Songs and Book – Ivo Dimchev
On The Piano – Asen Doykin
Cello – Rubin Kodheli
Drums – Oskar Haggdahl

Ivo Dimchev (1976) is a choreographer and performer from Bulgaria. His work is extreme and colorful mixture of performance art ,dance, theater, music, drawings and photography.

Dimchev is author of more then 30 performances. He has received numerous international awards for dance and theater and has presented his work all over Europe , South and North America.

Besides his artistic work Ivo Dimchev gives master classes in the National theater academy/Budapest , the Royal dance conservatorium of Belgium/Antwerp, Hochschule der Künste/Bern, DanceWeb/Vienna etc.

He is founder and director of Humarts foundation in Bulgaria and organizes every year a National competition for contemporary choreography.

Since Oct 2009 after doing his master studies on performing arts at Dasarts academy / Amsterdam , Ivo Dimchev moved to Brussels where he opened a performance space Volksroom which weekly presents international young artists.

From Jan 2013 Ivo Dimchev is an Artist in Residence in Kaaitheater / Brussels for 4 years. In 2014 Ivo opened his new place MOZEI in Sofia Bulgaria , an independent space focused on contemporary art and music.

“Mr. Dimchev may push taboos in his work, but his timing, his hushed, whispery asides and the two-way conversations uttered under his breath are virtuosic — even reminiscent of Robin Williams. Animalistic one moment, delicate the next, he meshes darkness and lightness with verbal and physical dexterity.”
– Gia Kourlas, The New York Times, Published September 21st, 2014

“The word on the street is that this Ivo Dimchev guy is unpredictable, even dangerous. You just don’t know what will happen when you enter the auditiorium. Mystery and danger, powerful human aphrodisiacs.” – La Vie Viennoise Blog, Published August 5, 2012

“In that work Mr. Dimchev, a Bulgarian artist who lives in Brussels, transformed himself into an aging transsexual, both ethereal and streetwise, to explore sexual and cultural consumption. By the end of the night he drew his own blood into a vial and auctioned it off to the highest bidder. It was fantastic.”
– Gia Kourlas, The New York Times, Published May 1, 2011

“Dimchev masterfully manipulates the truth with the physical metamorphosis of his trickster character; his carriage and execution sew the fabric of the whole together. I felt all the richer for having been played his fool.” – Lucy M. May, The Dance Current, Published December 3, 2011

Ligia Lewis: minor matter from Marin Media Lab on Vimeo.

minor matter from LIGIA LEWIS on Vimeo.

Concept & Choreography: Ligia Lewis
with performers: Jonathan Gonzalez, Ligia Lewis, Hector Thami Manekehla
Musical Dramaturgy: Michal Libera
Styling: Alona Rodeh
Lights: Andreas Harder
Dramaturgy: Ariel Efraim Ashbel
Assistance: Martha Glenn
Press & Production: björn & björn

minor matter is a production by Ligia Lewis in co-production with HAU Hebbel am Ufer. Funded by the Governing Mayor of Berlin – Senate Chancellery – Cultural Affairs and Fonds Darstellende Künste e.V. Additional support provided by residencies at FD-13, PACT Zollverein, 8:tension/Life Long Burning and collective address.

Ligia Lewis is a dancer and choreographer. She creates affective choreographies while interrogating the metaphors and social inscriptions of the body. Lewis’s work continues to provoke the nuances of embodiment. Her work has been shown at various venues and festivals, such as Abrons Arts Center/American Realness (New York), Flax/Fahrenheit (Los Angeles), Palais de Tokyo (Paris) and Tanz im August (Berlin). Lewis was awarded the Prix Jardin d’Europe for her work “Sorrow Swag.” As a dancer, Lewis has performed and toured extensively with and alongside the following: Eszter Salamon, Mette Ingvartsen, Ariel Efraim Ashbel, Jeremy Wade, Wu Tsang, and Les Bal- letsCdelaB.

