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Free General Admission
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Fri, May 1 at 7 P.M.
Sat, May 2 at 7 P.M.

Are you ready to Jam?! It’s time to JAMboree! New Georges’ artist-led, collaboration-based performance gym presents an evening of brand-new work: proof-of-concept experiments that demonstrate the vision and ambition each team has for their collaborative project. In other words: excerpts of Jam-generated works heading out for a test drive! The Jam is an artistic community in which members forge relationships with deep impact on work and careers. New Jam members are selected every two years in an open application process–new cycle upcoming, watch for that application!

CREDITS

2024-26 Jam co-facilitators: Thalia Sablon, Dina Vovsi, Deepali Mattoo Gupta Zeer

ABOUT THE ARTISTS
Founded in 1992, New Georges (Susan Bernfield, Artistic Director/Producer; Jaynie Saunders Tiller, Executive Director/Producer) advocates for an intergenerational ecosystem of exuberant theatrical minds, furthering fierce new works along with long-term wellbeing, expanding aesthetic boundaries and gender equity in tandem. A pivotal home and launchpad for now three generations of artists, our impact reaches every corner of the culture. www.newgeorges.org

Tickets
Free General Admission
RSVP HERE

Fri, May 1 at 7 P.M.
Sat, May 2 at 7 P.M.

Are you ready to Jam?! It’s time to JAMboree! New Georges’ artist-led, collaboration-based performance gym presents an evening of brand-new work: proof-of-concept experiments that demonstrate the vision and ambition each team has for their collaborative project. In other words: excerpts of Jam-generated works heading out for a test drive! The Jam is an artistic community in which members forge relationships with deep impact on work and careers. New Jam members are selected every two years in an open application process–new cycle upcoming, watch for that application!

CREDITS

2024-26 Jam co-facilitators: Thalia Sablon, Dina Vovsi, Deepali Mattoo Gupta Zeer

ABOUT THE ARTISTS
Founded in 1992, New Georges (Susan Bernfield, Artistic Director/Producer; Jaynie Saunders Tiller, Executive Director/Producer) advocates for an intergenerational ecosystem of exuberant theatrical minds, furthering fierce new works along with long-term wellbeing, expanding aesthetic boundaries and gender equity in tandem. A pivotal home and launchpad for now three generations of artists, our impact reaches every corner of the culture. www.newgeorges.org

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Inspired by Words to Melt ICE, an online anthology of creative works of dissent against ICE,  join us for an afternoon of select pieces from the anthology and a community open mic. Bring your words, your pens, your rage to what will be an event of healing and collective resistance.  Co-hosted by playwrights Amalia Oliva Rojas and Christin Eve Cato. Proceeds will support deportation relief efforts. 

View the program.

ABOUT THE ARTISTS

The Stage Protects Us is a citywide initiative uniting two powerful ecosystems: frontline organizers working to protect immigrant New Yorkers, and a broad network of New York City performing artists ready to take action. We believe artists have a specific role to play in mobilizing and amplifying resistance to inhumane immigration policy by providing resources, tools, and training for the performing arts community to support the urgent work of frontline migrant justice organizers.

By invitation only.

For more information, please contact Hannah Schwadron, Arts in NYC Director, at hschwadron@fsu.edu.

Sat, April 25 at 7 P.M.

Works by: Mad Aldana-Gray, Cate Calvert, Yuki Colombo, Lily Frazier, Nailah Lee, Maddie Luzarraga, Yasmeen Masanti, Anna Paterson, and Aria Walker.

Arts in NYC proudly presents Kaleido, a collection of works created by the Spring 2026 cohort of Florida State University’s MFA, BFA, and BA students. Drawing from a combination of personal history and the New York arts landscape, these performers unveil their discoveries through diverse forms such as movement, film, and music. These journeys of art collide together to create an immersive and kaleidoscopic experience.

Kaleido embodies multifaceted vision that is consistently shifting. As each dancer shares their work, they will shift the spectrum of the audience’s experience – refracting emotion and perspective through a living kaleidoscope in motion. As these dancers wrap up their semester with a celebration of accomplishments, they move forward in the world following the motto of the late FSU School of Dance Chair, Dr. Nancy Smith Fichter (1930 - 2024): “Do it with love.”

Mentored by Arts in NYC teaching faculty Marilyn Maywald Yahel.

Special thanks to Program Director Hannah Schwadron and Program Manager Ashley Pierre-Louis.

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In this participatory performance and engagement, artists Tesora Garcia and Zacarías González come together to build an evening that questions our physical and spiritual nourishment inside of extractive, colonial systems. How does the process of communing in physical space allow us to envision new systems through curiosity and empathy towards each other? How can we plant the seeds within ourselves to imagine differently? As artists who hold embodied and nuanced relationships to health and wellness through the experiences of transness and/or living with HIV, Garcia and Gonzáles will prompt us to examine our collective power and potential. Tesora Garcia will lead a ceremony in which we will absorb "energy food" from an insect guide for purposes of healing and self-transformation. After the performance ceremony concludes, we will share a communal food moment led by Zacarías González that reflects on food sovereignty and its denial to communities deemed as other. Together, the artists will provide a meditative and intentional space for collective healing and exploration. 

This event is organized by Center for Performance Research and Blake Paskal, Programs Director of Visual AIDS, an organization that utilizes art to fight AIDS by provoking dialogue, supporting HIV-positive artists, and preserving legacies during the ongoing AIDS epidemic.

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ABOUT THE ARTISTS

Tesora Garcia (she/her) is a Salvadoran-American media artist, writer, and educator whose work investigates how structural violence patterns bodies, dreams, and belief systems. Drawing from migration politics, queer theory, and non-Western esoterica, her projects prototype alternative ways of sensing, belonging, and being.

Garcia has worked with lens-based media for more than a decade, spanning analog film, digital cinema, performance, and experimental video. Her recent projects, including Pocahontas Revised and Collagen Cult, have been exhibited nationally across the U.S. Her work often merges performance and moving image with ritual poetics, situating marginalized bodies as conduits of resilience and prophecy. As an HIV-positive Indigenous trans woman, Garcia approaches artmaking as a practice of survival and revelation.

She is currently Associate Professor of Photography and Digital Futures at Virginia Commonwealth University.

Zacarías González is a transdisciplinary artist in NYC whose participatory practice uses food as a container for collective inquiry, collaborative authorship, and the building of networks of care. Working at the intersection of documentary, participatory art, and pedagogical resistance, González creates conditions for gathering and relationality that emerge through shared space, communal eating, and learning together. Through their ongoing project "Carry," González uses deployable mobile structures—kitchen carts and garden carts designed in collaboration for public space activation. These objects function as tools, sites of pedagogy, and performance, becoming part of the work itself rather than merely supporting it. By extending communal practice into public spaces, the work resists permanence while building resilient networks of care and imagination.

Their work focuses on long-term projects: 吃了吗 | Have you eaten? with migrant sex workers; "The Future of Food" with Creative Time; EARTH LIFE at the Institute for Public Architecture; and Auxilio Space, a community-based food center supporting queer, Black, trans, and Indigenous communities and individuals living with HIV/AIDS. Work has been supported by Creative Time, The Storefront for Art and Architecture, MoMA PS1, Pioneer Works, and Socrates Sculpture Park. They are a Visiting Lecturer at SVA and The New School.

