Ellen C. Covito’s Homebodies | November 22 | Private residence in Bed-Stuy (Brooklyn)


No Collective and composer/pianist Teodora Stepancic (with generous help from Panoply Performance Laboratory) are co-organizing a house concert of the Argentinian composer/choreographer Ellen C. Covito’s music at an untouched, arcane brownstone somewhere in Bed-Stuy, Brooklyn. Covito’s Composed Improvisations and Improvised Compositions will be performed in an extremely intimate setting by Masami Tomihisa, Teodora Stepancic, Assaf Gidron, Lindsey Drury, Brian McCorkle, Esther Neff, Kaia Gilje, and You Nakai.

Acclaimed recently in TDR (MIT Press) as “a rising star in the radical musical traditions (…) [who] continues the necessary investigation of the conditions of art,” Ellen C. Covito is widely known for her idiosyncratic approach to music and dance which deconstructs the binary of composition and improvisation with humorous rigor. Her recent endeavors in choreography continues her distinct focus on the uniqueness of each performer’s bodies which both conditions and belies the abstract symbols of written notation and score. Covito’s works have been performed in New York, Berlin, and Tokyo, and taught in various conservatories/workshops around the world.

Some works in the program include:

The location is a private residence so please send us an email (you@nocollective.com) if you would like to come. Spacing is very limited.

Post-Dance: A Primer | November 20 | Post-Dance Symposium, Panoply Performance Laboratory (Brooklyn)


No Collective is co-presenting with Lindsey Drury a peculiar theory about this thing called “(Post-)Dance” during a four-day symposium at Panoply Performance Laboratory on that thing called Post-Dance. We’ve been babbling bits and pieces of our erratic idea to friends in the last couple of months but this presentation will coalesce the primary theoretical components and many nice examples for the first time. So we hope you can come, if you are in New York or nearby. Our presentation is on Sunday, November 20, from 4pm.

Here’s a list of preliminary questions we’ve posited in lieu of an abstract:

Post-Dance: A Primer
Is the term “post” a mere prefix to indicate we are over it? What is this “it” we are supposed to be over with? If we are over dance, why do we still cling to that old name? Wouldn’t “post-it” be a better name? And even if we stick to dance, can’t we do better than resorting yet again to the facile formula of [dance + x (e.g. performance art, discourse, theory, etc)] and/or [dance - x (e.g. choreography, dancer, etc)]? Do we even know what we seek to leave behind? What is a body? What is movement? What if “post” was a verb or a noun? Where do we go from here, where have we been, and who is this “we” that we all talk about?


“A Double Act: Immaculate Conception by No Collective” | Brooklyn Rail


A very nice review of Immaculate Conception we did earlier this year with ensemble mise-en has been published on Brooklyn Rail. It’s entitled “A Double Act” and was written by Cody Eichman. It contextualizes our efforts in the history of theatre and its discontents, including John Cage’s adoption of the term which placed it in a dialectical tension with the domain of “music.”

It starts like this: “I once heard a performance-studies scholar explain the difference between performance art and theater as that between presentation and representation. She was wrong. For the essence of theater lies not in representation, but in the duality between presentation and representation, as well as in the indeterminacy infiltrating this dichotomy. A play takes place in between action and act—and, as Gregory Bateson observed, the line separating one from the other always remains vague. Theater plays with this double identity (performance art often pretends it doesn’t exist).”


“HOUSE MUSIC: A PERFORMANCE” | CARPA 4 Proceedings | Theatre Academy Helsinki


The proceedings of CARPA 4 (Colloquium on Artistic Research in Performing Arts) held in Helsinki a year ago on the topic of “The Non-human and the Inhuman in Performing Arts” has been published online. We were invited to perform HOUSE MUSIC (C) with Lindsey Drury and Johanna Gilje, and you can see/read a text (abstract) describing what we aimed to do, a video documenting what we actually did, and an image depicting what happened as a result, here:


The abstract went something like this:

