“As a nation, we are not comfortable talking about race, and yet race is central to the core being of this nation.”
Professor Talvin Wilks and National Medal of Arts recipient Ping Chong brought their collaborative performance Collidescope 4.0: Adventures in Pre and Post-Racial America to the University of Minnesota.
I chair the committee for season selection at UMN, and right now we are at work crafting a vision for the pledge we intend to make. We no longer talk about “risky” vs “butts in seats” but about “starting conversations” and “expanding community.”
"When Rihanna shaved Towley’s head in the opening scene of N.E.R.D and Rihanna’s 2017 hit video “Lemon,” Towley officially arrived. She was the standout star, delivering a viral performance that dripped with expression, strength, and swagger."
Collidescope 4.0 offers a collision course view of the legacy behind the history of racial violence, racism and social injustice in America. As seen through the gaze of an intergalactic time traveler, the investigation of this peculiar “nature” moves back and forth in time and space, specifically with a focus on the American psyche represented by contemplations of noted historical and contemporary writers and political figures.
“Within the first year, I took a class on set design from Prof. Lance Brockman,” Wendy said. “He suggested that I take scene painting. Three months later, I worked at Sesame Street Live.”
University of Minnesota Dance Program Head, Professor, and Choreographer, Carl Flink, teaches new U of M President Joan Gabel how to be part of a dance that mimics processes inside of a cancer cell.
Kealoha Ferreira was cast in a show by Ananya Chatterjea, who was a professor of dance at the University of Minnesota at the time. She was then invited to apprentice with the studio and is now an artistic associate, dancer and co-leader of the Shawngram Institute.
Greta’s primary research looks at the translation and performance of German theatre and its interactions with modern production companies and audiences. She is especially interested in German theatrical practices of the post-war eras of the 1930s and the 1950s.
Alina has a unique perspective from her time working internationally, which has inspired her exploration of immersive theatre and art for social change.
“The Skriker” blends English and Irish folktales with a non-linear structure to tell the story of an ancient fairy pursuing two young women in 20th century London. The Skriker is a...
