97 TDR: Te Drama Review 58:3 (T223) Fall 2014. ©2014 New York University and the Massachusetts Institute of Technology Brooklyn’s Experimental Frontiers A Performance Geography Jasmine Mahmoud A female dancer swings her torso forwards and backwards, arching and contracting. Her right arm, sheathed in a white glove, lifts up and extends an orange stick toward the ceiling. Her left arm, enveloped by foot-long white feathers, arches downward towards the foor. With the orange “beak” in one hand and white feathers on the other, she is the swan. She moves with delicately punctuated steps; her torso continues to undulate. When she snaps her wrist, the orange beak stick is actually a clacker, two sticks that clap together to make the water bird’s call. Nearby, another swan dancer crouches, enveloped by the stage’s set: tall, ridged clumps of brown paper that resemble a tree trunk and a dusty stage that evokes the forest foor. The two eventually dance together, undulating their torsos, delicately stepping onstage and clacking their beaks. This dance, Soul’s Migration, was part of Winter in the Woods, vignettes about fairytales cre- ated by choreographer Djahari Clark and other collaborators. The event was presented during Figure 1. Te exterior of Te Bushwick Starr, 207 Starr Street, Brooklyn, NY. April 2014. (Photo by Jasmine Mahmoud)