
WEIGHT: 59 kg
Breast: 2
One HOUR:70$
NIGHT: +30$
Services: Tantric, Toys, Lapdancing, Facial, Fisting vaginal
In , Brooklyn Academy of Music celebrated 35 years of its interdisciplinary Next Wave Festival with a lavish book. The festival had become so essential to New York art-going that it helped revitalize downtown Brooklyn. I was commissioned to write the essay on dance. I had performed at BAM in with Trisha Brown, and I had seen most of the dance works in the festival for those decades. This immersion reminded me how much I loved, really loved, so many of these works.
These artists and many others have been nurtured and developed by legendary BAM impresario Harvey Lichtenstein and his chosen successor, executive producer Joseph V. We have watched each of them grow and change. We have been close enough to be swept away by their beauty or staggered by their audacity. They have engaged us in the issues of our time: race, gender, the environment, the relation of art to life. Whether their aesthetic places them in the category of minimalism, tanztheater, epic narrative, or dances of cultural identity, they have all alighted in one spot: BAM.
Although many new dance presenters have sprouted up in the last 35 years, the Next Wave continues to be a beacon of forward-looking dance. These dances do the traditional work of art.
They educate, edify, and entertain, but they also unleash. They unleash the individual imagination, experimental ideas, collaborative alchemy, and altered states in both performers and viewers.
Some notably memorable moments: Molissa Fenley charging across the Lepercq Space, sculpting the air with her arms to the jazz music of Anthony Davis in Hemispheres ; or Bill T. Not only has the Next Wave cultivated these individual artists over decades, it has also cultivated audiences. The festival has accustomed us to the unaccustomed, the unconventional, and the unpredictable.