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Die Cute is a performance that uses cuteness to gently disarm people and guide them through grief in a way that is both playful and deeply empathetic. 2026 Technical Resident Yiseul LeMieux frames the work around an imagined funeral, inviting the audience to accompany her through elements such as procession, eulogy, and celebration. A bunny choir, a caring and quietly humorous pastor figure, and moments for audience participation create a space where tenderness and absurdity can coexist. The project stems from the belief that when death and grief are avoided, harm grows. By inviting people to face death in community and with laughter, Die Cute opens space for comfort and reflection, encouraging audiences to consider their own fears, losses, and mortality through lighthearted action and shared presence. 

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ABOUT THE ARTIST

Yiseul LeMieux is a Korean-born artist based in New York City. Her work spans multiple media, blending vivid narratives and alternative realities. She emphasizes audience engagement and community feedback, rejecting traditional boundaries between media, artist, and audience. Her creative vision explores a global network of interchangeability—where the artist, human, animal, or object holds equal value. This ethos allows her to explore limitless potential in herself and the world.

Tickets
$15, $30 Sliding Scale
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When does computation overflow into being? Wave Collapse, by multimedia artist Jay Reinier, explores technology pushed to the brink, spilling into climate change and system failure. The piece integrates immersive projections, live-processed voice, and interactive digital instruments. Concrete poetry combines with cyberpunk in a tapestry of conflicting fragments, telling a story of hubristic science and machine intelligence in a time of rupture and regeneration.

The performance is presented as part of Reinier's thesis project for the Performance & Interactive Media Arts MFA at Brooklyn College. Featured performers include brynn asha walker and ari glenn mombrea. Additional visuals and sound design by Jack Hamill and brynn asha walker.

ABOUT THE ARTIST
Jay Reinier is an experimental vocalist, media artist, and coder. They create software systems, generative instruments and interactive digital art, spanning live performance, websites, and multimedia installations. Born in the San Francisco Bay Area, Reinier investigates the rapid growth of technology and its effects on the environment. Their work draws from posthumanist theory to expand into animal and machine subjectivities. Reinier is a 2024-25 student fellow at Social Practice CUNY, and their performances have been featured at Harvestworks, LiveCodeNYC, and Millennium Film Workshop. They also perform livecode functions as j.palindrome, and work in production at Center for Performance Research and other NYC venues.

Tickets
$20, $25, $30 Sliding Scale (Suggested Price $30)
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Fri, April 10 at 7:30 P.M.
Sat, April 11 at 7:30 P.M.

true ribs, rawhide is a solo dance/theatre show both created by and performed by artist Kyle Carr Scheurich. Stripping his image of his own features, the artist creates an abstract figure that becomes a vehicle for physical language, giving the audience the opportunity to project onto said figure. We are invited to follow this figure during an excerpt of a much longer journey. It becomes about the being in between. Between violence and tenderness, between exposing and hiding, between tension and letting go, between transit and stasis, between a memory and the present.

ABOUT THE ARTIST
Kyle Carr Scheurich was born in 1992 in New York. In 2010 he graduated from Fiorello H. LaGuardia High School for Music & Art and the Performing Arts. During his time at LaGuardia High School he also studied at Manhattan Youth Ballet under the direction of Francois Perron. He graduated from The Juilliard School under the direction of Lawrence Rhodes, and joined Batsheva – the young Ensemble in 2014. Kyle joined Batsheva Dance Company in 2016-2021, with Ohad Nahirin acting as both artistic director and house choreographer. Kyle has performed with AMOC (American Modern Opera Company) for the stage premiere of Bobbi Jene Smith’s & Or Schreiber’s ‘Broken Theatre’. In 2025 Kyle served as assistant director for AMOC’s ‘Rome is Falling’, premiered at Alice Tully Hall.

Currently Kyle performs in various works, under the direction of choreographer Marlene Monteiro Freitas, co-founder of P.OR.K (Portugal). Kyle is a teacher of the Gaga movement language and works as a stager/rehearsal director for Ohad Nahirin at universities and dance companies around the world. Kyle is also an Ilan Lev Method practitioner & musician.

Tickets
$20, $25, $30 Sliding Scale (Suggested Price $30)
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Fri, April 10 at 7:30 P.M.
Sat, April 11 at 7:30 P.M.

true ribs, rawhide is a solo dance/theatre show both created by and performed by artist Kyle Carr Scheurich. Stripping his image of his own features, the artist creates an abstract figure that becomes a vehicle for physical language, giving the audience the opportunity to project onto said figure. We are invited to follow this figure during an excerpt of a much longer journey. It becomes about the being in between. Between violence and tenderness, between exposing and hiding, between tension and letting go, between transit and stasis, between a memory and the present.

ABOUT THE ARTIST
Kyle Carr Scheurich was born in 1992 in New York. In 2010 he graduated from Fiorello H. LaGuardia High School for Music & Art and the Performing Arts. During his time at LaGuardia High School he also studied at Manhattan Youth Ballet under the direction of Francois Perron. He graduated from The Juilliard School under the direction of Lawrence Rhodes, and joined Batsheva – the young Ensemble in 2014. Kyle joined Batsheva Dance Company in 2016-2021, with Ohad Nahirin acting as both artistic director and house choreographer. Kyle has performed with AMOC (American Modern Opera Company) for the stage premiere of Bobbi Jene Smith’s & Or Schreiber’s ‘Broken Theatre’. In 2025 Kyle served as assistant director for AMOC’s ‘Rome is Falling’, premiered at Alice Tully Hall.

Currently Kyle performs in various works, under the direction of choreographer Marlene Monteiro Freitas, co-founder of P.OR.K (Portugal). Kyle is a teacher of the Gaga movement language and works as a stager/rehearsal director for Ohad Nahirin at universities and dance companies around the world. Kyle is also an Ilan Lev Method practitioner & musician.

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Join CPR 2025 AiR Latif Askia Ba and dancer Sophie Frizzell for Dancing the Pause, an evening in the choreic period. In 2025, Latif published a second book of poetry, The Choreic Period, as part of his MFA Thesis. His poetry exclusively uses periods as punctuation to explore lyrical embodiments of disability. In this practice, the period takes on the possibility of multidirectionality and challenges normative ways of thinking about punctuation. More broadly, The Choreic Period asks, how do we pause? How does pausing relate to sense-making? 

Thinking about questions of time, (multi)directionality, and what it means to use rhythm to “locate oneself”, Sophie explores how Latif’s poetry might be translated to movement. Together, they invite the audience to discover their own rhythm of being.

View the program.

ABOUT THE ARTISTS

Latif Askia Ba is a poet from Brooklyn, NY. Dancing in and out of various forms, he tries again and again to realize the music of the disabled body-mind-universe. He’s a poetry editor at Big Score. His newest collection, The Choreic Period, was published by Milkweed Editions.

Sophie Frizzell is a dancer from Charleston, South Carolina. Formally trained in ballet, she resonates with works that find beauty in the mundane and humor in unexpected places. She received her B.A. in Religious Studies from Hunter College in 2024. Sophie is also a regular contributor for Culturebot, an online publication dedicated to long-form theater and dance review.

Free, RSVP required (limited participants)
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2026 AiR Valentina Baché presents a guided workshop of group and paired improvisational exercises that use movement and voice to build trust while encouraging confession, confrontation, and communion with strangers. Through escalating physicality and vocal intensity, participants will develop strategies to access states of raw honesty and heightened presence, culminating in a sustained spinning practice, with guidance on technique, balance, and managing nausea, inviting participants into a trance state that activates the vestibular system, increases adaptability, cognition, and spatial awareness, and offers a sense of physical exhilaration. 

