Recent Podcasts

LaJuné shares about the inception of Black Movement Library: a database of motion capture data from Black folks they created, while seeking to avoid the paradigms of erasure, extraction, and exploitation of Black bodies. In their work, they encourage freedom and personal expression over correct data capture. They believe none of us are just numbers, and to treat our movements in our bodies as just data sets is very harmful.

Some stories transcend time and continue to resonate across generations. Undoubtedly, one might consider The Color Purple as one of those stories. Hosts Jordan Ealey and Leticia Ridley discuss this new movie musical adaptation of The Color Purple and delve into questions around the genre of the movie musical and the challenge and necessity of representing Black women stories on screen.

This week, Tjaša speaks with Josh Corn, a true renaissance man. He uses technology to tell absurd and subversive stories about humanity. Josh built René—the most technologically advanced robotic arm from 2002, who had her own circus act. He also made Field Day Games where you can compete with groups over video call to spill, drop, break, crack, ignite, and burn machines in their studio. Everyone wins except Josh. He has to clean up.

Maud discusses monsters, and the “humanization process”: the idea that humanity asks of us to leave some part of the world at the door and opt in for a very specific, very small part of all that life has to offer. They also dissect the West’s capitalist need to reject the consciousness of inanimate objects in order to participate in the consumer culture.

In this episode, hosts Jordan Ealey and Leticia Ridley talk about a filmed production of the opera X: The Life and Times of Malcolm X.

In this episode, Tjaša chats with director Igor Golyak of Arlekin Players about the power of virtual theatre and the experience of using technology that had never before been used for live performance. And if you were wondering why there was a twelve-foot robotic arm on stage, serving coffee and sweeping the floor in The Orchard at Baryshnikov Center, Igor thinks that’s what Chekhov would have wanted.