[Yes, the below is all in the third person, (as I am not myself).]
Lindsey Drury is a dance artist, researcher, editor, educator, and arts writer. After working as a choreographer for eight years in New York City in collaborative projects with performance and experimental arts groups, Drury was offered an Erasmus Mundus Fellowship to conduct a three-year research project on dance history, and so relocated to Berlin. She now lives and works in Berlin as an artist and researcher.
As an immigrant in Germany, Drury hopes to put her scholarly and artistic work toward building cross-disciplinary platforms for social change through performative systems of community engagement. Drury’s drive to do so is in part informed by her artistic/social justice work in New York City, and in part by her experience as a pedagogue.
Work toward social justice
Drury organized a number of artist-run programs to address social problems of access, space, and social justice in New York City between 2010-2015. She co-founded the Woods Cooperative (an artist-run rehearsal and performance space in Queens, 2011-present), initiated the feminist artist organization No Wave Performance Task Force (2012-present), and implemented an in-home residency program (2010-2012) to provide a free housing program for artists who wished to come to New York City but who didn’t have the resources to pay for housing there.
Drury also works as a teacher, especially within spheres of alternative arts education. She has taught as a part of the Transcultural Art Lab of 2017 (with young artists from Abkhazia, Armenia, Azerbaijan, Georgia, South Ossetia and Germany), funded by the German Federal Foreign Office, the Ministry of Social Affairs, and the European Union Erasmus+ programme. She has also taught workshops through the Association for Performance Art in Berlin in 2017, as a part of the Performática Festival in 2014, and as a guest teacher at the American Dance Festival in 2011.
As an Erasmus Mundus Fellow, Drury investigated how the act of dancing was summoned to larger discourses on embodiment in 15th and 16th century alchemical, medical, and religious writings. Drury worked with early modern books that, through their articulation of dance, consequently also express how writing is not only representative of—but also laden with—the problems of body, sensory experience, and practice.
Performance Research and Collaborations
While in her academic research, Drury has worked on early modern writings on dance, as a dance and performance artist in New York City and Berlin, she has explored movement and the body for relationships to instruction, indeterminacy, environment, and objects—but most significantly to language. In previous years, she worked closely with the members of the experimental art and performance group No Collective, and with Panoply Lab of New York City (with whom she cooperatively published the book on the opera Any Size Mirror is a Dictator in 2015). She is a member of the Association for Performance Art in Berlin and the Dance Studies Association. Drury’s performances have been featured in various showings at venues around the world: In Vienna, Budapest, and Helsinki; in Germany at CAT Cologne, Grüntaler9, and Theater Discounter (Berlin); in Mexico at UDLAP in Puebla; in New York City at the Queens Museum, Judson Church, Cunningham Studio, Brooklyn Arts Exchange, Gibney Dance, Danspace, Dance New Amsterdam, The Chocolate Factory’s Throw series, the BoCoCa Arts Festival, Bushwick’s SITE Festival, Chen Dance Center, Panoply Lab, the Brooklyn International Performance Art Festival, Issue Project Room, and elsewhere.
Drury’s investigations of language in performance have led her into increasing involvement with publishing—first with the art-book publisher Already Not Yet Press in Brooklyn, and currently with Karolinum Press in Prague. Her work in dance and performance art has further informed her work as a writer. For example, over 2017 – 2018, Drury has collaborated with the Berlin-based Belgian performance artist Joël Verwimp on a writing and performance series titled When is a House?, initial iterations of which have been presented at PLAY/III – Video- & Performance-Festival in Cologne, and in Berlin at the art book fair Miss Read and the at artist open studios of the Zentrum für Kunst und Urbanistik.
Her writings on art and performance have been published with Movement Research’s journal Critical Correspondence, the loveDANCEmore journal, and with Already Not Yet Press, for which she also served as an editor for the journal Matters of Act. In Berlin, Drury has organized numerous events that merge performance art with the artbook readings for the publisher Already Not Yet Press (Brooklyn), including a panel with the Institute for Cultural Inquiry, a series of performances at the artspace Grüntaler9, and a reading at the Museum der Unerhörten Dinge.
Reviews of her work have been published in PAJ of MIT Press, the Brooklyn Rail, Claudia LaRocco’s Performance Club, Hyperallergic, and by various bloggers in New York City.
Between 2013 – 2016, Drury worked closely with the choreographer Yvonne Meier, wrote an MA thesis historicizing and theorizing on her works, and digitizing her personal archive. Meier’s conceptions of dance, her work on ‘scores,’ and her approach to the body have a profound influence on Drury.
In 2006, Drury traveled to Mexico to study Performance Art with Guillermo Gomez-Pena and his company. There, Drury developed bonds with artists from throughout the Americas while creating performances culminating in an event for the Museum of Modern Art to address the political protests of the teachers that summer. Activists, teachers, community members, political figures, school children, and artists filled the Museum of Modern Art to take part in the event. Gomez-Pena’s leadership created a conduit of connection between the international group of student artists and the Oaxacan community in crisis. Drury’s experiences with Gomez-Pena led her to write grants to bring him to La Pocha Nostra to her university to create a workshop for student, artist, Latino, and activist communities there. Drury performed with La Pocha Nostra as a part of this project in 2007.
Between 2007-2008, Drury was a Graduate Research Fellow at the University of Utah, and was given a stipend for a year of international research in the Balkans where Drury researched and engaged with politically and economically displaced dancers of the region. Drury holds a BA in Interdisciplinary Performance from Western Washington University, an MFA in Dance from University of Utah, and an MA in Liberal Studies with a focus in Body and Historicity from the City University of New York.