Raychel Ceciro Performance & Practice

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	<title>Raychel Ceciro Performance &#38; Practice</title>
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	<description>Raychel Ceciro Performance &#38; Practice</description>
	<pubDate>Sun, 30 Jun 2019 05:44:20 +0000</pubDate>
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		<title>About</title>
				
		<link>https://raychelceciro.com/About</link>

		<pubDate>Sun, 30 Jun 2019 05:44:18 +0000</pubDate>

		<dc:creator>Raychel Ceciro Performance &#38; Practice</dc:creator>

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photos by sorcha augustine
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○&#38;nbsp; &#38;nbsp; ○&#38;nbsp; &#38;nbsp; ○

   I am a Floridian eco-anthro-archival performance artist, engaging the past with a preposterous present through urgent tenderness and radical responsibility. My practice focuses on the handling of delicate information from the primary sources of text, mind, body, and collective memory, specifically those at risk of erasure from climate catastrophe. Practicing within the generous failures of embodied dramaturgy, I investigate expressions of earthly grief, love, and ferocious care through interrogative dance scores, movement, and devised theatrical work. I have been presented along the east coast in New York and Philadelphia (The New School, 954 Dance Movement Collective, the Annenberg Performing Arts Center, among others) as well as in many parks, museums, and cultural centers throughout Florida, such as the Marie Selby Botanical Gardens and the Ringling Museum of Art. My work has been supported by the Andrew W. Mellon Foundation, the Florida Public Archaeology Network, and the New School College of Performing Arts.

As an arts administrator, I study sustainable creative placemaking and adrienne marie brown’s emergent strategy as an anti-oppressive blueprint for uplifting and supporting artists, ensuring they have the resources to imagine, create, and celebrate an equitable and liberated future. I have worked as the General Manager of Sarasota Contemporary Dance, as well as in administrative roles at Koresh Dance Company, the National Constitution Center, and most recently at Movement Research in NYC.

○&#38;nbsp; &#38;nbsp; ○&#38;nbsp; &#38;nbsp; ○


 Raychel has had work featured on the 2020 Kilroys List, and at the Centre National de la Danse (Paris), HERE Arts (NYC), The Brick (NYC), En Garde Arts (NYC), the New School College of Performing Arts (NYC), Poetry Society of New York (NYC), Annenberg Performing Arts Center at the University of Pennsylvania (PHL), 954 Dance Movement Collective (PHL), Ursinus College (PA), the Shoebox Theater Festival (PHL), Vox Populi (PHL), the Ringling Museum of Art (FL), MARA Studio&#124;Gallery (FL), Marie Selby Botanical Gardens (FL), Sarasota Art Museum (FL), the Bay Park Conservancy (FL), and with the Theater, Dance, and Performance Studies department at the New College of Florida. Raychel has produced their work with support from the Florida Humanities Council, Sarasota Arts and Cultural Alliance (John Ringling Towers Grant), Florida Public Archaeology Network, and the Andrew W. Mellon Foundation. Raychel received their BA with honors from the New College of Florida, where they double majored in Literature and Anthropology, and where they also taught as an Adjunct Professor in spring 2022.</description>
		
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		<title>Upcoming</title>
				
		<link>https://raychelceciro.com/Upcoming</link>

		<pubDate>Sun, 30 Jun 2019 05:44:19 +0000</pubDate>

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		<description>UPCOMING ??LES BI(T)CHES by mirage auto depot
Part of the Trans History Project, in residence with Rattlestick Theater and commissioned by Baltimore Center Stage and Breaking the Binary Theater. It is 1925 and it is 2026 and also neither.It was Les Biches in Paris and it is LES BI(T)CHES here in Brooklyn and we’re not even on the Lower East Side. And even if we were, it isn’t the ‘Lower East Side’ anymore than Paris is still Paris, or, at least not what it was in 1924 when the ballet&#38;nbsp;Les Biches premiered there, and the LES may as well be gone too if we’re thinking about what it was in the 60s or 70s, but of course it can’t be what it was then (nothing can?).It is the thing that it is now because it is; everything is change. But there are constants. Over one hundred years ago, there were trans people — and queers and dykes, fags and their friends. Just like today and here. And there were fascists who wielded their power over them, blamed them for war and death, and demanded their nonexistence.And in turn, like today, there was fierce resistance and there was cowardice. There was Claude Cahun and Romaine Brooks and all their friends, and we’re bringing them back to life.
keep tabs here to learn more !


and you can email me at rachelceciro@gmail.com for a lil chat any time.</description>
		
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		<title>Portfolio</title>
				
		<link>https://raychelceciro.com/Portfolio</link>

		<pubDate>Sun, 30 Jun 2019 05:44:19 +0000</pubDate>

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		<description>Portfolio


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		<pubDate>Sun, 30 Jun 2019 05:44:20 +0000</pubDate>

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