Our sponsors
idiosynCrazy productions has been supported by The Pew Center for Arts & Heritage through Dance Advance.
idiosynCrazy productions has been supported in part with funds from the Philadelphia Live Arts Festival as part of a Live Arts Brewery Fellowship given to Jumatatu Poe.
idiosynCrazy productions was supported by the Pennsylvania Council on the Arts, a state agency. idiosynCrazy productions was also supported by the Pennsylvania Council on the Arts through its regional arts funding partnership, Pennsylvania Partners in the Arts (PPA). State government funding for the arts depends upon an annual appropriation by the Commonwealth of Pennsylvania and support from the National Endowment for the Arts, a federal agency. PPA is administered in this region by the Greater Philadelphia Cultural Alliance.
Additional support of the Pennsylvania Partners in the Arts (PPA) Partnership in Southeastern Pennsylvania is provided by PECO.
idiosynCrazy productions is a member of the 2011 PennPAT Artist roster. Pennsylvania Performing Arts on Tour (PennPAT) supports touring by professional Pennsylvania performing artists, using a multi-layered approach that includes grants to presenters, grants to artists, professional development for artists and marketing support.
Additional support from:
Community Education Center, Susan Hess Modern Dance Choreographers' Project, Swarthmore College, University of the Arts.
Our dance/theater work pushes both audience and performer to the edge of believability, of physical limits, of one's own skin.
We pulse, throb, like tell-tale heart we beat over and over and over and over…
We do more than dance,
Kristel Baldoz started dancing at the age of six in Delano, California, studying ballet and jazz under her mother's persistence. Kristel grew to love movement and decided she wanted to be a dancer. She received her B.A. in Dance, Theater, and Performance Studies from the UC Berkeley. However, curious to explore other fields, Kristel decided to take some time off from dance. She traveled, found herself unexpectedly settled in Philadelphia, and worked for a nonprofit, advocating for urban youth and education. She thanks idiosynCrazy productions for this great opportunity and is excited to be moving again!
Since 2005 Lindsay has been actively participating both as a Dancer and Photographer within Philadelphia's Arts community. She is currently participating with Scrap Performance Group, Group Motion Dance Company, Wally Cardona, idiosynCrazy productions and Olive Prince Dance. Additional credits include having worked with Ring Dance Theatre, Tania Issac Dance, Merge Dance, choreographers Silvana Cardell, Jodi Obeid, and Shannon Murphy. She was a founding member of danahbelladanceworks, a Dance Theatre Company based in Virginia. Lindsay's Choreography has been presented at the Cultural Education Center, Angler Movement Arts Lure Performance Series and Nicole Bindler's Studio Series. Samples of her Photographic work are displayed at www.lbrowningphotography.weebly.com.
Justin Bryant was born in Memphis, TN and was raised in Atlanta, GA, where he began his dance career. In the last five years, he has performed and taught dance nationally and internationally, and has had the opportunity to work with companies such as Eleone Dance Theater, Dancefusion, The Smoke, Lilies, and Jade Arts Initiative, and The American Repertory Ballet Company (NJ). In highschool, he was blessed enough to have the opportunity to work with American Idol Clay Aiken and country artist Wynonna Judd. During his college years, he was selected to perform in the stage play My Brother Marvin directed by Clifton Powell. On a Full Director's Talent Scholarship, Justin received a BFA in Ballet Performance from The University of the Arts under the direction of Susan Glazer. Currently, he is the Artistic Associate Director of The Smoke, Lilies and Jade Arts Initiative, an Advisory Board Member of The Brothers' Network and is now a happy member of The Philadelphia Dance Company (Philadanco). It is such a pleasure for him to share the stage with the phenomenal artists of idiosynCrazy productions.
Jason Carr (composer and musician) was born and raised in Detroit, and now lives in Philadelphia where he has been an active and integral element of the electronic music scene throughout the city since 2004. Affiliations include BoánDanz Action Company, Inciting, Broketronica, Rizumu, and idiosynCrazy productions. He is a pianist/keyboardist, composer, theorist, DJ and laptop performer. His influences include Motown, techno, hip hop, Western classical, jazz, and improvisational performance. His live performances imply many different modes within the dance music genre. He has shared the bill with artists from all over the globe, including Move D, Par Grindvik, Eats Tapes, Derek Plaslaiko, Geoff White, Terrence Dixon, Dietrich Schoenemann, Detroit's Own DJ Surgeon, DJ Nehpets, David Last, Starkey, Po Po, and more.
