Hostname: page-component-77c89778f8-gq7q9 Total loading time: 0 Render date: 2024-07-21T07:45:54.706Z Has data issue: false hasContentIssue false

Chameleonic Survivalism

Jaamil Olawale Kosoko’s “Adaptive Strategies and Ways of Being in the World”

Published online by Cambridge University Press:  16 June 2022

Abstract

Jaamil Olawale Kosoko’s work focuses on adaptability and survival. Kosoko’s April 2020 Chameleon (The Living Installments) exemplifies the importance of an individual artist’s responses to the Covid-19 moment, the historical imperative for hybrid in-person/online performance, how 21st-century liveness functions in performance, as well as political awareness of artist-centered approaches to curatorial practice.

Type
Article
Copyright
© The Author(s) 2022. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Anderson, Patrick, and Menon, Jisha. 2009. “Introduction: Violence Performed.” In Violence Performed: Local Roots and Global Routes of Conflict, ed. Anderson, Patrick and Menon, Jisha, 114. London: Palgrave Macmillan.CrossRefGoogle Scholar
Bench, Harmony. 2020. Perpetual Motion: Dance, Digital Cultures, and the Common. Minneapolis: University of Minnesota Press.Google Scholar
Berger, Nicholas. 2020. “The Forgotten Art of Assembly: Or, Why Theatre Makers Should Stop Making.” Medium, 3 April. https://medium.com/@nicholasberger/the-forgotten-art-of-assembly-a94e164edf0f.Google Scholar
Bragin, Naomi. 2014. “Shot and Captured: Turf Dance, YAK Films, and the Oakland, California, R.I.P. Project.” TDR 58, 2 (T222):99114. doi.org/10.1162/DRAM_a_00349.CrossRefGoogle Scholar
Burke, Siobhan. 2017. “Framing the Unruliness of Life and Loss in a Black Box.” New York Times, 5 December. www.nytimes.com/2017/12/05/arts/dance/jaamil-olawale-kosoko-seancers.html.Google Scholar
Burke, Siobhan. 2020. “This Artist Proposes a Community Space ‘to Dream, to Imagine.’” New York Times, 15 April. www.nytimes.com/2020/04/15/arts/dance/jaamil-olawale-kosoko-chameleon.html.Google Scholar
Calderon, Guillermo, Lewis, Ligia, Otake, Eiko, and Parson, Annie-B. 2021. International Performance Group Panel. Under the Radar Symposium: A Creative Summit. Zoom, 7 January.Google Scholar
Castro, Yanira, poe, jumatatu m., Sherman, Karen, Greenbaum, Sarah, Rogers, Brian, Willis, Tara Aisha, Sakamoto, Michael, Smith, Amy, Johnson, Emily, Colby, Laura, and Smith, Amy. 2020. “Creating New Futures Phase 1: Working Guidelines for Ethics & Equity in Presenting Dance & Performance.” Accessed 2 September 2020. https://drive.google.com/drive/folders/1B6bbiFTBP1UAvt9qFchr7nLUndh7zorA.Google Scholar
Crawley, Ashon T. 2016. Blackpentecostal Breath: The Aesthetics of Possibility. New York: Fordham University Press.CrossRefGoogle Scholar
Crawley, Ashon T. 2020. The Lonely Letters. Durham, NC: Duke University Press.Google Scholar
Cvetkovich, Ann. 2003. An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures. Durham, NC: Duke University Press.Google Scholar
Dance/NYC. 2020. “#ArtistsAreNecessaryWorkers.” Dance/NYC. Accessed 30 September 2020. www.dance.nyc/ArtistsAreNecessaryWorkers/Overview.Google Scholar
Discord. 2020. Accessed 2 September. discord.com.Google Scholar
Jones, Bill T., and Kosoko, Jaamil Olawale. 2020. “Testify: A Conversation Between Bill T. Jones & Jaamil Olawale Kosoko.” In Chameleon (The Living Installments), 22 April. https://newyorklivearts.org/event/chameleon-the-living-installments/.Google Scholar
Kosoko, Jaamil Olawale. 2020a. WhatsApp conversation with author, 22 April.Google Scholar
Kosoko, Jaamil Olawale. 2020b. “Chameleon: A Syllabus for Survival.” 22 April. Accessed 29 September 2020. https://static1.squarespace.com/static/5c74c0fb4d87115cde1dccfa/t/5e9f0d4a97b64409fdb9cdd6/1587481965196/Jaamil_ZINE_17.pdf.Google Scholar
Kosoko, Jaamil Olawale. 2020c. Program notes for Chameleon (The Living Installments). Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC), Troy, NY, and New York Live Arts, New York, NY, 22 April. https://empac.rpi.edu/events/2020/chameleon-living-installments.Google Scholar
Kosoko, Jaamil Olawale. 2020d. Radical Reimaginings. Discord, 22 April. Accessed 18 February 2021. https://discord.gg/hBDmuY8.Google Scholar
Kosoko, Jaamil Olawale. 2020e. Phone conversation with the author, 1 September.Google Scholar
Kosoko, Jaamil Olawale. 2020f. Email correspondence with author, 12 September.Google Scholar
Lorde, Audre. 1982. Zami: A New Spelling of My Name. Berkeley, CA: Crossing Press.Google Scholar
Lorenz, Taylor. 2020. “‘Zoombombing’: When Video Conferences Go Wrong.” New York Times, 20 March. www.nytimes.com/2020/03/20/style/zoombombing-zoom-trolling.html.Google Scholar
Nonko, Emily. 2019. “The Women Building a New Art Form in the World of Dance.” VICE, 7 January. www.vice.com/en_us/article/7xyyyx/the-women-building-a-new-art-form-in-the-world-of-dance.Google Scholar
Oppel, Richard A., Jr., Robert Gebeloff, K.K. Lai, Rebecca, Wright, Will, and Smith, Mitch. 2020. “The Fullest Look Yet at the Racial Inequity of Coronavirus.” New York Times, 5 July. www.nytimes.com/interactive/2020/07/05/us/coronavirus-latinos-african-americans-cdc-data.html.Google Scholar
Radical Reimaginings. n.d. #open-chat-station. Discord.com. Accessed 22 April 2020. https://discord.gg/JPcJax7.Google Scholar
Sharpe, Christina. 2016. In the Wake: On Blackness and Being. Durham, NC: Duke University Press.Google Scholar
Turkle, Sherry. 2011. Alone Together: Why We Expect More from Technology and Less from Each Other. New York: Basic Books.Google Scholar
Wingenroth, Lauren. 2020. “How Can We Radically Reimagine the Dance World Post-Coronavirus?” Dance Magazine, 15 April. www.dancemagazine.com/radically-reimagine-dance-post-coronavirus-2645704373.html.Google Scholar

TDReadings

Edmonson, Chloë Rae. 2021. “ The Dada Dramaturgy of Readymade Cabaret 2.0.” TDR 65, 4 (T252):166–72. https://doi.org/10.1017/S1054204321000605.CrossRefGoogle Scholar
Whatley, Sarah. 2017. “Transmitting, Transforming, and Documenting Dance in the Digital Environment: What Dance Does Now that It Didn’t Do Before.” TDR 61, 4 (T236):7895. https://doi.org/10.1162/DRAM_a_00693.CrossRefGoogle Scholar
Worthen, W.B. 2021. “Zoom; or, Obsolescence.” TDR 65, 3 (T251):181200. https://doi.org/10.1017/S1054204321000460.CrossRefGoogle Scholar