We have two pieces of regrettable news this year. First, Gladys Kaiser, my friend and assistant for twenty-five years, will give up the latter post after the 1993 annual meeting, though she will certainly remain my friend forever. Gladys and I have been a team, and though I knew her retirement was coming, it is still a jolt.

The spiritual practice is West African–derived and earth based, and there’s a process of ancestral veneration that is a hallmark of this tradition. I’m talking to them and seeking their help, petitioning them, thanking them, praising them. Attempting to listen and be led.

I have had students and postdocs of the first class close to four hundred people.

Having said that, feeling isolated is tough. In those times, you need a place where you can be by yourself, and friends. Company colleagues won’t do it because they’re generally self-centered (laughs). You need friends who have nothing to do with the company.

You may think it is the worst thing ever, but you will grow from it. People will forgive and forget.

When stuck, go to someone else’s show—in a different discipline

I do not consider Kinetic Light’s work radical. It is not radical to imagine a disabled audience as primary and to make the work accessible to that audience. It is not radical to situate a work within disability history, culture, and traditions. Non-disabled artists do that all the time.

My dance heroes include Kitty Lunn, one of my first teachers, Marc Brew, current Artistic Director of AXIS Dance Company, Judy Smith founding member and Artistic Director Emerita of AXIS, and Jawole Willa Jo Zollar the founder of Urban Bush Women. They are all innovators and activists in their own way.

I understand my definition does not meet most people’s definition of disability.

What I think you’re asking is, “Does it change the movements on stage if you have people come and watch it?” I would say, yes it can, but not always. Not every comment will lead me to go back to the stage and change something… but it can. Often you don’t know how stuff is landing, so it can be helpful to get a viewer’s perspective. Since I’m in the piece, I’ll never be able to see what it looks like from the outside.