa: I have. However, you know, as things change they swing. So you know, now people are swinging back, thinking more about outdoor classrooms and different, more experiential school set-ups, even all the way through into high school, and different ways to create great schools and so I feel like, it got pretty sort of – the expectations were pretty high on young people for quite a bit. But I think they’re swinging back a little.

Brad: What is a non play-based preschool?

Christa: Well, there are a lot of schools that will, in an effort to follow standards, have really specific curricula for kids. I mean, there are schools that sit everybody down and we all make this at this time, these are the parts that you use to make it. It’s out there for sure. It looks like this, this is what the outcome should be.

Brad: Like, it looks like a sun and it should have a smiley face on it.

Christa: Yeah, like, here are the pieces already cut out.

Brad: So is everything here guided by the child’s sort of curiosity and what they’re after?

Christa: Not everything. No, because, I mean, the teachers are well-informed about child development and they think a lot about what things to introduce at what time. They’re orchestrators in the scene and they’re paying attention to what kids are interested in, and they’re putting out things related to that interest. The kids are moving around the space with whatever is out and available to them, the kids are moving around like, oh I want to go there, I want to go there, so that’s driven. But it’s not that they just walk in and everything is put away and they just go for it. The teachers are part of that process and creating the invitations for play.

Brad: Yeah. I mean, it’s not dissimilar from what we’re doing, and the stage we’re at right now with this piece. Where we’re just like, we have an idea and a provocation and we’re going to put it in front of the audience, and then we’re going to do our best to just be present and just be curious about what’s going on. And we have an outcome that we probably do imagine but if something else happens, that’s okay.

Christa: Oh, you’ll always be surprised.

Brad: Yeah, and to be open to that I think is the real fearful thing, the anxiety of like I want to control and I want it to go a certain way. But it’s always better if you just stay in the moment and just follow what’s in front of you. When you’re listening to your audience or your classroom.

Christa: Or to anybody in your life!

Tenara: Yeah, well there’s that too. Hopefully we carry that into adulthood!

HPFS Splash: Disconnecting with a Good Book

Posted March 28th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big questions: Where do you like to disconnect, and what are you reading?

Favorite Places to Disconnect:

“The Korean Spa”
–Alice Yorke, The Appointment

“Best Buy”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“My room in my pajamas”
–Jess Conda, A Hard Time

“My deck which overlooks the whole city.”
–Alex Torra, The Sincerity Project #3 (2019)

“Outdoors, listening to music.”
–Michael McClendon, A Fierce Kind of Love

“The shower”
–Camae Ayewa, Circuit City

What our HPFS artists are reading (though maybe not in the shower…):

Waiting for Godot was a very proto starting point for us. The piece has some texture from this early research, a few moments of quiet seeking came from this time.”
–Jess Conda, A Hard Time

“Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
–Alex Torra, The Sincerity Project #3 (2019)

Recurrence Plot by Rasheedah Phillips”
–Camae Ayewa, Circuit City

The Very Merry Xmas Carol Holiday Adventure Show, a Play by The Berserker Residents”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Roland Johnson’s Lost in a Desert World
–Suli Holum and David Bradley, A Fierce Kind of Love

Read last week’s HPFS Splash: Making Art in Philadelphia, and stay tuned for next week’s splash!

hpfs splash*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.

HPFS Splash: Making Art in Philadelphia

Posted March 19th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big questions: How has Philadelphia inspired your HPFS piece, and why have you made Philadelphia your home?

“I grew up in Philly. I love that it feels both intimate and grand…A Fierce Kind of Love is inspired by the intellectual disabilities movement in Philadelphia and Pennsylvania. It’s all about what was an untold civil rights story happening here. Philly TV news vet Bill Baldini’s in it, as well as grassroots activists like Eleanor Elkin and Leona Fialkowski.”
–David Bradley, A Fierce Kind of Love

Photo by Johanna Austin

I moved here 7 years ago to be part of the first class of Pig Iron’s grad program. I stayed because, especially then, it was easy to be an artist here. Not only was it affordable, but people who weren’t involved in the arts were interested in them. That last bit is still true. A lot of the [The Appointment] is derived from time I spent in Philadelphia clinics observing doctors and patients. There are whole passages that have come from texts that doctors are required to pass out to patients and/or recite to them. Some of it is the lived experiences of the patients in those clinics who are my neighbors and friends.”
–Alice Yorke, The Appointment

“You know what separates Philly from other cities? A couple miles of cheese steak infested corn product. Philadelphia powers our house, our Broccolis and our Roosevelts.”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Every time I’m walking around feeling city ennui–anonymous and lonely and just about to feel sorry for myself…I run into a friend I know. That feeling of small town in a big city is so rare. That’s a Philly thing. [In A Hard Time,] we say what we want to say, when and how we want to say it, just like most Philadelphians.”
-Jess Conda, A Hard Time

sincerity project

Photo by Jen Cleary

I came (back) to Philly in 2007 to work with Pig Iron, and in the process got introduced to the people who would eventually become my friends and collaborators. I stayed because this community of makers is really special, and the kind of work that I want to make is appreciated and celebrated here. Philly is a complex, sprawling, sometimes exhilarating/sometimes frustrating place — and I like that. It’s got a big city feel, but my community feels tight and familiar. But there are always new people and new places to encounter when things get claustrophobic. Also, it remains affordable despite changes in recent years. It’s a city that embraces what I do and provides the opportunity to live the life I wanna live. Many us on the Sincerity team have embraced Philadelphia as our home, and because the piece is based on our lives, the city is baked into our experiences, and therefore the work.”
—Alex Torra, The Sincerity Project #3 (2019)

I came to Philly in 1999. Where I used to live now is luxury condos, downtown where my college dorm was. It’s been through so many different changes. The everyday relationships with people in the neighborhoods, students that come in and out of the neighborhood, just the movement of the city and the everyday people I’ve been able to meet are inspiring. Philadelphia, we’re not really known for celebrating our citizens, besides the old revolutionary war kind of thing. John Coltrane should be everywhere. Billie Holiday should be everywhere. These are people that not only we can appreciate their music, but there’s so many levels that we can learn from them. WEB DuBois. Patti Labelle. Philly pales in comparison to these other places where they celebrate it…and not just people who are well established or rich like the people I named celebrity-wise, but everyday citizens. North Philly has amazing community members that won’t get any kind of shine outside of their own community that have been doing a lot of work whether it’s street cleaning or organizing others to vote.”
–Camae Ayewa, Circuit City

hpfs splashRead last week’s HPFS Splash: Philadelphia Favorites, and stay tuned for next week’s splash!

*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.