"To the left, to the left, everything you own on a shoulder to the left."
"To the left, to the left, everything you own on a shoulder to the left." Credit: Alora Petty

No, it isn’t about that tiny European country with the excellent health care and easily accessible pot. Nor does it explore the practice of splitting the dinner bill on dates. “Going Dutch” celebrates women’s voices in dance, electronic media, and the visual arts. Sponsored by Links Hall and Core Project Chicago, this festival addresses the female experience, considering everything from culturally determined roles (Megan Beseth’s new solo dance, Proper Dress for the Kitchen) to how those roles play out across generations (Canary, Carrie Gant’s group piece about the effect a mother’s past has on her children). Unless otherwise indicated, the performances highlighted here can be seen on all three fest nights:

Several entries meditate on the individual’s interaction with public space. In Forgiveness, Not Permission by Ginger Jensen of Renegade Dance Architects, videos show women in street clothes pirouetting through office parks and around an Evanston Starbucks. Looking like an oddly self-contained flash-mob event, the piece hinges on interactions between the dancers and their audiences. Similarly, Raphaelle Ziemba’s video installation Acts of Love examines what happens when a body becomes one with its surroundings.

The only surroundings available to the heroine of “The Yellow Wallpaper” is the sulfur-tinted room to which her physician husband has confined her on the theory that isolation will cure her “nervous depression.” Sydney Hestla’s solo Yellow Wallpaper is inspired by the 1892 proto-feminist short story (Thu 6/28 only). And Ellyzabeth Adler‘s tightly choreographed Touch combines film, photography, dance, and love poems by 13th-century Persian master Rumi in an exploration of the title sense.