“No Collective [You Nakai, Kay Festa, Earl Lipski, Jay Barnacle, et al] and Lindsey Drury (Dreary Somebody) present a performance of music and dance involving multiple inhuman dancer/musicians and human performers [Johanna Gilje, Lindsey Drury, You Nakai]. Within the work, the inhuman dancers move in seemingly random trajectories through a performance space without programmed pathways or the manipulation of a controller. Through their interaction with the human dancers, the work reframes “improvisation with objects,” as one cannot fully predict the movement of the objects, or their response to contact with human bodies and other objects. Regardless as to the internal mechanism that drives the objects, the experience on the outside is that they are “making choices.” The focus of this work is to create a situation which challenges the performer’s ability to enact her will over the objects with which she performs, along with the tendency of audiences to identify human performers as enactors and objects as receptors of action. The resulting work reveals how the ability to move unpredictably can assert an object its own will. The question of agency traditionally oriented toward the bodies of human movers (“Why does she move like that?”) is thus expanded. Despite the necessity in this description to differentiate between the inhuman and human performers, the point of the piece is to explore and problematize common notions of what constitutes a body. The work was developed through the concept that the delineation of body is based in the perception of a certain agency that controls a given movement. All the moving objects in the piece, whether inhuman performers, human performers, or human (and inhuman) audience, appear to have agency because the source of their movements is instilled within themselves. The most important thing accomplished in the piece is not that the inhuman performers “become human,” but instead that the humans present in the room face the fact that they are also objects. Therefore, the work does not reinforce the difference between human and inhuman, but instead dissolves that very distinction through an expanded definition of body and its basis in movement.”

()all | June 26 | JACK (Brooklyn)


No Collective is going to premiere an installation-performance called “()all” this Sunday at JACK in Brooklyn, as part of GROUP WORK IV: Room Sounds, an evening assembling “Composition and installation dealing with sonic and social space in the concert environment” (which was supposed to take place back in January but got postponed due to that idiotic snow storm). Assisted by Matthew Gantt, we are determined to finally reveal the grand mystery of JACK (which everybody who knows the space has wondered about all these years): its aluminum-foiled walls. Tonight we provide the reason behind the enigma. This revelation is meant to overlap, underscore, and infiltrate all the other works in the evening and people in the space without offending them too much. Sorry in advance if we did.

“The End of Choreography as We Know It” | Performing Arts Journal [38-2] (MIT Press)


“The End of Choreography As We Know It,” an in-depth review of Vesna’s Fall (No Collective + Lindsey Drury) written by Ellen C. Covito, has been published in the Performing Arts Journal (MIT Press). It focuses mainly on the last version of that piece we did at the Queens Museum almost exactly a year ago, but also analyzes the differences between the three previous renditions of the piece at Judson Church, Black Mountain College and Cholula Mexico (some footage can be seen here: http://nocollective.com/v.html) and describes our effort to collapse once and for all the problematic workings of sacrifice and gravity in the original choreography of the Rite of Spring (and subsequent modern/postmodern dance) which we had discreetly used as source material.

This is how it starts: ”On January 26, 1972, Vesna Vulović fell from an exploding airplane onto a frozen mountainside in northern Czechoslovakia—and survived. The 33,330 feet physical downfall of the Serbian flight attendant is registered in the Guinness Book of Records as the highest free fall a human has lived through. The reason her JAT Flight 367 exploded that day remains unknown. The local investigation committee claimed there had been a bomb planted by a Croatian nationalist group. Soon afterwards, the Yugoslav government singled out the criminals as the fascist terrorist organization Ustaše, though the group had been dormant since the end of World War II. In recent years, some journalists concluded that the plane was shot down by mistake by the Czechoslovak Air Force—a claim that the Czech Civilian Aviation Authority immediately dismissed as a conspiracy theory. The reason Vesna survived is as controversial as the cause of explosion. Nevertheless, there is a simple explanation for why she fell from the sky, thanks to Sir Isaac Newton: gravity was at work.”

Thanks also to David Ian Griess for the images!

The End of Choreography As We Know It, Performing Arts Journal 38-2, MIT Press

public service | 2016-2017 | private residence in new york


1. public service is a series of (pseudo) secret events organized (almost) every month by No Collective (you nakai, et al) and zner (dp) at a private residence in new york.

