Carlos Lema

Photography for Kinetic Resonances – Bogota

Hunter Canning

Documentation for A Meal – Work In Progress [Encounter #5]

Sophie Holmes

Documentation for A Meal – Work In Progress [Encounter #4]

Daphne Youree

Documentation for Bodies on the Brink: Japan Society

Douglas Shindler

Documentation for Correspondences – Hurleyville Performing Arts Centre

Paula Court

Documentation for Correspondences – Astor Place Plaza

Maria Baranova

Documentation for Correspondences – Watermill Center

Laura Brichta

Documentation for Correspondences – Watermill Center

Olga Tsitron

Documentation for In Illo Tempore Vignettes IV

Aya Satoh

Performer for In Illo Tempore Vignettes

Phyllis Ma

Performer for In Illo Tempore Vignettes

Anna Platt

Performer for In Illo Tempore Vignettes

Laura Hunt

Performer for In Illo Tempore Vignettes

Therera Magario

Theresa Magario tm is an introvert native of Massachusetts who improbably found their way from visual arts and writing onto the performance art stage. They explored stagecraft at CAVE, Brooklyn New York from 2008-2012 under the instruction of teachers renowned in their fields of practice such as butoh and noguchi taiso.

Roland Toledo

Live music for Trace of Purple Sadness: Festival de Mujeres en Escena por la Paz

Noam Ephron

Photographer for Frantic Beauty – Artifact Publication

Juan Bogota

Designer for Frantic Beauty – Artifact Publication

Ernesto Pujol

Content Contributor for Frantic Beauty – Artifact Publication

Taylor Mac

Content Contributor for Frantic Beauty – Artifact Publication

Bill T. Jones

Content Contributor for Frantic Beauty – Artifact Publication

Daria Fain

Content Contributor for Frantic Beauty – Artifact Publication

Annie-B Parson

Content Contributor for Frantic Beauty – Artifact Publication

Anne Bogart

Content Contributor for Frantic Beauty – Artifact Publication

Camilo Rodríguez

Camilo Rodríguez is a Colombian musician based in New York since the late 1990s. He is a guitarist, percussionist, composer, and producer. He has been part of some of the leading traditional Colombian music ensembles in New York. He is the founder of Bulla en el Barrio, Combo Chimbita, and MAKU Soundsystem. Camilo has produced over 15 albums independently and with labels such as ANTI-, Glitterbeat, NYCT, Peace and Rhythm, and Sonorama (Chicago). He is currently one of the lead artists in residence for AT HOME Series Presents: Tradición en Transición at CAVE.

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Shiho Kondo

Costumes – Elegy #1: “A Little of the Sea”

Mary Lowman

Rehearsal Assistant – BECOMING Series III

Adi Eytan

Rehearsal Assistant – BECOMING Series III

Jeff Beal

Composer for Frantic Beauty – BECOMING Series III

Sorin Prodea

Guest Artist for Correspondences: Watermill Center 2019

Suhwa Kim

Guest Artist for Correspondences: Watermill Center 2019

Thanos Fryda

Guest Artist for Correspondences: Watermill Center 2019

Nini Dongnier

Guest Artist for Correspondences: Watermill Center 2019

Diego Martínez

Interdisciplinary Scenic Artist, Actor and Dancer, student of the Performing Arts program of the Faculty of Arts ASAB of the Universidad Distrital Francisco José de Caldas, has participated in the formation processes of the Colectivo Cámara de Danza, the Semillero de Circo ASAB, the Semillero La Voz En Canto del Actor ASAB and the Corporación Cultural para el Pensamiento Crítico Contraindustria.

Artista Escénico Interdisciplinario, Actor y Danzante, estudiante del programa de Artes Escénicas de la Facultad de Artes ASAB de la Universidad Distrital Francisco José de Caldas, ha participado en los procesos de formación del Colectivo Cámara de Danza, del Semillero de Circo ASAB, del Semillero La Voz En Canto del Actor ASAB y de la Corporación Cultural para el Pensamiento Crítico Contraindustria.

Andrea Hernández

She is a scenic artist with 20 years of experience, trained in classical dance, contemporary dance and vertical dance. Her current focus integrates the research of conscious and somatic movement. She is also interested in cultural production and management, with experience in management assistance, teaching and inclusive and community art projects.