Jonathan Gonzalez is an artist working through performance, sound design/composition, writing and visual practices. He has been a Posse and Bessie Schönberg Scholar, Diebold Award recipient for Distinction in Choreography & Performance, Brooklyn Arts Exchange Fellow and New York Live Arts Fresh Tracks Artist. He has collaborated in the works of Patricia Hoffbauer, Cynthia Oliver, Jaamil Kosoko, Isabel Lewis, Jomama Jones, Philip Howze and Grisha Coleman, among others.

One of the most promising cricket players in Soweto, Hector Thami Manekehla decided to stop playing and pursue performance. He showed his work in various theaters and festivals around the world. In 2008, he won the Danse l, Afrique Danse, which took place in Tunisia. From 2014-2015 he was awarded a fellowship residency at the Akademie Schloss Solitude. He is currently working with Maria La Ribot.

“The work is elusive, yet poetic,” – Allen Smith, LOST WKND, Published April 2016

“For me, this constraint is a kind of freedom, perhaps the best kind. The intra-action of this inside/outside is what drives my creative engagements. The endless negotiation between those two sites, between thought and flesh, enables a becoming, a liveness captured by embodiment, beyond reason and beyond the limits of representational orders like identity.”
- Ligia Lewis, The Brooklyn Rail, Published July 11th, 2016

“When I first saw Ligia Lewis’s Sorrow Swag at the American Realness festival in New York City in January 2016, I could tell there were deep and complex layers of significance informing the work, a developed vocabulary and particular inner logic. I knew I was not yet fluent in this language, so I went back to see the show a second time. I processed this experience in writing, and was left with many potent questions on expressions of power through the body, language, and theatrical convention.”
– Emily Gastineau, Temporary, Published June 22nd, 2016

Juliana F. May / ADULT DOCUMENTARY, context video – The Chocolate Factory Theater, March 2016 LIC/NYC from Peter W Richards on Vimeo.

Choreography and Direction by Juliana F. May
Performed by Lindsay Clark, Talya Epstein, Rennie Mcdougall and Kayvon Pourazar
Text by Lindsay Clark, Talya Epstein, Juliana F. May, Rennie Mcdougall and Kayvon Pourazar
Script by Juliana F. May
Lighting by Chloe Z. Brown
Music by Chris Seeds
Costumes by Mariana Valencia
Set Design by Sara C. Walsh
Managing Director – Sarah A.O. Rosner

Juliana F. May is a New York City native with a dual degree in Dance and Art History from Oberlin College. May has created nine works with The Chocolate Factory Theater, DTW, NYLA, Joyce SoHo, I.C.E.,The American Realness Festival and The Repertory Project. May has received generous support from The LMCC, The Map Fund, The Jerome Foundation and she is currently a 2016 Guggenheim Fellow as well as a NYFA Fellow. May holds an MFA in Choreography from UWM.www.maydance.org

“Alongside yelps, there are simple, raw moves like the wheelbarrow or crawls on the floor embellished with lifts of elbows and knees that flap briskly to the side. As always, Ms. May shows an admirable handle on structure, but the characters inside of her carefully delineated patterns are inconsistent; in this experiment, that’s obviously part of the point…” – Dance Review, Gia Kourlas, The New York Times

“…a collage of dance and spoken theater, with several sequences of speech and movement obsessively recycled à la Gertrude Stein…The sense of multiple dramatic layers fascinates, the urgent rhythm excites and the three performers are excellent.” – Dance Review, Alastair Macaulay, The New York Times

“May is suggesting that primal, pre-cognitive states stay buried in our guts; even as we’re growing up civilized, they’re howling and shitting at some level we fear to access.” – Deborah Jowitt, Arts Journal

A Meditation on Tongues 061016 selection 2 – 3min from Ni’Ja Whitson on Vimeo.

