PERFORMANCE

Kendra Portier (left) and Rachel McKinstry (right) in *Ohio is in the Midwest*

PROJECT-BASED

Lisa Race / Race Dance

Redwoods (2024) and MidTide (2018).

The March! (2023), Big Dance Theater

A new trisection choreography by Annie-B Parson, Donna Uchizono, and Tendayi Kuumba. Premiere: the Perelman Performing Arts Center (NYC). Photo (top left) by Rachel Papo.

Jasmine Hearn Collaborates

A Patient Practice (ongoing) and Salt and Spirit (2023). Photo (left, second down) by Steven Pisano.

Jungwoong Kim

BILATERAL EXCHANGE 202: Improvisation research and practice residency at Earthdance (MA), The Playhouse at Thayer Hill (MA), Atland Residency (MA), and CEC in Philadelphia, PA

Collaborators: Ellie Goudie-Averill, John Hughes, Germaine Ingram, Lilianna Kane, Jungwoong Kim, Kendra Portier, Ernö Zoltán Rubik, Helèn Tomasko, Gabrielle Revlock

Conceived, curated, and edited by Janessa Clark. Communion is a BESSIE Award nominated experimental screendance response to the isolation and uncertainty we are all facing as artists and humans in the wake of the Covid-19 crisis. Because dancers can no longer breathe together, touch, or share the experience of movement within the physical studio, Communion invites 40 dancers, separated by physical distance and the pandemic, into a digital space to commune together.

Each unique duet is created from videos by two different dancers who are separated by cities, countries, and sometimes continents. Artist Janessa Clark combines these videos to create virtual duets which are set to music donated by a composer also collaborating remotely. MEDIA: Duet # 8: Jennifer Nugent & Kendra Portier. Photo (left, third down): screenshot of Duet #8

Betsy Miller

Rituals of Resistance (2022), American Woman Project: Maryland (2021)

AWP: What does it mean to be a woman? what does it mean to be a woman in America? how do we create an alternative geography that follows the existing map but develops from a logic other than the dominant logic of the nation state? People say the dance field is dominated by women. It isn’t. It is populated by women. The field of professional concert dance does not empower women, understand women, or celebrate women. In so many ways, it reflects the systemic patriarchies of our nation: in issues of labor distribution, opportunities for advancement and recognition, and even bodily autonomy [Miller].

Vanessa Justice Dance

The Relational Body Project (Installation 1 & 2), Flatland, Noise’s Noise, Two-liter Alteration, The Mirth of Floating Sideways.

Annie Kloppenberg

Bigger, Faster, Better (collab), Entrances and Echoes, Expert Witness. MEDIA: Kloppenberg website, E & E preview, Photo (bottom left) by Jennifer Manza

Alexandra Beller Dances

Other Stories

David Dorfman Dance

Company Member

Prophets of Funk, Lightbulb Theory (photo top left by Adam Campos), Impending Joy, Unsettled, Come, And Back Again (photo below by Adam Campos), Aroundtown (photo bottom left by Julieta Cervantes)

MEDIA: DDD website

Launch Movement Experiment

Ohio is in the Midwest (2009)

Mnemosyne Project (2009)

Home (2008)

Works presented at Judson Memorial Church, Hunter College, Triskelion Arts, 92nd Street Y