Framed through ancestral and spiritual perspectives on circularity and rotation, the spinning practice connects participants to natural cycles and collective flowstates, cleansing and recentering both the body and the shared space, and leaving participants grounded, present, and more deeply connected to their authentic selves and to one another.

ABOUT THE ARTIST

Valentina Baché was born into a cacophony of color and macaws, in the isolation of the Caribbean jungle in Playa del Carmen, México. They learned the language of movement before they learned to speak, taught by sea, dogs, and blood. At fifteen, they skipped high school to attend Bard College at Simon’s Rock, later transferring to Hunter College, where they graduated in 2020. Since then, they have done everything in their power to love and share their art. In a lifelong battle against the imperialist soul, Valentina has found that love is the reason and that greed must be expelled from within each day. Through a spiritual devotion to dance as prayer, they explore the magic of nature and reveal the surreal ways in which we all contribute to cycles of harm. From this devotion, they have birthed a new technique, practice, and way of resisting. They spin because the divine is always spiraling, and they bark because the dog is a mirror reflecting our own malleability.They believe it is in the suppression of rage that energy becomes dangerous instead of transformative. Valentina is a multidisciplinary artist, a performer, textile artist, sculptor, and designer of beauty, violence, and truth, all at once.

OPEN LAB is a series that encompasses theoretical and practical discussions, movement research, and workshops open to the public that invite practice-based inquiry and creative exchange of ideas.

Tickets
$25 General Admission
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ABOUT
Matriarch is a full-length, two-act concert dance work that centers Black women and the roots they plant within families, lineages, and communities. Grounded in the belief that legacy lives in the body, Matriarch invites audiences to reflect on inheritance, memory, and what it means to be held—physically, emotionally, and spiritually—by those who came before us.

Blending original choreography, spoken word, and the voice of a guest choreographer, Matriarch weaves concert dance and storytelling to create an intimate, community-rooted experience. Movement serves as both archive and offering, revealing how Black women carry wisdom, grief, joy, and resilience across generations.

Act I: Received
The first act explores perception, acceptance, and the ways in which we receive the world and one another. Through layered movement and narrative, Received examines how grief can surface in many forms—quiet, explosive, tender, unresolved—and how it shapes our understanding of self and lineage. This act asks audiences to sit with what has been passed down, both the visible and the unspoken, honoring the complexity of inheritance without rushing toward resolution.

Act II: I Know You
The second act shifts in tone and energy, using the full spectrum of emotion to move toward recognition and celebration. I Know You is rooted in clarity—not as a punishment, but as power. Here, the work embraces joy, release, humor, strength, and connection, affirming the beauty of being seen and known. The act culminates in a collective celebration of Black womanhood, community, and the freedom that comes with understanding one’s place within the lineage.

Together, the two acts create a journey from reflection to affirmation, from receiving to knowing. Matriarch is not only a performance—it is a communal experience that honors the past, acknowledges the present, and gestures toward a future shaped by clarity, care, and connection.

CREDITS
Performers: Sophia Addison, Najah Aldridge, Amira Davis, Adia Edmondson, Tyra Millines, Gryffin Tate, Darren Justice, Brianna Stennett, Paige Stewart, and Alyssa Wheeler

Choreography: Dominique M. Fontenot

SUPPORT
The R.E.A.C.H. Collective is a sponsored artist with The Performance Zone Inc (dba The Field), a not-for-profit, tax-exempt, 501(c)(3) organization serving the arts community. Contributions to The Field earmarked for The R.E.A.C.H. Collective are tax-deductible to the extent allowed by law. For more information about The Field contact: The Field, 228‬ Park Ave S, Suite 97217, New York, NY 10003, phone: 212-691-6969. A copy of our‬ latest financial report may be obtained from The Field or from the Office of Attorney‬ General, Charities Bureau, 120 Broadway, New York, NY 10271.

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Theatermaker and playwright Ann Marie Dorr curates OPEN STUDIOS, thinking through how we can bring the outside or the inside-out parts of our practices to light. They have invited Kate McGee, Jacqueline Scaletta, and Daphne Silbiger to share works inspired by this notion, to see what kinds of conversations can emerge.

View the program.

PROGRAM

Kate McGee: Girl Mode

A meditation on absence as an essential texture of transness, using video game engines and audience participation.  

Jacqueline Scaletta: Sublimation

A performance of desperation, exploring doom, the desire to dissolve, and the afterlife through sound, text, and light.

Directed by Coral Cohen.

Daphne Silbiger: Brain in a Box

What can a human do that a machine cannot? What can a machine do that a human cannot? Does a machine ever long for messy reality, and what does it mean that humans show more and more desire to fuse with machines? Is it hot? A question about the grotesque with music, improvised text, and projection. Co-created with Beatrice Hirsch.

ABOUT THE ARTISTS

Ann Marie Dorr is a theatermaker and playwright. Their work has been presented at The Exponential Festival, Life World, Atlantic Stage 2, NACL, The Brick, Soho Rep, and The Museum of Human Achievement (Austin, TX). Soho Rep Writer/Director Lab 17/19. Associated Artist of Target Margin Theater. Brooklyn College Playwriting MFA ‘25.

Kate McGee (Lighting Designer, she/her) is an Obie Award winning lighting designer, new media artist, and deviser of theater works. She recently concluded a years long world tour as Lighting Designer for Esperanza Spalding and off brand gods dance. Recent Off Broadway – Bowl EP (Vineyard Theater), The Beastiary (Ars Nova), I’m Revolting (Atlantic Theater Company), Snatch Adams, and Notes on Killing... (Soho Rep), The Hang (Here Arts), and Suppose Beautiful Madeline Harvey (La Mama). She was a 2022/2023 artist in residence at Soho Rep where she developed the VR piece Girl Mode, since seen at Fabric Arts Workshop and the ASU’s MIX Center. Kate devised and designed several pieces with Peter Mills Weiss and Julia Mounsey that have premiered in Europe and NYC, including while you were partying at Soho Rep and prottec//attac at the Deutschesschauspielhaus Hamburg. katemcgee.xyz

Jacqueline Scaletta is a Brooklyn-based lighting designer and performing artist. Her design work has appeared in New York at The Brick Theater, La MaMa Experimental Theatre Club, Target Margin Theater, HERE Arts Center, Life World, 3 Dollar Bill, The Tank, MITU580, CultureLab LIC, Loading Dock Theater, Lenfest Center for the Arts, as well Le Mondo in Baltimore, MD. She is the technical supervisor of Brooklyn Art Haus in Williamsburg and a current board member of What Will the Neighbors Say? theater company. She cares about spectacle. jacscalettalighting.com | @jacqueline.scalett

Daphne Silbiger is a playwright, musician, and visual artist. Her plays include Language Party (in development), Very Blue Light (Tank Core Production), Attempts (Salon @ Life World), O The Humanity (Brick/Aux), Dirtbag Stacks (Crashbox), Pound (Relentless Award Semi-Finalist), and Six Years Old, which has been performed at theaters and colleges around the country. Daphne plays bass in the multidisciplinary band Go Home, with whom she performs regularly around the city, produced Uncle John and the Demon of the Wood (ANT Fest 2025) and is working on a second full-length record. She recently performed John Cage’s Telephones and Birds with Trisha Brown Dance Company (BAM). Daphne is also a teacher, working recently with School of Making Thinking on a course focused on the intersection of playwriting and new economic theory, and has collage work listed in the Kolaj Magazine International Artist Directory. Her work has been supported by MacDowell, The Sitka Fellows Program, and The Center for International Theatre Development. She is the academic advisor to Playwrights Horizons Theater School at NYU Tisch, and earned her MFA in Playwriting from UT Austin. 