Concept, Transcription, And Direction by Ni’ja Whitson
Choreographed by Whitson With Collaboration From Performers
Performers The Nwa Project – Kirsten Flores-Davis And Ni’ja Whitson
Sound Design by Ni’Ja Whitson, featuring vocal performance by Jonathan Gonzalez, and the music of Nina Simone, Alice Smith, Billie Holiday, Kendrick Lamar, nikhil trivedi, and excerpts from Tongues Untied
Technical Coordinator And Lighting Design by Emma Rodriguez
Costume by Ni’ja Whitson
Video by Ni’ja Whitson(Excerpts From Tongues Untied, Marlon T. Riggs, Used With Permission By Signifyin’ Works)
Production Coordination by Teri-Ann Carryl
Production Assistant Odessa Jacobson

Kirsten Flores-Davis (collaborator/performer) earned their BA in Dance Movement
Therapy from Hunter College while performing with the National Liturgical Dance
Network in Bridgetown, Barbados and Canberra, Australia. Combining a love for dance
and theater, Davis joined the casts of the Messiah Project at HERE! Arts Center and
BRIC and Boogieman: Diary of a Broken Home, of the Thespis Theatre festival.
Choreographic works have been presented at the South Orange Performance Arts
Center, the Danny Kaye Playhouse and in the 2016 Dance Block Festival. Recently,
Davis has worked with movement based choreographers Ursula Eagly, Maura
Donohue, and Chafin Seymour. This is Davis’ third year as a company member of the
NWA Project.

(guest preshow performer, Jan 7th) Harold Ninja is a member of the Iconic House of Ninja, and works as an apprentice/mentee of Jason Anthony Rodriguez.

(guest preshow performer, Jan 8th, 9th) Jason Anthony Rodriguez (Slim Ninja), native of New York City and BA in dance from Purchase College. Rodriguez has performed with Camille A.
Brown and Dancers and Buglisi Dance Theatre. He works internationally as a
voguer/choreographer for the Iconic House of Ninja and is featured in the Netflix series
“The Get Down” directed by Baz Luhrmann.

Emma K. Rivera (Lighting Designer) is the technical director/resident lighting designer
at Brooklyn Arts Exchange/BAX and the technical director at Speyer Hall, University
Settlement. Previously, she’s worked with a number of wonderful artists and looks
forward to working with them again and with new artists in the future. She’s thrilled to
work with Ni’Ja and Kirsten again on A Meditation On Tongues.

“Whitson was majestic” - Brian Seibert, The New York Times, August 2014

“Ni’Ja’s pleasure in mobilizing power centers through explosive movement”
- Maura Donohue, Culture Bot, October 2016

“Ni’Ja’s work serves as a conduit to action.” - Maura Donohue, Hand Written Note (S), June 2016

“The ancestor energy of Ni’Ja’s workshop is a cocoon and a sheath.”
- Gabrielle Civil, Hand Written Note (S), July 2016

“The emotional stakes were incredibly high but completely authentic, and emerged
from a place of stark honesty. The composition flowed naturally and provocatively, witheach new image building upon the previous one.”
– Marya Warshaw, Founding and Executive Director, BAX on InfiniteBody

Choreography and Dancer – Trajal Harrell
Dramaturg – Gérard Mayen
Dramaturgical Assistance – Moriah Evans
Soundtrack Design – Trajal Harrell
Music – Various, including “for Alan Turning” by Robin Meier and “Again Free” by Imani Uzuri
Costumes – Michael Ventolo and Trajal Harrell
Set – Trajal Harrell
Visual Art (set) – Franklin Evans

Trajal Harrell became well-known for the Twenty Looks or Paris is Burning at The Judson Church series of works which theoretically juxtaposed the voguing dance tradition with the early postmodern dance tradition. He is now considered as one of the most important choreographers of the new generation.