Es una artista escénica con 20 años de trayectoria, con formación en danza clásica, danza contemporánea y danza vertical. Su enfoque actual integra la investigación del movimiento consciente y somático. Además, se interesa por la producción y gestión cultural, con experiencia en asistencia de dirección, docencia y proyectos de arte inclusivo y comunitario.

Alexis Sánchez

Joven afrodescendiente de 27 años, actor, danzante y modelo con más de 6 años de experiencia en el medio artístico, en el que ha buscado consolidar un trabajo que busca abordar e integrar las manifestaciones artísticas afro en el campo artístico y cultural. Maestro en Artes Escénicas de la Academia Superior de Artes de Bogotá (ASAB). A nivel teatral ha participado en diferentes obras como: LAS AVENTURAS DE PINOCHO ANTE LA COMISION DE LA VERDAD, GORGONAS, ALAS BAJO LA PIEL, PUTO Y MEXICANO, EL CHAMPION, FAUSTO, LA PARADOJA DE LA MARIPOSA, entre otras. De igual manera ha desarrollado un trabajo en el medio audiovisual grabando en diferentes producciones, como Enfermeras, Café con aroma de mujer, María la Caprichosa y Nosotros los Caídos, nominada a los premios India Catalina.

Miguel Pérez

Dance performer with training in systems such as moving floor, acrodance, lyrical, improvisation and choreography, as well as in urban styles such as hip hop, afro, afro house, house and locking. Musician and percussionist with experience in drums, snare drum, symphonic bass drum, timpani and guitar, in addition to five years of experience in the Soacha Symphonic Band.

Intérprete de danza con formación en sistemas de entrenamiento como piso móvil, acrodanza, lírica, improvisación y coreografía, así como en estilos urbanos como hip hop, afro, afro house, house y locking. Músico y percusionista con experiencia en batería, redoblante, bombo sinfónico, timbal y guitarra, además de cinco años de trayectoria en la Banda Sinfónica de Soacha.

Diana Jiménez

Master in dance art with emphasis in contemporary dance from the Francisco José de Caldas University, honorary thesis for the research-creation project “Pulso – creación interdisciplinar,” funded by the research and scientific innovation grant of the scientific research center (CIDC) of Universidad Distrital, performer of the dance collective TerSer cuerpo in the works “Arengas para un mismo techo” and “Materia prima”. Dancer and creator of the company Siempre Viva Teatro with the play “Solo cuando tengas frío”.

Maestra en arte danzario con énfasis en danza contemporánea de la universidad Francisco José de Caldas, tesis honorífica por el proyecto de investigación-creación “Pulso – creación interdisciplinar” obra financiada por la beca de investigación e innovación científica del centro de investigación científica (CIDC) de la Universidad Distrital, intérprete del colectivo de danza TerSer cuerpo en las obras “Arengas para un mismo techo” y “Materia prima”. Bailarina creadora de la compañía Siempre Viva Teatro con la obra “Solo cuando tengas frío”.

Celeste Betancur

Celeste Betancur (Composer and Artificial Intelligence Programmer) is a musician, digital artist and researcher from Medellín. In addition to her musical achievements, she has developed innovative software and hardware tools for artistic projects worldwide. She designs and builds expanded musical instruments, large-scale installations and sculptures. As a composer, she has created works for internationally acclaimed ensembles and musicians, and as a soloist, she pushes the boundaries of performance by fusing high-tech tools with minimalist configurations that remain nearly invisible to the audience. Her performances have spanned prestigious stages worldwide, including Iceland, France, Mexico, USA, Canada, Colombia and Peru, completing four world tours in over 20 countries.

Celeste Betancur (Compositora y Programadora de Inteligencia Artificial) es una músico, artista digital e investigadora de Medellín. Además de sus logros musicales, ha desarrollado herramientas de software y hardware innovadoras para proyectos artísticos a nivel mundial. Diseña y construye instrumentos musicales expandidos, instalaciones a gran escala y esculturas. Como compositora, ha creado obras para ensambles y músicos internacionalmente aclamados y como solista, amplía los límites de la interpretación fusionando herramientas de alta tecnología con configuraciones minimalistas que permanecen casi invisibles para el público. Sus presentaciones han abarcado prestigiosos escenarios a nivel mundial, incluyendo Islandia, Francia, México, EE.UU., Canadá, Colombia y Perú, completando cuatro giras mundiales en más de 20 países.

