Daily Archives: February 23, 2017

Break out your flower crowns and your crochet crop tops: The Summer of Love returns to San Francisco this year for a 50th anniversary celebration.

As part of a series of celebrations leading up to this summer, the San Francisco Arts Commission asked three local artists to examine the historic season of revolution through a contemporary lens for its popular Art on Market Street Poster Series. The first in the series, The Zeitgeist by Deborah Aschheim, highlights some of the people and events that defined 1967 through highly detailed pen and ink drawings.

From now through May 12, 2017, pedestrians along Market Street will see scenes that recall the 1967 Spring Mobilization, the Vietnam War, and the Human Be-In, alongside portraits of individuals including City Lights Books founder Lawrence Ferlinghetti. Each image is contextualized by a caption: A drawing of a Black Panther woman is accompanied by a quote from famous Panther member Kathleen Cleaver.

"Deborah Aschheim's beautifully rendered posters capture the spirit of the ideas and radical expression that made the San Francisco Bay Area the epicenter of the counterculture movement," said Director of Cultural Affairs Tom DeCaigny. "The 50th anniversary of the Summer of Love is an opportunity to reconnect with its important legacy of political activism, inclusiveness and, above all, love."

To prepare for the series, Aschheim rigorously researched the archives at UC Santa Cruz and UC Berkeley, unearthing the stories of people who participated in the Diggers, an anarchist art troupe that was a fixture of the Haight-Ashbury; the Vanguard, an early LGBT rights group based in the Tenderloin; and a number of other significant political activists from the late 1960s.

"My project explores the intersection of political and social utopian ideas that drew people to San Francisco, from the Free Speech movement at Berkeley to the art, music, and lifestyle scene," says Aschheim. "I hope that entrepreneurs and billionaires have not replaced revolutionaries and poets as our heroes. I want to re-animate an authentic vision of 1967 that still has the power to inspire us to disrupt society in creative ways."

// The Zeitgeist can be seen in Muni bus kiosks on Market Street between Embarcadero and Eighth Street through May 12. Subsequent series will feature new work by Sarah Hotchkiss and Kate Haug.

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Summer of Love 50th Anniversary Posters Wake up Market Street - 7x7

Congressman Dave Brat (R-Va.) faced a raucous group of detractors and supporters at a town hall meeting in tiny Blackstone, Va. (Jorge Ribas/The Washington Post)

President Trump and the Obama administration share a stance toward protests at town halls: Meh.

Here's Trump on Tuesday evening in response to flare-ups at GOP town halls in recent days.

And here's White House press secretary Robert Gibbs back in August 2009, when the tea party was starting to raise hell in town halls about the Affordable Care Act:

Q: Are you concerned at what appears to be well-orchestrated protesting of health care reform at town halls as derailing your message?

GIBBS: No. I get asked every day about the myriad of things that could be derailing our message. I would point out that I don't know what all those guys were doing, what were they called, the Brooks Brothers Brigade in Florida in 2000, appear to have rented a similar bus and are appearing together at town hall meetings throughout the country.

Gibbs added: I hope people will take a jaundiced eye to what is clearly the astroturf nature of so-called grassroots lobbying This is manufactured anger.

Gibbs, it turns out, wasn't really right. We'll see whether Trump is.

Astroturfing, for those unfamiliar, is the political practice of making something appear organic as though it's coming from the grass roots. The implication is that the protesters aren't really regular-Joe citizens, but political activists sometimes appearing at multiple town halls to cause a scene and make the movement appear bigger than it is.

Update: Now Sean Spicer, echoing Trump, says, "It is a loud group, small group of people disrupting something, in many cases, for media attention." Spicer, though, is actually more charitable to the protesters than the Obama White Huse was, saying they are a "hybrid" of activists and astroturfing.

The problem with town hall protests is that they are, by nature, defined by anecdotes and the viral nature of a limited number of heated exchanges. It's nearly impossible to know how representative this is of broader unhappiness with the president (or anything else). It's too difficult to quantify anger, where it's coming from and how representative it is of the broader populations.

Scott Jennings, a former aide to President George W. Bush who has also worked forSenate Majority Leader Mitch McConnell (R-Ky.), made what I think is a valuable point about all of this:

Whether Tuesday'sprotesters in Anderson County, Ky.,who told McConnell to do your job wereactually out-of-town malcontents" -- the same allegation Gibbs made in 2009 is kind of beside the point. Even if these people lived in Anderson County, or anyplace in Kentucky, do their chants really represent the broader population in their county or their state? Just because a small group of people is making good TV, does that mean McConnell should really be concerned? And has there been an appreciable change in voter sentiments less than four months since the election?