Born in Guyana, South America, and raised in Memphis, Tennessee, Danielle Currica graduated from Virginia Commonwealth University with a BFA in Dance and Choreography in 2009. Relocating to Philadelphia as a freelance dance artist, Danielle has worked with Dance Theater X (Charles O. Anderson), idiosynCrazy productions, Dance4Nia Repertory Ensemble (Antoinette Coward-Gilmore), Green Chair Dance Group, and is Sophie Sucre of Philadelphia's neo-burlesque troupe The Peek-a-Boo Revue.
Originally from Georgia, Jeff trained at the Atlanta Dance Works before attending Point Park University in Pittsburgh for Dance. While at PPU, Jeff performed in numerous shows. In addition, his own choreography, Held to Release, was selected to showcase at the American College Dance Festival. Jeff was a Company Member with Attack Theatre for 5 years, touring nationally and internationally as a dancer, setting works, and designing costumes. As a teacher Jeff has taught classes/workshops at CLO Academy, CAPA High School, Pittsburgh Ballet Theatre, Pennsylvania Governor's School, and Carnegie Mellon University. In addition to setting his own works and collaborations titled Effectuation, Sawdust and Diamonds and Wigfield. His Musical Theater credits include: the national tour of FOSSE!, Pittsburgh Civic Light Opera (PCLO): Diesel in West Side Story, Dream Curly in Oklahoma!, Carnival Boy in Carousel, also The Who's Tommy and The Pirates of Penzance. Opera Credits include: Samson & Delilah, Aida, Rigelleto, Faust, The Voluptuous Tango, and the world premiere of Red Dust at the Andy Warhol Museum. Jeff has performed in shows at both Walt Disney World and Busch Gardens. Also as a guest artist with the Pittsburgh Symphony, Asheville Symphony, Ion Sound Project, Pillow Project, Knot Dance, Rebecca Davis Dance Co., and idiosynCrazy productions.
Christine was born and raised on the same block in the Bronx that "Jenny" came from; which, by the way, isn't the south, south Bronx, but rather central East. It is there that she was introduced to dance through her cultural roots with salsa dancing at the age of 7. Christine decided to take her dance training a little further and was accepted into Professional Performing Arts School in association with the Alvin Ailey American Dance Theater. Along with her formal training at AAADT, Christine continued dancing salsa and was part of top Latin dance companies with whom she had the pleasure of performing both nationally and internationally in over 7 countries. After high school, she went on to receive her BFA in Modern Dance Education from the University of the Arts in Philadelphia. Christine moved back to the block, pursuing a professional career in dance and is very excited to join the idiosynCrazy productions crew in the City of Brotherly Love.
In highschool, Gregory learned how to build human towers and has been experimenting in movement ever since. After studying sociolinguistics and dance at Swarthmore College, he completed further technical training at the Institute for Dance Art in Linz, Austria, and has since performed with various groups across Europe and the United States. His work is nearly always collaborative and process-driven, with a strong interest in critical aesthetics, and has been developed through residencies around Philadelphia and Central Europe. As a dancer, Gregory enjoys exhilarating movement, excessive intellectual content, and amplified awkwardness. He is a collaborative creator/performer with Green Chair Dance Group, and also works with idiosynCrazy productions, Brian Sanders/JUNK, Gabrielle Revlock, and Workshop for Potential Movement. He has also been involved in numerous political performance projects, including street and protest performance. He has paired for several projects with fellow queer artist An Kaler, and their short films have been presented in queer and dance contexts globally. Gregory is a 2011 Live Arts Brewery Fellow as part of the Philadelphia Live Arts Festival.
