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1.1.17 is the physical manifestation of a shared imperative, an urgent physical and mental need to respond to what is happening around us. Based on research, articles, memes, comedians’ commentary and our own in-depth analysis and opinions, 1.1.17 has challenged its collaborators to stay engaged. 1.1.17 is a non-linear embodied timeline of the last political year in the U.S. Anchored by that date (January 1st, 2017) and the feeling of dread that many of us had before anything happened, 1.1.17 physically articulates our side of the conversation.  We hope that this show can also serve as a catalyst for conversations with you, our community.

Sections Include:
blood red and pink poster with two dancers

The March focuses on the rights a woman has over her own body. Millennials have come to assume that those rights are stable and continually progressing, that organizations like Planned Parenthood and the establishment of Roe v. Wade will always be stable entities to lean on. Throughout the work we use our own bodies to physically and metaphorically find supports, connections and structures for our bodies to balance, rest or rely upon, but which in this climate continue to crumble. See The March here.

dancer stacks cheetos "the face of bordem" "heads will roll, eyes will roll, cheetos will roll, whatever"

The Face of Boredom, is a mockery of what is a truly terrifying notion: Donald Trump's narcissistic behavior means that he gets bored by his surroundings the minute all eyes and attention are not focused on him. This boredom and any attempt to refocus the attention on himself manifest in meetings by moving things around on his desk, or the setting in front of him at a table, and moving other peoples’ things as well. It is a series of micro-power plays that have a semblance of magic or card tricks, of slight of hand. See The Face of Boredom here.


dancers sit at the foot of the image overlayed by plane tickets

Layover is the growing disconnect between systems and formalities and the people the effect. It highlights the strain caused by the need to excessively label oneself before being categorized by others as the Travel Ban is debated. We watch strangers, children and loved ones struggle as they are forced to constantly identify who they are, why they are here and why they should be allowed to stay. It questions the us vs. them mentality as we explore what a “bonafide relationship” looks like. See Layover here.

heartbeat monitor with dancers

Healthwhaaat is an exercise in exasperation. No matter what we do: how many boxes we check, or representatives we call, or letters we write, or protests we walk, we always seem to end up in a place of no control over our own health. And freelancers have it the worst. So what else can we do? Healthwhaaat is laughing when all you want to do is cry. See Healthwhaaat here.

dancers move around the stage. #stealthis

#stealthis deals in the micro and the macro, the physical and the verbal, the intentional and the incidental. Fueled by conversations about the cultural appropriation of black women, generally, we began to make this piece knowing that the audience will be inherently perceiving things differently for each of the performers based solely on how we look: one black, the other white. Then the vote in Alabama happened. Only 23% of white women voted against a pedophile compared to 97% of black women who voted against him. Roy Moore lost that race, and the white liberal community started to thank black women, specifically, for their efforts to"save" the situation with a hashtag of #trustblackwomen. It is not the black female community's responsibility to stand up for the whole world. Let's stop making them!

Performed by:

Claire Baum, Jenny Boissiere, Hana Goldstone, Molly Gorin, Jessie LaFargue, Candace Tabbs

Music by: 

Jessie LaFargue and Claire Baum

Lighting Design by:

Dave Glista


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