Polling suggests we're in pretty much at the same position. Trump was elected as an unpopular candidate, and he's nowan unpopular president. The opposition to him was extremely vocal during the campaign calling him a racist, sexist, misogynist and Islamophobe and it remains extremely vocal today.

But the comparison between today and 2009 is an instructive one. It's entirely possible that those protests more than sevenyears ago were being organized and weren't totally organic, as Gibbs alleged. But it's also clear that any such organizing was successful precisely because actual opposition to the Affordable Care Actwas a strong motivator for people to turn out to the town halls. And opposition to Obama's health-care planbecame such a rallying cry on the right that it spurred the Republican takeover of the House in 2010 and then helped them take the Senate in 2014. It was certainly more substantial than Gibbs professed to believe at the time; it amounted to the canary in the coal mine for Democrats in Congress.

That said, it's just so difficult to know where to draw the line between flashy protests at town halls and legitimate, game-changing shifts in the political zeitgeist. It's not that we shouldn't cover these protestsand try to understand them. And it's not that these burgeoning town hall eventscouldn't become a sign of something bigger; they certainly could, and opposition to Trump has majority status in the United States. But we should always be aware that anecdotes can also be just that anecdotes.

The rest is here:

Sean Spicer blames chaotic town halls on 'professional protesters.' So did Obama's team. - Washington Post

In this Thursday, Feb. 9, 2017 photo, people react as U.S. Rep. Jason Chaffetz speaks during a town hall meeting at Brighton High School in Cottonwood Heights, Utah. Some attendees of the contentious town hall hosted by Chaffetz have sent the congressman fake invoices after he claimed some people there were paid protesters. Rick BowmerAP

Ideas

Ferguson was Deputy National Press Secretary and Senior Spokesperson for Hillary Clintons 2016 campaign for President.

On August 25, 2009, Democratic Congressman Bart Gordon held a town hall meeting in Murfreesboro, Tennessee. A local news report called it a discussion about the nation's health care that led to loud boos and heckling from the crowd. On February 9, 2017, Republican Congresswoman Diane Black elected to Gordons seat in the fall of 2010 held a town hall meeting in the same city. A local news report headline proclaimed, Diane Black, GOP lawmakers faced defenders of Obamacare at lively town hall . Sounds similar, right?

The zeitgeist is quickly setting in: Republicans right now face a backlash akin to what Democrats faced from the Tea Party in 2009 and 2010. Some have gone so far as to call this resistance the Democratic Tea Party. Its a convenient comparison: Democrats like it because the Republican Tea Party was successful in 2010, and the media appreciates it as a simple and straightforward story. I've been guilty of leaning on it myself.

But the Democratic resistance and the Tea Party actually differ in a number of important ways, each of which tells a different story about where our country is and where our politics may be headed.

For starters, the Tea Party was forged as an opposition to a societal reality in our country, while todays resistance is opposed to a political reality. The Tea Party began before the election of President Obama, as a reaction to President Bush and the bank bailouts of 2008. Tea Partiers believed that society and the economy had all left them behind. The movements anger was stoked by the realization that the country had changed to the extent that it would elect someone like Barack Obama and support his liberal policies like the Economic Recovery Act (the so-called stimulus) and the Affordable Care Act (scornfully dubbed Obamacare). These members wanted the entire country to revert to a set of values that more closely resembled what they saw on Leave It to Beaver .

On the other hand, the current resistance isn't based on a belief that our country has gone astray from some former golden age. It's a political backlash, borne out of Donald Trumps policies and his presidency. Its participants arent rejecting the social structures of American society. They are embracing and defending our evolving structures of diversity and inclusiveness. The people stepping forward to resist the Trump Administration are standing against an Administration that doesnt respect the core values that this nation holds: that we are all equal and that we can all achieve our own dreams.

Second, these movements were forged in entirely different political situations. Members of the Tea Party believed they had been marginalized and had to fight back against this new oppression. They represented a minority, losing the 2008 elections by almost 200 electoral votes and 10 million people, while Democrats gained a more significant majority in the House and a filibuster-proof 60-vote majority in the Senate. Headlines announced a permanent progressive majority. The Tea Party disapproved of their country going in this new direction, which bred their movements anger.

