When La MaMa Moves!, the annual festival held at the experimental East Village theater, began in 2006, it was, in Nicky Paraiso’s words, “all over the place.”
He should know. Mr. Paraiso was — and remains — the festival’s curator. The word eclectic would be a kind way to describe his early programming, which, in keeping with the mission of La MaMa’s founder, Ellen Stewart, was to include artists from as many different disciplines as possible.
“We had everything from modern to postmodern, hip-hop, aerial, cheerleading, burlesque dancers, belly dancing,” said Mr. Paraiso, 67. “Oh my God, it was quite a thing to pull off.”
Increasingly the festival, which returns to La MaMa on Friday, has become more refined.
“I wanted to give each season more time so that it wasn’t just a rush job,” Mr. Paraiso said. “That has its own built-in excitement, but what is the work about? I want to be more thoughtful about the curation of these choreographers.”
This year’s theme — “Who am I? Who are you? Who are we?” — explores issues of identity, gender and race. For Mr. Paraiso, who is Filipino-American, that motif emerged naturally from the artists he selected. Included in the mix are Mia Habib, who presents “All—a physical poem of protest,” featuring dancers of all ages running and walking naked in a circle; and Jesca Prudencio, who offers “Calling: a dance with faith,” which delves into the struggles of two female Muslim dance artists.
“Most of the choreographers that appealed to me were women who, even though they may not be particularly political in their work, have an engagement with what’s actually going on in the world,” Mr. Paraiso said. “Whatever form that takes in their dance, they’re thinking about it.”
Mr. Paraiso — a musician and actor who has performed with many artists including Meredith Monk and Yoshiko Chuma — has long been connected with the world of experimental dance and performance, and with La MaMa. As a student at Oberlin College in the early 1970s, he took trips to New York to attend shows.
His own performance career was revived recently when the theater hosted a run of his latest work, “now my hand is ready for my heart: intimate histories,” an autobiographical look at an artist’s life that he conceived and starred in. John Jesurun was its director; appearing with him were the dancers Iréne Hultman, Jon Kinzel, Vicky Shick and Paz Tanjuaquio. They moved as he spoke and sometimes they spoke, too.
For now, Mr. Paraiso has returned to the other side of the curtain where a generation of younger artists knows him best: as a curator. For the choreographer Angie Pittman, whom he presented at last year’s La MaMa Moves, he is someone intent on discovering new work. “Nicky shows up in a really cool way,” she said. “He’s just a curious curator and he wants to have people be curious with him.”
La MaMa is in the middle of a renovation. If all goes accordingly to plan, by 2021 the two theaters at its original smaller building, at 74A East 4th Street, will become one called the Club. “I’m already thinking about what is the Club at La MaMa going to be in the 2020s?” Mr. Paraiso said. “Who are those performers? I may not even know who they are right now.”
That prospect filled him with glee. Recently, Mr. Paraiso, who really does seem to run on curiosity, spoke about the festival and his life in the performing arts. Here are excerpts from the conversation.
You were born in Queens, and your parents were on the older side when they had you. Did that have an effect on you as an artist?
My mother was 45, which was quite unusual in 1951. [Dramatically] But somehow she was going to carry a baby. And being a child of immigrant parents who were much older was not always easy for me, so maybe that was why I was always trying to find my voice. Training in Dalcroze eurythmics really engaged me physically.
Eurythmics is a system originally used to teach children — then adults also — how even before they pick up an instrument to experience music through their whole body. John Jesurun was saying: “Why are you so interested in dance? Did something happen to you as a kid?” I said, “Well, you know I did take this Dalcroze eurythmics,” and he said: “What? You’re holding back on us, Nicky!”
Does that training affect the way you look at work today?
Maybe not directly, but if I see a real connection between the way a choreographer or a dancer is working in their body — whether they’re dancing to music or not — that attracts me. There’s some kind of unnamable pulse, and if I see that embodied in a performer, I pay attention. No matter how crazy our artists are, if there’s a rigor and a seriousness underneath, I can sense it. And humor and lightness can come through the darkness, but I like that kind of tension.
How do you balance being a curator and a performer?
It’s not easy. I said, O.K., I’ll do the curating and just become better doing that, but then this piece was building up inside of me. I said, O.K., it’s time to do it.
How long has it been building up?
The last evening-length piece I did was in 2004, so it’s taken that long.
Was it Mr. Jesurun’s idea to have the dancers move onstage alongside you?
Yes, but it was my idea to have the dancers and we had a couple of residencies where it was just me and the dancers and it was more movement based. I was reluctant to speak. [The dance educator] Phyllis Lamhut saw it and said, “Don’t put yourself under a rock.”
How do you view the role of curator?
The stem of the word is “cure.” It’s not all about choosing. It has something to do with taking care of and helping to heal something within the artists that we work with. My life has been enriched by curating.
Does that idea of curing translate to the audience?
