Vesna‘s Fall placed performers inside 14-foot “rooms” attached directly to their bodies. These rooms allowed each performer to transport her own performance space with her body, enclosing sections of the audience inside the room with her as she travels through space. The performance itself is a work of choreography which was sonically-coordinated, called out by performers in the form of counts, commands, and songs. Thus, each dancer, while visually isolated from one another, danced an interconnected choreography to the audible commands and counts from other dancers while herself commanding and counting for others she cannot see.
Vesna‘s Fall was created collaboratively by No Collective, and over the course of 2014-215, the work was presented by the Black Mountain College Museum, and the Performática festival in Mexico, Movement Research at the Judson Church in NYC, and at the Queens Museum. It further attracted scholarly attention, articles about Vesna‘s Fall were printed in TDR (https://www.mitpressjournals.org/doi/abs/10.1162/PAJJ_a_00315?journalCode=pajj), published by MIT press, and as a part of the NYC dance critic Claudia La Rocco’s Performance Club (http://theperformanceclub.org/2015/06/exchange-mechanism/).