Kinstillatory Mappings in Light and Dark Matter

Gathering in care, and brought together by devynn emory, we invite you to the first Kinstillatory fire of this spring! 

For this spring fire, Asiya Wadud brings generous words of poetry; devynn emory reads new text from kindred SJ Norman; plus devynn and Joseph M. Pierce shares the practical and ceremonial fire.

“Lighting the fire can invite a new beginning, and putting it out can release forgiveness. You are invited to join fire as we gather to elongate a pause to generate warmth, and release. May we practice together, evoking our next moving steps.” 

Please join us, with love and solidarity and hope,
Karyn and Emily

This gathering will be held in the Abrons Amphitheater. By attending this gathering, you are required to respect our Community Agreements:

• Wear a mask over your mouth AND nose at all times.
• Maintain 6 feet of physical distance from others at all times.


ABOUT

Emily Johnson, originally from Alaska, is an artist who makes body-based work and the artistic director of her performance company, Emily Johnson/Catalyst. A Bessie Award-winning choreographer, Guggenheim Fellow, and recipient of the Doris Duke Artist Award, she is based on the Lower East Side of Manahatta in Lenapehoking. Emily is of the Yup’ik Nation and since 1998 has created work that considers the experience of sensing and seeing performance. She is a land and water protector and an activist for justice, sovereignty, and well-being. Her dances function as portals and installations, engaging audiences within and through space, time, and environment – interacting with a place’s architecture, people, land, history, and role in community. Emily is a co-compiler of the document, Creating New Futures: Guidelines toward Ethics and Equity in the Performing Arts, is developing a Global First Nations Performance Network with colleagues Reuben Roqueni, Ed Bourgeois, Ronee Penoi, Lori Pourier, Vallejo Ganter; and has hosted ceremonial fires, in partnership with Abrons Arts Center on the Lower East Side, since 2017.

Karyn Recollet Ph.D. is an Assistant professor in the Women and Gender Studies Institute at the University of Toronto, Ontario, Canada. She is an urban Cree scholar/ writer currently living in the Williams Treaty territory, and teaching in the Dish with One Spoon treaty territory. Recollet explores celestial land pedagogies as ‘kinstillatory’ in her work – expressing an understanding of land pedagogy that exceeds the terrestrial. Recollet thinks alongside dance making practices, Hip hop, and visual/digital art as they relate to forms of Indigenous futurities and relational practices of being.  Recollet co-writes with dance choreographers and artists engaged in other mediums to expand upon methodologies that consider land relationships and kinship making practices that are going to take us into the future.

devynn emory (Lenape / Blackfoot) is a choreographer, dance artist, bodyworker, ceremonial guide, acute care/ hospice/ COVID nurse and medium. new work deadbird and can anybody help me hold this body will premiere March 31 in NYC and tour to PHL, PDX and LA across turtle island. www.deadbird.land

Asiya Wadud is the author of Crosslight for Youngbird, day pulls down the sky/ a filament in gold leaf (written with Okwui Okpokwasili), Syncope and No Knowledge Is Complete Until It Passes Through My Body. She teaches poetry at Saint Ann’s School, Columbia University, and at Pacific Northwest College of Art.


FUNDING

Kinstillatory Mappings in Light and Dark Matter was created with funding from The MAP Fund, supported by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

The 2020-2021 Season at Abrons Arts Center is supported, in part, by generous grants from the Howard Gilman Foundation, the Mertz Gilmore Foundation, the Harkness Foundation for Dance, the Jerome Foundation, the Scherman Foundation, The Andrew W. Mellon Foundation, the Andy Warhol Foundation for the Visual Arts, the Jacques and Natasha Gelman Foundation, the Jerome Robbins Foundation, the Trust for Mutual Understanding, and other generous Henry Street Settlement funders. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs and support from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Image credit: Ian Douglas