Yes. It’s a particular way of looking at performing arts. It seems so simplistic, but no matter how technologized we become — and that’s also good — it will always be important to have an audience member and a performer in a room together: live.B:
【李】【萌】【也】【不】【知】【道】【为】【什】【么】，【好】【像】【一】【切】【都】【在】【她】【被】【那】【只】【耗】【子】【精】【缠】【上】【之】【后】【变】【得】【和】【平】【时】【不】【再】【一】【样】【了】。 【对】【于】【从】【前】【不】【敢】【相】【信】【的】【东】【西】，【她】【现】【在】【也】【不】【得】【不】【信】。【譬】【如】，【这】【个】【世】【界】【是】【有】【妖】【怪】【的】，【再】【譬】【如】，【她】【的】【体】【质】【特】【殊】，【专】【门】【吸】【引】【这】【些】【妖】【魔】【鬼】【怪】。 【李】【萌】【提】【着】【兔】【笼】，【一】【脸】【神】【色】【复】【杂】【地】【看】【着】【闭】【眼】【假】【寐】【的】【兔】【子】，【叹】【了】【口】【气】。 “【萌】【萌】，【你】【真】【的】【不】
【穿】【越】【一】【片】【片】【高】【及】【人】【头】【的】【杂】【草】，【人】【们】【终】【于】【看】【到】【不】【远】【的】【前】【方】，【有】【一】【片】【相】【对】【干】【净】【整】【洁】【的】【地】【势】，【只】【是】【那】【地】【盘】【上】【的】【孤】【坟】，【却】【是】【刺】【伤】【了】【几】【乎】【所】【有】【人】【的】【眼】【睛】。 【荒】【废】【的】【山】【坡】，【孤】【寂】【而】【破】【败】【的】【孤】【坟】…… 【众】【人】【还】【有】【什】【么】【不】【明】【白】【的】！ 【想】【来】【这】【处】【便】【是】【云】【汐】【母】【亲】【云】【以】【心】【的】【坟】【墓】【了】【吧】！ 【如】【果】【不】【是】【有】【人】【刻】【意】【将】【孤】【坟】【四】【周】【的】【茅】【草】【拔】【出】，【绝】【对】
【顾】【迦】【南】【五】【十】【八】【岁】【那】【年】【晋】【级】【九】【级】【机】【甲】【师】，【六】【十】【岁】【成】【功】【当】【上】【了】【中】【央】【精】【英】【守】【卫】【军】【第】【一】【战】【队】【的】【大】【队】【长】。 【当】【然】，【上】【任】【大】【队】【长】【雷】【华】【俊】【也】【没】【退】【伍】【转】【业】，【而】【是】【摇】【身】【一】【变】【成】【了】【副】【舰】【长】。 【白】【子】【月】【为】【自】【家】【男】【人】【高】【兴】，【却】【又】【有】【点】【郁】【闷】，【她】【才】【晋】【级】【七】【级】【机】【甲】【师】【没】【两】【年】，【正】【高】【兴】【拉】【近】【了】【与】【丈】【夫】【之】【间】【的】【实】【力】【差】【距】【呢】，【转】【眼】【间】【又】【被】【拉】【开】【了】。 【在】【孩】厦门和平码头美食推荐表“【你】【们】【看】，【那】【人】【是】【谁】，【衡】【阳】【半】【仙】【和】【战】【城】【主】【都】【要】【站】【在】【其】【身】【后】。” “【咦】，【那】【两】【个】【身】【穿】【铠】【甲】【的】【好】【像】【是】【华】【羽】【岭】【王】【府】【的】【明】【连】【和】【明】【理】【军】【将】，【八】【年】【前】【我】【见】【过】【他】【们】【的】【风】【采】，【他】【们】【两】【人】【可】【都】【是】【羽】【化】【半】【仙】【的】【存】【在】。” “【你】【们】【瞎】【啊】，【那】【人】【是】【华】【羽】【岭】【王】【府】【的】【镇】【军】【王】【爷】，【那】【可】【是】【一】【尊】【真】【正】【的】【仙】【人】【啊】！” “【那】【看】【样】【子】【与】【镇】【军】【王】【爷】【对】【立】【的】【白】【跑】
【通】【过】【那】【些】【老】【兵】【的】【描】【述】，【托】【尼】【大】【致】【了】【解】【了】【一】【下】【当】【年】【所】【发】【生】【过】【的】【事】【情】。 30【年】【前】【左】【右】，【这】【个】【地】【下】【监】【牢】【里】【关】【押】【了】【一】【位】【贵】【客】——【当】【时】【还】【是】【第】【二】【王】【储】【身】【份】【的】【凯】【丽】【王】【女】，【为】【了】【增】【加】【阅】【历】，【游】【遍】【周】【边】【各】【国】。【而】【在】【游】【历】【白】【鹭】【帝】【国】【的】【时】【候】，【凯】【丽】【王】【女】【机】【缘】【巧】【合】，【随】【着】【伊】【吾】【商】【会】【的】【船】【只】【一】【起】【来】【了】【雅】【玛】【台】【国】。 【凯】【丽】【王】【女】【的】【运】【气】【很】【不】【好】，【她】
【亚】【洲】【的】【一】【处】【板】【块】，【在】【这】【里】，【有】【一】【处】【小】【帝】【国】，【名】【为】【维】【斯】【亚】【尔】【王】【国】！ 【东】【方】【的】【太】【阳】，【逐】【渐】【地】【升】【起】，【映】【照】【在】【那】【一】【座】【豪】【华】【的】【城】【堡】，【在】【下】【方】【有】【许】【多】【的】【枫】【叶】【树】。 【秋】【天】【的】【枫】【叶】【好】【似】【燃】【烧】【着】【的】【火】【球】，【在】【阳】【光】【下】【闪】【闪】【发】【光】，【十】【分】【的】【美】【丽】。 【总】【让】【人】【留】【念】。 【这】【时】，【从】【那】【豪】【华】【城】【堡】【的】【内】【部】，【逐】【个】【地】【驱】【出】【好】【几】【辆】【黑】【色】【的】【劳】【斯】【莱】【斯】【幻】【影】，