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Fri, March 13 at 7 P.M.
Sat, March 14 at 7 P.M.

CPR’s long-running Spring Movement program is an opportunity for artists to present new, fully-produced work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an open call. Artists are encouraged to submit work with experimental approaches to content, form, and aesthetic, and which embrace risk-taking and the unexpected. Five artists working across and between live art disciplines were selected to present their work for Spring Movement 2026: Demetris Charalambous, Morgan Gregory, Umber Majeed, Margot Mae, and Rosalie Yu. 

This year, for the first time, CPR solicited applications for two distinct programs spanning two seasons, Fall Movement 2025 and Spring Movement 2026, with each program presenting five short works. The Fall Movement 2025/Spring Movement 2026 programs were curated by a selection panel composed of artists Shawn Escarciga, Dominica Greene, Amelia Heintzelman, and Muyassar Kurdi.

View the program.

PROGRAM

Demetris Charalambous: GLIESER
“A banished creature treads the verge of a timeless afterworld. A scavenger in nature, it encounters fossils of the species it once belonged to. Driven by instinct, first light inspires desire. It passes beyond the border of the world, the earth cracks and pleasure seeps through its seams. A heart becomes a portal, a machine towards an annihilating immortality. A sentinel enters stage left.”

This work is a personal archeology of memories — summers growing up in my home land Cyprus, the realisation of my Queerness, fleeing mandatory military service at 18, crossing a demilitarised border into illegally occupied territory in search of love through Grindr, heartbreak under an incessantly searing sun.

Choreography by Demetris Charalambous.

Original Music by Quique.

Performed by Demetris Charalambous, Caias Kim. 

Morgan Gregory: yo yo rappin is a lifestyle you know what the fuck im sayin
yo yo rappin is a lifestyle you know what the fuck im sayinis a performance-based work that seeks to understand the initiation of intimacy, shame, stimulation, and empathy for self between the crossroads of native spiritual worship and Eurocentric understandings of religion, specifically examining the afro-music subcultures of gospel and hip-hop. It questions how braggadocious-ness exists in communities of generational (monetary, spiritual, social, ecological) lack. In development, yo yo rappin is a lifestyle you know what the fuck im sayin examines, in a deeper context, the matriarchal role of Black women within the binary of realism and the metaphysical, as well as oral sources and histories of Black, Southern Christian religious communities, pulling from Gregory’s own experiences as an artist raised in southern Virginia. This piece will specifically utilize a cast of bodies with linages from dance and theatre. Multimedia components and archives of southern Black churches will be featured, with a performance of live mixing/ looping samples of original worship sounds, trap/hip-hop, and synth.

Umber Majeed: Atomi Daamaki Wali Mohabbat (The Atomically Explosive Love)
A multi-chapter animation that speaks to questions of nationalism, state propaganda and aesthetics, community, and self through speculative fiction. The narrative chronicles the history of nuclear power in Pakistan, the first ‘Muslim nuclear state’. In developing this artwork, Majeed used state and familial archives to intersect specific historical moments, starting with the successful nuclear tests performed in the 1990’s to the conception/destruction of a military-state monument, Chaghi Monument Hill. The reading through the female (herself), allows for a queering and alternative historicizing of South Asia in an age of global nationalist uprisings. 

Margot Mae: Sound Girls Gone Wild
Sound Girls Gone Wildis a celebration of labor and audio, a live documentary, and a pseudo-mythology arising from the choreographies of women working in audio - and people working generally - all brought together through the healing power of chicks and freaks singing songs and playing rock and roll. Microphones, speakers, cables, a death, a birth, the beginning, sirens, heavy metal (and more!) all swirl around the question "what if working people rise together?" Featuring Martita Abril, geo blake, Reverend Micah Busey, Makenna Finch, Sophie Glaesemann, Anaís Gomez, Rachel Keane, Margot Mae, and Kyra Tantau.

Rosalie Yu: Fascination is the Force which Enters the Eyes and Penetrates the Heart
Fascination is the Force which Enters the Eyes and Penetrates the Heart is an experiment in the relationship between simulation, artifice, and imagination. Through voice, sound, and the mind’s eye, this piece explores the material and psychic terrain of illusion and experience throughout history.

In collaboration with performing artist Stevie Knauss and sound artist Luke Santy. Costume design by Zachary Delamater.


ABOUT THE ARTISTS

Demetris Charalambous: All my life I’ve been island hopping. I was born and raised in Cyprus, an island in the Mediterranean Levant. I grew up on the fringes of Nicosia, which is the last divided capital city in the world. In it there is a buffer zone – also known as the "Green Line” – which is a demilitarized no man's land that cuts straight through Nicosia's heart and across the whole island. I moved to New York, the city of islands, when I was nineteen.  As an artist, my current favorite materials to work with are light and the body. Maybe it’s because the sun in Cyprus feels closer than anywhere else on Earth; I spent my summers growing up with a dry burning. I used to wish I could take the sun in my mouth and drown it out with saliva like a lozenge. I wanted that fiery cool breath.

Morgan Gregory (b. Richmond, Virginia) is a transdisciplinary performer/choreographer/… who focuses on reimagining Afro-diasporic imagery through a futurist lens. In her choreographic and performance work development, she constantly explores ancestral importance, and in this continuous effort of understanding, she dreams within intersectional identities. Morgan is a graduate of the Ailey/Fordham BFA program and was honored as a Denise Jefferson Memorial Scholar, majoring in African and African American Studies and Dance. Morgan has toured with Julien Creuzet/Ana Pi on a multi-disciplinary project, Algorithm Ocean True Blood Moves, to the Dakar Biennale, National Opera & Ballet, Brown University, and Performa Biennale. In 2024, she was named a recipient of the LiftOff Residency with New Dance Alliance, a fellow with The Performance Project-University Settlement, and a BAX Space Residency Grantee. Morgan will present research explorations of the Afrofuturist movement and a dance-focused film entitled Afrofuturism: The Black Body as an Immortal Canvas of Storytelling, Resistance, and Mysticism at the Association for the Study of the Worldwide African Diaspora (ASWAD-St. Louis, Missouri), in November 2025. She has premiered performances at Mark Morris, Triskelion Arts, Movement Research at Judson Church, Arts on Site, University Settlement, and more, all of which range from proscenium-situated to community-centered cyphers and video installations. 

Umber Majeed (b. New York, NY, 1989) is a multidisciplinary visual artist and educator. Her writing, performance, and animation work engage with familial archives to explore Pakistani state, urban, and digital infrastructure through a feminist lens. Majeed has presented her work in solo exhibitions at Queens Museum, Queens, NY (2025); Pioneer Works, Brooklyn, NY (2022); 1708 Gallery, Richmond, Virginia (2021); and the Rubber Factory, New York (2018). Majeed is a recipient of the HWP Fellowship from Ashkal Alwan, Beirut, Lebanon (2017); the Refiguring Feminist Futures Web Residency from Akademie Schloss Solitude & ZKM, Germany (2018); the Digital Earth Fellowship from Hivos, the Netherlands (2018-19) and Technology Residency from Pioneer Works, Brooklyn, NY (2020).