Trajal Harrell’s work has been presented in many American and international venues including The Kitchen (NYC), New York Live Arts, TBA Festival (Portland), Walker Arts Center (Minneapolis), American Realness Festival, ICA Boston, Philadelphia Fringe Festival, LA’s RedCat Theater, Festival d’Automne (Paris), Holland Festival (Amsterdam), Festival d’Avignon, Impulstanz (Vienna), TanzimAugust (Berlin), and Panorama Festival (Rio de Janeiro) among others. He has also shown performance work in visual art contexts such as MoMA, MoMA PS1, Perfoma Biennial, Fondation Cartier (Paris), The New Museum (New York), The Margulies Art Warehouse (Miami), Stedelijk Museum (Amsterdam), Serralves Museum (Porto), The Barbican Centre (London), Centre Pompidou- Paris and Metz, ICA Boston and Art Basel-Miami Beach.

His work Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M), has the distinction of being the first dance commission of MoMA PS1. He has been awarded the Guggenheim Fellowship; The Doris Duke Impact Award, a Bessie Award for Antigone Sr./Twenty Looks or Paris is Burning at The Judson Church (L); as well as fellowships from The Foundation for Contemporary Art, Art Matters, and the Saison Foundation, among others.

Most recently he completed a two-year Annenberg Residency at MoMA, where he has turned his attention to the work of the Japanese founder of butoh dance, Tatsumi Hijikata. By looking at butoh through voguing’s theoretical lens of “realness” and modern dance through the theoretical lens of butoh, Harrell is creating a number of works which combine a speculative view of history and the archive with contemporary dance practice and composition. He has created Used Abused and Hung Out to Dry, premiered and commissioned by MoMA in February 2013; The Ghost of Montpellier Meets the Samurai premiered in Montpellier Danse Festival in July 2015; The Return of La Argentina premiered in Paris’ Centre National de la Danse and commissioned by MoMA; In the Mood for Frankie premiered in May 2016 at MoMA; and most recently Caen Amour premiered at Festival Avignon 2016. Next, he will have the first survey (1999-2016) of his work at a major visual art museum, to take place at the Barbican Centre in London during July-August 2017.

“He Moves as If Nothing Else Matters.” – Siobhan Burke, New York Times,

“[He] reminds us that the most startling power of performance often lives in its exquisite vulnerability.”
– Claudia LaRocco, New York Times

AmeriSHOWZ Welcome video 1 from Andy Kuncl on Vimeo.

2017 Circle of Champions Member and Choreographer – Alex Rodabaugh

2017 Circle of Champions Member and Sound Design – Andy Kuncl

2017 Circle of Champions Member and Performer – Ashley Handel, John Hoobyar, Lily Bo Shapiro and Alex Rodabaugh

2017 Circle of Champions Member and Scenic Designer – Aviva Novick

2017 Circle of Champions Member and Lighting Designer – Mandy Ringger

Thank you – Mathew Pokoik, Craig Peterson, Ben Pryor, Bailey Williams, Tessa Skara, Derek Smith, Jaime Wright, Sophie Sotsky, Madison Krekel, Janice Lee and Stuart Shapiro, Yidy, Megan Byrne, Ethan Knechel, Sabina Ibarrola, Chris Tyler, Kelsey Ludwig, Millie Kapp, Georgia Wall, Edward Sharp, Ishmael Houston-Jones, Alvaro Gonzalez, and Miguel Gutierrez. And especially Khamila.

AmeriSHOWZ is one of the world’s largest direct performance selling businesses. Founded in 2010 and headquartered in Brooklyn, NY, USA, AmeriSHOWZ offers performances and workshop opportunities in more than 70 countries and territories worldwide. The company also provides professional development, show creation and audience retention services through its partnership divisions. In its most recent fiscal year, the AmeriSHOWZ family of companies reported annual sales of $7.5 billion.

Alex Rodabaugh is a choreographer, dancer and performer. The joy Alex gets from his own personal freedom is the reason he shares the AmeriSHOWZ opportunity with others. He has shown work at Center for Performance Research, Ho_se, Total Rejects Live at TNT, Scream Queen at Don Pedro, Movement Research at Judson Church, Draftworks at Danspace and Gibney Dance Center.

