Catherine Damman

  • performance November 05, 2014

    Now You See Me

    RUSHING FROM BROOKLYN, the subways are slow and I don’t catch the right train up to Beacon to see Steve Paxton’s not-a-retrospective. The work of the virtuoso Cunningham dancer, Judson pioneer, Grand Union collaborator, and Contact Improvisation creator is precisely about awareness of one’s body and so as a distraction I try to pay attention to mine. Pacing on the platform is a kind of magical thinking, I realize, an impotent attempt to speed up trains or slow down time, as if my internal velocity could exert some force outside its own envelope. It is impossible not to make metaphors of this.

  • performance April 20, 2014

    Moon Struck

    AN EXPERIMENT: Love someone deeply and for a long time. End it, abruptly. Start fucking someone new. Be surprised—dismayed even—when your body follows a certain choreography as if automatically: a preprogrammed sequence, an anticipation of certain gestures, a procession of amenities customized for one person and perhaps not suited (or even pleasurable) to the new.

    It seems terrible to think we are so rote, mechanized in those moments where we imagine a pliable, attentive body. We want to believe ourselves always capable of change; we want our art to be always running after the new. So much of