A big sister and the oldest of two, Maya was born in Los Angeles, California, to Sheree Brown Johnson and Douglass Johnson. Practically singing and dancing out of the womb, Maya started taking dance classes at the age of 3 at Universal Dance Designs, owned by Paul and Arlene Kennedy. Thus, her obsession with performing began. As a child she took her love for performance to the screen, making an appearance as Janet Jackson on the TV movie series The Jackson American Dream. While training with La Verne Reed and Eartha Robinson, she went on to appear in several commercials, films, stage plays including Debbie Allen's The Legend (the Mark Taper performance), the 67th Academy Awards, Fudge, The Sinbad Show, On Our Own, as well as several other productions. Growing older, she focused more on classical training to pursue a career in concert dance, training with Karen McDonald, Ka Ron Brown-Lehman, as well as several other master teachers. She spent her middle and high school summers in New York at Alvin Ailey American Dance Theatre and in San Francisco at Alonzo King's Lines Ballet School. Graduating from LA County HS of the Arts, Maya moved away from the warm city of Angeles to the city of brotherly love, receiving her B.F.A. in Dance performance with an emphasis in choreography. At U of A she studied and worked with Curt Haworth, Kim Bears, Milton Meyers, Ronen Koresh, Zane Booker, and many others. As a professional dancer, she's proudly performed nationally and internationally with Curt Haworth, Smoke, Lilies, and Jade Arts Initiative (Zane Booker), Dancefusion (Gwendolyn Bye), and Philadelphia Civic Ballet. She's choreographed for the 2009 Philly Fringe and for S.L.J.
Returning to her roots, Maya has been blessed to write and work on her first album as a solo artist as well performing her own works. Maya is elated to have the opportunity to work with Nathan Trice and Rituals family as well as Jumatatu and the entire idiosynCrazy productions family.
Catherine T. Lee has traveled with companies as LD/SM/TD at many theatres including: Queen Elizabeth Theatre in Vancouver, British Columbia; Grand Opera House in Wilmington, DE; Cutler Majestic Theatre in Boston, MA; Luckman Fine Arts in Los Angeles, CA; The National theatre in Washington D.C.; Flint Center for Performing Arts in San Francisco, CA; California Center for the Arts in San Diego, CA; Galvin Fine Arts Center in Davenport, IA; Annenberg Center in Philadelphia, PA; Columbia Festival of the Arts at Rouse Theatre in Columbia, MD; Art and Culture Center of Hollywood in Hollywood, FL, and many other theatres in NYC. Catherine is also the Technical Director of the Jeanne Ruddy Performance Garage.
(-bio coming soon-)
Shannon Murphy loves to move, in fact there is nothing else she'd rather be doing at any given moment. That is why she started dancing in Ohio, and why she continues to explore, redefine and create dances today. Currently, Shannon resides in Philly where she is constantly challenged and inspired by the artists around her. She has been a part of Anonymous Bodies/Kate Watson-Wallace, Dance Theater X, idiosynCrazy productions, Kosoko Performance Group, Nichole Canuso Dance CO. SCRAP Performance Group, XCDC, and worked with choreographers Robert Battle, Wally Cardona, Rennie Harris, Jenifer Morley, and Kathryn TeBordo. Shannon continues on her journey to experience as much movement as possible. Her passion for dance along with the commitment to evolve dance education brought her to the Franklin Method. A graduate of the level two teacher certification, Shannon uses the Franklin Method in her pedagogy, her choreography and teaches workshops, weekly classes, and private sessions in Philadelphia to both professionals and dancers in training. Developing her own kinetic vocabulary, her choreographic work displays physical exertion, emotional intrigue, and a curiosity of functionality both physically and metaphorically. She has a BA from Point Park University, and has studied at Studio Harmonique, Paris France, with the Liz Lerman Dance Exchange and at MELT/Movement Research. Last season, she proudly became the Director of Creative Development for idiosynCrazy productions, where she can fuse her passion of performance, choreography and movement theory.
Shavon Norris is an artist, educator and performer. Originally from New York City, she received a BA in Biology from Manhattanville College, and a Master of Fine Arts in dance from Temple University. As a dance maker, Shavon' s work has been presented at Manhattanville College, The Philadelphia Live Arts Festival, Temple University, The National Constitutional Center, Art' s Sanctuary, Chester Eastside Ministries, the Community Education Center, and at Joyce Soho. As a performer she has worked with Nia Love, Max Luna, Treva Offut, Gabri Crista, Silvana Cardell, Marianela Boan, Kemal Nance, Meghan Durham, Manfred Fischbeck, Leah Stein, Merian Soto, Makoto Hirano and Jumatatu Poe. As an educator, Shavon teaches school age children to college students, locally and nationally. Shavon' s artistic and educational philosophies are rooted in the desire to give herself, students, performers and audiences opportunities to deepen the understanding of self and the collective.
