Testimonial – Anonymous – At Home Constellation: Kate Brehm

“I hadn’t heard of LEIMAY before, but I have known Kate for quite some time and heard of her work, and I know her personally.

Today’s experience was very nice. It’s a beautiful space, a beautiful warm space to be in. I mean, it was literally warm, but that’s not what I meant. It’s a warm space to do art in and witness art in.

What I’ll take away from the gathering is that there were some really strong images in this work in progress, and I enjoyed taking them in.“

Anonymous – At Home Constellation: The Owl and the Crone, 2026

Testimonial – Anonymous – At Home Constellation: Kate Brehm

“I loved today’s experience. Kate’s work is always brilliant. I feel honored to be able to see the beginning of something. It was a beautiful, magical piece in a great space.

What I’ll be taking away from this gathering is that I’m definitely going to look into the space, because if you guys have Kate here, you must have some really great stuff. I also just want to go home and play with butcher paper.“

Anonymous – At Home Constellation: The Owl and the Crone, 2026

Testimonial – Xi Nan – At Home Constellation: Kate Brehm

“I’ve been coming here since 2023, and I joined LEIMAY for the Ludus dance classes for several cycles. I really enjoy the community here.

Today’s experience was wonderful. I’ve always been interested in puppetry and love performance, and today everything came together, so it was brilliant.

What I’m taking from this gathering is the performance, the skill, and also the growth. They asked for feedback, and I really enjoyed the audio part too, which is something I want to learn and do more with for my own performance. And I especially love seeing puppetry.“

Xi Nan – At Home Constellation: The Owl and the Crone, 2026

Testimonial – Anonymous – At Home Constellation: Kate Brehm

“I hadn’t heard of LEIMAY or CAVE before. I actually came tonight because of my friend, She, who introduced this space to me, so I’m really excited to have seen this performance. It was magnificent. It was using puppetry and dance, we can say, and kind of modern interpretations. It was incredibly beautiful.

My experience today was very inspiring, and we would want to see more things here and follow what’s going on at LEIMAY.

What I’m taking away from the gathering is that it shows me a way that we can bring folklore, dance, and puppetry together in a very creative interpretation. It gives me some new ideas and some thoughts about how to experiment in other ways.“

Audience testimonial – At Home Constellation: The Owl and the Crone, 2026

Testimonial – Anonymous – At Home Constellation: Kate Brehm

“Today’s experience was fantastic. Everything about it was cool. The piece itself was fantastic, it blew me off my feet. Also, we showed up a little early, so I was able to enjoy the space and how they were able to use it. It was just wonderful.

What I’ll be taking away from the gathering is a lot to process. It was such a well rounded, profound piece that there’s a lot I need to process. So I’ll be taking a lot home with me.”

Audience testimonial – At Home Constellation: The Owl and the Crone, 2026

Testimonial – Brent Arnold – At Home Constellation: Kate Brehm

“Performing this piece at CAVE was really fantastic, a really supportive environment and a great place for us to experiment and work on stuff.

Something I noticed specifically about tonight’s performance: you rehearse it, and then you get in front of an audience and get a little boost of energy and excitement. I definitely felt that come through.

As for the whole residency experience, it was really nice, very supportive. We were working really fast. I wasn’t here in the very beginning, but I came in once they’d shaped some stuff, which made more sense for me. We were able to just work hard and work smoothly, and I think that’s one of the great things about a residency: being able to focus on your work and on creating something.

What I take away from this experience is that we need more time like this, and more space to get together and work and create.“

Brent Arnold – At Home Constellation: The Owl and the Crone composer

Testimonial – Kate – At Home Constellation: Kate Brehm

“Performing this work here tonight was a real pleasure, because I don’t always get to be in my own shows. It just felt like a super sweet, warm space with this amazing collective of people, in this super cool experimental space in my neighborhood in Brooklyn, with a super cool audience. It was just very warm and enveloping.

The whole residency was amazing, because I just don’t get this opportunity often. It’s so key to be able to have space at length, where I can leave all of my stuff set up, and to have enough money to hire people to come in and spend their focused time. I don’t think I ever want to make a show in a different way ever again.