Todays resistance is almost the complete opposite. While Trump is indeed president winning the Electoral College by approximately 75 votes he lost the popular vote by nearly 3 million. While Republicans maintained their control of the House and the Senate, they lost seats in both. The current resistance isnt reacting to its lost status as the majority in American politics, as the Tea Party was. It is speaking out for the majority of Americans who feel inadequately represented in Washington. This resistance is giving political voice to those the political system has deprived of a voice. They are speaking for the silenced majority.

The third major difference is in how these movements act. There are certainly some tactical similarities both use rallies and town hall meetings to attract attention to their causes but the undercurrents are very different. The Tea Party was truly a movement of anger at the system, at the country and at the movements members declining station in life. This best manifested in their slogan, from the American Revolutions Gadsen flag, Dont Tread on Me demanding that people and government just leave them alone to their familiar ways.

While todays resistance certainly has some anger, the basic emotions fueling it are alarm and fear. We are alarmed by what the current political system, and its leadership, will do to us, our friends and our country. We are fearful that our family and neighbors might be barred from entering the U.S. by a Muslim ban or might lose their access to health care if the Affordable Care Act is recklessly repealed. We are worried that the political system now serves corporate interests and the Presidents far-flung (but undisclosed) business interests, not the interests of the people or their nation. We are alarmed that people we know and love wont be treated equally or fairly under the new Administration. The Tea Party consisted of people angry about their own perceived situation; the resistance is people alarmed and fearful about what might happen to others.

The best distinction between the two movements, though, is the one that is most important to our President: crowd size. The largest Tea Party rallies reported were between 150,000 and 250,000 people, depending on the source. The Womens March last month irrefutably included over 4 million people nationwide a 16-fold difference. Washington, D.C., alone likely doubled the largest Tea Party totals.

While it would be easy and convenient to pronounce that 2017 is merely 2009 redux, the simplicity of that comparison belies the underlying and important reality. The Tea Party sought to fix our country and align it with Tea Party politics; the democratic resistance seeks to fix our politics and align them with our countrys values. The movements may share some tactics, but the spirit that drives them are, and the consequences of them will be, very different.

Ferguson was Deputy National Press Secretary and Senior Spokesperson for Hillary Clintons 2016 campaign for President; before, he was Executive Director of the Democratic Congressional Campaign Committee Independent Expenditure.

Continued here:

The Resistance Is the Majority of Americans Not a New Tea Party - TIME

With his slick amberhair and proclivity for three-piece suits, Jidenna is a walking anachronism in most places. The look compounded with his politically charged charisma forces an unsurprising question: Is he a model citizen or a playing a character? The 31-year-old Wondaland Records signee would sayits neither, that the aesthetic is simply a smooth extension of his biography. Even 2015s Classic Manthebreakout hit swanky enough for a Kendrick Lamar remixdraws from aspecific experience. The scenes where hes staving off police officers and tutoring young men parallel those of his home community of East Flatbush, where neighborhood civilians handled mild controversies like car accidents before calling the police. So, the Classic Man in the songis also a hat tip to a deceased neighborhood OG named Alex, who Jidenna remembers breaking up fights when he was younger.

That depthof subject matter is probably not something youd immediately gain from listening to his most famous song, but its not the case for Jidennas exceptional debut album The Chief, where his ethos and heritage forms the albums backbone. The LPs sonic versatility draws inspiration from East Flatbushwhere the Caribbean diaspora lives in urban cacophonyand Jidennas own Nigerian background. The Chief tends to be at its best when those signatures cavort at the forefront: Bambi has the tropical swing of a trap-leaning Harry Belafonte; cuts Adaora, Little Bit More, and The Let Out are threaded by strands of Nigerian highlife and pidgin English. Jidennas late father Oliver Mobisson, the trailblazing computer inventor from whom Jidenna borrows his tailored suit style, guides this effort, too.

My dad was like, If youre gonna do this music thing, you better invent something, Jidenna tells me on the day of The Chiefsrelease. Were sittingat Suede, a Caribbean restaurant in East Flatbush, within walking distance from where I grew up.He was like, Be innovative at all costs. Dont go in there looking like anybody, dont make no music that sound like anybody. So that pressure, that came from him.

The album is also the cap to an extraordinary 2016 forthe collective of musicians who make up Wondaland. The label remained attached to the zeitgeist without releasing a single album: Last year saw a breadth of black stories receiving blockbuster platforms, withJidenna and label founder Janelle Monae in their midst. Best Picture nominees Moonlight and Hidden Figures are Janelle Monaes first two live-action film roles. Jidenna showed up in Netflixs Luke Cage and appeared in HBOs Insecure, in a wife beater at that. When the chopped and screwed version of Classic Man showed up in a pivotal scene in Moonlight, a film that deconstructs black masculinity, the songs vision of a benevolent alpha male rang purposefully mordant.

Jidennas astonished when I rail off these roles during our discussion. I dont sit there and scan through social media much. Jidenna says. I dont know how popular we are. Im still living like down the street. I cant tell. But when Im talking to you and thinking about ithe takes a breathClassic Man was in Moonlight. Like, pivotal-ass scenes.

Hell have time to truly take stock of his accomplishments, but not before hes finished withhis promo runthe day after we spoke, hewent toNew Orleans for All-Star Weekend festivities. The night before, he was at the Meatpacking District for his album release concert. (The show itself had the feel of a house party that happened to take place in a high-tax bracket district: The room smelled of perfume and hair product as Jidenna danced and sang his lain hair into a tangle of curls by nights end.)

For all of his modesty,Jidenna spent about an hourpreparing himself for our interviewin a tinted Chevy Suburban parked right outside of our meeting place. Buthes otherwise very present and careful when he speaks, considering his answers as he massages his beard and scratches his hair, which briefly puffs like a just-lit stove when he lifts his red kufi. Jidenna converseslike a man whos assured but still in transition: Hes navigating through a new political climate and out of his three-piece suit phase.

For you, what differentiates East Flatbush from the rest of New York?Whats interesting about East Flatbush and the area I lived at in Boston when I was in high school was that they were similar neighborhoods. It was Caribbean-Americanpredominantly Haitian, Trini, and Jamaicanand Nigerian. My music, at least my perspective, is really shaped by all of that. Thats why youll see bits of rock steady or reggae. Youll see bits of Brazilian music and Nigerian music, and of course hip-hop, soul, funk, and all of that good stuff.

After spending time as a public school teacher, did it feel like a transition coming from teaching to music?I never wanted to teach. I did that because I needed money, and I lucked out because it was a hip-hop academic program and I had to make music that the children liked. So Im studying hip-hop and urban music and then putting rhymes to it in a way that sounds good. So Im studying trap, studying Katy Perry and whoevers hot at the time and bringing it to the kids. It was a natural transition to where I can rap and talk shit the way that I wanted to and not have to talk about integrated algebra and U.S. History.Classic Man was made in between making songs for the hip-hop education program. I was just like, Man, I gotta get out of this. So I just burned one down real quick and made Classic Man as an exercise.

How did you and Janelle Monae end up having that first meeting at that masquerade ball? Ill tell give you the whole story: Facebook, we saw it early at Stanfordbecause it was in the Ivy Leagues and Stanford before anybody. That was the testing ground. So I saw the social media world and people just being so into themselves, their friends, and the obsession with screens early. We wanted to make a response to that, so we made this thing called Masquerade Ball. Were dressing up, were fly as fuckwhatever that means, you didnt have to wear a suitbut the biggest thing was everybody had to wear full paint on their face. The rule was staring was legal. You could stare at anybody. Imagine everybody in a mask here. I dont know who these people are, but I could just look at them, which is totally different from regular society. So, our focus was human intimacyno phones were allowed and nobody without a mask was allowed. That was kind of a response to Facebook: A Facelook, if you will.

We invited Janelle to that because we felt she was peculiar and dope and weird enough for the shit that we were doing.

You finished recording The Chief a while ago but recorded a few more songs. Which songs were they? Really I was done by spring of last year. And then we had journeys, waiting, and promotion, so I said let me make another album. The additions were Trampoline, The Let Out, Bully of the Earth, and Safari.

I could hear the Nigerian influences on The Let Out. I did that in a clutch right after Thanksgiving. Me, Nana [Kwabena, the songs feature] and [collaborator] Andrew Horowitz made that in like one week, start to finish.The video showed the inspiration. When I go home for the holidays, we go see our cousins, year-roundpeople we aint seen in a minute. The elders go to sleep, you got your red cup, your party, your pregame. When youre at the house, you go out to party. I wasnt dressed up in no suit. I was dressed in a hoodie and snapback, or whatever. Ive worn that more of my life than suits, you know. Ill show people that too, this year.

