Around 2011, Binna Choi, director of Casco, Utrecht, had been invested in the “Grand Domestic Revolution,” titled after Dolores Hayden’s 1982 eponymous publication. After the passing of a friend, artist Mieke Van de Voort, who had the primary role in Summer days in Keijo—written in 1937, I proposed to Binna to collaborate on a performative piece in a residential setting in Amsterdam, devoid of press release, justification, documentation, or audience (a few years later, Binna wrote about this experience in another publication, and named it Yuwol).

Subsequently, I made a performance diametrical to Yuwol in the same domestic setting, Some Left, co-produced with If I Can’t Dance, I Don’t Want to Be Part of Your Revolution. In Some Left, I deliver the news of parting to those aloof to the pain of parting. It is not about death, inevitably a personal experience. It is about how that death appears to others.

I used two floors with a long steep stairway that connects the living space and the attic space in a typical residential apartment unit in old Amsterdam, in which the audience is divided and made to coalesce to experience storytelling in different settings, directional, performative to intimate and one-on-one.

performance still, Some Left, 2011, Ruyschstraat 4-III, Amsterdam, The Netherlands; invited by If I Can't Dance;

courtesy of Artist

Choi, Binna, "Unhurried Efforts, Rehearsing Death," Talk or Sing, Samuso, 2014, p85-107

Ginwala, Natasha, "…OF CONQUEST, RESONANCE AND FALLING: NOTES ON SOME LEFT," Web, Sep. 01, 2011,…of-conquest-resonance-and-falling-notes-on-some-left/



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