Jessica Ramos

JESSICA RAMOS represents New York’s 13th District in the State Senate, which includes the Queens neighborhoods of Corona, East Elmhurst, Jackson Heights, and parts of Astoria, Elmhurst, and Woodside. Ramos chairs the Senate Committee on Labor, where she’s fought to pass historic legislation to grant farm workers basic labor protections, tackle the child care crisis, and secured $2.1B to create a fund for workers who have been excluded from pandemic-related relief. Senator Ramos was born at Elmhurst Hospital to undocumented Colombian immigrants, grew up in Astoria, and now lives in Jackson Heights with her two sons.

Julie Torres Moskovitz

JULIE TORRES MOSKOVITZ, AIA is an architect and founder of Fete Nature Architecture, PLLC (FNA) based in NYC. She began working with SVP in 2015 to help envision an exemplary commissary for the street vendor community. Her firm FNA is a vital, collaborative architecture firm whose process is founded in research and investigation of new ways to inhabit the urban fabric. Julie is the author of The Greenest Home on sustainability and she is the architect of the first certified Passive House project in NYC. She believes that life happens in the streets and reflects the city’s spirit whether through street vendors, block parties, impromptu run-ins, or protest for environmental and social justice.

Kelebohile Nkhereanye

KELEBOHILE NKHEREANYE (KELE) is a food street vendor, food justice activist, community chef and leader in East New York. Kele is an immigrant from Lesotho, Southern Africa, where she learned the values of street vendors as opportunities toward economic empowerment. Currently, Kele works as a Station Agent for NYCTA. She is a committed member of SVP supporting efforts advocating for street vendors to remind New Yorkers to think of vendors as small business owners who need to work to support their families. She graduated from MCNY with MPA, Hunter College with Sociology and Women’s Studies.

Mohamed Attia

MOHAMED ATTIA is the Managing Director of the Street Vendor Project at the Urban Justice Center (SVP), a 2,800+ member-strong organization that champions the rights of street vendors as small businesses to earn a living and contribute to the culture and life of New York City. Attia migrated to the US from Alexandria, Egypt, in 2008 working as a street vendor for nearly ten years selling hot dogs, halal chicken over rice, and smoothies in Times Square. He joined as a member of the Street Vendor Project (SVP) in 2012 and was an elected member leader of the organization until 2018, when he joined SVP’s staff as Managing Director. Attia championed legislation passed in 2021 by the New York City Council that expanded the number of permits available to street vendors for the first time in nearly 40 years. He has been profiled for his advocacy work on behalf of the street vendor community by The New York Times, Crains New York, and was recognized on City & State Community Engagement Power 50 List. Through direct legal representation, small business development training, grassroots organizing, leadership development, and strategic legislative advocacy, the Street Vendor Project builds power and community among vendors. Learn more about SVP at http://streetvendor.org/

Jason Trachtenburg

JASON TRACHTENBURG is best known for his role as “The Dad” in the long running Off-Broadway and Indie-rock act The Trachtenburg Family Slideshow Players. He has appeared on “Late Night with Conan O’Brian,” MTV, VH1, and is a multiple time award winner at the Edinburgh Festival Fringe. He has received feature coverage in the New York Times, the Los Angeles Times, The Guardian, Pitchfork, N.M.E., Spin, and many more. He has given a T.E.D. talk, and his band’s debut album (Vintage Slide Collections From Seattle, Vol. 1) reached #79 in the CMJ charts. His current musical, Me and Lee – The Musical is the authorized musical adaptation of the historical auto-biography of Judyth Vary Baker: Teen Science Superstar, witness to history, and secret girlfriend of Lee Harvey Oswald in 1963. Jason is the former President of the 4th St. Food Co-op in New York City.

Tiana Rainford

TIANA RAINFORD is Co-Project Director at East NY Farms! She is a CUNY Brooklyn College graduate with a Bachelor of Science in Food and Nutrition Studies. Her interests in food sustainability and how food politics and culture affect one’s access to preventative health care grew during her academic studies. She wanted to find a way to use her knowledge of food and nutrition to directly benefit her community of East New York. With ENYF, she combines her devotion to food justice in her community with her extensive knowledge in nutrition sciences to encourage food security in East New York.

