Tag Archives: Inwood

NoMAA: Collective Care Art Workshop

The Collective Care Art Workshop will offer participants ways to create calm and build community through art.

Liz DelliCarpini MAAT, ATR-BC, ATCS, LCAT

The objectives are to (1)  identify art processes that promote self-soothing, (2) identify ways to increase social bonds through art-making, and (3) practice collective care. This in-person workshop will include an initial presentation, art experiential, group discussion, and resources. Art materials will be provided; however participants may bring their preferred coloring media and xerox copies of simple imagery.

*Please note that this is a workshop, not therapy.  Within these parameters, participants will choose their level of participation, which includes sharing or not sharing their artwork.

As we end 2021, NoMAA will hold two lunchtime art therapy workshops geared toward local arts and culture workers.

Wednesday, December 1, 12 – 1:30
COLLECTIVE CARE ART WORKSHOP with Liz DelliCarpini MAAT, ATR-BC, ATCS, LCAT

Friday, December 10, 12 – 1:30
REFLECTING BACK AND LOOKING FORWARD with Linda Turner, LCAT, ATR-BC

4140 Broadway (@176 St)

Dyckman Farmhouse Museum Pop Up Art Installation: “Obscurus Projectum” Continues Until Spring

Back by popular demand! Gibson + Recoder’s Obscura Projectum will remain in place until Spring 2022. With the changing weather and season, this installation will project a variety of colors and movement. Come visit it often to gain the full experience.

We are partnered with Gibson + Recoder for a limited pop up art installation titled “Obscurus Projectum” that is on display at the Dyckman Farmhouse Museum during open hours this Thursday, Friday, and Saturday! Don’t miss the opportunity to check out this beautiful installment in person.

Dyckman Farmhouse Museum Pop Up Art Installation: “Obscurus Projectum” Continues Until Spring

Back by popular demand! Gibson + Recoder’s Obscura Projectum will remain in place until Spring 2022. With the changing weather and season, this installation will project a variety of colors and movement. Come visit it often to gain the full experience.

We are partnered with Gibson + Recoder for a limited pop up art installation titled “Obscurus Projectum” that is on display at the Dyckman Farmhouse Museum during open hours this Thursday, Friday, and Saturday! Don’t miss the opportunity to check out this beautiful installment in person.

Up Theater Company: Detained Q & A with Director Nancy Robillard and Playwright Rosel-Mary Harrington

DETAINED: Q & A

DETAINED director NANCY ROBILLARD (L) and playwright ROSE-MARY HARRINGTON take a few questions from UP’s artistic director James Bosley about this timely new play.

Rehearsal photos by Jacki Goldhammer

JAMES: Rose-Mary, what drew you to this story?

ROSE-MARY: I was compelled to write Detained in 2008 after I learned of the plight of asylum seeking families who were being incarcerated in a former penitentiary in Texas. Children along with their parents were treated as criminals. The families fled persecution and violence and threats in their home countries seeking refuge in the United States of America. When they were apprehended at the border they were shipped to Hutto, a privately-run family detention center in Texas. In Hutto they were stripped of belongings, men and women were separated, and children over seven years old confined to their own cells. Hutto was run like a prison—with counts, laser trip wires, and meager mental and physical stimulation for the children. Even stuffed toys were banned. As Captain Viv, one of the facilitators laments, “America is better than this.”  I hope this play serves as a voice for those who do not have a voice.  I never imagined how topical immigration would become ten years from the inception of Detained.

Ken Dillon (L.E.) and Laura Fois (Captain Viv)
Ken Dillon (L.E.), Laura Fois (Captain Viv)

JAMES: Nancy, what was your first impression when you initially read the play?

NANCY: When I read the play for the first time, I realized that I had a knot in my chest the entire time I was reading it. That was a good thing—it meant I’d been deeply moved by it. I felt for the characters and the situation they are in—being in detention, their futures uncertain. Some have been there a long time, with no end in sight. I wanted to be part of telling their story.

Director, Nancy Robillard
Director, Nancy Robillard

JAMES: Rose-Mary, we’ve had a lot of back and forth on the script, including a staged reading, since you sent it to us three years ago. Was there a moment during that process that really helped clarify the story for you? Was there a moment that was especially painful?

ROSE-MARY: From the staged reading in 2016 it became apparent that I needed to develop a central character. This became Maria, a teen caught in the crossfire of immigration. She is smart, endearing, and recognizable as any kid struggling with adolescence, and with her relationship with her mother. Maria now gives the play focus and cohesiveness. The moment that was especially painful to write, and now to witness in rehearsal, is at the conclusion of the play. It is heart-breaking to watch a teen so despondent due to the suffocating circumstance she finds herself in this play.

Thomas Vorsteg (James),  Nercido Mota (Paco)
Thomas Vorsteg (James),  Nercido Mota (Paco)

JAMES: What draws you to doing new plays?

NANCY: Working with the playwright is a privilege and a luxury. It is great to be able to ask the writer. “Is this what you meant here?” Rose-Mary lives in South Carolina and flew up here to be with us for the first week of rehearsal. The cast and I spent that week with her sitting around a table, reading and analyzing scenes. She made script changes every day based on what she learned from the rehearsals. As we are staging the play, we continue to discover things about the script—what is working and what is not. Rose-Mary has joined us sometimes by Skype or Face-Time so that she can watch rehearsals and continue to make adjustments in the text. At times a writer is inspired to re-write because of something specific an actor or director has done. Other times it happens simply because we have put the play up on its feet. The writer can see it and say. “Now I know how to fix the ending.” (It is almost always the ending.) So we really learn what is working and what is not. Then we bring in the audience and learn about the play from them. It is thrilling to be part of that process, and I truly appreciate UP Theater for giving us the opportunity. It is no small feat for a theater company to produce new plays, and UP does it beautifully.

Robert S. Gregory (Firouz), Rose-Mary Harrington (playwright), Natalia Plaza (Maria), Beau McGhee (Doug)
Robert S. Gregory (Firouz), Rose-Mary Harrington (playwright), Natalia Plaza (Maria), Beau McGhee (Doug)