What I’ll take away from this experience is new, deeper collaborations with my team and with this space and the people who work here. I’ve started to build a new audience in this small group of people that arrived, because everyone was so engaged. I’ve also come away with more knowledge about working with brown paper, and with the beginnings of a whole new piece, one I wasn’t even sure was going to become a thing. I’ve also never worked with Brent before; I met him about a month ago. I heard his music at an event, and I thought, “This is what I need, this exactly.” I had already hired everybody, and I rejiggered everything because I had to have this guy in the room with us.”

Kate Brehm – At Home Constellation: The Owl and the Crone

Testimonial – Claro, OUTSIGHT 2026

“It’s been a while since I’ve seen performances in, like, a found space, in a garden, so I was very moved by a live performance and its conversation with a garden, actually. It was very meditative, and I was reminded how moving it is to see a live performance that can help me, I don’t know, sync into a different rhythm, which put me into a very thoughtful place. So I was very welcoming of that. I think free and outdoor performances are super important, making sure the performing arts is accessible to everyone, and a legacy space, or a legacy theater, is often not the most accessible financially. So I think outdoor performances are great, and it’s also, in New York City, we need to be, I think, encouraging more contact and communication with public spaces, especially gardens. I thought it was great, and it was moving, just because it’s always a great experience to share a live moment with a group of people.”

– Claro, OUTSIGHT Audience, 2026

Testimonial – Gregory Kung Strasser, OUTSIGHT 2026

“I was really moved by the creativity and the expression that these artists brought to each performance. I thought it was cool that they brought in different concepts like meditation, or spoken word and dialogue, and then infused it into a 10-minute-long piece. I also thought it was just great because you could see that a lot of the pieces were really well thought out with clear thesis structures, and it just gave me a lot of feelings because I thought about these artists’ exploration.

I’m really glad that we have organizations in New York that offer performances for free. I think that performance is a really important tool for cultivating empathy and for understanding people around you, and we had a really incredibly diverse crowd. I could see on people’s faces that they were so in awe of what they were seeing. So I’m grateful. I’m really grateful that programs like these exist.”

– Gregory Kung Strasser, OUTSIGHT Audience, 2026

Testimonial – Fiona & Lisa, OUTSIGHT 2026

“We have known LEIMAY before, but this is the first time at OUTSIGHT, so we’re really excited to be here in the garden outdoors on a beautiful day to see live dance and movement performances.”

Lisa: “Something that moved me from today’s gathering was one of the artists talking about bringing a style or a form of dance from outside of, like, a nightlife space, and bringing it into a garden, into a daytime space, and the courage that it took to do that. There’s so often… these are my words, not theirs, but there’s so often, I think, it’s really easy to be in the nighttime, in the dark spaces, where there’s lighting and things that kind of help you have a lot of control over. Whereas in this space, it was raining earlier, now it’s not. Now it’s breezy. Now it’s a little loud with AC. So all the elements that come with being outdoors, being able to bring something to a space like that, I just really appreciated that, taking that leap.”

Fiona: “Piggybacking on that, I think each artist had a different sort of take. It sounded like for one of the artists, the piece was intended to be part of nature, and be in synthesis with nature, or reflect it, whereas the other two artists seemed to talk about bringing the piece and making it relevant and appropriate to this environment. So I was really interested in their thought process, what changes they made, even things like costume changes, or costume decisions, and how they related to the space around them.”

Lisa: “Thank you for doing this and for hosting it and for providing a space for artists to do, to explore these things and that maybe wouldn’t typically do that, so it’s really beautiful.”

Fiona: “I felt like it was a very intimate experience to be in touch with performers in a way that’s different from the perspective from the stage.”

– Fiona & Lisa, OUTSIGHT Audience, 2026

Testimonial – Sil, OUTSIGHT 2026

“Having dance in nature gives the performance a freeing effect, and I think I was moved by seeing other people be uncomfortable or find discomfort in their performances. I really appreciated being able to just walk over to a park and see an intimate performance.”