Margot Mae is an artist and technician working primarily in music, sound, movement, and event production. She works mostly in live audio, as well as video and lighting, at the Judson Church, Here Arts, Roulette, Littlefield, and is available for hire for performances, events, weddings, etc. Her performance work involves skateboarding, punk rock, improvisational scores for voice, instruments, and movement, making labor visible, and lectures on queer physics/science. Her main band is Lavender Tops, and she performs solo as Tomboy Margot.

Rosalie Yu: I am a Taipei-born artist based in Brooklyn. My practice spans video, installation, performance, and research-based processes. Recently, I have been drawing on escapist fantasies, bootleg aesthetics, and geopolitics as a way to reflect on personal histories and their entanglements with present and future worlds. I am a year 6 and 8 member at New Museum’s NEW INC (incubator for artists), in collaboration with Rhizome, and a tech resident at Pioneer Works in 2018. I am currently teaching at NYU Tisch’s ITP/IMA.

ABOUT THE FALL MOVEMENT 2025/SPRING MOVEMENT 2026 PANELISTS

Shawn Escarciga is a multidisciplinary artist, administrator, and connector existing somewhere between performance, comedy, the internet, and community-engaged work. Shawn explores themes of labor, class, and power, questioning value systems and hierarchies, and ways to balance being silly with tangible moves towards collective liberation.

Their work has been seen throughout galleries, museums, sex parties, and DIY spaces across New York City, the U.S., and internationally. Shawn is a recipient of a Franklin Furnace FUND grant and has done other cool stuff too.

They ran and organized the NYC Low-Income Artist and Freelancer Relief Fund in 2020 which gave out nearly $250k in direct support to artists across the 5 boroughs. Their memes have been seen in Hyperallergic, the Brooklyn Rail, in projects with What Would an HIV Doula Do?, at protests, galleries, and on the phones of f-slurs worldwide.

Shawn is currently the Development Director at Visual AIDS, an arts non-profit that supports artists living with HIV and the legacies of those lost to AIDS.

Dominica Greene is a movement-based conceptual artist, dancer, and facilitator residing on the unceded lands of the Munsee Lenape people. She creates body and time-based multidisciplinary environments which interrogate cycles of life, death, and love. Harnessing the elements, spirit, and womanness into an existence rooted in love, community, and regeneration, her work seeks to reflect nature –human and otherwise– as a way of highlighting humanity, the stark similarities in our differences, and our inheritances as legacies.

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been supported by residencies, commissions, and grants through Center for Performance Research, Draftwork at Danspace Project, Foundation for Contemporary Arts, Issue Project Room, Movement Research at the Judson Church, New York Foundation for the Arts, Pageant, Snug Harbor, and UCross Foundation. She has worked as a performer for Juli Brandano Kim Brandt, Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki and Alexa West. She is on teaching faculty at Movement Research and Pageant, and rarely/sometimes teaches Comedy Pilates. www.ameliakh.com

Muyassar Kurdi is a Palestinian-American New York City-based interdisciplinary artist. Her work encompasses sound art, voice, movement, painting, analog photography, and film. Her practice honors the futuristic and ancient through meditative movements and sonic sound explorations. Centered on embodiment with a non-linear approach rooted in improvisation, she explores memory, displacement, and the body in relation to nature.

In 2024 Kurdi received the NYFA Women's Fund for Music, American Composer Forum’s Create, and Brooklyn Arts Fund. She was a finalist in the Jerome Hill Artist Fellowship for Combined Disciplines 2023, and was commissioned by Roulette Intermedium in 2020 as well as a 2022 artist residency with support from Jerome Foundation. She is also a recipient of the Queens Fund New Works Grant, NYFA City Artist Corps grant, and Puffin Foundation grant. Recent residencies include Harvestworks and The Watermill Center with OPERA ensemble. Love is Blue, Kurdi’s solo interdisciplinary exhibition, opened in the Fall of 2023 at LaMaMa Gallery in NYC. In April 2025 she performed durational pieces of voice & movement inside the exhibition by Otobong Nkanga in the atrium at the Museum of Modern Art in NYC. Her forthcoming LP will be released in the Fall of 2025 with Bilna’es.

Tickets: $0-$25, pay what you can
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Fri, March 13 at 7 P.M.
Sat, March 14 at 7 P.M.

CPR’s long-running Spring Movement program is an opportunity for artists to present new, fully-produced work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an open call. Artists are encouraged to submit work with experimental approaches to content, form, and aesthetic, and which embrace risk-taking and the unexpected. Five artists working across and between live art disciplines were selected to present their work for Spring Movement 2026: Demetris Charalambous, Morgan Gregory, Umber Majeed, Margot Mae, and Rosalie Yu. 

This year, for the first time, CPR solicited applications for two distinct programs spanning two seasons, Fall Movement 2025 and Spring Movement 2026, with each program presenting five short works. The Fall Movement 2025/Spring Movement 2026 programs were curated by a selection panel composed of artists Shawn Escarciga, Dominica Greene, Amelia Heintzelman, and Muyassar Kurdi.

View the program.

PROGRAM

Demetris Charalambous: GLIESER
“A banished creature treads the verge of a timeless afterworld. A scavenger in nature, it encounters fossils of the species it once belonged to. Driven by instinct, first light inspires desire. It passes beyond the border of the world, the earth cracks and pleasure seeps through its seams. A heart becomes a portal, a machine towards an annihilating immortality. A sentinel enters stage left.”

This work is a personal archeology of memories — summers growing up in my home land Cyprus, the realisation of my Queerness, fleeing mandatory military service at 18, crossing a demilitarised border into illegally occupied territory in search of love through Grindr, heartbreak under an incessantly searing sun.

Choreography by Demetris Charalambous.

Original Music by Quique.

Performed by Demetris Charalambous, Caias Kim.

Morgan Gregory: yo yo rappin is a lifestyle you know what the fuck im sayin
yo yo rappin is a lifestyle you know what the fuck im sayinis a performance-based work that seeks to understand the initiation of intimacy, shame, stimulation, and empathy for self between the crossroads of native spiritual worship and Eurocentric understandings of religion, specifically examining the afro-music subcultures of gospel and hip-hop. It questions how braggadocious-ness exists in communities of generational (monetary, spiritual, social, ecological) lack. In development, yo yo rappin is a lifestyle you know what the fuck im sayin examines, in a deeper context, the matriarchal role of Black women within the binary of realism and the metaphysical, as well as oral sources and histories of Black, Southern Christian religious communities, pulling from Gregory’s own experiences as an artist raised in southern Virginia. This piece will specifically utilize a cast of bodies with lineages from dance and theatre. Multimedia components and archives of southern Black churches will be featured, with a performance of live mixing/ looping samples of original worship sounds, trap/hip-hop, and synth.

Umber Majeed: Atomi Daamaki Wali Mohabbat (The Atomically Explosive Love)
A multi-chapter animation that speaks to questions of nationalism, state propaganda and aesthetics, community, and self through speculative fiction. The narrative chronicles the history of nuclear power in Pakistan, the first ‘Muslim nuclear state’. In developing this artwork, Majeed used state and familial archives to intersect specific historical moments, starting with the successful nuclear tests performed in the 1990’s to the conception/destruction of a military-state monument, Chaghi Monument Hill. The reading through the female (herself), allows for a queering and alternative historicizing of South Asia in an age of global nationalist uprisings. 

