Brutta ma Buona

A 20-minute Livestream Performance

Saturday, October 17 // 5PM EDT

Choreography by Trina Mannino in collaboration with the Performers and Donna Costello

Performances by Carol Chave, Joy Douglas, and Jessie Winograd

Sound Score by Laurel Snyder

Livestream produced by The Fleet NYC

*Rain Date: 10/18 // 5PM EDT

Livestream: $5

RSVP HERE

All proceeds from ticket sales will go to Black Girl Freedom Fund


About

Brutta ma Buona (Ugly but Good) began as a solo exploration that communes and reckons with lineage that developed into a work for an intergenerational cast of Carol Chave, Joy Douglas, and Jessie Winograd. Originally planned to premiere in September at Triskelion Arts, the dance and weaving project is reconceptualized as a 20-minute work for livestream with no in-person audience on October 17, 2020 produced by The Fleet NYC.

In Brutta, Carol Chave weaves in the vein of Tappeti Ericini, a style unique to the Sicilian village Erice near where my father’s family is from. Laurel Snyder’s collage-like sound score features audio clips of my great aunt and other family members along with her own singing and environmental sounds. Photographer Letizia Battaglia’s haunting imagery is the source of inspiration for gestures in the work, in addition to the act and patterning of weaving itself.

While we couldn’t manifest the original vision, an evening-length dance with an interactive set by Sarah Finkle in Triskelion’s theater, the cast and I found that the themes we were grappling with—domesticity, grief, and inherited trauma— were also brought to the forefront in the pandemic. Thus, after many conversations about safety, capacity and equity, we decided to move forward with this reimagining.

Brutta features weaving, a tradition often associated with the past. I hope that the practice and its relationship to movement is seen as a steady force that connects us to our history, roots us in the present, and hopefully, inspires us to move towards more expansive possibilities for the future.


Special Thanks and Support

Special Thanks to Donna Costello and Sarah Finkle for their early contributions to the project; Carol Chave for her hospitality for various convenings and her artistic contributions and wisdom; to Rachel Mckinstry and Triskelion Arts for the support and partnership in Brutta’s infancy and throughout the pandemic; Sol Kjøk and Mothership NYC for the amazing rooftop to livestream; Dan Federico for your website guidance; Benjamin Cheney and The Croft for being instrumental throughout the year-plus process; and the Gibney Choreographic Residency at Mana Contemporary.

Brutta ma Buona is supported in part by Triskelion Arts

Brutta ma Buona is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council.


Bios

Trina Mannino’s (She/Her) has made work that has been shared at Center for Performance Research, Crooked Tree Art Center in Michigan, The Detroit City Dance Festival at the Detroit Institute of Art, The Estrogenius Festival at the Kraine Theater, Green Space, Mana Contemporary Open Studios in New Jersey, and Triskelion Arts, among others. As a dancer, Trina has performed with Donna Costello, Anabella Lenzu, Barbara Mahler, Laura Peterson, Renato Rocha, JoAnna Mendl-Shaw, and Leyya Tawil, among others. She has received funding from Brooklyn Arts Council and has been awarded creative residencies at The Croft in Michigan and at Mana Contemporary. Her writing on dance and performance has appeared in Atlas Obscura, The Brooklyn Rail, The Dance Enthusiast, Dance Europe, Gallery and Studio Arts Journal, and Vice.

Formerly a Midwesterner, Carol Chave (She/Her) (@chave.carol) now divides her time between Greenwich Village and the Appalachian mountains of New Jersey.  A weaver and dancer, she creates mixed media paintings in wool (wovenwinds.com) and is a founding member of The Moving Orchestra (@movingorchestra), a collective of musicians and dancers who regularly give improvisational concerts.

Joy Douglas (She/They) is originally from Flint, Michigan and is a Jersey-based choreographer, artist, and dancer. They hold a BFA degree in dance and minor in Spanish from Adelphi University. In the Fall of 2017, during Joy’s final year at Adelphi University, she established her own dance company, Douglas & Co. Joy has danced for Grazia Capri, Morgaine DeLeornardis, MeenMoves, and as a part of Gibney’s Hands are for Holding program. Joy was a 2018-2019 LEIMAY Artistic Process Fellow at CAVE, Brooklyn, NY and received an Emerging Artist Residency at Mana Contemporary in the summer of 2019.

The Fleet NYC is a video production company specializing in the documentation of live performance. They’ve documented hundreds of performances throughout NYC and produced numerous videos for artists of all kinds. Check out their work @thefleetnyc on Instagram and thefleetnyc.com.

Laurel Snyder (She/Her) is a dance artist, educator, musician and stretch therapist based in NYC. She creates complex, visceral and vulnerable performances that slip between artistic sensibilities and seek authenticity through layered expression.  Laurel’s work has been presented by Gibney Work Up, FRESH Festival 2019 (SF), Dixon Place, Movement Research at Judson Church and CPR and she has performed with artists Faye Driscoll, Tere O’Connor, Tatyana Tenenbaum and Kendra Portier. Passionate about teaching movement/vocal practices, Laurel has been on the dance faculty at Rutgers University since 2017 and facilitated movement experiences at Gibney, NYU: Playwrights Horizons and Experimental Theater Wing, Colby College and Leviathan Studios (BC). She has acted as a vocal consultant for artists, Ivy Baldwin and Nadia Tykulsker and is honored to create sound designs for Trina Mannino. 

Jessie Winograd (She/Her) creates and performs dance and theater in NYC, forming long collaborative relationships with Barbara Mahler, Pele Bauch, Donna Costello, devised theater company Brain Melt Consortium, and most recently, conceiving/directing Chapter 1, Section 1 of The Dancing Mania (www.thedancingmania.com). As a longtime student of Klein Technique, a bodyworker, and a somatic movement teacher, she integrates her evolving understanding of anatomy and movement into her artistic practice. 

COVID-19 Safety

Brutta ma Buona in-personal rehearsals were held at various times beginning in June 2019 and were suspended on March 12, 2020. Since the pandemic, the artists rehearsed via Zoom and beginning in late September held four in-person outdoor rehearsals. All choreography has been modified to remove any touch and for the performers to maintain social distancing. The livestream adheres to the New York State COVID-19 Safety Guidelines for Media Production. The livestream was filmed with no audience except for Mannino, a videographer, and a photographer.