Dreary Somebody Archives
Direct contact between performance art and people. Mutual documentation. Direct engagement through the written word. All this within the venue provided by this vastly indirect, impersonal internet forum.
Other Works by Lindsey Drury

Pop-down menu of individual work’s pages & videos will appear if you scroll to Other Works icon at top of page.
Here is a partial listing of Lindsey’s works:

Run Little Girl, 2012
Cunningham Studio, New York, NY
A choreographer rents out the Cunningham Studio for the last weekend in which performances will be presented there, thereby commandeering a historical moment in the studio’s history, namely, it’s demise.

I am My Shitty Little Box, 2011
Movement Research Festival at Danspace, New York, NY
A solo wherein I seek to change identities with one of the audience members.

Rite of Spring, 2011
American Dance Festival Ark Showing
An improvisational bastardization of the Rite of Spring. The sacrificial virgin doesn’t die by eating a banana.

Occupy Domestic, the Wars are Overseas, 2011
Brooklyn Arts Exchange Upstart Festival, Brooklyn, NY
A violent and apathetic performance of the relationship of foreign wars and white noise to the American population.

Wartime Dance #2, 2010
Chen Dance Center, New York, NY
Revisited the Wartime Dance, reworked the original solo material for a trio.

Wartime Dance, 2010
Ving! Performance space, Bellingham, WA
This project was created to mutually implicate audience and performer alike in apathy toward the war through the act of partaking in a dance performance.

Slick Filling of Aches & Cavities, 2009-2010
St Mark’s Church, Draftwork Series
BoCoCa Arts Festival, Brooklyn NY
This dance operated from the premise that consumption is intimate, that it carries within it the capacity to describe who we are and how we love.

Spork Breakfast & Leftovers, 2009-2010
Gramercy Loft, with Les Salonnierres, New York, NY
3rd Ward Gallery, with SITE Festival, Brooklyn, NY
I worked as a member of a collaborative team interacting with current discourses of food sustainability through interactive performance events. For this project, the members of GoGoVertigoat Dance and/or Performance have worked with Bosywick farms, the Bushwick SITE Festival, Les Salonnierres supper and performance events, and Palo Santo Restaurant, a farm-to-table restaurant in Park Slope.

We Have Arrived, 2009
St Mark’s Church, with Danspace, New York, NY
Engaged three audience members in the construction of a dance around their stories of moving to and living in the Big Rotten Apple.

The Sell Out Demos, 2009
Dance New Amsterdam, New York, NY
Researched through the creation of a series of informational videos explaining to the experimental arts population how to Sell Out.

Sentimental Dances of Coming & Going, 2007-2008
Im_Flieger in Vienna, Austria and at the University of Utah.
An evening-length work. Created through eight-months field research and interviews with artists who had experienced political, social, economic displacement in the Balkan region.

This is a Man, 2006
American College Dance Festival, University of Wyoming.
A solo for a male dancer commenting on Jorgen Leth’s The Perfect Human.

The Home Tour, 2006
649 Iverson Street, Salt Lake City, UT
Performance tours of a false cult family living in a house in Salt Lake City. We built the tour from pop-cultural fascinations with Mormon zealotry.

Slow Motion Sermon, 2003
Concert Hall, for New Music/ New Dance, Western Washington University
This performance developed as a part of a 6-month independent undergraduate research project titled Leisure Pilgrims, in which I interviewed Indian artists and Western tourists involved in arts-education catered to tourists in Northern India.

Traditional Ketchikan Tour Guide Dance, 2002
Gigglefeet Dance Festival, Ketchikan, AK
I performed a work called A Traditional Ketchikan Tour Guide Dance for the Ketchikan community as a part of a summer dance festival there. In it, I gave my totem pole tour on stage dressed in just the top half of my tour-guide uniform. I wished to make vulnerable the fabrication of my tour, to lay bare the pseudo-truth of what I had been taught to share with the thousands of tourists who visited Ketchikan from cruise ships daily.