Tamiko Nimura catches up with the Relay Dance Collective and talks about their “Paradigm Shift” in the dance and hip-hop community.
Author Archives: Tamiko Nimura
About
- E-mail: email author
- Website: http://kikugirl.net
-
Flattr Us
Tamiko Nimura catches up with the Relay Dance Collective and talks about their “Paradigm Shift” in the dance and hip-hop community.
We learned this lesson in Portland from our daughter: It’s one thing to see the full boxes, to see the food that’s being given. It’s another thing to see the hunger. Tamiko Nimura gets back to basics.
In the middle of an intense and challenging tech week, Koch was kind enough to provide some insights on collaboration in dance, choreography, and his version of Rite of Spring, which promises to be exciting on a number of levels.
According to the “Unsilent Night” website, Phil Kline composed the piece in 1992, originally as a one-time way to bring back the experience of caroling and combine it “with his love of experimental music.” Because he was working with boomboxes, he wrote the piece to last 45 minutes, or the length of one side of a cassette tape.
On October 18th, Alan Lau and Susie Kozawa (longtime collaborators and working artists) will be revisiting a piece that they originally presented at the Seattle Art Museum in 1996. Lau’s part, initially a response to the Seattle Art Museum’s exhibit “In The American Grain,” will provide a reading poetry as well as words from four modernist American artists, while Kozawa will respond to Lau’s poetry as well as the space itself. Over e-mail, I asked the two to talk about their experiences with artistic collaboration, their experience with this piece, and with each other.
From these questions and these spaces, I wanted to start something a little different: a series highlighting collaborations among Seattle-area artists. I want to break down the myth of the solitary artist. I want to find out more about artistic collaboration: the rewards, the challenges, and the logistics. I want to get to know the practitioners, the people who are doing collaborative work, not just the people who talk about collaborative work. I want to see the contours of how Seattle artists work together. I want to see how that might inspire other artists within and outside Seattle.
Tamiko Nimura interviews novelist Laurie Frankel about her new book, Goodbye For Now, a speculative novel about technology, death and dying, human foibles and acceptance. And model airplanes.
Ichiro’s image was linked in my mind with my father, my cousins and uncles, the members of my Japanese American family who love baseball. Ichiro is Japanese, not Japanese American, but seeing him at the plate reminded me of those Ansel Adams pictures, taken of Japanese American players during World War II, behind barbed wire. Ichiro was a Japanese man, succeeding wildly at an all-American pastime.
The theme of this show was “First Times,” so each of us talked about a first experience: first girlfriend, first trip to Europe, first road trip, first Communion. I’d originally pitched mine as the story of doing my first yoga headstand. After a while, though, the first headstand story became intertwined with another first time story: that of losing my job. How did I put them together? I hope you’ll listen and find out.
True-life storytelling, I’ve come to see, is actually terrifying for an introvert writer. It’s what happens when all the trappings, the crutches, and the podiums have been taken away–when the distance between the teller and the listener is no more than a cafe table’s breadth away.
