“The world begins at a kitchen table,” penned poet Joy Harjo, a sentiment that resonates deeply within a captivating dance performance recently showcased at Cornell University’s Schwartz Center for the Performing Arts. This innovative event, titled “This table has been a house in the rain,” masterfully blends live dance with an engaging exhibition of dance-related visual art, all centered around the evocative image of a kitchen table. Student artists reimagined the Kiplinger Theater from April 25-27, transforming it into a space where choreography, improvisation, and interdisciplinary art forms converged to explore profound themes of freedom and expression through what could be described as a unique form of table dance.
Fritz Bernstein, technical director, and Savannah Relos, assistant technical director, from the Department of Performing and Media Arts at Cornell University, meticulously prepare the reflective stage surface for the upcoming table dance performance in Kiplinger Theater.
All performances were offered to the public without charge, inviting a broad audience to witness this exploration of movement and meaning. Each evening began at 7 p.m. with doors opening to the Kiplinger Theater for a pre-show observation, setting the stage for the live performances commencing at 7:30 p.m. Following the main stage event, attendees were encouraged to further immerse themselves in the multimedia installation presented in the Schwartz Center atrium, extending the artistic experience beyond the table dance itself.
This performance marked the high point of the year-long Choreographing Justice Series, a significant initiative at Cornell, and aligned seamlessly with the university’s broader Freedom of Expression year. Danielle Russo, professor of the practice in performing and media arts, and the faculty lead for this stage project, emphasized the collaborative and explorative nature of the work. “Through this student-driven project, we worked together to create a supportive space to examine, engage and make in response to individual and collective interpretations of ‘freedom of expression,’” Russo explained. The central metaphor of the kitchen table served as a powerful focal point, prompting questions about belonging, gathering, and the courage to depart when necessary, all articulated through the innovative lens of table dance.
Students delved into personal narratives and collective experiences to translate the abstract concept of free expression into the tangible language of movement. Isabel Padilla, a doctoral student in performing and media arts, whose research centers on performance as protest, highlighted dance’s unique capacity to engage with complex social and political dialogues. “Dance can be an entry point into social, political and cultural issues or conversations,” Padilla noted. The performance skillfully incorporated both choreographed sequences and improvisational segments, recognizing the distinct yet complementary roles of structure and spontaneity in expressing freedom through table dance. “Choreography can be a method of protest, and all protests are choreographed… But improvisation can also be a form of freedom, as well, because you’re using your own movement vocabularies to say something that’s true to yourself within that moment.”
Isabel Padilla, a doctoral candidate in performing and media arts, is pictured dancing in the foreground of a rehearsal. In the background, Eliza Salamon ’24 and Irene Kim ’24 interact with the kitchen table set piece, which is the central element of this table dance performance.
Padilla also acknowledged the significant influence of guest artists Ishmael Houston-Jones, Keith Hennessy, and Eiko Otake from the Choreographing Justice Series, who enriched the students’ understanding of dance craft and philosophy. Russo and Juan Manuel Aldape Muñoz, assistant professor of performing and media arts, curated the series, intentionally inviting artists who view movement as a tool for fostering justice and connection. Russo elaborated, “Much of our programming has been geared toward artists who look at movement as a means to live, work, create and engage with one another in more just ways… At the heart of it is confronting and seeking to repair, rewrite and reclaim the dance archive and to amplify the voices of artists, communities, cultures, lineages and legacies that are often erased, underrepresented or misrepresented. Dance and performance can be acts of activism and also means of community building and community repair.” This perspective underscored the powerful role of table dance as a medium for social commentary and change.
Inspired by Harjo’s poem “Perhaps the World Ends Here,” the students conceived an original 75-minute performance piece where the kitchen table transcended its everyday function. At times a welcoming gathering place, at others it morphed into a barrier, a refuge, or even a symbol of danger, reflecting the multifaceted nature of human experience as explored through table dance. The performance space was further animated by a diverse array of props, including bamboo poles used to forge connections among dancers, symbolizing interconnectedness and interdependence within the context of their table dance.
Costumes, designed by Sarah Bernstein, resident costume designer in performing and media arts, subtly highlighted the themes of hidden identities and revealed narratives, drawing attention to the masks individuals wear and the layers that conceal or expose their personal stories, adding another layer of meaning to the table dance. Jason Simms, assistant professor of performing and media arts, designed the set, ingeniously utilizing the Kiplinger Theater in unconventional ways to enhance the visual and spatial dynamics of the performance, creating a unique environment for this exploration of table dance.
Michael Garrett, lighting and video supervisor in the Department of Performing and Media Arts, meticulously secures lighting fixtures on the rigging, preparing the stage for the visually dynamic table dance performance.
Russo, along with Houston-Jones and Hennessy, contributed performance scores and choreographic frameworks, while Otake provided invaluable artistic mentorship throughout the project. These collaborations enriched the students’ creative process and contributed to the depth and sophistication of their table dance exploration.
As audience members departed the performance space, they encountered an installation of photography and video, a creation of students from the Technology and the Human Body course led by Olive Prince, visiting lecturer in performing and media arts. This post-performance installation served as a catalyst for dialogue, reflection, and community building, extending the shared experience of the live table dance and encouraging further engagement with its themes. Prince articulated the installation’s purpose: “It’s about the students locating their artistic voice and impetus… It gives the audience another way to engage with the interdisciplinary nature of dance and the human body. We’re broadening the definition of dance. There are a lot of people in the installation who would not define themselves as dancers.”
Russo concluded by emphasizing the inherent accessibility of dance as a form of expression. “At the end of the day, we’re all movers. We’re all choreographers who make decisions about how we navigate through the world and relate to other bodies and our environment. That’s what choreographing a dance is, making choices to produce something genuine to that moment.” Through this lens, the table dance at Cornell University became a powerful reminder of the expressive potential within movement and the profound stories that can unfold, even starting at a kitchen table.
Kate Blackwood, writer for the College of Arts and Sciences, contributed to the original reporting.