Andy Kuncl is a mucisian, singer-song writer and dancer. When he found AmeriSHOWZ, he knew he found an opportunity that fit well with his unshakable work ethic. He truly believes in the AmeriSHOWZ system and has a passion for providing phenomenal products to his patrons, as well as being a leader to his growing team.
Ashley Handel is a performer living in NYC. Since joining the AmeriSHOWZ family, Ashley now teaches others how to maximize their own capabilities by acquiring patrons. She is grateful for the minds, bodies, and spirits of those around her and those with the courage to change the world.

John Hoobyar has most recently performed in works by Sarah Michelson, Tino Sehgal, Ryan McNamara, Will Rawls, Heather Kravas, Anne Imhof, Alex Rodabaugh, Christopher Williams, and Rebecca Patek. John Hoobyar has been an entrepreneur his entire life, and never worked for a boss. He was a 2016 danceWEB Scholar at ImPulsTanz Vienna International Dance Festival.

Lily Bo Shapiro is a native New Yorker. Today Lily consistently encourages positive thinking and personal growth to her team. She is a 2016-2017 Fresh Tracks Residency Artist at New York Live Arts, was a 2015 Chez Bushwick Artist in Residence, and her choreographic work has appeared at Gibney Dance Center, JACK, Draftworks at Danspace Project, Movement Research at the Judson Church, Center for Performance Research, Brooklyn Studios for Dance, University of the Arts (PA) and Bowdoin College (ME).

Aviva Novick is a designer and architect living in New York City. She is most appreciative that her AmeriSHOWZ business allows her to focus on balancing business, art and family. Current projects include the restoration of a 110 year old historical landmarked hotel in nyc’s garment district.

Kimberly Bartosik / daela – Étroits sont les Vaisseaux from Gibney Dance on Vimeo.

Choreography and Direction – Kimberly Bartosik in close collaboration with the performers
Performed – Joanna Kotze and Lance Gries
Lighting and Set Design – Roderick Murray
Costume Design – Kimberly Bartosik, Joanna Kotze, and Lance Gries
Sound Design – Kimberly Bartosik and Roderick Murray

Bessie Award-winning performer Kimberly Bartosik has been presented by American Realness, New York Live Arts, Dance Theater Workshop, Gibney Dance, Abrons Art Center; The Yard, MASS MoCA/Jacob’s Pillow, Danspace Project, French Institute Alliance Francaise’s Crossing the Line Festival, Festival Rencontres Chorégraphique Internationales de Seine-Saint Denis, Artdanthe Festival, Dance Place, American Dance Festival, BEA, The Kitchen, La Mama, and Mount Tremper Arts.

She has received support from the Jerome Foundation, FUSED (French-US Exchange in Dance), Mid-Atlantic Arts Foundation, USAI; NYFA/ BUILD; MAP Fund; American Dance Abroad; New Music USA; and Foundation for Contemporary Arts, Grants to Artists and Emergency Grants. Bartosik was a 2015 Merce Cunningham Fellow and a 2016 Gibney Dance DiP Residence Artist. From 2016-18, Kimberly will be supported by ART: Administrative Resource Team, a capacity building program of Pentacle.

Kimberly danced for the Merce Cunningham Dance Company for 9 years. She has been a guest artist/faculty at University of North Carolina School for the Arts, Arizona State University’s Hergberger Institute for Design and the Arts, Purchase College, Colorado College, and Princeton University (Fall 2016). www.daela.org

From 1985-1992, Lance Gries was a member of the Trisha Brown Dance Company, receiving a “Bessie” Award and a Princess Grace Foundation Award. Since 1991 he has presented choreography in venues in New York City such as The Kitchen, Danspace and La MaMa. His solo, “Etudes for an Astronaut” was nominated for a 2011 “Bessie” Award and he is a 2014 Foundation for Contemporary Arts Fellow in support of his latest work, “IF Immanent Field.” In 1995 he became a “founding teacher” of PARTS in Brussels, Belgium and continues there as a visiting teacher. He is thrilled to be working and dancing with Kimberly and Joanna for the first time.