Jumatatu Poe hails from California, by way of Philadelphia, PA. He is an alum of Swarthmore College and a graduate of the MFA program at Temple University. His first dance training was in contemporary African dance (the Umfundalai technique) at Swarthmore College. Jumatatu has also trained at Philadanco, in the Jacob's Pillow and Illadelph Legends Festivals, and in Amsterdam with Anouk van Dijk. Currently, Jumatatu serves on faculty at Swarthmore College and the Univeristy of the Arts. As a performer, Jumatatu has performed for several Philadelphian choreographers, including Charles Anderson, Myra Bazell, Marianela Boan, Tania Isaac, Kun-Yang Lin, Merián Soto, Leah Stein, Keith Thompson, Kate Watson-Wallace, and Kariamu Welsh (as a member of Kariamu & Company: Traditions). In 2008, Jumatatu was a resident choreographer of Susan Hess Modern Dance's Choreographers' Project (Philadelphia). His choreography has been featured at Swarthmore College, Temple University, as well as the Philadelphia Live Arts and New Edge Mix festival series. His choreography has also been commissioned by Danse4Nia, Prince Music Theater, and New Jersey Governor's School. Jumatatu is the artistic director of idiosynCrazy productions.
Gabrielle Revlock is a native Philadelphian and graduate of Vassar College with a BA in Art History. She has received support from the Pennsylvania Council on the Arts (2009), the nEW Festival (2008-2009), the New Edge Mix (2006) and is currently a resident artist in the Susan Hess Choreographer's Project. Her work has been shown at various venues including the Joyce SoHo (NYC) and the Korzo Theater (The Hague, Netherlands). In 2009 she was chosen to present in The A.W.A.R.D. Show! as part of the Philadelphia Live Arts Festival. She will be participating again in 2011. This past spring she was resident choreographer at Bryn Mawr College and in 2005 she was selected as Alumnae Choreographer for Vassar College. Gabrielle is the recipient of a 2010 Rocky Award. As a dancer, she has received two professional development awards from Dance Advance, which took her to the Netherlands to collaborate and tour with Isabelle Chaffaud and Jérôme Meyer. She is a company member of Jeanne Ruddy Dance, and has performed the works of Jane Comfort, Suzanna Linke, and Robert Battle. Other Philadelphia artists Gabrielle has had the pleasure of dancing for include Lisa Kraus, Myra Bazell, Leah Stein and Matthew Neenan for the Opera Company of Philadelphia. Gabrielle has worked frequently with international artists including UK Choreographer Sean Feldman, Austrian Willi Dorner and Butoh master Katsura Kan from Japan. In addition to performance, Gabrielle's films have been shown two consecutive years (2007 & 2008) at the dance film festival, Motion Pictures programmed by Philadelphia Dance Projects. As a photographer she has been published in both Smithsonian and Bust Magazine. Additionally, Gabrielle is the creator of Wear Your Wig to Work Day, a holiday occurring annually the last Friday in January.
I first started dancing as a form of mockery, a way of expression that for me tapped into an ease of articulation that was particularly useful for a first grader. As I grew older and became more self conscious, dance became something that I stayed away from, an alienating, reoccurring theme that would stay with me through most of high school. With school dances proving to be the quickest pathways to social acceptance, I struggled to find inclusion, due in part to the fact that I was never the type of person who would do anything without first knowing if I was good at it. However, I always marveled at the seemingly innate way that my peers could seamlessly slip on this curvaceous, sensually thick movement, and it would be that fascination that would eventually guide me into dance as a field of study. Studying the way that people move, as well as why and how, has since become a passion of mine. Formally, I have received the majority of my training from The Dance Institute of Washington and The University of the Arts, as well as attending Paul Taylor summer intensives. Professionally, I have had the tremendous pleasure of working with choreographers Jumatatu Poe, Silvana Cardell, Brian Sanders, Curt Haworth, Ishmael Houston Jones, Michael Biello and Zachary Svoboda.
Michele Tantoco received her BA in Biology in 2001 from Bryn Mawr College, and has been dancing and teaching in the Philadelphia area ever since.