– Sil, OUTSIGHT Audience, 2026

Testimonial – Storm Stokes, OUTSIGHT 2026

“I think it was a really perfect environment for meditating. And I think that’s what I’ve been trying to find in my own practice, or maybe have been finding in my own practice. But in the studio, or in these other manufactured spaces, I feel sort of disconnected from the sources that I draw from choreographically and artistically. So I think this was a perfect moment to ground, especially with this work. It’s been made for stage, and then remade genuinely for this space. And then, through rehearsing before today and today, I found something completely different in the performance of it all, by being in connection to the source of what I’m thinking about and working through. So, I don’t know, I appreciated it being really real, and really filling, and really healing is a word that comes to mind with this. I think it’s also a reminder that in the city, we have refuge, and I think this is a beautiful reminder of that. I think every time at LEIMAY, I feel sort of that sense of refuge and safety. So I’m grateful to have been able to play with that, and exist in that.”

– Storm Stokes, OUTSIGHT Artist, 2026

Testimonial – Alyxåndra Ciale, OUTSIGHT 2026

“I loved working with LEIMAY. They’re really cool. I mean, look at this place. I mean, this isn’t one of their spaces, but the fact that they have all these connections throughout the city for us to make art in beautiful places, we need more of that in this city. You’re really working with the elements out here: water, earth, fire, a little cinnamon stick. And we’re breathing together, and I just feel like everything is so connected, you know?”

– Alyxåndra Ciale, OUTSIGHT Artist, 2026

Testimonial – Andrea Soto, OUTSIGHT 2026

“I’ve worked with LEIMAY a few times now, and I feel like every time it has been really caring and really welcoming. I think I found a home base in the city for me. It was really nice to just come to an outdoor space and try a piece that was made for a stage in a garden and just have it be open-ended. So it was great. I’m so thankful. I found really intimate moments with flowers and leaves and trunks and benches, it’s new for me. So it was really nice.”

– Andrea Soto, OUTSIGHT Artist, 2026

Testimonial – Maho Ogawa, OUTSIGHT 2026

“I was very welcoming, and I have a history with LEIMAY for several years, and it’s always a pleasure to work with them. Performing in this garden was very special. My work is about meditation and being part of the environment, and feeling the soil and the breeze and the greens. It’s so nice to dance with all this kind of un-human, you know, non-human living products. So it’s very, very beautiful and special.

It’s very special to perform here and also perform with LEIMAY because they’re creating a community in their own way, and it’s very unique and, and it’s growing each year, and I’m really excited to see their growth and performing here, feel the community of support. It’s so beautiful.”

– Maho Ogawa, OUTSIGHT Artist, 2026

Testimonial – Amira, OUTSIGHT 2026

“It was really incredible. I was really grateful that it wasn’t so hot and humid, that I could really be immersed in the performance without having to worry about sweating through it, and I could really be present. As I watched the performances, the third performance who was talking about falling out of love, and the second performance who was, like dancing around the garden in a very controlled fall way, like being close to the ground, being very aware of their limbs and not bumping into other people, but still being very close and intimate, I couldn’t help but think of like the elegance and grace of an airplane in both of these things. I am really grateful that LEIMAY exists. I’m not the type of person to go to these things ’cause I don’t have Instagram, so I didn’t know about this until my friend told me. And the fact that it was free was really helpful because I am currently looking for work and I don’t really have a lot of money to go to things like this. So, I hope there’s more in the future. I look forward to coming back. ”

– Amira, OUTSIGHT Audience, 2026

Testimonial – Gia, Outsight 2026

“I really enjoyed the space that we were in. I think LEIMAY did a great job at picking the space, and I think it was great for, especially in the heat, the amount of shading that we had. It was very versatile, so that was something nice.I love LEIMAY, I love CAVE, and I’m excited to see everything that they do next.”

