Posts Tagged ‘aerial’

For Zita

Monday, February 23rd, 2015

New mix tape; revisiting the music I’ve performed to as Zita the Aerialist.

Thank you, Zita. You saved my life.

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Full Circle Zita

Saturday, October 25th, 2014

My signature (nude) aerial silks piece started as a homage to sexual relationship, to not giving up on loving someone, even when you get bucked off. The act began as a physical illustration of the struggle to shed the defenses that bind us, finding strength in being vulnerable, and how sex can contribute to the art of self discovery.

This character is established earlier in the show as someone who is timid and quiet – until they find themselves seemingly alone with their obsession.

The piece morfed meaning, and genders (I now know I am non-binary) over the years as I performed it, representing first a specific relationship, then love and connection as a whole, and then my relationships within, including the one I have with my sexuality, and lastly the one I have with my darkness — which I performed on black silks rather than red.

When I first started performing the piece, and for quite some time thereafter, I had to get to the green room right away when I came off the silks, because the wave of what I now know as grief was so strong I would convulse and sob uncontrollably.

Often the deep sobbing would start while I was still curled up inside the silks, and I’d come down as quickly as I could, choking down a river. When I was safe I would completely loose my shit, and something totally overwhelming would rip through my body like a hurricane, and last for extended periods of time.

Sometimes, when I was lucky, there would be a puzzled someone or two there to hold me.

Though I’d come to many theories about it, and over time that response softened, I had no real idea why it was happening.

Due in part to this reaction, I didn’t perform the piece often, perhaps once a year or two. The opportunities to perform it always coincided with a big level up in my personal growth, often cauterizing what had been a long psychic process.

Each time I performed it, the dramatic swell into my big drop felt angry, and forceful, and nearly always, sexual. It represented for me both what I valued about my personality and what I felt deeply ashamed of. That inevitable struggle for power that would result in me being batted away and hurting.

Now I know why. Now I see what I was trying to tell myself.

The following video cannot do this act justice. People who saw this in person were transformed along with me, and due in part to the nudity, the opportunity was rare. Zita was something special, this act was something special, and I am honored to have had the courage and the support to have done this in my life.

Performed June 9, 2010, four years before I wrote about my epiphanies regarding rape culture, for “There must be something in the Air”, a benefit for Versatile Arts, the aerial gym I call home.

The music is from the Batman Begins soundtrack by Hans Zimmer and James Newton Howard. Video footage courtesy of Block My Eye Films, which I edited over one insomniatic night.

Home for the holidays

Monday, November 18th, 2013

Behold – video evidence of the show I co-directed and performed in last Friday, the Versatile arts staff show “Home for the Holidays”.

This was a great production to be a part of, and also very stressful. We had one rehearsal before the show, which consisted almost entirely of addressing tech needs. Most of the dialogue and interactions, save for specific cue lines, were improvised to fall in with the story. Bev and I are very fortunate to be working with such talented and creative people – both on this show and in our daily lives at VA.

In the show, myself and Bev play Morgana and Val, distant cousins at a family Thanksgiving. Before this fantasy, they discovered a trunk of whimsical costumes once belonging to Morgana’s ‘mother’ Fanny, long presumed to be a lesbian, who sends them up to the attic to find her old photo album as part of her insisting upon proving that she was once a glamorous trapeze artist when she was younger. Stoned and playful, the girls put matching outfits on, and return to the family function. Eventually they are enthralled and convinced by Fanny’s tales, and once finding themselves in Val’s room alone after the rest of the family has passed out in a food coma, ruminate about the stories and what it must have been like.

This video is an example of the type of completed work I post to my Patreon account. Patrons who have pledged $3 or more per work (I finish about 4 a month currently) get access to a patron-only content stream with additional work and/or behind the scenes goodies – in this case, that means they get to see the video of the hilarious attic scene where my counterpart and I get stoned and change clothes.

Join us yourself here, read about how patreon works here.