Margot Mae: Sound Girls Gone Wild
Sound Girls Gone Wildis a celebration of labor and audio, a live documentary, and a pseudo-mythology arising from the choreographies of women working in audio - and people working generally - all brought together through the healing power of chicks and freaks singing songs and playing rock and roll. Microphones, speakers, cables, a death, a birth, the beginning, sirens, heavy metal (and more!) all swirl around the question "what if working people rise together?" Featuring Martita Abril, geo blake, Reverend Micah Busey, Makenna Finch, Sophie Glaesemann, Anaís Gomez, Rachel Keane, Margot Mae, and Kyra Tantau.

Rosalie Yu: Fascination is the Force which Enters the Eyes and Penetrates the Heart
Fascination is the Force which Enters the Eyes and Penetrates the Heart is an experiment in the relationship between simulation, artifice, and imagination. Through voice, sound, and the mind’s eye, this piece explores the material and psychic terrain of illusion and experience throughout history.

In collaboration with performing artist Stevie Knauss and sound artist Luke Santy. Costume design by Zachary Delamater.


ABOUT THE ARTISTS

Demetris Charalambous: All my life I’ve been island hopping. I was born and raised in Cyprus, an island in the Mediterranean Levant. I grew up on the fringes of Nicosia, which is the last divided capital city in the world. In it there is a buffer zone – also known as the "Green Line” – which is a demilitarized no man's land that cuts straight through Nicosia's heart and across the whole island. I moved to New York, the city of islands, when I was nineteen.  As an artist, my current favorite materials to work with are light and the body. Maybe it’s because the sun in Cyprus feels closer than anywhere else on Earth; I spent my summers growing up with a dry burning. I used to wish I could take the sun in my mouth and drown it out with saliva like a lozenge. I wanted that fiery cool breath.

Morgan Gregory (b. Richmond, Virginia) is a transdisciplinary performer/choreographer/… who focuses on reimagining Afro-diasporic imagery through a futurist lens. In her choreographic and performance work development, she constantly explores ancestral importance, and in this continuous effort of understanding, she dreams within intersectional identities. Morgan is a graduate of the Ailey/Fordham BFA program and was honored as a Denise Jefferson Memorial Scholar, majoring in African and African American Studies and Dance. Morgan has toured with Julien Creuzet/Ana Pi on a multi-disciplinary project, Algorithm Ocean True Blood Moves, to the Dakar Biennale, National Opera & Ballet, Brown University, and Performa Biennale. In 2024, she was named a recipient of the LiftOff Residency with New Dance Alliance, a fellow with The Performance Project-University Settlement, and a BAX Space Residency Grantee. Morgan will present research explorations of the Afrofuturist movement and a dance-focused film entitled Afrofuturism: The Black Body as an Immortal Canvas of Storytelling, Resistance, and Mysticism at the Association for the Study of the Worldwide African Diaspora (ASWAD-St. Louis, Missouri), in November 2025. She has premiered performances at Mark Morris, Triskelion Arts, Movement Research at Judson Church, Arts on Site, University Settlement, and more, all of which range from proscenium-situated to community-centered cyphers and video installations. 

Umber Majeed (b. New York, NY, 1989) is a multidisciplinary visual artist and educator. Her writing, performance, and animation work engage with familial archives to explore Pakistani state, urban, and digital infrastructure through a feminist lens. Majeed has presented her work in solo exhibitions at Queens Museum, Queens, NY (2025); Pioneer Works, Brooklyn, NY (2022); 1708 Gallery, Richmond, Virginia (2021); and the Rubber Factory, New York (2018). Majeed is a recipient of the HWP Fellowship from Ashkal Alwan, Beirut, Lebanon (2017); the Refiguring Feminist Futures Web Residency from Akademie Schloss Solitude & ZKM, Germany (2018); the Digital Earth Fellowship from Hivos, the Netherlands (2018-19) and Technology Residency from Pioneer Works, Brooklyn, NY (2020).

Margot Mae is an artist and technician working primarily in music, sound, movement, and event production. She works mostly in live audio, as well as video and lighting, at the Judson Church, Here Arts, Roulette, Littlefield, and is available for hire for performances, events, weddings, etc. Her performance work involves skateboarding, punk rock, improvisational scores for voice, instruments, and movement, making labor visible, and lectures on queer physics/science. Her main band is Lavender Tops, and she performs solo as Tomboy Margot.

Rosalie Yu: I am a Taipei-born artist based in Brooklyn. My practice spans video, installation, performance, and research-based processes. Recently, I have been drawing on escapist fantasies, bootleg aesthetics, and geopolitics as a way to reflect on personal histories and their entanglements with present and future worlds. I am a year 6 and 8 member at New Museum’s NEW INC (incubator for artists), in collaboration with Rhizome, and a tech resident at Pioneer Works in 2018. I am currently teaching at NYU Tisch’s ITP/IMA.

ABOUT THE FALL MOVEMENT 2025/SPRING MOVEMENT 2026 PANELISTS

Shawn Escarciga is a multidisciplinary artist, administrator, and connector existing somewhere between performance, comedy, the internet, and community-engaged work. Shawn explores themes of labor, class, and power, questioning value systems and hierarchies, and ways to balance being silly with tangible moves towards collective liberation.

Their work has been seen throughout galleries, museums, sex parties, and DIY spaces across New York City, the U.S., and internationally. Shawn is a recipient of a Franklin Furnace FUND grant and has done other cool stuff too.

They ran and organized the NYC Low-Income Artist and Freelancer Relief Fund in 2020 which gave out nearly $250k in direct support to artists across the 5 boroughs. Their memes have been seen in Hyperallergic, the Brooklyn Rail, in projects with What Would an HIV Doula Do?, at protests, galleries, and on the phones of f-slurs worldwide.

Shawn is currently the Development Director at Visual AIDS, an arts non-profit that supports artists living with HIV and the legacies of those lost to AIDS.

Dominica Greene is a movement-based conceptual artist, dancer, and facilitator residing on the unceded lands of the Munsee Lenape people. She creates body and time-based multidisciplinary environments which interrogate cycles of life, death, and love. Harnessing the elements, spirit, and womanness into an existence rooted in love, community, and regeneration, her work seeks to reflect nature –human and otherwise– as a way of highlighting humanity, the stark similarities in our differences, and our inheritances as legacies.

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been supported by residencies, commissions, and grants through Center for Performance Research, Draftwork at Danspace Project, Foundation for Contemporary Arts, Issue Project Room, Movement Research at the Judson Church, New York Foundation for the Arts, Pageant, Snug Harbor, and UCross Foundation. She has worked as a performer for Juli Brandano Kim Brandt, Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki and Alexa West. She is on teaching faculty at Movement Research and Pageant, and rarely/sometimes teaches Comedy Pilates. www.ameliakh.com

Muyassar Kurdi is a Palestinian-American New York City-based interdisciplinary artist. Her work encompasses sound art, voice, movement, painting, analog photography, and film. Her practice honors the futuristic and ancient through meditative movements and sonic sound explorations. Centered on embodiment with a non-linear approach rooted in improvisation, she explores memory, displacement, and the body in relation to nature.

In 2024 Kurdi received the NYFA Women's Fund for Music, American Composer Forum’s Create, and Brooklyn Arts Fund. She was a finalist in the Jerome Hill Artist Fellowship for Combined Disciplines 2023, and was commissioned by Roulette Intermedium in 2020 as well as a 2022 artist residency with support from Jerome Foundation. She is also a recipient of the Queens Fund New Works Grant, NYFA City Artist Corps grant, and Puffin Foundation grant. Recent residencies include Harvestworks and The Watermill Center with OPERA ensemble. Love is Blue, Kurdi’s solo interdisciplinary exhibition, opened in the Fall of 2023 at LaMaMa Gallery in NYC. In April 2025 she performed durational pieces of voice & movement inside the exhibition by Otobong Nkanga in the atrium at the Museum of Modern Art in NYC. Her forthcoming LP will be released in the Fall of 2025 with Bilna’es.

