{"id":111401,"date":"2018-11-25T16:40:22","date_gmt":"2018-11-25T16:40:22","guid":{"rendered":"https:\/\/wpstaging.afromagazine.eu\/nasha-keyon-gaskin-if-i-cant-dance\/"},"modified":"2018-11-25T16:40:22","modified_gmt":"2018-11-25T16:40:22","slug":"nasha-keyon-gaskin-if-i-cant-dance","status":"publish","type":"post","link":"https:\/\/afromagazine.nl\/en\/nasha-keyon-gaskin-if-i-cant-dance\/","title":{"rendered":"NASHA | Keyon Gaskin | If I Can\u2019t Dance"},"content":{"rendered":"
\"\"<\/a><\/div>

Hoe kun je je minder eenzaam voelen als je onderweg bent? Keyon Gaskin<\/strong> en vrienden diepen dit vraagstuk uit in een avondvullende dansvoorstelling.<\/p>\n

NASHA<\/strong>\u00a0is genoemd naar de jongere zus van de kunstenaar is een poging om de eenzaamheid onderweg te verminderen en de zwarte sociale omgang te omarmen. Dit project is ook een soort verzet van de kunstenaar tegen de dwingende vraag om aldoor \u2018nieuw\u2019 werk te moeten maken. De makers willen benadrukken dat iets pas betekenis krijgt door een ervaring.<\/p>\n

Ook is er vrijdag 30 november 17.45 uur nieuw werk van Keyon Gaskin Kings Day Protest te zien\u00a0op het grote videoscherm in de hal van het Amsterdam Bijlmer ArenA station.<\/strong><\/em><\/p>\n

NASHA\u00a0en King\u2019s Day\u00a0Protest <\/strong>zijn onderdeel van een groter beeldende kunstprogramma, Social Movement van If I Can\u2019t Dance, I Don\u2019t Want To Be Part Of Your Revolution<\/strong> dat van 8 november tot en met 4 december. op verschillende locaties in de stad te zien is. Bekijk het gehele programma op www.ificantdance.org<\/p>\n<\/p>\n

__<\/p>\n

A gathering of three performances with Keyon Gaskin<\/strong> and friends.\u00a0NASHA<\/strong>\u00a0is an attempt at being less lonely when travelling, named after the artist\u2019s little sister. It centres on and values black sociality, and resists creating something \u201cnew\u201d through stipulation, giving context through\u00a0experience.<\/p>\n

Also, on Friday 30 November at 17.45hr a new video work by keyon gaskin, King\u2019s Day\u00a0Protest, will be broadcast on the public screen at Amsterdam Bijlmer ArenA train\u00a0station.<\/strong><\/em><\/p>\n

NASHA\u00a0and King\u2019s Day\u00a0Protest<\/strong> are part of a larger artistic programme, Social Movement, presented by arts organisation If I Can\u2019t Dance, I Don\u2019t Want To Be Part Of Your Revolution<\/strong> at different venues in the city from 8 November to 4 December. For the full programme please visit www.ificantdance.org.<\/p>\n

Credits \/ Acknowledgements<\/strong><\/p>\n

Dead Thoroughbred<\/strong>
\nin samenwerking met \/ in collaboration with Sidony O’neal<\/strong>
\n\u00a0
\nthe multifarious nature of care<\/strong>
\nmet \/ with Adee Roberson (Tropic Green)<\/strong>
\n\u00a0
\n[a swatch of lavender]: a self portrait<\/strong>
\nuitgevoerd door \/ performed by local artists
\n\u00a0
\nSamiya Bashir, Field Theories<\/em>\u00a0(2017)<\/strong>
\n6 videos, approx 1 min 30 sec each, col, English
\nMovement: Keyon Gaskin<\/strong><\/p>\n

Camera and edit: Roland Dahwen \/ Patua Films<\/strong>
\n\u00a0
\nNASHA wordt gepresenteerd met de steun van \/ is presented with the support of SNDO \u2013 School for New Dance\u00a0Development,\u00a0Fine Arts Department Sandberg Instituut, USB Sandberg Black Student Union, en \/ and Unsettling Sandberg Instituut\/Gerrit Rietveld Academie.
\nMet dank aan \/ special thanks to NGAGE Media.<\/p>\n","protected":false},"excerpt":{"rendered":"

Hoe kun je je minder eenzaam voelen als je onderweg bent? Keyon Gaskin en vrienden diepen dit vraagstuk uit in een avondvullende dansvoorstelling. NASHA\u00a0is genoemd naar de jongere zus van de kunstenaar is een poging om de eenzaamheid onderweg te verminderen en de zwarte sociale omgang te omarmen. Dit project is ook een soort verzet […]<\/p>\n","protected":false},"author":1,"featured_media":111402,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2569,2564],"tags":[],"ppma_author":[2583],"class_list":{"0":"post-111401","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-show-agenda","8":"category-uncategorized"},"authors":[{"term_id":2583,"user_id":1,"is_guest":0,"slug":"mermar","display_name":"mermar","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/b97554d899a7ce8df2bc286c2f73beda56ebbc97d5d9ced74f7a04498e0fb0d3?s=96&d=mm&r=g","0":null,"1":"","2":"","3":"","4":"","5":"","6":"","7":"","8":""}],"_links":{"self":[{"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/posts\/111401","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/comments?post=111401"}],"version-history":[{"count":0,"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/posts\/111401\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/media\/111402"}],"wp:attachment":[{"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/media?parent=111401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/categories?post=111401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/tags?post=111401"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/afromagazine.nl\/en\/wp-json\/wp\/v2\/ppma_author?post=111401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}