– Gia, Outsight Audience, 2026

Testimonial – Katie LeHoty – LUDUS Bodies at the Threshold

“Bodies at the Threshold provided me the space to research and connect with the natural forces of the universe that guide my artistic practice. It was awesome and a such a beautiful weekend of kindness and community”

-Katie LeHoty, LEIMAY LUDUS Bodies at the Threshold Participant, 2026

Testimonial – Akane Little – LUDUS Bodies at the Threshold

“Dancing with nature during the LEIMAY LUDUS: Bodies on the Treshhold offered many enriching experiences for myself and for all of the students involved. This was a rare opportunity to deepen into artistic LUDUS research with the guidance of Ximena and in a natural environment that is hard to access in the city.”

– Akane Little, LEIMAY LUDUS Bodies at the Threshold Participant, 2026

Testimonial – Daisy Gillian – LUDUS Bodies at the Threshold

“It was wonderful to experience a LUDUS workshop outdoors in beautiful nature, with both experienced company members and people newer to this approach, like myself. I now have so much to work with in my own dance practice.”

– Daisy Gillian, LEIMAY LUDUS Bodies at the Threshold Participant, 2026

Testimonial – Kaoru – At Home Constellation: Kaoru Watanabe

The piece itself is just layers of joy and sadness and loneliness and torture and struggle. So I think that is very clearly reflected in how I felt playing, physically, mentally, emotionally, spiritually. In that sense, I think, by that measure, it felt very successful, in that I felt I was able to really lose myself in the piece in a different way. I usually just play music, and I’m not into storytelling. It’s a fine line between what I usually do and what we were doing tonight. But I feel that I’m perhaps a step closer to a new stage in my development as an artist, by stepping outside of my usual zone. So in that sense, great. I feel really light, and in a good way, empty, after tonight.

The residency was, in a good way, a struggle. We’re working on things, going back and forth, arguing and disagreeing, and agreeing again, all with positivity and sympathy. My collaborators are all very passionate, very intelligent, very thoughtful, very artistic people who have amazing ideas. And so trying to pull all these together while maintaining my vision for this whole project, as well as always keeping the storyline and the character of Yokihi, and what she represents, in focus, trying to pull all these different elements together in a way that feels organic

What I’m taking away from this residency is… on a physical level, on a pragmatic level, we were able to videotape it. We have a really nice video crew, good sound. So from there, that video will allow us, hopefully, to put it crassly, shop it around and see if there are people who are interested in being a part of it, or supporting it somehow, or presenting us. But also, it’s a way for me to get an objective view, to see what we were doing and see what was being conveyed, how it was being conveyed. So that’s huge. Just that itself is huge.

But then, getting through it, performing for the people that were here today, just working through a lot of ideas. A lot of this stuff was very new to me, ideas that we put together. So being able to just do that, and put it out in the universe, is already a vital part of this process, I can already tell.

Testimonial – Anonymous – At Home Constellation: Kaoru Watanabe

My experience here was fantastic. I love the intimacy of this space. Halfway through the performance, it started raining on these gorgeous wooden roofs, and having watched a lot of experimental performances and also know opera. I felt really present. It was great to hear the stories afterwards from each of the musicians about what had been created literally in the space of a week. I am a composer and musician, so I loved the way of working. Seemed both familiar to me, but also got great ends with some great musicians. The performance was enormously uplifting by the end. I thought the music was fantastic.

Testimonial – John – At Home Constellation: Kaoru Watanabe

I think LEIMAY is a remarkable space, and I think the mission of what I’ve heard about is fantastic, to be able to really offer this wonderful space for musicians from all over to come and be able to experiment with their projects, to practice. It’s fantastic in the community.
I absolutely loved experiencing Kaoru Watanabe’s piece. I’ve known him for a long time as a musician, but to see him bring years of work together into this beautiful composition featuring so many different musicians and musical traditions from around the world was fantastic. What I loved was the use of the different instruments and the soundscapes throughout the piece to express both location and emotion. Using the different instruments, the voice, the chimes, the bells, to be able to create this ethereal space that was both traveling through time in the story, but also timeless, and just really connected deeply to the emotions of the artists. It really came through.