2. each event is hosted by a different creature (artist choreographer film maker scientist writer philosopher engineer etc) and attended only by 10 (or so) people carefully selected and cordially invited by the host(s) and the organizer(s) for the specific occasion.

3. together the series explores the thin line(s) between legal and illegal public and private performance and attendance substance and subjecthood theory and method real-time and documentation.

4. public service will go on forever (=twelve months) at the end of which we are planning to publish the documentation of the events to make them publicly accessible in retrospect.

5. february will be hosted by no collective at the end of the month.

Immaculate Conception | January 22 | Mise-en_PLACE (Brooklyn)


For Ensemble Mise-en’s ACOUSTIC+ #8, No Collective is presenting the world premiere of IMMACULATE CONCEPTION, a play of revelational music in two halves, six acts, and one intermission, which intends to reverse causalities (remove all stains) through the miraculous workings of uncanny resemblances, or at least give a fleeting impression thereof. Through three rehearsals each, No Collective and ensemble mise-en, both comprised of exactly the same instrumentation (flute, violin, piano, bass clarinet, contrabass, trombone, and conductor) and gender/race distribution, worked to become precise doppelgangers of each other without ever actually meeting one another. In the process, each group derived its own music through imitated gestures and (re-)imagined sounds of the other. The effect of doubling (between a type and an antitype, so to speak) further proliferates at the concert, where the three-times-two rehearsals are unfolded in the three-times-two acts, the first half enfolded in the second, and each act is explained by the next while containing the one before. The resulting sequence stages performative faith to something that never existed, something that appears as foreshadowing the events but only in retrospect. The hope is for such perturbation of causes to save us all from our original sins (which is of course that of conceiving and being conceived), not through expiation, but through some sleight of hand. To see is to believe, to hear is to doubt, to concert is to bind.

Composed and Performed by
A) Ensemble Mise-en as No Collective:
Maria Johnson as Lindsey Drury (flute)
Sabina Torosjan as Siv Lie (violin)
Yumi Suehiro as Masami Tomihisa (piano)
Evan Runyon as Matthew Gantt (contrabass)
Mark Broschinsky as Brian McCorkle (trombone)
Carlos Cordeiro as Davindar Singh (bass clarinet)
Moon Young Ha as You Nakai (conductor)
B) No Collective as Ensemble Mise-en:
Lindsey Drury as Maria Johnson (flute)
Siv Lie as Sabina Torosjan (violin)
Masami Tomihisa as Yumi Suehiro (piano)
Matthew Gantt as Evan Runyon (contrabass)
Brian McCorkle as Mark Broschinsky (trombone)
Davindar Singh as Carlos Cordeiro (bass clarinet)
You Nakai as Moon Young Ha (conductor)

January 22, 2016 | 8pm
678 Hart St #1B
Brooklyn, NY 11221

Tickets will be available at the door and can be purchased for $20 general admission or $15 for students and seniors. Your ticket will also include a complimentary drink. Space is extremely limited (probably around 20 people max) so if you are worried, please reserve your place by contacting: ai@nocollective.com

p.m at a.m | December 18 | a.m (London)


No Collective is premiering “p.m at a.m,” a misleading musical fable about the world in general and you in particular, at a.m in London from 8 p.m this coming Friday, December 18. Performers may include You Nakai, Dee Ali, and Ai Chinen among others. a.m is a gallery built inside the remains of the famous Blackwing Studios where bands like Depeche Mode or The Pixies used to record their music back in the days. The space is subtly abandoned and nicely soundproofed and so is the work so please join us if you are in town!


All Hallows Church
1 Pepper Street Entrance

Museum of Unheard of Things Publication Event | November 18 | Grüntaler 9


Already Not Yet/No Collective are organizing a book publication event for our new release Museum of Unheard (of) Things [ANY 02] in Berlin this Wednesday, November 18, from 7pm at the Grüntaler 9 Gallery. We wish to convey the idiosyncratic character of the museum through unheard readings, non-simultaneous interpretations, and occasional servings of literary recipes. Performers include No Collective (You Nakai, et al.), Roland Albrecht, Alexander Booth, Lindsey Drury, Tomomi Adachi, Johanna Gilje, Thea Farhadian, Dafne Narvaez, among other “things.”