Yolanda Tianyi-Shao

Yolanda Tianyi Shao is a Chinese creator and choreographer. She works interdisciplinary with animators, composers, theater directors, actors, film makers, sound designers and photographers. Yolanda has her own specific standpoint of art making. With her background of years of dance training, she lost her interest in pursuing simply beautiful and identified dance movement, her work more deals with the extremes of human communication, physical theatrical performances where a literal dialogue occurs through movement and she also moved her steps into site-specific arts in recent years. She is interested in making work in the context of exploring the possibilities of the relationship between human and nature and deals with issues of the environment. In 2017 she created a group dance work called SALE, it’s about the material desires expanding in people’s life, people running for it, even tearing at each other. Some people are crazy about it, but behind the satisfaction is a boundless emptiness, while some people have the heart to withdraw, but they are more than enough. Behind the phenomenon, desire silently watches the picture of constant collapse and reconstruction, as well as the social landscape of ephemeral bliss. And then she made an experimental community version of this work in the summer of 2018 with an artist from Goldsmiths. In 2021, Yolanda created a project Ebb Tide in the Open House Concert at CalArts. She starts her collaboration with animators and composers in the piece Futile/Gestures in the later 2021. In the same year, she created a movement piece Breaking the Persona that was inspired by afemale photographer Wanyue An’s works. It performed in the exhibition My Next Incarnation that was curated by Yiwei Lu on March 19th in Los Angeles Keystone Art Space. She holds a bachelor of Dance from Nanjing Normal University in China and is currently pursuing the Master of Fine Art in Choreography at the California Institute of the Arts.

Paige Cowen

PAIGE COWEN is a gender-fluid, Brooklyn-based movement & research artist. They began training in Oklahoma under the direction of Kristin McQuaid, Joshua Stayton and José Antonio Checa. Paige continued their training in New York at Marymount Manhattan College, where they graduated with a degree in Dance Studies and a minor in Environmental Studies. Paige has performed works by Celia Rowlson-Hall, Michael Thomas, Nancy Lushington and Andrea Markus. In addition to their studies at Marymount, Paige has expanded their movement practice under the instruction of artists such as Andrea Miller, Jennifer Monson, Alexandra Beller and Ximena Garnica, to name a few. Most recently, Paige has had the pleasure of creating with Arsenal Movement dance project, The Lowcoco, Accent Dance NYC and the LEIMAY Ensemble. They are interested in collaborations that combine unexpected techniques, mediums and practices to create thought-provoking and change-making work. Paige believes in the power of the body as a tool for research that can build a bridge between the efforts of creatives, policy makers, activists and scientists to shape a more sustainable and equitable world. Their choreography has been presented at film festivals, virtual shows and on the stage through presenters such as The Tank, The Craft, and 7Midnights Physical Research.

Nixon Beltran

NIXON J. BELTRAN is a Colombian, born movement-based performer, gardener, passionate cook and becoming a book-object maker, moved to the U.S. 35 years ago after growing up in several countries throughout South America. His early education, using yoga, Montessori and Piaget educational methods, inspired him to study dance and choreography composition at the Martha Graham School for Contemporary Dance in New York City. After graduating from its professional program in 1995, he choreographed and presented his own work locally and internationally. He also participated and collaborated in other choreographers’ and artists’ works. In 2002, Nixon was invited to take part in Robert Wilson’s Watermill Center International Summer Program in the hamlet of Water Mill, NY. He had the opportunity to learn and work artistically in different staging, design, exhibition projects and gardening under the direction of Mr. Wilson and his core team of collaborators. The Watermill Center officially opened to the public as a center for the arts and humanities in 2006. Nixon was offered the position of Center Manager to continue his work establishing the gardens and grounds, as well as help launch its artists-in-residency, public and educational outreach programming. He held this position until February 2021. After leaving the Watermill Center, Nixon renewed his focus on artistic endeavors, developing his skills in the making of book-objects (aka, one-of-a-kind bookworks).