Testimonial – Bodies on the Brink – Anonymous

I am feeling very much in my body, feeling resonance, vibration, a dangerous sense of searching for balance and falling, falling, falling. I’m feeling very awake and in my body. Thank you, thank you, thank you. I’m in my body right now.

Testimonial – Bodies on the Brink – Anonymous

I found it incredibly exciting. I found it exhilarating. I found it, in the best sense, very, very dreamlike, on the border with nightmare. I thought that the body work was phenomenal. I thought that the interplay between the bodies and the soundscape and the music and the sculptures was really one of the most exciting things I’ve seen in quite some time. You absolutely must come and see it. It’s really thrilling.

Testimonial – Bodies on the Brink – Anonymous

I just saw this beautiful work, and it’s a really good, well-crafted piece of theater, something that is so rare. It’s a rare find in New York City these days. Very well-crafted, beautifully performed, just puts you on a different planet for about back to Earth, but a little bit transformed. Gorgeous work. I would recommend it to everybody.

Testimonial – Bodies on the Brink – Anonymous

I’m stunned by it. Like, it’s intense. It was captivating. I was just blown away. I was wowed by it the entire time. I cried once.There were a couple of the body positions held during the performance that were human, but in a very beautiful way, like artistic, but just like grotesque in its own right as well.

Testimonial – Bodies on the Brink – Anonymous

Wasn’t expecting it. Learn and how that matched with the music. Very impressive and totally repertory of things that it’s coming up in my dreams. That’s my feeling. Like I have several images of the experience. They are amazing. Totally recommend it.

Testimonial – Bodies on the Brink – Anonymous

I’m still finding the words for the experience. I think what I’m feeling still is the resonance of the vibrations, of the oscillations that Ximena was sharing, of what the performers were offering us as spectators. Sitting on the bench, I could feel the vibrations flowing through my body. I could feel the experience and the emotions that were being offered, by the wood, by the earth, by the musicians. And it’s something I’m gonna carry with me for a long time and then try to integrate into my life.

Testimonial – Bodies on the Brink – Megan Kendzior

Ximena, Shige and LEIMAY… it’s unbelievable what they’ve done here, and this work is so powerful. And the idea of being on the brink, feeling the tension, experiencing this world, and continuing forward, and continuing up to rise, and push through, and be your full self, and it’s just a really special day

Testimonial – Bodies on the Brink – Anonymous

So I’m incredibly impressed with Yuniya’s performance and composition. And, it was a journey, not just for myself, but for the dancers I’m sure. It was almost like a shamanic journey. And the way Yuniya and Jeremy met, I thought it was very magical, very powerful.

Testimonial – Bodies on the Brink – Jose Gregorio

Mi nombre es José Gregorio, Es la primera vez que vengo para acá. En verdad, me parece fascinante, porque el grado de concentración es espectacular y el equilibrio total que mantienen acá. Yo me caigo en esas cosas. Hay que saber coordinar tanto los dedos con las manos, los pies, de verdad, muy complejo.

My name is José Gregorio. This is my first time coming here. Honestly, I find it fascinating, because the level of concentration is spectacular, and the total balance they maintain here. I fall over doing that kind of thing. You really have to know how to coordinate your fingers with your hands, your feet — it’s truly very complex.

[original testimonial in Spanish]

Miho Ryu

Miho Ryu is a New York based dancer, choreographer, teaching artist, originally from Tokyo, Japan. She has created and performed over 100 works across Asia, Europe, and the United States. Since returning to New York in 2024, her work has been presented at The 92nd Street Y, Peridance Presents, WestFest, Dixon Place, Arts On Site, Chez Bushwick, BAX, and international festivals including Asia Tri Jogja in Indonesia. She is a faculty member at Peridance Center, Ballet Hispánico School, and Steps on Broadway. Currently undergoing breast cancer treatment, she continues to expand her artistic practice through performance, choreography, and curatorial work.

alyxåndra ciale

alyxåndra ciale (they/them) is a Trans-Indigenous CHamoru yan Pinoy cultural worker residing within Lenapehoking, between New York City and Upstate Millerton. Since graduating from the University of Michigan’s BFA Acting Conservatory in 2021, they have been reinvigorating their arts practice through popular education, political organizing, and indie production working as a freelance choreopoet, performer, and somatic facilitator. Their original performance work has shown at SoMad, Brick Theater, Soho Playhouse, Wax Works at Triskelion, TV EYE, Red Pavillion, and Cave in Williamsburg. As a lifelong student, cia has been formally trained in Fitzmaurice and Stage Combat (Unarmed, Rapier, Sword, & Dagger) and has extensive experience with Alexander Technique, Ludus, Yorchhā, and Qi Gong.

