by Emily Colucci on January 11, 2017
Sitting in Ni’Ja Whitson’s A Meditation On Tongues Sunday night, I couldn’t shake the feeling that I was watching ghosts. Part of the American Realness festival, their moving performance (Note: Ni’Ja identifies as gender non-specific and prefers the pronouns “they/their”) reinterpreted Marlon Riggs’s seminal 1989 film Tongues Untied, which explored the fraught intersection of black and gay male identity during the critical years of the HIV/AIDS pandemic.
More than an ode to an important cultural object, A Meditation On Tongues seemed like a raising of the dead. By appropriating the film’s dialogue and imagery, Whitson and their fellow performers channeled the lost generation of black gay men depicted in the film through the bodies of today’s gender nonconforming and queer artists of color. This allowed Whitson to not only address a wider range of gender presentations, but also powerfully represent the ongoing legacy of Riggs and other late poets, writers and dancers in Tongues Untied.
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by Paddy Johnson on January 15, 2016
There are times when the apocalypse may be warranted. That’s a statement I never thought I’d even consider making, but after seeing M. Lamar’s stunning operatic masterpiece, “Destruction” at Abrons Art Center, I’ve come around on it. (The show runs tomorrow at 10 pm and is part of the American Realness Festival.) The libretto (co-written by Lamar and Tucker Culbertson) tells a retribution story from the perspective of a black descendent of slaves. Distraught over the loss of life that occurred during times of slavery, segregation and neo-segregation, he calls the dead back to life. When they wake, they are very, very unhappy.
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