For the love of

Saturday, September 28th, 2013

What happens when an overworked artist gives herself food poisoning a few days before the gig that she’d planned to rehearse primarily in the days leading up to the event?

Well, it means that you do all the rehearsal you’d planned in the afternoon before the evening gig – and this is what it looks like when both costumes have open knees.

The part where I was processing the tail end of the bacterial onslaught, literally, before and between performances, was an extra special bonus.

Yeah. It sounds super dramatic, but really wasn’t all that derailing – just a little loosey-goosey in the rear and didn’t stay for the party after. Think twice before eating that old floppy broccoli, though.

Currently icing my back, stretching my shoulder, and have my knees treated and bandaged. Drinking herbal tea, about to eat some protein, and crash like a sack of smashed assholes. Zzzrr…

I still rocked it, btw.

When I was just a little girl…

Monday, August 26th, 2013

Want to help me flesh out some specifics from a scene in my newest show?

Please respond with what immediately comes to mind when presented with the phrase “Inner Child”.

Mine was: Inconvenient asshole.

The Tomb and the Womb: May 4, 2013

Wednesday, April 3rd, 2013

I am performing “Covering Lisa” and an adaptation of my signature aerial piece with the Floating Mountain Poets in their spring show entitled The Tomb and the Womb.


Saturday, May 4 2013 at 8:00pm
Tin Can Studio
3130 Airport Way S #510 Seattle, WA 98134
(206) 909-5744

Based on the poetry series “Death Songs” by David Jones (How Art Saved My Life), this evening of performance will weave stories of Death and Resurrection through spoken word poetry, music, belly dance, aerial performances and more.

Featuring performances by Sway Pendulum, Courtnee Papastathis, David Jones, Kendra Hayes, Eric “Coyote” Paulsen, Mishabae, Terry Johnson, Kerry Cox, Leopold, Eileen Fix, Tom Nivison, Mark Mizrahi and more!

Tickets $10 at the door or via brownpapertickets

Brown Paper Tickets link:
FaceBook Event:

Tin Can Studio is located in the Old Rainier Brewery, a refurbished arts complex which features a large green “T” visible from I-5 and all of SODO. It is directly across from the light rail depot and the light rail Beacon Hill tunnel entrance in SODO. For further directions, see their website.


Saturday, February 23rd, 2013

When I was contemplating what I might call the most recent incarnation of my signature aerial act, (“Zita Begins” doesn’t really fit, now that I simply perform as myself without a persona) I thought about what the act represents for me at its core more than anything.

These are the things I realized (and a lot of it probably won’t make much sense unless you’ve seen the piece):

Over the years, though the details of them have changed, the representation of the clothing I’ve worn as I begin this act has not. The clothes are always an elegantly dark shroud looming on me, silently weighing me down with their familiar dormant comforts. They are like hibernation, or a warm comfy bed during a depression.

The silks, however, have represented something different every time I’ve done this performance and often shift when I just envision what I’m trying to convey with the piece. Relationships, people, salvation, my sexuality, hope, the future, my common sense – all things the silks have been for me. And that’s just for this one act I do – or, as I’m starting to view it, the music I perform to.

I came to realize when I was thinking about this that I only do this piece every year or two because that’s only as often as I’ve been meant to perform it. The opportunity to present the act (which is rare because this country is stupid and I happen to use nudity to convey the raw vulnerability of the performance) usually comes along on the tail end of a great transformation in my psyche, usually from life transitions or times of trauma.

I chose “Rise” for the working title, having had no recollection of the last relatively awful Batman film being named “Dark Knight Rises” (I perform this act to the Batman Begins score) due to this recognition: I don’t own this silks piece. If anything, it owns me – We are each other. It ascends as I ascend.

After the show, I received many wonderful compliments about the act from guests and peers, and feedback from staff about how the audience reacted to it, both as I performed, (they were stunned, and a lot of them were in tears) and as guests were leaving the venue talking about it, (she said they “raved”, actually. figure out how to stop diminishing your compliments you boob.)

Seems I have a hard time talking about myself lovingly even when it’s the words of others. I think maybe I have a problem with that.

For now I will say that my sense is that it was as good for the audience as it was for me.

What a fucking performance! That felt awesome. It was real!

And it was real. That act is my rite of passage ritual. Whenever I perform it, it represents something real that’s happening for me in my tiny yet somehow epic life. Something big. Something hard. Something soft.

The rehearsal process is almost non-existent, I don’t run through it full on, ever. It’s like a scaffolding for my personal growth that I fill in that night while on stage with the audience.

Each time I’ve done this act before, I knew it as powerful; I saw it that way because of how vulnerable I was, how sad and small and struggling, like beating my tiny fists into a fresh, 3 foot thick wall of marshmallow. Telling myself the same story over and over again, trying to wake myself up. I saw it that way largely because of the massive waves of debilitating emotion that would crash over me after I finished, shaking and sobbing in the green room.

Those performances map like flights of stairs I climbed when I look at the timeline from a wide lens. And they were. In those performances when I went back to the silks, my perception made a stair – I looked directly cross the stage at them eye level, watched my hands clasp around them in front of my face and then looked up the silks to reach for the final climb.

This time, my eyelines made the shape of a plane taking off. My vision swept up the silks to the goal above as I walked to them and for the first time ever I knew what it was I was climbing to.

This performance was powerful, because I am powerful. Both sides of me, both brains, both personality genders. I was imperfectly flawless. I had just the right amount planned and just the right amount not planned. I did a few simple changes that I haven’t done before that I will probably not do the same again, and I picked up some things I definitely want to keep. A few things even went wrong in just the right way.

And I learned about myself, by how it felt. By how IN it I had to be in part due to blocking changes and lighting. How I was so in my body, noticing how moving felt, connected to the silks like an avatar, and that one moment I took to just hang and watch the ground as I spun up there in my footlock and BE in the air just sitting with the wowness of it. It was really something.

I was under a warm but bright white light that was unable to be turned off, the most exposed and raw I’ve done this piece. I’ve gone from using active lighting changes and colors to always on – and it was brilliant, at least this once.

Even more, through this process of training and restructuring my relationship with fitness, aerial, and how much my body can take, I know what aerial is to me now, why I find a way to stick around it even when I’m not performing as opposed to my other artforms that I drop in and out of obsessions with.

As the images betray; the silks are my muse. I have a relationship with them, a trust in them. They are an important part of my life and my progression as an artist AND as a human being.

They challenge me to improve my self care, both understanding my bodies limits and attributes in my interactions with them, and how to keep from hurting myself while becoming stronger. They allowed me to show my softness and to emote with this artform when the spectacle of rope had ravaged my body as much as I could allow it to.

And what better teacher than the silks, really? Even the way I eventually came to them after hating them years into aerial at one of the most stressful times in my life (when Josh died).

I know this probably sounds totally loony, but honestly, I just don’t give a good god damn if it does. When I look in my chest, I see a circuit of numerous stray wires that got completed last night. Something that was searching for closure feels quiet and at rest.

Was a really good night. I am deeply grateful to everyone who made it possible and all the lovely things that were said to me because of it.

Level Up: Complete.
courtnee@localhost ~ $

Photography from the “Red Room Masquerade”, a fund raiser for the Foundation for Sex Positive Culture, by Adam Harrison


Monday, February 18th, 2013

I’m slowly preparing for my performance on Friday, and been thinking about my act a lot. How it’s matured and shifted over the years, mostly in subtle and internal ways that only I have really noticed. How rarely I perform it and why that’s how it should be. How differently I view and judge my process now than I did when I did the act for the first time in 2007.

I’ve been training hard in preparation, but haven’t been running the choreography yet. For this act it makes sense – the actual tricks aren’t the focus. I have multiple options, all of which are in muscle memory. What I’ve been doing to prep for the performance is visualizing my interactions and intent.

As I’ve brainstormed and let the visuals come to me while I listen to the music, I’ve accepted that this will not be the same act I have done before. I am simply in a different place, and that’s what makes this piece is so amazing – it’s been different each time.

For the most part those differences have been subtle things that only I knew about, or minor choreography shifts. The first time I performed the act it was about the fear I had in regards to the relationship I was in, and the silks represented him, something external to me.

After that the meanings shifted internally but the story and the sense of vulnerability and fear remained the same. I was always caught off guard by the sight of the silks as being something I’d never seen before. It’s a giant leap of faith to go to them.

I think I want to speak to the cycle, now. I’ve been telling the same story and coming to the same place in this spiral where an opportunity to perform this act comes, but haven’t represented that perception in the piece. The most difficult and least genuine part of the act is pretending I’ve never seen the silks before. Now that I am me, and not Zita, I don’t think I can do that any more.

I’ve seen them. They are a part of me, a hand I’ve yet to take, a demon I’ve yet to integrate, a mask in a dream, a lesson I am still learning.

This act helps me grow by allowing me to present my emotional self in an intense physical way, by being itself a representation for transforming and overcoming. The processing afterward is always profound – sometimes I break down crying and shaking after I perform from the waves of back breaking emotion that flood through the opening.

I don’t know what this will end up being. I’ve become comfortable enough with my process as a performer and am familiar with this uncertainty being how I produce my best work – but I do know this; I only have this performance in me once, and that’s part of the reason I’m limiting my rehearsal to this week. The people who see what I do on Friday will never see me like that again.

Next time, I will be at a different threshold, with a different demon to tame, and a different place in my life, overcoming a different thing, telling a different part of my story. I can say that with how the storm of my recent life is focused into an eye right now that this one is going to be big, big shit – at least for me. I suspect the tying of a few loose ends.

Getting in the air again on Wednesday to work with the music. Resting, until then. Starting with bed at 8. Mmmmm.

The Mask

Thursday, February 7th, 2013

My choreography for my (public, and for charity) performance on the 22nd is basically already written, and basically always was. Though I haven’t had the chance to perform my favorite act very often, I know it like the curve of my own hip. I also know whatever changes I do make, or whatever snafu’s happen during the act, my 11 years of experience will ensure that the impact to the performance is small.

I try to strike the balance between over-rehearsing transitions, new choreography, and things that torque my body with being prepared – and I never really have found a comfortable place with that, yet. But I have figured out something, or seen it a little differently – which seems to be what happens when I perform aerial nowadays.

Part of what I’m changing/enhancing this time, with this act that grows as I grow, is the ground work and storytelling. I decided over a week ago that for part of the act I’ll be wearing a mask. A mask that I have a slight concern about seeing through and handling gracefully within the act that keeps eating quietly at me in the in the back of my mind.

I walk past this mask countless times every day. I’ve yet to take it off its display perch and put it on. Feel how it limits me and frees me at the same time, decide how I want it tied, what to do about how it will effect my hair. It would take.. maybe 15 minutes. Maybe.

And still, whenever I think of the act, I have this gnawing sense of dysfunction, like something about it is fundamentally broken. Like it’s going to suck. Like I have gone too long without performing it and it’s not in me anymore. Like I don’t know what the fuck I’m doing. I’ve been looking all over for what I’ve been missing, what move I don’t know well enough, how I’m going to hurt myself or screw up.

But if I look at the performance objectively, that fucking mask is the only question I really have about it. What the hell am I waiting to be ready for?

Procrastination is such a demon bitch.

Edit: Mask works great. And other ideas are flooding in now, too.

Red Room Masquerade: Feb 22, 2013

Friday, January 25th, 2013

What: I’m performing my signature aerial act on red silks.
When: February 22 at 8:00pm
Where: EM Fine Arts in Seattle, Washington, 410 Dexter Avenue North, Seattle, Washington 98109
Why: Fundraising for the Center for Sex Positive Culture
How: $25 general admission $50 VIP

The Foundation for Sex Positive Culture Board of Directors will hold their annual fundraiser. With sexy entertainment, live and silent auctions, erotic prizes and a no host bar. VIP Ticket-holders get preferred seating and sexy servers from the Libertine Social Club

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R.I.P. Zita the Aerialist, 2004-2012

Thursday, September 6th, 2012

This year, more than most and less than some, has been a year of letting things go and allowing new things in. In that vein, it seems another identifying aspect of my life has come to a close.

Once first recognizing mixed feelings regarding how to credit my aerial acts in “Embodied”, and after months of knowing the time was drawing closer, I have decided to retire Zita the Aerialist, and allow the domain (which now redirects here) to expire.

There is an air of sadness and loss here, alongside a sense that this is the right thing to do. The persona and the theatrically engineered aspect of what Zita has represented for me, along with the dreams I once had of sharing her with the world, performing in a circus or ongoing show like Zinzanni, has run its course. I know those things are not in the cards for me. It’s time to leave that game, officially, to the people who actually play it.

Courtnee – There's Something in the Air from Paul Hawxhurst on Vimeo.

Instead, I want to continue to work and focus through the sense of failure to the other side; The side which allows me to integrate aerial into my life with no pressures or expectations, and see what happens. Keeping Zita around, having the website around with no one calling for years, was like a thorn in my sole, a reminder of what I wanted her to be, irritating and distracting me.

But Zita, it turns out, was the mask that allowed for me to be, well, me.

I still teach aerial, more than I ever have in the past really, and consider aerial to be a big part of my life. I may also occasionally perform one-off aerial acts like the level 1 demonstration I did for the “Show and Tell” event at Versatile Arts, or a party now and then, though I don’t know what will come of my signature act. I suppose, honestly, with how few opportunities I’ve managed to create to perform it since the Little Red Studio dissolved, it doesn’t really matter very much.

Zita, you were great to me. At one time, I thought we might see the world together. I thought you might flesh out into your own little person, your own character. I thought maybe you’d be my ticket out of this country and to a place where we’d be appreciated more. Regardless of the thinness of your veil, you helped me find my strength when I thought I had none left. You allowed for me to express myself in ways that would have been hopelessly difficult to have achieved without your shield as I bled in the air for our audiences.

Thank you for being there for me.

I can do it myself, now.

Rest in Power, Zita.

You may have seen Zita at:

I have trained with the following teachers and institutions:

  • Versatile Arts (Silks, Rope, Trapeze, Sling, Duo Trapeze and Duo Silks)
  • School of Acrobatics and New Circus Arts (Everything!)
  • Bobby Hedglin-taylor (Silks)
  • The Toronto School of Circus Arts (Static trapeze, Silks, Corde Lisse)
  • The Cabiri (Fire eating, Character Portrayal, Static Trapeze, Aerial Sling)
  • Trapezius (Corde Lisse, Static Trapeze, Aerial Hoop, Silks)
  • The UMO Ensemble (Aerial Hoop, Low Flying Trapeze)
  • Donia Love, formally of Ignis Devoco (Fire Spinning)

4 week Intro to Aerial: Starting Sept 9, 2012

Sunday, August 12th, 2012

Versatile Arts Just added another 4 week intro series to the calendar: Sundays at 3 pm starting 9/9 with me. Register at

And now for something completely different!

Wednesday, July 11th, 2012

Versatile Arts
7601 Greenwood Ave N, Seattle, Washington 98103
Two nights, July 27 and 28.
Doors at 7:30, show at 8 pm sharp.

Cost is $16 in advance by credit card, $20 cash or check at the door.

It’s time for the annual Versatile Arts staff show! This time, we challenged our talented aerial instructors to not just come up with new acts, but to perform on a new apparatus or in a new situation on an old apparatus (e.g., doubles instead of solo). You’ll see all-new acts, and in many cases, you’ll see folks performing in ways they’ve never done before!

We’ve also got some very special guest performers, including some of the four-legged variety. You won’t want to miss this!

Cost is $16 in advance by credit card, $20 cash or check at the door. Whether you prefer to pay in advance or at the door, you may reserve your seats here:

Remember a FB rsvp does NOT hold you a seat.

Tank Girl date Night, June 30

Monday, June 25th, 2012 40w, 44w" sizes="(max-width: 180px) 100vw, 180px" />

Who: Zita the Aerialist performs silks
What: Tank Girl Date Night
When: Saturday, June 30, 2012 · 7:30pm – 11:00pmm
Where: Versatile Arts
7601 Greenwood Ave N, Seattle, Washington 98103
Cost: $5 donation at the door

Door at 7:30, show at 8 pm, movie to follow.

What says summertime better than a post-apocalyptic movie about killer mutant kangaroos? I will be performing silks at this event.

This date night will feature several aerial acts set to music from the awesome Tank Girl soundtrack (and some other fabulous acts as well), and then we will settle in to watch the movie. Movie trivia: this movie features Naomi Watts, before she was famous, as a raven-haired mechanic. A cult favorite!

This is a shoes-off event so wear cute socks! Tank-Girl-themed costumes encouraged.
You are welcome to bring snacks and drinks, but bottles will be left downstairs to avoid massive spillage.

Facebook event here:
Note: your facebook RSVP does NOT hold you a seat at this event. You must use our online form:

These events do tend to sell out, so reserve your seat now!

Aerial Introduction class: Sundays at 3pm!

Monday, April 30th, 2012

I’ll be teaching an additional 4 week intro series this summer at Versatile Arts on Sundays from 3:00 to 4:30pm starting June 3rd.

In this class, you will learn the basics of working on the trapeze, the rope, and the tissu. It will cover all the skills you need in order to join one of our level 1 classes. Register online now!

This series costs $100 for four 90-minute classes and prepayment is required. You can either pay with a credit card when you register or you can send your payment in within 5 days of registering.

If you don’t send your payment in, your spot in the class will be given to somebody else. This class is extremely popular and it fills up fast.

Your other payment options (other than credit card at time of online reservation) are:

  • Mail a check to Versatile Arts; 7601 Greenwood Ave N, Suite 103; Seattle, WA 98103
  • PayPal to (If you can afford to add a few dollars to cover paypal’s cut (3%), you will earn good karma points.)
  • Cash or check delivered to the studio. Please contact us to find out a good time to come by and drop off your payment.

If you miss out on this class, you can join the announcement list to find out about upcoming sessions:

Aerial Introduction class: Thursdays at 6:30!

Monday, April 23rd, 2012

I’ll be teaching the next intro series at Versatile Arts on Thursdays from 6:30 to 8:00pm starting May 24th. In this class, you will learn the basics of working on the trapeze, the rope, and the tissu. It will cover all the skills you need in order to join one of our level 1 classes. Register online now!

This series costs $100 for four 90-minute classes and prepayment is required. You can either pay with a credit card when you register or you can send your payment in within 5 days of registering.

If you don’t send your payment in, your spot in the class will be given to somebody else. This class is extremely popular and it fills up fast.

Your other payment options (other than credit card at time of online reservation) are:

  • Mail a check to Versatile Arts; 7601 Greenwood Ave N, Suite 103; Seattle, WA 98103
  • PayPal to (If you can afford to add a few dollars to cover paypal’s cut (3%), you will earn good karma points.)
  • Cash or check delivered to the studio. Please contact us to find out a good time to come by and drop off your payment.

If you miss out on this class, you can join the announcement list to find out about upcoming sessions:

Aerial Improv Contest

Tuesday, April 17th, 2012 38w" sizes="(max-width: 180px) 100vw, 180px" />Please join us for VA’s second not-quite-annual aerial improv competition! Aerialists of all levels will show off their ability to perform their choreography to a randomly-selected piece of music. Will they get Yanni, or Rammstein? Nobody knows until we hit that “random” button. Contestants get one free refusal, and after that they lose points for rejecting a song. Our panel of celebrity judges will tally the scores and select a new improv champion. What do they get? Cash! Where does that cash come from? The door! So please come out and enjoy a hilarious night of aerial virtuosity.

This year’s amazing judges’ panel includes: Armitage Shanks (Dog and Pony Show Productions), Martha Enson (En-Joy Productions) and the always-fabulous Tamara the Trapeze Lady representing VA.

Doors at 7:00, show starts promptly at 7:30.
Cost: $10
RSVP here to ensure a seat – note that Facebook RSVPs do NOT count.

PERFORMERS: please email if you have questions or are interested in participating. Preregistration is encouraged but not required. This is a great chance to be seen by Seattle’s biggest circus event producers, and it’s a ton of fun as well. And did we mention CASH PRIZES

Jim Duvall: Hung

Friday, March 9th, 2012

Model/MUA: Courtnee Papastathis
Photography/Rope: Jim Duvall
Production Assistent: Sophia Sky

Faire 6/10

Saturday, June 4th, 2011

What: Zita the Aerialist, accompanied by cello and poetry
When: Friday, June 10, beginning 9pm (I’ll be performing around 10:45)
Where: Faire Gallery Cafe 206.652.0781
1351 E Olive Way
Seattle, WA

Cost: $5 donation suggested

I’ll be performing aerial alongside the Floating Mountain Poets, accompanied by cello (YAY!!) and spoken word. Poets include kerry cox and david jones (Seen in my most recent show, How Art Saved My Life, in Jan 2011), dobbie reese norris, terry johnson, noel parkinson, lydia swartz, solo gyrl, tom nivison, tito titus, mishabae mahoney. It’s a free and informal event. PLEASE STOP BY TO SHOW YOUR SUPPORT!

RHoK, 6/3

Wednesday, June 1st, 2011

Who: Zita the aerialist
When: Friday June 3, 7-11pm
Where: Georgetown Ballroom 5623 Airport Way S
Cost: FREE!

Reception details:
There will be aerials, acrobalance, juggling, and sweet tunes interspersed with presentations from NASA, Google, GWOB, Microsoft, and Crisis Commons VIPs. Entrance is free but beer is not. Must be 21+ to attend the reception. We’ll start at 19:00 and run until 23:30.

Four of my favorite words

Sunday, May 15th, 2011

“You blew my mind”.

It’s most often difficult for me to accept that I have a fan base, and I think part of the reason I stay small is the fear surrounding embracing that and what kind of person that makes me. For me to think of myself as a person with fans… I just cringe at the size my ego must be and how much work it would take to keep it appropriately inflated. I know there are people out there with healthy esteem who could recognize fandom without fucking it up somehow but that doesn’t feel like something I have the wisdom to do yet. I’m not ready to handle fame gracefully.

And then I remember, that wisdom is what I’m cultivating in my life right now. Bringing feeling intuition into perspective, reevaluating how much hold I allow it to have on what makes my reality. I read back on that second paragraph up there, and I already don’t agree with myself. I already think it’s silly to be afraid of success like that.

So let me say this, as deeply and sincerely as I ever have; Thank you so much to the fans of my work. I am really blessed to have the kind of encouragement and support I have from the people who’ve noticed what I’m up to in life. You consistently overwhelm and fuel me in ways I couldn’t ever comprehend asking for. Thank you so much for being so generous toward me with your praise.

I can feel another layer of the gnarled, debilitating onion I carry around in my guts being peeled off like a piece of scotch tape against a hairy arm. That’s what sharing my stories with you does for me. That’s the kind of inner work you enable me to accomplish by allowing me into your lives the way you do. It’s inexplicable pure soul sharing and it goes both ways.

I have worked so FUCKING hard peeling at this thing inside me that was fucking my life up, fucking up how I thought, fucking up how I was capable of seeing the world, how I was capable of being with people. I’ve learned so much. And now I use my hard won abilities from that experience to come to meet, and stimulate, the hearts in others.

‘The task of art is to turn tears into knowledge’ – Schopenhauer

I shift lives. That’s what I’ve done with the desperate, massive mindfuck of a place that I came from. I earned this. I want to be doing this. I want to be this person. And I embrace and accept every beautiful thing I was told because of Friday night. Thank you so very much to all the guests and performers who made it an utterly amazing, transformative experience.

I see you guys. Thank you for letting me know you’re watching. I’ll keep on sharing and I’ll keep on kicking ass. For me. And for you.


Little Red Speakeasy, 5/13

Tuesday, April 26th, 2011

What: Little Red Speakeasy
When: Friday, May 13· 8:30pm – 12am
Where: Hengst Studio
1506 Franklin Ave. E.
Seattle, WA 98102
How: Cost is $20, RSVP to Jeff Hengst

I am deeply pleased to be returning to LRS in its most distilled, raw formula to sing and perform my signature aerial act. You may also catch me painting throughout the evening as well, surrounded by friends and artists and creative energy.

The cost is $20, and RSVP goes to Jeff Hengst.

The underlying mission of The Little Red Studio is to celebrate the intersection between art and erotic energy in a relaxed and positive space. What makes The Little Red Studio work is that models, artists, and guests are in an unconventional environment with the utmost of mutual respect. 18+ (It ain’t a sex club people, but you may see a nipple or three.). Here there is no fourth wall, and in being so a whole new world is opened up for both guests and the artists alike.

The monthly “Speakeasy” events continue to delight and infuse our audiences with a sense of artistic indulgence and fun social interaction. If you haven’t been to one in awhile, you may want to come check it out again and experience the new things, while relaxing into the familiar. If you’ve never been to one – now is the time to come see for yourself what Little Red Studio is truly all about.

The performances will amuse, mystify and perhaps even move you, while the opportunities to engage your senses will tickle your inner artist and open your heart. The Speakeasy events are part party, part performance, part spa experience and all kinds of in between. Bring some close friends and make a night of making new ones.

James Bond Date Night, Fri, May 27th

Friday, April 8th, 2011

Who: Chimera
What: Date Night at Versatil Arts
When: Friday, May 27 · 7:30pm – 10:30pm
Where: The Cathedral
7601 Greenwood Ave N, Suite 103
Seattle, WA

You won’t know who to trust at this event teeming with secret agents and double-crossers. Our versions of 007 may not be skiing down the Alps with machine guns or scuba diving in tuxedos, but they will show you some thrilling aerial escapades never seen in any Bond flick.

Since there are so very many movies to choose from, we’ll be sending out a poll to all attendees the week of the show. Make sure to RSVP so that you get a chance to vote – and to guarantee yourself a seat since these shows do tend to fill up.

RSVP using our handy new on-line tool:

Please note that Facebook RSVPs do NOT count. You must use the tool above to be on the list for the show.

Doors at 7:30 PM, show starts promptly at 8. Movie to follow around 9.
Cost is $5 – the cheapest date in town!

BYOB, and feel free to bring snacks and pillows or low chairs for the movie if you decide to stay for it. You are always welcome to just come for the aerial performance, however.

Monster Art and Clothing Feb 12

Wednesday, January 26th, 2011

Who: Monster Art and  Clothing in Ballard
When: Saturday, Feb 12, 6:30 to 9:30
Where: 5000 20th Ave NW, Ballard

I’ll be performing aerial in this awesome little clothing and art store for the Ballard Art Walk, Saturday Feb 12. Last time I was there was in Nov of 2009, and it was a blast. See you there.

How Art Saved My Life

Thursday, December 23rd, 2010

Photo by Chris Clark

“How Art Saved My Life” takes place in a collective mind space. The show is an amplified illustration of the moment in time where you stare into a black hole and choose life. The setting is the mind, in dreamspace, fantasy, plugged into the matrix, whatever you want to think of it. The stories told are amplifications, illustrations, depictions, of that moment, when art saved “you”, and the moments before and after it. The show flows in a liquid motion toward progress and self acceptance and is sure to move, inspire, and entertain.

January 15, 2011 7:00 PM
Youngstown Cultural Arts Center
4408 Delridge Way
Seattle, WA 98126

$15 CASH ONLY at the door.

Current Show | Vita Arts.