Journal

Whats Rage Oct 7, 2015

My relationship to rage is long and varied from childhood to this very moment as I write. The first feelings of palpable anger occurred when my parents drunkenly argued in the kitchen, or when strange men would peer through my bedroom window at night while I hid under my stuffed animals crying, or when my young cousins shared stories of incest and abuse or the self-hatred that developed after having been myself molested at age 10.

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"The Mind of Pat Graney" - Marcie Sillman on Girl Gods Oct 6, 2015

Marcie Sillman talks about Girl Gods at "And Another Thing", her culture blog:

Over the years I’ve spent a fair amount of time navigating the rich pathways of Pat Graney’s mind.

It’s always an amazing journey.

Graney has been making dances in Seattle for more than two decades. Love them or hate them, they are always fascinating.

I happen to love her work, even when it’s not quite finished.

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Girl Gods Oct 4, 2015

Pat Graney’s new work makes no apologies. It is a bold and explosive treatise on the seething underbelly of female anger. That anger is born of many things, not the least of which are the explicit as well as insidious messages that expressing it would be unattractive. It is derived by stuffing ourselves into the too-small cultural boxes aimed at keeping us cute, sexy, small, and silent. It is maintained through trying on and wearing the accoutrements that have come to define femininity, yet have served to own and encapsulate it, leaving us at the mercy of a soul crushing dilemma.

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"Girl Gods explores female anger and appetite" - The Seattle Times reviews Girl Gods Oct 2, 2015

The Seattle Times reviews Girl Gods:

"...The interplay between the performers and Holly Batt’s marvelous interactive wall structure is one of the more inventive and captivating elements. From its nooks and crannies, and from behind removable bricks, the ensemble of five women retrieve an assortment of archetypal objects.

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I don’t pretend to know anything Oct 2, 2015

I don’t pretend to know anything about modern dance or contemporary theater. I rarely know the artists or what I’m getting myself into when I walk into the mainstage at On the Boards. But, honestly, that’s kinda what I love about it—walking in as a blank slate, no expectations except to be confronted with something that I’ll probably need to grapple with until the next show.

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Tea in Damascus Oct 2, 2015

Tea in Damascus

At certain times of the day
The men weep while the women laugh.

A chargin of porcelain cover the streets
Where then fathers shuddering
Send sons to sew cups of medicine.

And daughters and aunts and mothers
Shrine the beginning and end of history.

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