Joanna Kotze has worked with Kimberly Bartosik since 2009. She danced with Wally Cardona from 2000-2010, and is currently dancing with Stacy Spence and Kota Yamazaki. She received the 2013 “Bessie” Award for Outstanding Emerging Choreographer. Her choreography has been presented at the National Arts Centre in Ottawa, Baryshnikov Arts Center, American Dance Institute, Danspace Project, Bard, Jacob’s Pillow, NYLA, MR at Judson, and other venues and galleries. She has had commissions from Toronto Dance Theatre, Ririe-Woodbury, Zenon and James Sewell Ballet, and has an upcoming commission from Gibney Dance Company this spring. Joanna teaches at Movement Research and Gibney Dance, is originally from South Africa and has a BA in Architecture. www.joannakotze.com

Bessie Award winning lighting designer Roderick Murray has been designing lighting and installations for performance, dance, and music both nationally and internationally since 1989. Murray has been collaborating with Kimberly Bartosik since 2000 and collaborates regularly with Ralph Lemon and Dusan Tynek. He has also designed the lighting for Benjamin Millepied, the Lyon Opèra Ballet, NYCB, ABT, Ballet du Grand Théâtre de Genève Sekou Sundiata, Hot Mouth, Yanira Castro, Yasuko Yokoshi, Tim Fain, Ethel, Luca Veggetti, Wally Cardona, Morphoses, Donna Uchizono, Paradigm, Scotty Heron, Pepatian, Risa Jaroslow and Dancers, Bill Young and Dancers, Ricochet Dance, and many others. In fall 2016 he “performed” the role of DJ and lighting designer in Jerome Bel’s The Show Must Go On.

“Brainy, but hot” – Nancy Dalva, The DanceView Times

“Kimberly Bartosik is one of the most intriguing descendants of Merce Cunningham.”
– Wendy Perron, Dance Magazine

“Both parts of Ecsteriority1&2 whittle the body down to its essence, and beyond, raising challenging questions about physicality, decay, and internal and external space. This is exciting work, careful and intentional without being overly constructed.” – Elizabeth Bachner, Offoffoff.com

“Bartosik and her extraordinary collaborators have crafted a compelling work, a captivating experience that is physically expressive, musically dreamy, and visually stunning, and from which many levels of meaning and feeling can be derived.” – Brian McCormick, Mediatized

Choreography and Performance – Karol Tyminski
Music – Gradual
Lights – Jan Cybis
Text – Karol Tyminski
Video – Michal Andrysiak
Video Performance – Jeremy Wade
Voice – Malgorzata Neumann

Karol Tyminski is a Polish Berlin-based performer and choreographer. He is a co-founder of the Centre in Motion – Choreographers Workspace in Warsaw, a graduate from P.A.R.T.S. in Brussels and Warsaw Ballet School.

In his works Tyminski presents a performer as a vessel that can be filled with any idea or story. His characters oscillate between different roles, femininity, masculinity, or even beyond sexual definition. Developing his choreographic language, Tyminski differs from the formal aspects and explores the very physicality of the performer’s body, almost at tissue-level, which becomes the source for choreographic material. He aims to speak about human condition, reaching the emotional side of a performer by penetrating his physicality. These activities are often close to ritualistic experiences as was demonstrated in his earlier piece „Beep, which presented at ImPulsTanz Festival 2014 was announced „one of the most radical and exciting performances in recent years” (Helmut Ploebst for Der Standard).

In 2015 Tyminski started to collaborate with Icelandic Dance Company creating Liminal which became part of the company’s repertoire and was listed as one of the best dance performances in Iceland in year 2015 according to Morgunbladid. The same year his latest work This is a musical was placed among the most important cultural events in Poland by a cultural magazine Dwutygodnik.

Recently Tyminski has begun to collaborate with artist Jeremy Wade with whom he is engaged in the creation of The Greatest Show on Earth which premiered in August 2016 at International Sommerfestival in Hamburg.
Tyminski since year 2013 is one of the artists supported by European Network Advancing Performing Arts Project (APAP). During his career the artist received support also from Open Latitude, European Commission, Stary Browar Nowy Taniec, ImpulsTanz, Cialo/ Umysl Foundation, Tanzfabrik Berlin, The Ministry of Culture and National Heritage of Poland, Institute of Music and Dance, Movement Research NYC, Mica Moca, Adam Mickiewicz Institute, Burdag Foundation and the President of Radom City.

