Toi, moi, Tituba…

At BAM in Brooklyn, *Toi, moi, Tituba…* arrives as a dance work that draws on the figure of Tituba, the often-marginalized Caribbean woman entangled in the Salem witch trials. The performance moves between personal address and historical record, treating the stage as a site where memory is argued over rather than simply displayed. In New York, where debates about archives, authorship, and whose stories circulate are ongoing, the piece lands with local relevance. Its clearest strength is its refusal to tidy the past into a single moral.