Tickets: $0-$25, pay what you can
Purchase Tickets
Advance tickets are sold out, an in-person wait list will open at 6:30PM.

"I TOOK THE NIGHT" is a multidisciplinary 3 part performance work by DANIRO that explores the desires, emotions and imaginations of a woman of the night. Featuring original video, sonic works, imagery, and sculptures meant to transport you into her world.

View the program.

ABOUT THE ARTIST

DANIRO is a Multidisciplinary Artist, who  consistently places a future centered focus on the voices of underrepresented communities that are the pulse of contemporary electronic music, art & culture. By reflecting the  narratives of those living their lives in the societal margins, her work aims to capture a perspective not just close to home and heart, but one far too often overlooked by popular media. DANIRO's artistic practice at its root is based in her continued exploration of the human form, starting with her own body and narrative. She received her BFA focused in Film, Sculpture, & Performance from The School of the Art Institute of Chicago. DANIRO has shown work at The Museum of Modern Art, Mana Contemporary, The Lower Manhattan Cultural council, The Gene Siskle Theater, Golden Thread Gallery and more. 

Free, RSVP required (limited participants)
RSVP

2026 AiR Joan Gutiérrez presents a movement workshop that embodies the life cycle of a flower, inviting participants into a ritual space of deep listening, imagination, and connection. Using meditation, bodywork, creative movement research, intentional breathing, storytelling, and ecosomatic ritual, the group will cultivate a felt sense of interconnectedness and pleasureful belonging, awakening intuitive intelligence and new pathways of expression.

This is a playful research space to move and slow down at once, to awaken sensation, feel deeply, and rediscover freedom in the body, not as performance but as presence. No experience necessary—only curiosity and a body ready to listen.

ABOUT THE ARTIST

Joan Gutiérrez develops tactile, performative, and participatory works rooted in the desert landscapes of the Mexican-American borderlands where they were raised. Born in 1992, the year the Ciudad Juárez femicides began and Dr. Judith Herman’s Trauma and Recovery was published, Gutiérrez situates an interdisciplinary practice within this charged socio-political terrain, engaging the body as a site of memory, resistance, and transformation across personal, collective, and ecological registers.

Rejecting the authority of specialization, Gutiérrez embraces the term Amateur as a radical, queered, and feminized position—one that privileges play, pleasure, and vulnerability as generative methods for engaging rupture and cultivating repair.

Though trained in psychology at Loyola University Chicago and holding a BFA from the School of the Art Institute of Chicago (SAIC), Gutiérrez grounds the practice less in institutional frameworks than in sustained, embodied inquiry—studying independently with artists, somatic sex educators, and masters of Zen and butoh across Europe, Asia, and the Americas.

She currently lives, works, and practices at the Zen Center of New York City – Fire Lotus Temple in Brooklyn.

OPEN LAB is a series that encompasses theoretical and practical discussions, movement research, and workshops open to the public that invite practice-based inquiry and creative exchange of ideas.

Tickets: $0-$25, pay what you can
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Advance tickets are sold out, an in-person wait list will open at 7PM. We will do our best to get everyone in comfortably!

Director and performance artist Garrett Allen, composer Matthew Jamal, and choreographer Liana Zhen-ai are all artists who have an active relationship with shame in their performances. They achieve striking balance between taming and succumbing to trauma, while demonstrating the fragility of ego and its subsequent death. This is where hope is born, as these artists offer us a space to process what often remains repressed. Multidisciplinary theater maker Nazareth Hassan has curated artists who explore shame as a social emotion, in which the performance of self becomes dissociative.

View the program.

PROGRAM

Garrett Allen: rewild

rewild is an embodied experiment in undoing. Shedding and returning. Confronting fear and unleashing instinct. Freedom lives in letting go and letting loose.

Featuring music by SAINTCLAIR.

Matthew Jamal: Skipping Service

A reflection on gender, family and religion performed through use of cello, voice and electronics.

Liana Zhen-ai: disaster whore

disaster whore is a dance theater lullaby for catastrophists, rubberneckers, and anyone who lives more readily in fantasy. Performed by Liana Zhen-ai, Felix Bryan, Marcus Sarjeant, and Luca Devlyn Sierra, and featuring dramaturgy by Sam Morreale, disaster whore worries about a life spent waiting for tragedy to strike, and the possibility of finding pleasure in the anticipation. 

ABOUT THE ARTISTS

Nazareth Hassan is a writer, director & musician. Performance and theater works include Practice at Playwrights Horizons, Bowl EP at The Vineyard Theater, Untitled (1-5) at The Shed (text published by 3 Hole Press), VANTABLACK at Theatretreffen Stückemarkt in Berlin, Security Theater at Judson Memorial Church, and Memory A at Museo Universitario del Arte Contemporaneo in Mexico City. Their 2nd book, Slow mania, was published in 2025 by Futurepoem. In 2022-2023, they were the dramaturg at the Royal Court Theatre in London. They are currently a Hodder Fellow at Princeton University. They were a 2023–25 Jerome Hill artist fellow and the 2024-25 Tow Playwright in Residence at The Vineyard Theatre. www.nazarethhassan.com

Garrett Allen is a performance artist and director. Their interdisciplinary practice employs liveness, embodied inquiry, and conceptual experimentation to produce impermanent, excavating, and synergistic experiences. Performance works include would you mind? could you? can I ask? is it possible? (HERE Arts Center), CRASH CONSCIOUSNESS (Public Assistants), BODY100 (Prelude Festival), BLK MLK/blackmilk (Spectrum NYC), and We Were All Rooting For You (Flamboyan Theater). They could list more projects, residencies, or credentials. They are unsure what this gives you. Something. Or maybe nothing. They are ruminating on beauties and brutalities of being. What do you think? Are you feeling it? The beauty? The brutality? Would you tell them? Would you tell me? 

Matthew Jamal is a New York–based performance artist and composer whose interdisciplinary practice merges sound, movement, and visual mediums. From the ages of 14-18, he was primarily a street performer improvising through use of live looping and double bass in Washington DC and New York. Now, their career includes collaborations with Madonna, Benjamin Clementine, Obongjayar, J’Nai Bridges, Jason Moran, and Jacob Jonas The Company. As a composer and producer Jamal’s credits include works by Annahstasia, Cleo Reed, and Cktrl. His work has been featured at major events such as the Newport Jazz Festival, Free Arts, the Gucci Film Festival and the San Francisco International Film Festival, and covered by the likes of Vogue, Vanity Fair and Notion Magazine. Rejecting genre as a limiting label, Jamal describes his music as queer, fluid and non-conforming. He holds a BM in Classical and Jazz Double Bass Performance from the Manhattan School of Music.

Liana Zhen-ai is an interdisciplinary artist and dancer from Los Angeles, CA. Liana’s work uses the lenses of new materialism and object-oriented ontology to interrogate shame, nature, and narrative. Her dancing has been featured in Vogue US, NOWNESS, Dance Art Journal and Face Magazine. She is currently a touring artist with Holly Blakey's Lo, set to premiere at ICA London in July 2026. Liana's writing has appeared in IMPULSE Magazine, Naya Magazine, CultureBot, and Dance Art Journal, and she has guest lectured at NYU and Marymount Manhattan College, presenting on disability and modification as glitch; the troubled boundaries of body and environment in dance; and defining choreographies of the global south. 

