DIAP Portfolio

Excerpt from “Bring Me Flowers ”

Performed at Pregones/PRTT in the Bronx in November 2018

The full evening-length multimedia work navigates the intricate relationship between memory, geography and time creating a space for collective memory and forgotten histories. This section was inspired by a conversation with poet and activist Stephanie Alvarado. She discussed the complex feelings she has about the Bronx and how her sense of nostalgia for home can sometimes obscure underlying realities. The section begins after a brief series of political sound bites reveal a history of the Bronx. The use of Big Pun’s music further encapsulates the complexity through the harshness of his words as well as his life story as an artist who died at the height of his career because of complications from obesity. Arising from the legacy of structural violence and racism is anger and pain, and a desire to remember and mourn what has been lost.

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Excerpt from "trying to sweep back the ocean with a broom”

Performed at WestFest Dance in 2017

This evening-length work is an investigation of racial ambiguity and crossing the color line through the lens of the Rhinelander case of 1925. It explores the case of Alice Jones Rhinelander, a mixed race woman who was accused of defrauding her white aristocratic husband, Leonard Kip Rhinelander, by passing herself as a white woman and denying her black ancestry. The piece considers the ways in which we perform our supposed racial truths, how that intersects with the performance of gender and sexuality and how our bodies carry the weight of our histories.

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Excerpts from “Being is what I have been”

Performed at the Andrew Freedman Home for the opening of the En Foco Photography exhibit 

A site-specific work that explores the power dynamics of visibility and invisibility using the language of photography, particularly the rule of thirds, which refers to the balance of lightness and darkness in the composition of an image and is a metaphor for the hierarchy of color. It considers the ways in which blackness is visible but objectified, hyper-visible but unseen and how whiteness is invisible but always seen. It was performed on a balcony that was divided by three French doors with the audience watching from inside. The moments of invisibility that happened in between the door frames were captured by a live stream camera positioned on the side wall of the balcony and then projected inside, giving the audience two vantages points from which to view the work.

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Part of a series of site-specific dance responses and oral histories by Bronxites. Performed by Nic Kay. To be presented in May as part of the installation “Here goes the neighborhood…”

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Selection of performance works from 2014-2015 by Alethea Pace and by Sita Frederick in collaboration with Alethea Pace performed at Bronx Bards, Swarthmore College, Lower Manhattan Cultural Council and Teresa Diehl’s Breathing Water exhibit at No Longer Empty.

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Three images in a series that reclaims and reimagines a future Bronx by inserting people of color into the work in progress posters that announce new residential and commercial developments. The images will be presented in May as part of the installation “Here goes the neighborhood…”