In 2002 she became a member of the Leah Stein Dance Company. In October 2010, Michele was one of seven Philadelphia dancers asked to participate in a partial reconstruction of Lucinda Childs' work Interior Drama under the direction of Lucinda Childs and Ty Boomershine. She is also a regular performer and collaborator with idiosynCrazy Productions and Jumatatu Poe, with whom she performed at the 2010 Norristown Dance Festival (Flight Attendants) Michele was chosen to participate alongside two other Philadelphia dancers in the Red Thread project, an inter-generational dance work origianally created by three former Trisha Brown Company members Lisa Kraus, Eva Karczag and Vicky Shick (March 2010). In December 2009, she performed in Moving Parts/Meg Foley's work cookie as a part of the Movement Research at Judson Church program in NYC. In the Spring of 2009, she collaborated and performed in the touring production of White Box Theatre's Sea of Birds.
Current collaborations and upcoming projects in January 2011 include: new work with Sarah Yassky to be presented at Judson Church, a new work with Brian Sanders/JUNK, and the premiere of Jumatatu Poe's FLATLAND 2010. Michele also teaches dance, yoga, and pilates-based classes in the Philadelphia area.
idiosynCrazy productions has no formal audition process. We encourage those interested in performing with idiosynCrazy productions to attend an idioSomatics class, or one of our occasionally offered workshops. Please take a look at our The Physical Laboratory calendar to see when our classes and workshops are happening.
idiosynCrazy productions aims to:
My mission with idiosynCrazy productions is to sculpt a body of performance work for the company that presents socially relevant and captivating dance/theater performances. Our work is mystifying and intimate in the same breath, with the cultivation of performance practices that are responsive to audiences, and transformative for performers. We create performance work that will travel, with audience and performer, to the edge: of believability, of physical limits, of one's own skin. I will invite artists to work with the company who can help further advance our exploration of movement and performance work. To this end, I aim to address subject matter of particular relevance to urban/metropolitan communities, with a strong sensibility toward exemplifying diversity.
Tasks include:
As the Director of Creative Development my mission is to make clear the creative objectives and initiatives for idiosynCrazy productions performers. I will give insights to the differences between function and expression, to gain physical/anatomical knowledge, increase performative expression through dynamic capabilities of the body, and cultivate new theories of dance and training. I will share my knowledge of functional efficiency with performers of idiosynCrazy productions to strengthen our bodies' ability to take care of themselves, prevent injury, create the ability to layer and multitask in demanding physical processes, understand and embody emotional presence through physicality, stretch performative abilities, and become a language for diversity through movement.
Tasks include:
idiosynCrazy productions acknowledges that each individual or community it interacts/collaborates/engages with, comes with an unique voice, history, culture, and has unique needs and interests. As the Director of Community Engagement/Interaction, it is my responsibility to find ways to create opportunities of collaboration and learning that are relevant for both the members of idiosynCrazy productions and the collaborating individual/community. idiosynCrazy is not interested in just teaching/learning/making. We are interested in giving/sharing/interacting/
The idiosynCrazy productions community believes that identifying ourselves as artists, as performers, and as instructors of dance is not separate from identifying ourselves as human. Our artistry fortifies our humanity and seeks to make us more a part of this world. In essence, that is what we aim to do through the instruction of dance and dance-related topics: situate the learning experience within the world. Students need to have the option to place art in very realistic places for themselves, to see its functional purpose in their world.
We are interested in cross-disciplinary applications of dance: how we, as dance educators, can address dance historically, socially, scientifically, and artistically. The prominence of dance in popular culture is especially noteworthy, now, and dance educators are in the esteemed position of being able to frame this for students, contextualize it, deconstruct it, learn from it, and move forward from it, while also giving credence and agency to dance that exists outside of the realm of popular culture. Each moving body, each moving story is draped in layers of history and meaning.
As part of our community initiative, idiosynCrazy productions offers idioSomatics, a FREE contemporary movement class. This is an open, professional level dance class in which we will take our bodies to extreme places. In idioSomatics, we explore INTENSE physical movement and how it relates to psychological/emotional energies. This class is perfect for anatomy/physics geeks, tireless movement lovers, and daring performers. We'll think, we'll feel, we'll sweat… a lot… Step aboard for this journey to the extreme.
idioSomatics is about opening up the body and activating all of the senses to heighten our responsiveness to our dance/performance experience. We identify the physical forces acting on our bodies in movement at a given time, and decide how much control we will exert over this, how out of control we will allow ourselves to become. We clarify and manipulate the energy that we create ourselves. We examine how we partner with the environment (the floor, the walls, other people). And we use energy and focus to connect ourselves with our environment and the people with whom we share the experience. Our goal is to create a deeper sense of performance in the body, in the energy. Our goal is to have a full, authentically communicative experience; with our classmates, with ourselves.