“This is a musical turns into a progressive techno concert of unprecedented dynamic, solo sound sampling.” – Pawel Soszynsk for dwutygodnik.com

Creation – Jen Rosenblit
With the performers – Effie Bowen and Admanda Kobilka
Sound – Admanda Kobilka Aka Snoggybox
Lighting design – Elliott Jenetopulos
Production Management / Supportive Performance – Alexia Welch
Management / Producer – Alexandra Rosenberg

Jen Rosenblit has been making performance in New York City since 2005. Works include Swivel Spot (upcoming, 2017), Everything Fits in the Room, a collaboration with Simone Aughterlony (upcoming, 2017), Clap Hands (2016), a Natural dance (2014), Pastor Pasture, in collaboration with composer Jules Gimbrone (2013), In Mouth (2012), and When Them (2010). Rosenblit is a 2015-16 Movement Research Artist-in-Residence, a 2014-2015 LMCC Workspace artist, a recipient of a 2014 New York Dance and Performance “Bessie” Award for Emerging Choreographer for a Natural dance, an inaugural recipient of THE AWARD, a 2013 Fellow at Insel Hombroich (Nuese, Germany), a recipient of the 2012 Grant to Artists from the Foundation for Contemporary Arts, and a 2009 Fresh Tracks artist (Dance Theater Workshop). Rosenblit was included in MoMA PS1’s quintennial Greater New York exhibition in 2015, and has received support for her work from The Jerome Foundation, The MAP Fund, and Women and Performance: a journal of feminist theory, and through commissions from The Kitchen, The Invisible Dog, Atlanta Contemporary, New York Live Arts, Danspace Project, and Issue Project Room. Rosenblit has also collaborated and performed with artists including Simone Aughterlony, Young Jean Lee, Ryan McNamara, Yvonne Meier, Sasa Asentic, Anne Imhof, Miguel Gutierrez, A.K. Burns, and Kerry Downey and Joanna Seitz. Recent works focus on an improvisational approach to choreographic thought, locating ways of being together amidst impossible spaces. Rosenblit currently works between NYC and Berlin.

Effie Bowen (performance) graduated with a BFA in dance from Hollins University and has since performed in New York, Berlin, Los Angeles, and Philadelphia. With a focus on collaborative performance projects, effie is currently working with Kentaro Kumanomido at Northwestern University, and Louise Trueheart at Tanzhaus Zurich, and is a contributing editor to the Performance Journal. effie’s solo, DANCE SPORT, will perform at Pieter (LA) this February and Gibney Dance (NY) in April.

Admanda Kobilka (performance/sound) was raised in Minnesota and now resides in New York. Admanda was nominated for a 2016 New York Dance and Performance “Bessie” Award for Outstanding Music Composition/Sound Design for Clap Hands.

Elliott Jenetopulos (lighting design) has been working with Jen Rosenblit since 2012. Elliott has also designed lights for Anna Sperber, Enrico Wey, Mariana Valencia, Marissa Perel, The Builders Association, luciana achugar, Lorene Bouboushian, niv Acosta, Tess Dworman, Ursula Eagly, and others.

Alexandra Rosenberg (management/producer) is a manager and producer for contemporary performance and currently represents Jen Rosenblit, Annie Dorsen, Maria Hassabi, and Royal Osiris Karaoke Ensemble. From 2014-15, she was the Producer of Global Programs for Performance Space 122. Prior to founding her company Rosie Management in 2013, Alexandra was a producer and administrator with ArKtype, The Chocolate Factory, and others. Born and raised in Queens, Alexandra currently lives and works in Bed-Stuy, Brooklyn. She is a graduate of Bennington College.

