Presented and supported by La MaMa Experimental Theatre Club and Mount Tremper Arts
SATURDAY MORNING LIVE SML: Zooma - Dead End
Secret Journey: 40th Anniversary of Yoshiko Chuma and The School of Hard Knocks // The School of Hard Knocks to Dead End: My Diary, Tipping Utopia to Dead End
SML: Zooma - Dead End will feature 19 “sequels” that feature a regular cast of performers with hosts, special guests, and artists who are scattered across the world. Musicians, dancers and designers interact, albeit indirectly, as nineteen chapters cross over each other within the time-frame of one hour. Parallel incidents of sound, text, and action connecting the cities of New York, Ankara, Madaba, Tokyo, Caracas, Tehran, Hong Kong, Berlin, Los Angeles, Brussels, Kabul, Palestine, and Dakar.
Creative Team: Ginger Dolden, Ryan Leach & Yoshiko Chuma
Martita Abril, Agnè Auželytė, Deniz Atlı, Emily Bartsch, Chani Bockwinkel, Yoshiko Chuma, Tim Clifford, Ai Csuka, Sahar Damoni, Ginger Dolden, Ursula Eagly, Megumi Eda, Bob Holman, Grace Hoop, Chris Ignacio, Chihiro Ito, Jason Kao Hwang, Mizuho Kappa, Andrew Kim, Elizabeth Kresch, Peter Lanctot, Ryan Leach, Heather Litteer, Jake Margolin, Christopher McIntyre, Kouiki Mojadidi, Brian Moran, Sizzle Ohtaka, Nicky Paraiso, Miriam Parker, Peter Pleyer, Emily Marie Pope, Kathyrn Ray, Isaac Rosenthal,
Steve Swell, Aldina Michelle Topcagic, Tanin Torabi, Nick Vaughan,
Devin Brahja Waldman, Ryuji Yamaguchi, Zory Zurikat Caribestyle, zaybra
ZOOMA: DEAD END is a completely new style of theatre.
SML: Zooma - Dead End is the latest chapter of Dead End, The School of Hard Knocks (2020-2023) an ongoing multi-disciplinary performance series conceived, created and performed by Yoshiko Chuma and The School of Hard Knocks. Assembling a mosaic of films, dance, music, visual art, and narratives, Chuma continues a lifetime investigation of ideas regarding national security, perceived dangers within borders, immigration, and war. For more than three decades now, Yoshiko Chuma has been building unique structures in the liminal area between her native Japanese culture and her adopted American one. Using trained and pedestrian movers, virtuoso instrumentalists (who's playing she often conducts), film, video, and sculptural forms by collaborating artists, she develops unusual time-based art works that blend the live and the recorded, the flat and the three-dimensional, people and things. Chuma’s multidisciplinary work tries to capture the contemporary world in all its complexity: speedy, multi-faceted, diverse, both conceptual and concrete. She has traveled and worked in countries around the globe, with international casts.
Now, in the face of the ongoing pandemic, Chuma turns to the ephemeral spaces online to forge connections between herself and her collaborators. Using live-streaming, live-video-mixing, and the ubiquitous tools of social conferencing, ZOOMA: DEAD END will enable artists to explore their ideas and translate them into a theatrical language that can communicate to diverse artists and members of the community. Under the artistic direction of Yoshiko Chuma (Concept, Design, Direction, Choreography) through zoom. To avoid being overly prepared we will be introducing a simple and engaging structure for the artists wherein we will allow space for connection and honesty.
Dead End, The School of Hard Knocks (2020-2023) intends to denote the final production of The School of Hard Knocks, founded in 1980 by Chuma, and will be the ultimate culmination and celebration of 40 years spent developing collaborations, concepts and provocative performance art.
Don’t overreact to anything that happens, it is not your practice.
If you are seeing this for the first time, you may have an idea about it, it is not what you think; it is something totally different. You may never understand it, but that is part of it
Admit if you are confused.
If you think you are listening, you are not.
If you think you understand, you do not.
An endless continuous circle of life, fluctuating between utopia and war;
no one knows any of these sequels.
Through observing, the audience perceives the results of war and conflict.