But its become your thing. I leaned into it, but I gotta show people Im as versatile as my music is. But wed go out late, purposefully, so we wouldnt have to pay for shit. Nana made that beat. I was like, yup, and the verse came quick.

You moved around a lot coming up. Why the constant movement and what brought you to Brooklyn? Well, my family is from two different continents, so thats already gonna change things. And my moms family is from Wisconsin, but she lived in Boston, so off the top thats three different places. School took me to California, and post-school I wanted to work to make it in the music industry, so I moved to New York.

My sister was like, you gotta come out here, Brooklyns poppin. Its funny: I didnt find the music scene I thought Id find, but I came into my own as a man out here. I worked my ass off here, bro. I had four jobs a day. Youve got to to keep the house afloat to pay the bills. Ive never worked that hard in my life. I was out running on this very street, in a suit, in an 1800 suit, and some shoes I got from Zara, and the soles were worn. And I only had one pair of shoesthat was it. I had my little thrift shops suits and my one pair of shoes that matched all of em. They were grayish black, and I would just run, get on the bus, hop on the train, work here, go to this program, go to this job. I think it toughens you, and thats why I came into my own out here.

Whats the point where things started to change, from doing jobs to music? I had a plan to exit school and teaching. I saved up my money. Im frugal: Let me stack up where I can buy time. A lot of people buy things; I buy time. I bought time, months where I could just work on an album.

In that time, when I was leaving school, this must have been early 2014. I hadnt even heard of Fancy.

So it was Classic Man then Fancy? [The songwriting credits] says it samples it because we didnt wanna get sued. But I didnt hear it before we made the record. Once we heard it, we were like, Oh, yeah, super similar.

You went to the same school as Insecure creator Issa Rae and Luke Cage showrunner Cheo Hodari Coker. That was a dope connection to have in 2016. I cant believe they gave me the slot, man. Issa, I had only met once or twice, but Issa was my homie. Its the Stanford connect. I get free vaporizers from the Stanford connects. I get in hella rooms, just because of that school connect. Im bragging about it so the little kids know the benefit of school that nobody tells you. You gotta go because you gotta get a better job. Thats not what I wanna hear. I wanna hear that I can win. I wanna hear that Ima be on that screen.[He pointsto the restaurants television screens, which are playing CNN and ESPN.] I wanna hear that this is the way that I can get out of my situation and change the game and fuck shit up, man. I dont want job safety.

Not play the game, but beat the game. You wanna beat the game. That was my way, man.

You ever worried about distancing yourself from listenersand the kidswith these suits? I knew that kids would like it. What Im more worried about maybe not worried, but I wanna make sure is that I show all sides of myself. Or most. I know Chappelle said dont sell every side of yourself, but I want to share more, and that includes dressing down sometimes. Thats honesty. Its funny because if I do it now, people are like, Whoa, is he trying to Nah, I do this. Ima ease into it, so motherfuckers dont think that, you know? If the kids see me in some jeans here and there, even with a snapback, theyll know, sometimes, they can wear a suit, but its not like they always have to wear it. So I think itll be fine, I just gotta roll it out right this year.

And you were in DC for the Womens March. What propelled you to make the trip? You know how many people were born from women? All. Everybody. That was the one day that women were prioritized after being de-prioritized in so many countries, and in so many societies in this world. I had to be there. I dont think youre an asshole for not going, marching is not the only way to part of it. But I personally wanted to show up and show my face and be an ally. We got a lot of work to do, beyond the march. Theres even little nuances that I do that Im aware of in a conversation. Im more likely to interrupt a woman than I am a man. So these are things that I have to fix in my life. I do think were on a positive slope, and I never seen women that happy in my life.

Im relatively progressive, a liberal, and Im unapologetically that. Ill be a jerk if I need to be about liberal shit. Im not fucking PC, Im aware of things I do. If somebody calls me out for some racist shit I say or some misogynist or sexist shit I say, then yeah, please call me out. At the same time, I think that this PC culture we live in is dangerous. It doesnt allow people to mess up, it persecutes people, for having one little mistake.