Fidel Brito

FIDEL BRITO is an Ixil and Achi Maya artist, from Naab’a’ (Nebaj), El Quiché (Tu Tx’ich), Iximulew (Guatemala), currently living on Cahuilla, Tongva, Luiseño, and Serrano land (California). He studied archaeology at the University of San Carlos, in Guatemala, and visual art in Guatemala, México, and Cuba. Tohil considers his transdisciplinary practice – which includes painting, printmaking, sculpture, epigraphy, performance, and gardening – an obstinate insistence on existence despite centuries of ongoing colonialism, war, and genocide. tohilfidelbrito.wordpress.com

Hector Porras

HECTOR PORRAS is an agricultural engineer and water specialist by trade. Hector is performing for the first time in his life. He grew up in a small village in northern Mexico by his late teens. He had managed to travel to far places, like the Soviet Union where he met his wife and they started a life together. Hector is an innate storyteller and public speaker, lately having a strong presence in the political scene as a defender of water rights in Mexico. Hector has three daughters and two grandchildren who live around the world, so he enjoys traveling to distant places to visit them.

Stephen Crawford

Stephen Crawford is a dancer/ visual artist. He was teaching contact improvisation in many countries for many years. For over 20 years he was building art chairs designed by theater director Robert Wilson for museum and gallery exhibitions, and is presently the personal art restorer for Robert Wilson’s ancient art collection. He has built art designs for international dance artists Kenneth King, Julyen Hamilton, Kota Yamazaki, Mina Nishimura, Alessandra Palma for performances in The Netherlands, England, Belgium, and in New York at BAM, Japan Society, Judson Church, and Alvin Ailey Theater. He has exhibited work at the Williamsburg Art and Historical Center, and The Watermill Center. Stephen likes creating installations allowing simple materials to express themselves with clarity and dignity and imagination. He is currently creating a series of simple ‘Temple Home’ art structures that reflect the spaciousness and luminosity of calmly abiding where you are.

Press Quote – Attitude The Dancer’s Magazine, A Timeless Kaidan by Ximena Garnica, NYBF 2007

“ATK doesn’t aim to abide by all butoh’s rules and incorporates other elements. One is wonderful music that includes harmonic singing by the large cast of dancer/singers and live saxophone and percussion by Jeremy Slater and Gregory Reynolds. The recorded soundscape includes music by Bloody Panda and Bryan Camphire. The sax is used to create whining, scratching, screeching noises that superbly support the button theme of destruction and angst. It’s not a feel good dance. It’s about fear and we in the audience experience this as a thightening in the chest. The dance feels longer than its seventy-odd minutes and that only added to the discomfiture that is its theme.”

Press Quote – Theatre of Revulsion, Quick Silver by Ko Murobushi, NYBF 2009

“Murobushi’s Butoh is a theatre of revulsion, convulsion or repulsion. The body is like a half-monkey, half-reptile. It recurves and always crawls on the round, full of violent energy, soft, anti-human, and cannibal. There is no form of Occidental physical naturalism.”

– Jean Baudrillard, Theatre of Revulsion

Press Quote – The New York Times, Furnace by Ximena Garnica, Ko Murobushi, Shige Moriya, NYBF 2009

“Set on flooring a stage covered in black shiny flooring, the sides hung with similarly reflective fabric, “Furnace” offers absolutely no primal emotion and a great deal of sincere endeavor. It opens with Ms. Garnica moving very slowly with her back to the audience, shoulders slumped and feet turned in as the Beatles’ “Golden Slumbers” plays and replays. After a while, other dancers enter with the same minuscule steps; later they quiver as they cluster about a silver mannequin lying on the floor. The mannequin’s purpose is mysterious here, and it subsequently disappears, but to ask what it might mean is as pointless as questioning any of the other events in the piece. Four women have a chattering non-conversation, moving their heads with sharp, birdlike jerks; seven dancers walk randomly about the stage, before each in turn suddenly gasps, stiffens and falls into the arms of those nearby, who rush over to catch them. (It’s like those games of trust that team-building counselors force unwilling office workers to play.)

Then comes the nudity, with a lot of dappled lighting (by Miguel Valderrama) playing over bodies alternately crashing to the floor (you begin to worry about their knees) and quivering supine in the semi-dark. At the end, rather treacly piano music plays as they raise their legs and upper bodies into the air while remaining floor-bound.

Perhaps a metaphor of escape or transformation is intended, but despite the undoubted effort and focus of the dancers, there is no accrual of physical or psychological detail in “Furnace” that might reinforce that idea. Butoh is about stripping down to necessity; all here seems arbitrary.”

– Roslyn Sulcas, “From Tokyo, a Stripped – Down Movement Style”, The New York Times, 2009

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