The Physical Laboratory is an educational initiative sponsored by idiosynCrazy productions that aims to provide local professional-level dancers with performance tools and rigorous physical training. Contact info@idiosynCrazy.org for more information.
Please check out our Physical Laboratory calendar online to see when our classes and workshops are being offered. Also, please contact us for more information on workshops and lecture/demonstrations that we offer as part of our community interaction/engagement initiatives.
Alibi: A Murder Mystery
Directed and choreographed by Jumatatu Poe
Video design by Marquise Lee
Alibi is an exposé on how guilt and the politics of identity cause those affected by guilt to change their actions, reform habits, repent sins ("real" or imagined). The story centers around a narrator, accused of killing a girl who he claims he did not know; the narrator's best friend who loved the girl from afar; and the dead girl, suffering in infinite unrest.
Number of Performers: 3
Duration: 20 minutes
Audience quotes from a showing of Alibi at the AWARD Show, Philadelphia Live Arts Festival 2009
"Violent & still. Beautiful & compelling"
"Powerful and haunting. Perfect balance of revealing and hiding"
"Amazing partner work"
"a polished package" – Ellen Dunkel from Philadelphia Inquirer
FLATLAND 2010
Directed and designed by Jumatatu Poe
Movement by Poe and the performers
Lighting Design by Catherine Lee
FLATLAND 2010 satirically addresses the flatness of human communication. Take a magnified look upon the world of FLATLAND, as you watch 11 of its inhabitants figure out how to communicate in a place where everything is so, well, one-sided. This is a world in which abbreviation and simplification rule, where the sound byte supersedes substance, where the instant message overpowers the intimate one.
Performed by 11 phenomenal dance artists, FLATLAND 2010 is a highly physical struggle for depth in two dimensions.
Number of performers: 11
Duration: 70 minutes (full-length)
FLATLAND 2010 (from a preview showing)
"One of the most exciting things I've seen in a while. I feel simultaneously hungry and incredibly satisfied, and very very awake" – Chloe Paisley, artist
"Provocative, entertaining, very skillful" – Joanne Fleisher, psychologist
"Unapologetically human. Bold. Complex. At the surface" – Marcie Mamura, dance artist
Flight Attendants
Directed by Jumatatu Poe
Choreographed by Jumatatu Poe and Michele Tantoco
YOU are invited into the tense world of Ricky and Roz, two flight attendants on a trip that doesn't seem to be ending any time soon. They are at your service, bending over backwards, turning upside down, and fitting into the smallest of spaces to provide you with a comfortable, luxurious voyage... kind of. Let's kindly take a moment to give them our attention, please.
This piece is a look at service: the people that serve, the way that they interact with those who are serving. Also, through this piece, we look at the claustrophobia that accompanies being fit into a space: physically, sociologically, categorically… Evening-length piece to be developed from the duet version for late 2012.
Number of Performers: 2
Duration: 20-minutes
*can be adapted to incorporate local performers*
Audience quotes from an in-progress showing of Flight Attendants at Mascher Space Co-Op, part of the INFLUX Performance Series
"all the contradictory aspects of keeping a chipper appearance in a thankless job"
"very unpredictable"
"loved the range of emotions it evoked- humor, sympathy, curiosity, confusion"
Unstuck
Directed and designed by Jumatatu Poe
Movement by Poe and the performers
Dramaturgy by Shannon Murphy
Unstuck was informed by responses to a question that Jumatatu posed to repertory students at Drexel University and Swarthmore College: "What if there were only this moment… forever?" The question prompted the creation of a dance work at each institution, as well as idiosynCrazy productions' own explorations of the topic. To begin, each of the performers wrote narratives in response to the above question. From there, idiosynCrazy productions circulated a survey to people of the Millennial generation (born between 1980 and 1998) that posed questions about identity, image, classification, allegiance, and how relevant these things are when the notion of time/era is shifted. From the entire pool of respondents, five Millennials were selected to be interviewed further on these topics. Text from the interviews is heard throughout the piece. The modular qualities found in the voices of the interviewees were used to create the sound for Unstuck. The movement from the videos of the interviews helped to inform the movement of the performers, whether set or improvised. This piece premiered in the 2010 Live Arts Festival.
Number of Performers: 5
Duration: 35 minutes
"absolutely stunning" - Carolyn Huckabay
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