Transatlantic Conversations, hosted by the Pomona College Department of Theatre and Dance was a collaborative class and devised theatre project that looked at the ways people of Africa, the African Diaspora and the west engage with each other.
This past fall I read that two scholars I deeply respect were going to be guest editing a special issue on the arts and engagement for Public, a relatively new public humanities journal being put out by a crack team affiliated with the Imagining America consortium. I knew that I had wanted to retool some of my writing from a public talk that I had given the previous year with a Chicago-based group of artists called Honey Pot Performance (HPP) for the journal, and decided to jump at the chance to get my writing in front of this fabulous editorial team.
Nick & Vivi reflecting on Arshile Gorky’s The Artist and His Mother at Whitney Museum of American Art, NYCEach winter, soon after welcoming a New Year, my family and friends enter the time of commemoration and remembrance. On a frigid day of January 14, 1990, my dad and I began our 3-days long vigil at a Moscow airport. We were not alone. We joined a strange community that was united in grief, fear and hope waiting anxiously for each plane arriving from Baku, the capital of Azerbaijan.