At the crossfires of beauty, absurdity, and sensuality, I work in deep time and sovereign space; through dream and scheme; and always with inter-revolutionary intent: No Such Thing as Final Form.

sweat variant

sweat variant is the collaborative practice of Okwui Okpokwasili and Peter Born. Since 1996, they have been working at the intersection of dance, theater, and visual art to make challenging and rigorous work that reaffirms that which has been deemed marginal as the true center through the exploration of Black interiority. Okpokwasili and Born are interested in building a spectacle of radical intimacy, in which both performers and audience are acknowledged as being locked in a mutual gaze. They hope to activate a space that allows the audience to question who they are looking at, and how they are looking.

Okpokwasili and Born have created the Bessie Award-winning pent up: a revenge dance and Bronx Gothic. The latter continues to tour internationally, most recently to the 2024 Milan Triennale. Other performances include let slip, hold sway, adaku, part : the road opens, Adaku’s Revolt, swallow the moon, Sitting on a Man’s Head, and poor people’s tv room, which also toured the US. Their work has been featured internationally, including at the Berlin Biennale, the Young Vic, and the Tate. Recent works include installations in the exhibitions Grief and Grievance, Art and Mourning in America at the New Museum (NYC), Witchhunt at the Hammer Museum in Los Angeles, and Sex Ecologies at Kunsthall Trondheim in Norway, poor people’s TV room (solo) installation is in the Hammer Museum and Whitney Museum collections.

For more information about sweat variant / Okwui Okpokwasili and Peter Born, visit www.sweatvariant.com

Photo by Mario Sorrenti / Art Partner

SERAFINE1369

SERAFINE1369 is a London born and based artist, dancer, and body-focused researcher working with dance as a philosophical undertaking, a political project with ethical psycho-spiritual ramifications for being in the world; dancing as intimate technology. They work with/in the context of the hostile architectures of the metropolis toward moments and states of transcendence. Dancing is a work of cycles and fragmentary returns that speaks to energy work, divination, meditative, and devotional practices.

SERAFINE1369 is busy with propositions and practices—of dancing, spatial arrangement, sonics and modes of receiving—that counter the tendency toward bodily compression, inflammation, and alienation. Their practice is concerned with the integrity and efficacy of structures (bodily and social), collaboration, hosting, and an interest in somatics, semiotics, and symbiotics from a body-led, experiential position. Their work prioritizes listening and is responsive to the specificities of context, using movement as a tool for flattening hierarchies of perception between visible and invisible (felt/sensed/remembered) presences. Their work with others is concerned with opening up embodied channels of connection and flow, practices to access and utilize body/sensing/emotion as oracular resource, locating desire, and refining and understanding positionality.

Photo by Camilla Greenwell

Testimonial – Anonymous – At Home: Bodies on the Brink

Es mi primera vez viendo la obra de LEIMAY, y pues me sobrepasó. Las imágenes que tenía, de los comentarios que me hacían. Pude ver la sutileza, el movimiento muy natural desarrollándose y elevando cada vez más la energía. Pude ver cómo había una musicalidad en el movimiento, los sonidos, sudé con ellos, me tensé el cuerpo con ellos. O sea que bailé, bailé internamente. Gracias.

