In this lecture demonstration, co-director of GROUND SERIES dance collective, Sarah Ashkin will share her ongoing research marking the legacy of racism within western concert dance.
Sarah believes the possibility for transformation, reimagining, and the radical honoring of the body is more tangible in our dance spaces and practices than in most other places in western capitalist society. For this reason, she asserts that it is critical to engage in vigilant confrontations of white supremacy within our dance training, performances, and embodiment practices. As a white dance thinker, maker, and teacher working within the legacy of western concert dance, Sarah sees this anti-racist work as a practice of self-reflection.
The gathering will begin with a sharing of scholarship, poetry, and performance as food for thought-moving, and end with a group dialogue. All are welcome.
This community conversation is part of a series of gatherings linked to GROUND SERIES’ current work-in-progress, task, a dance theater duet using the platform of the proscenium dance performance as a public confrontation of white supremacy. task will open at Highways Performance Space August 17th &18th at 8:30PM. For more information and tickets visit sarahashkin.com/task
Donations to Black Lives Matter will be collected at this event.
Sarah Ashkin is an interdisciplinary dance maker, educator, and cultural worker based in Los Angeles, California. Sarah earned her BA from Wesleyan University in Dance Performance and Choreography and Environmental Studies, and a MA from University Roehampton in Dance, Politics and Sociology. She is the co-director of GROUND SERIES dance collective, a collaborative/multimedia/inquiry-based ensemble using performance as embodied intervention. Sarah has trained with Urban Bush Women, Anna Halprin, Eiko and Koma, Ishmael Houston Jones, Colin Poole and Simon Ellis, Headlong Dance Theater, and Pedro Alejandro. In her work as a dance educator, Sarah leads social justice driven site-specific dance curriculum, in which students learn about the histories beneath their local parks, memorials, and train stations through ethnographic choreographic processes. As a social practice dance scholar, Sarah confronts the ways in which white supremacist histories and practices impact dance education through performative, written, methodological, and administrative interventions. Sarah’s most recent creative investigations reside at the intersection of critical whiteness theory, the social infrastructure of western dance, and the body as somatic archive. As part of this work, Sarah has been facilitating conversations about racism, education, dance, and meaning making for the past three years with students, teachers, and administrators in dance education settings.
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