Okwui Okpokwasili seems to gravitate toward tests of endurance.
At the beginning of Adaku's Revolt, a recent collaboration with her husband Peter Born, four women (herself included) lie on their backs, spines arched deeply into a shape resembling yoga's fish pose. They remain there, heads inverted and forearms pressed into the ground, for 15 minutes as the audience files in.
At the opening of Bronx Gothic, her 2014 one-woman show, Okpokwasili plants herself in a corner and shudders for half an hour, sometimes more—and that's just a prelude to the hour-long performance.
Mena Burnette of xmbphotography, courtesy Okpokwasili
It seems like everyone in New York's experimental dance scene is talking about Okwui Okpokwasili right now. Her multidisciplinary work Poor People's TV Room is in the middle of a much buzzed-about two-week run at New York Live Arts.
But although the dance world loves her, Okpokwasili is hesitant to call herself a dancer. In a story about dance theater in Dance Magazine's May issue, she told this to writer Siobhan Burke: