About Rosza Daniel Lang/Levitsky

An ink drawing of a trans dyke's face, wearing glasses and one pearl-chain earring, with a few curls of hair escaping a clip.
Drawing by Noah Church

Rosza Daniel Lang/Levitsky is a cultural worker and organizer based in Brooklyn. Can’t stop picking things up on the street and making other things out of them – performances, outfits, collectives, barricades, meals…  Never figured out how to make art for art’s sake; rarely wants to work alone.  Third-generation radical; second-generation dyke: just another oysterlish gendertreyf apikoyrus mischling diasporist four-eyed fem who identifies with, not as.

Lang/Levitsky’s Critical Reperformance work began in 2010, with the instigation and co-curation of The Artist Is Absent (with Ariel Speedwagon Federow and Quito Ziegler), a daylong event featuring reperformances of seventeen works by Marina Abramović (many created with Ulay).  It has continued through reperformances of works by Carolee Schneemann (Interior Scroll), Joan Jonas (Mirror Check), Andy Warhol (Blowjob), Abramović/Ulay (Breathing In, Breathing Out), and Lygia Clark (Sensory Masks).  Lang/Levitsky’s account of the series and documentation of several reperformances was included in the Lambda Literary Award-winning collection Glitter and Grit: Queer Performance from the Heels on Wheels Femme Galaxy (2015).

Other ongoing projects include: JUST LIKE THAT, a militant research project on embodied knowledge and the choreography of social movements; koyt far dayn fardakht [the filth of your suspicion], a punk band which plays the Yiddish anarchist and Bundist repertoire; the Aftselokhes Spectacle Committee, an intergenerational, mixed-ability theater collective which creates an annual radical extravaganza performance for the Jewish spring carnival holiday, Purim; and organizing against fascism and for decolonial, abolitionist liberation with Jews For Racial & Economic Justice, the Jewish Voice for Peace Cultural Workers Council, the Emma’s Whip Antifa Committee, and elsewhere.

Lang/Levitsky’s performance work, since starting to perform with objects and bodies in the mid-1990s with the Bread & Puppet Theater, covers a wide range of puppetry, movement, and spectacle.  Recent work includes trans dyke translations of works by Lou Reed and kari edwards (Rachel Says and Boxes, 2014), abolitionist cantastoria/picture-recitation performances (abolition parda for Brown & Tubman, 2017/2014), ‘straight theater’ acting (Tight Braid Group’s Won’t Be A Ghost, 2016), a movement piece using sensory masks about active un-seeing and zionism (ikh hob dikh nokh nit gezen / i still haven’t seen you, 2015), a vaudeville melodrama about eviction (The Greatest Show On Earth In A Cardboard Box, 2014, with Ariel Federow), toy theater stagings of twenty theater poems by Ruth Krauss (a little ambiguity, 2013), dancing in and collaborating on works by J Dellecave (Angry Women REvisited, 2013-14; Micro Mini Maxi Mystery Theater: En Total, 2012), an evening-length tabletop puppetry show (do not spare, 2010), a peepshow-based street piece (The Murder of DeFarra “Dean” Gaymon, as Told to His Killer’s Boss, 2010), and a collaborative cabaret theater production (Between Two Worlds, or, who loved you before you were mine, 2009, with Killer Sideburns/Ezra Nepon and J Dellecave).

Lang/Levitsky’s writing has appeared in numerous online and print publications, including HowlRound theater commons blog, the Visual AIDS blog, Monthly Review, Bridges/Brikn/Puentes, Pretty Queer, Ezra Berkeley Nepon’s Justice, Justice Shall You Pursue: A History of New Jewish Agenda, and in Dreaming in Public: Building the Occupy Movement (2012; co-edited with Amy Schrager Lang).