This is my first time experiencing LEIMAY’s work, and I was overwhelmed. The expectations I had from the comments people made to me were completely surpassed. I could see the subtlety, the very natural movement unfolding and elevating the energy more and more. I could see how there was a musicality in the movement, the sounds—I sweated with them, my body tensed with them. In other words, I danced, I danced internally. Thank you

[original testimonial in Spanish]

yuniya edi kwon

yuniya edi kwon is a violinist, vocalist, and interdisciplinary performance maker based in Lenapehoking, or New York City. Her practice connects composition, improvisation, movement, and ceremony to explore transformation & transgression, ritual practice as a tool to queer ancestral lineage, and the use of mythology to connect, obscure, and reveal.

As a composer-performer and improviser, she is inspired by Korean folk timbres & inflections, textures & movement from natural environments, and American experimentalism as shaped by the AACM. Her work as a choreographer and movement artist embodies an expressive release and reclamation of colonialism’s spiritual imprints, connecting to both Japanese Butoh and a lineage of queer trans practitioners of Korean shamanic ritual.

She is a 2025 Guggenheim Fellow in Music Composition, 2025 Creative Capital Awardee, 2023-25 Arts Fellow at Princeton University, 2025 Nina von Maltzahn Fellow at The Watermill Center, 2024 Civitella Ranieri Fellow, 2024 Bessie Award Winner for Outstanding Sound Design/Music Composition, 2023 Foundation for Contemporary Arts Robert Rauschenberg Awardee in Music/Sound, 2016 United States Artists Ford Fellow, Van Lier Fellow & Resident Artist at Roulette Intermedium, Johnson Fellow at Americans for the Arts, Andrew W. Mellon Artist-in-Residence at the Colorado Springs Fine Arts Center at Colorado College, Hermitage Fellow, and a recipient of the National Performance Network Creation Fund Award. Her work has been presented by Dia Art Foundation, Performa Biennial, New York Live Arts, Under The Radar Festival, National Sawdust, Roulette Intermedium, On The Boards, Asia Society, Poetry Project, Harlem Stage, Foundation for Contemporary Arts, Civitella Ranieri Foundation, Monheim Triennale, and others.

photo by Lindsay Morris / costume by Bonan Li

Wilmer Guzmán

Músico colombiano nacido en Cartagena, con más de 25 años de experiencia en la interpretación de instrumentos de percusión, especializado en música tradicional colombiana. Ha sido percusionista en destacadas agrupaciones como Ale Kuma, La Mojarra Eléctrica, María Mulata, Martina Camargo, Tribu Baharú, Profetas y Martini Blues Band. Actualmente, dirige el grupo de Percusión Folclórica y Tamboras de la Universidad Pedagógica Nacional, así como otras bandas reconocidas, como Toto La Momposina y la Orquesta de Lucho Bermúdez, con las que ha realizado giras nacionales e internacionales.

Colombian musician born in Cartagena, with more than 25 years of experience playing percussion instruments, specializing in traditional Colombian music. He has been a percussionist in prominent groups such as Ale Kuma, La Mojarra Eléctrica, María Mulata, Martina Camargo, Tribu Baharú, Profetas, and Martini Blues Band. He currently directs the Percusión Folclórica y Tamboras group at the National Pedagogical University, as well as other renowned bands such as Toto La Momposina and the Lucho Bermúdez Orchestra, with which he has toured nationally and internationally.

Paige Barnett

Wilmer Guzmán

Tags: extinction rituals, vocals

Arte, territorio y memoria: Conversatorio “Rituales de Extinción” desvela la fusión creativa en el Delia Zapata Olivella

En Revista Ciudadana celebramos la articulación entre el arte y el territorio. Asiste al conversatorio “Rituales de Extinción” Cupos limitados!

–Revista Ciudadana (2025) for Extinction Rituals

Rituales de Extinción – Arte, Territorio y Comunidad

El encuentro abordará los procesos de creación, las residencias artísticas y la articulación entre arte, ecología y memoria colectiva que dieron origen a esta Danza Ópera internacional.

-Juan Pablo Galeano, Grandes Lanzamientos (2025) for Extinction Rituals

Conversatorio: Rituales de Extinción – Arte, Territorio y Comunidad

Será un espacio de diálogo entre creadores, gestores culturales, estudiantes y público interesado en las prácticas colaborativas que unen el arte contemporáneo con los territorios y las comunidades.