Alexia Welch (production management/supportive performance) lives, works, jogs in Los Angeles where she also makes videos and texts. These projects often take up issues surrounding embodiment, dykeish sexuality and community standards. She graduated from the film and electronic arts department at Bard College in 2013.

“Ms. Rosenblit, who marries conceptual ideas to a vivid sense of theater, is a playful contrarian. … Linear thinking has no place in Ms. Rosenblit’s poetic world, yet her imagery gradually falls into place.”
– Gia Kourlas, The New York Times

“My expectations were twisted and refashioned around me. All of this added up to a fascinating new vocabulary where the spectacle is off to the center of where we expect it to be.”
– Jaime Shearn Coan, The Brooklyn Rail

The Planet-Eaters – Seconds, 2016, 8:tension, ImPulsTanz (Prix Jardin d’Europe)
I make me [sic], 2016, MoMA PS1, Greater New York Exhibition
Personal Effects, 2015, Performa 15, Westbeth Center
Settlement House, 2015, Abrons Arts Center Centennial Celebration
#loveyoumeanit (collaboration with Kaitlyn Gilliland), 2015, Danspace Project

Will Rawls is a writer, choreographer and performer. Rawls creates solo and group works that unravel and reconfigure around the idea of self and becoming. By placing the body into resonant encounters with other media, Rawls cultivates the ambiguous and experiential nature of choreographic work. Rawls recent work has focused on authorship, memory, race and subjectivity as intersecting monuments in need of constant undoing. He is recipient of the Casinos Austria 2016 Prix Jardin d’Europe for his work The Planet-Eaters: Seconds. He is also recipient of a Robert Rauschenberg Foundation Residency 2017, a Foundation for Contemporary Arts Grant 2015 and was a Mellon Foundation Creative Campus Fellow at Wesleyan University 2015-2016.

CHRIS KUKLIS (Musician/Performer) is an electric guitarist, composer and educator who works and lives in Brooklyn, NY. During his studies at The New School (BFA, Jazz & Contemporary Music), he focused on contemporary and experimental improvisatory composition, leading experimental ensembles and studying with free improvisation luminaries including Gerry Hemingway & William Parker. By day, Chris is a mild- mannered guitar instructor, operating an innovative educational collective called Brooklyn Guitar Lessons. By night, he composes and performs in a wide variety of vividly diverse musical contexts, from experimental improvised music to indie rock to live electronica and beyond. Chris has performed contemporary works in world-class venues, including Lincoln Center Out Of Doors (Rhys Chatham’s A Crimson Grail) and John Zorn’s avant-garde stronghold The Stone (with William Parker). His compositions have been performed in festivals and art exhibitions around the world, including a critically acclaimed multimedia installation for Hopes, Dreams & Hard Times at the Benaki Museum in Athens, Greece. As a composer, Chris’ primary foci are sound textures, repetition, rhythmic layering, emotional density, and the fusion of traditional instruments and methods with contemporary means of electronic sound manipulation. More at http://cargocollective.com/chriskuklis

“A choreographer and writer, Mr. Rawls never lands for too long in any one medium, staying nomadic with the help of his sound and costume collaborators. One pleasure of watching “Seconds,” a reconfiguration of his 2013 “The Planet-Eaters,” is not knowing where to place it.”
– The Planet-Eaters: Seconds, Review NYT

“Rawls’s accumulated dance was noisy—the inchoate frequencies of gasps, howls, and moans winning out over fully-formed language—but it laconically addresses at least two concerns central to the field of performance. First is the notion that we perform our identities: that identity does not stem from an interior essence but is constituted through the repeated performance of social codes and stylized acts. Rawls appears to both speed up and slow down this process, condensing the diverse lines of motion that have formed him into a repertoire that can be watched in real time. The shared codes that come to articulate and define certain identities become fluid and ambiguous—as when Rawls stretched and scrunched his hoodie in and out of its recognizable form, merging a charged symbol of black masculinity with the creaturely shape shifting of Xavier Le Roy.” – Personal Effects, Performa Magazine