What do you think your audience looks for in your music? Im at an interesting point where its predominantly people of color. A show is like people from the Middle East, people from the African Diaspora, and women. Its funny: Its everybody that Donald Trump has cast away and offended. So the peopleI see the least is white men.

Yeah, a lot of yours and Monaes audience are still people of color. Its interesting, right? When we do tours, its still people of color. I remember talking to the RootsI was talking to Tariq, I was talking to ?uestlovethey were talking about that shift, going from Philly out to the world. It aint happen to us yet.

Are you concerned that the idea of masculinity is archaic? Seems like you talk a lot about what a man should be. No, I never say what a man should be. It tells you what kind of a man I am. If you listen to the album, you know who the fuck I am, bro. You know exactly, if I have to stab you and its gonna be in the front, Im gonna tell you exactly what the hell Im doing. Ive done it, if I gotta go through a dangerous territory, Im ready to kill, if youre a woman and youre with me, Im with you and Im committed and I adore you. If we meet at a party, Im thinking about the night. But I also dont want a one-night stand, I want a little bit more than that, you know what Im saying? Im a say some shit thats gonna offend you, somebodys gonna feel some kind of way. The whole album is who I am, but I dont ever go in there like, A man should do this. This is what makes a man, you know? Nah man. This is what I believe.This is what a man looks like for me, this is what a Chief looks like for me.

When I was in school teaching, it was mostly women who were teaching, which was fine. But the boys, man, they needed someonerole models. I think thats why Im so focused, on manhood and the chief. Like you said, manhood is not a monolith. Im not a big guy, Im not a fucking diesel, the Rock walking around here. But I hold myself that nobody gonna punk me these boys to see, your might doesnt necessarily come from fighting all the time. It can come from the way you carry yourself.

How do you section off your time between Atlanta and East Flatbush? I have no idea. I dont really know what Im doing until the day of or a couple days before, even though its on the calendar. Atlanta is kind of the place I go to produce and make new music. I come to New York to feel people. Im just working a lot now. Its not what it was. But when I was in the album mode, needed to feel it, man. I remember Common on Respirationwhere he was like ,sometimes I take the bus home, just to touch home. I know that, man. I get that.

Is Moonlight going to beat La La Land for Best Picture? Man, I dont know. I wanna see Moonlight win, I wanna see Hidden Figures win. And you know whats great? A win on any of these shows and films we were talking about feels like a win for us all.

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Jidenna Wants You to Know What Really Makes a Classic Man - SPIN

NT BUZZ Gallery Gitanjali is hosting the second session of Fontainhas Exchange, Is, Interrupted, a performance by Astri Ghosh in collaboration with Pushpanjali Sharma and Gautam Nima through poetry, movement, music and text developed in response to and in conversation with the artworks of Praveen Naiks solo exhibition at Gallery Gitanjali, Notes From The Zeitgeist. Using the gallery as a stage, poet Astri Ghosh and performing artists Pushpanjali Sharma and Gautam Nima will come together to peel through interruptions in identity, intimacy and intention. Astri Ghosh is a poet and writer. After working as a journalist for many years she turned to translation and has published 12 books in Norwegian, English and Hindi. Her translations have been included in four anthologies. She grew up in Delhi and Mussoorie, and moved to Norway to study at the University of Oslo. Astri is currently translating twelve contemporary plays of Henrik Ibsen, four of which were published in 2015. Pushpanjali Sharma and Gautam Nima are interdisciplinary performing artists based in Goa. They are engaged in developing performances and pedagogies that serve experiential knowing through embodiment, movement and dance and somatic and mind-body practices. They believe experiential learning, embodied knowing and interdisciplinary education is the way to bring about change, and this can successfully happen through non-dual practices. They use movement arts towards self-knowing, personal transformation and healing, and teach the same through their workshops. As dancers they are interested in opening dance beyond the realm of entertainment and fitness, encouraging individuals to embark on a journey of self knowing through the lived body and movement as experience. Their performance works are contemplative and philosophical in nature, exposing the unseen, unheard and unvoiced. Through their performances they work towards reducing the gap between the audience and artist and enhancing their experience by inviting them to be a part of their work through interaction and their own creative contribution.

(The performance of Is, Interrupted will be held at Gallery Gitanjali on February 22 at 6 p.m. The event is open to all).

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Interruptions with fluid movements - The Navhind Times