-Sandra Mora, Revista La Corona (2025) for Extinction Rituals

Rituales de Extinción, Danza Ópera de Colombia para el mundo. Ambiciosa obra cultural creada por los nuestros.

Una obra grandiosa que trasciende el espectáculo escénico convirtiéndose en una experiencia dónde se entrelaza cuerpos, voces, luces, sonidos e imágenes de diferentes ecosistemas y saberes que sostienen la vida.

-Graciela Torres Sandoval, Pasa el Chisme (2025) for Extinction Rituals

Conversatorio: Rituales de Extinción – Arte, Territorio y Comunidad

El encuentro abordará los procesos de creación, las residencias artísticas y la articulación entre arte, ecología y memoria colectiva que dieron origen a esta Danza Ópera internacional. Será un espacio de diálogo entre creadores, gestores culturales, estudiantes y público interesado en las prácticas colaborativas que unen el arte contemporáneo con los territorios y las comunidades.

-Yulder Jiménez, Red de Expertos (2025) for Extinction Rituals

Bogotá verá el estreno mundial de ‘Rituales de extinción’: una danza ópera sobre la memoria

La obra toma como referencia los arrecifes de Gorgona, los manglares de Tumaco, los humedales bogotanos y las huertas urbanas, invitando a reflexionar sobre la interdependencia entre seres humanos, naturaleza y culturas que hoy se encuentran al borde de desaparecer.

-Sergio Ramírez, Infobae (2025) for Extinction Rituals

‘Rituales de extinción’, donde ópera y danza hablan de la vida

Rituales de Extinción nos conmueve y nos expande a todos. Nos invita a imaginar nuevas posibilidades de relación, a habitar los espacios intermedios donde los saberes se cruzan y se transforman. En esos encuentros surge una polinización de sensibilidades, donde la curiosidad se convierte en una forma de resistencia y de aprendizaje mutuo

-Eduardo Arias, Revista Cambio (2025) for Extinction Rituals

‘Rituales de Extinción’ en Bogotá: una Danza Ópera que conecta arte, territorio y comunidad en su estreno mundial

Una experiencia interdisciplinaria. La propuesta está concebida como una experiencia sensorial en la que se entrelazan cuerpos, voces, luces, sonidos e imágenes.

-Jos Guerrero, El Tiempo (2025) for Extinction Rituals

Testimonial – Kanami Kusajima

“It was such a precious time we shared in a garden, honoring arts and nature and cultivating a community.”

– Kanami Kusajima, OUTSIGHT/At Home, 2025

Aimée Niemann

Harkness Foundation for Dance

The Harkness Foundation for Dance is a private grant-making foundation dedicated to invigorating and supporting the dance art form, predominantly in New York City .

Alaisha Sharma

Fernanda Tenorio

Nacida en Tumaco, Nariño, es una destacada cantante tradicional del Pacífico colombiano, reconocida por su poderosa voz y su compromiso con la preservación y renovación de las músicas ancestrales de su región. Su arte es una expresión viva de la identidad afrocolombiana, en la que los ritmos tradicionales dialogan con sonoridades contemporáneas como el rap, el reggae y otros géneros urbanos.

Como vocalista de la agrupación Plu con Pla, Fernanda ha logrado fusionar con autenticidad la riqueza rítmica del Pacífico con nuevas estéticas musicales, llevando su mensaje de resistencia, memoria y orgullo cultural a diversos escenarios nacionales e internacionales.

Su carrera artística comenzó en la Fundación Tumac, una escuela formativa que le brindó las bases para desarrollarse como intérprete y difusora de las tradiciones musicales de su tierra. Gracias a su talento y dedicación, ha participado en importantes festivales como el Petronio Álvarez, uno de los espacios más emblemáticos para la música del Pacífico colombiano, además de presentarse en países como España, Alemania, Bolivia y en ciudades como Berlín, donde ha compartido la esencia sonora de Tumaco con el mundo.