Felix Bryan is a Brooklyn-based artist, born and raised in Boulder, Colorado. felix’s work and collaborations have been presented at Fridman Gallery, QUEER NOISE Festival, The Rooted Space, the School for Contemporary Dance and Thought, Hubbard Street Dance Chicago’s Professional Program, and on film. His choreographic practice centers nonlinearity, trans embodiment, and experiential storytelling. As a freelance artist, felix has performed works by artists including Sidra Bell, Katherine Maxwell, Bill T. Jones, Johannes Wieland, Robyn Mineko Williams, Jenna Riegel, Rena Butler, and Peter Chu. Currently, felix dances with Sidra Bell Dance New York and HIVEWILD.

Marcus Sarjeant is a 25 year old freelance dancer based in Brooklyn. In 2022 he graduated Summa Cum Laude from SUNY Purchase with a BFA in Dance. He has performed the works of choreographers such as Annamari Keskinen, Connie Shiau, Kayla Farrish, Hofesh Shechter, and Johannes Wieland, in addition to many New York based companies. He most currently is a member of Le Ballet Fou, Verbal Animal, and Eni Artist Collective.

Tickets
$15, $25, $30 Sliding Scale
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Moving across generations, Filling the Shell traces fragmented memories, inherited emotions, and embodied histories. The work unfolds through a hybrid performance language that merges choreographic research with interactive technologies, sound, and visual environments. Rooted in experimentation, Filling the Shell exists as an evolving research project. Through iterative processes of movement exploration, sensory feedback, and technological intervention, ARESPHERE X BODYSONNET seeks to examine how identity is shaped, lost, and reassembled within and beyond the body with the continuous development of the evening length piece.

The production length is 75 minutes

PRODUCTION CREDITS

Director & Movement Director: Audrey Chou
Producer: Audrey Chou
Projection Designer: Audrey Chou
Sound Designer: Helen Hong & Audrey Chou
Set Designer: Ant Ma
Set Assistant: Chia-yuan Chuang
Technical Director: Steven Brenman
Costume Designer: Van Anh Le
Costume Design Assistant: Giang Luu
Accessory Designer: Song Kim
Creative Technology – Controller Integration
Fabrication: Cassidy Chen
Interaction Development: Audrey Chou
Production Support: CPR rep
Lighting Designer: Yiyuan Li
Choreographer & Creative Supervisor: BODYSONNET: Moscelyne Parke Harrison & Mio Ishikawa
Dancers: Quaba Venza Ernest, Dava Huesca, Andrea Farley Shimota, Bret Yamanaka, Steve Bangerter, Moscelyne ParkeHarrison, Mio Ishikawa
Performer: Juliette Kenn de Balinthazy
Marketing & Design: Audrey Chou
Photographer: Audrey Chou
BTS Photographer: Lingyi
Full Production: ARESPHERE
Ticketing & Front of House: CPR Crew

ABOUT BODYSONNET

Founded in 2019, BODYSONNET is a company based in New York committed to making site responsive work on an international scale. Led by Co-Founders Moscelyne ParkeHarrison (Artistic Director), Mio Ishikawa (Associate Artistic Director), and Sean Lammer (Creative Consultant), BODYSONNET initiates projects that center dance to yield works that are highly physical and unique to the communities with which we engage. Our work demonstrates the intersection of movement with many mediums and enacts zero waste consciousness through collaboration with local artists and institutions. We redefine the viewer’s experience by developing innovative work that reinforces our shared humanity.

ABOUT ARESPHERE

ARESPHERE is a 360 real-time performance and interactive experience production studio specialize in time-based media and immersive production.

Founded in 2022, ARESPHERE aims to partner with emerging B2B Founders by BIPOC Creatives for international production across mediums of fashion, film, creative tech, dance, fine arts, sound, and media.

Tickets
$15 General Admission
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“I SAID WHAT I SAID” is a new performance by writer and artist Mackenzie Thomas, in which she will revisit and analyze everything she uploaded onto her Twitter account, @evilmackenzie in the year 2025. Thomas will read every tweet she posted throughout the year, accompanied by the media from her archive (personal videos and retweeted content included). Throughout the performance, she will share twelve original short essays—one for each month—offering an intensely personal perspective on the content, her personal life + heart, and the internet.

UPDATE: This event has been moved to Zoom due to inclement weather. 

Tickets: $0-$25, pay what you can
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Calling all artists and culture workers to join us for a day of creative action for immigration justice! Learn how to stand up to unconstitutional policies and pledge to collectively ensure our performance spaces are havens for vulnerable communities - from the lobby to the stage. This half-day program for performing artists and culture workers will include excerpts from the play How to Melt ICE by Amalia Oliva Rojas to jumpstart a deep dive into production processes that center immigrant stories, action-generating workshops, Know Your Rights rehearsals and "on your feet" bystander trainings.

Organized by CPR - Center for Performance Research, Solidarity Organizing Initiative, White Bird Productions with Amalia Oliva Rojas, Elena Araoz and Claudia Acosta.

ABOUT THE ARTISTS

The Stage Protects Us is a citywide initiative uniting two powerful ecosystems: frontline organizers working to protect immigrant New Yorkers, and a broad network of New York City performing artists ready to take action. We believe artists have a specific role to play in mobilizing and amplifying resistance to inhumane immigration policy by providing resources, tools, and training for the performing arts community to support the urgent work of frontline migrant justice organizers.

Friday, January 16, 2026
Saturday, January 17, 2026

Tickets
$30 General Admission
$20 Reduced Price (for artists, low-income, and families purchasing multiple tickets)
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Please join Metamorphosis Dancers Collective in our Inaugural Showcase @CPR. 

Metamorphosis Dancers Collective (MDC) is an emerging company of committed movement artists who believe audiences are hungry for dance that engages the imagination and reflects our communities. Our Inaugural Showcase will feature two works: An Odyssey by MDC Artistic Director Allana Loraine and Swimming in the Sky by MDC members Olivia Kleven and Nadia Benes, in collaboration with Emma Eileen. The evening will culminate in an exciting opportunity for the audience to learn a meaningful gesture from our performance, one we hope you will carry with you as an empowering token of human resilience. 

Dance belongs to the community, so we invite all in our community to come join us in celebration of Metamorphosis Dancers Collective Inaugural Showcase, where we hope to inspire you to get out there and move. 

FEATURING METAMORPHOSIS DANCERS COLLECTIVE ARTSITS

Allana Loraine – Director
Nadia Benes
Tyler Brunson
Danielle Goodman
Olivia Kleven
Verena Lee
Kristi Ann Scopfer
Mirai Shinde

With Guest Artists

Janae Bonnen 
Emma Eileen

Special Thanks to Anabella Lenzu, Hannan Mir, and Srikrithi Srinivasan for your generous support. 

Please visit www.metamorphosisdance.co for more on Metamorphosis Dancers Collective. 

Friday, January 16, 2026
Saturday, January 17, 2026

Tickets
$30 General Admission
$20 Reduced Price (for artists, low-income, and families purchasing multiple tickets)
Purchase Tickets

Please join Metamorphosis Dancers Collective in our Inaugural Showcase @CPR. 

Metamorphosis Dancers Collective (MDC) is an emerging company of committed movement artists who believe audiences are hungry for dance that engages the imagination and reflects our communities. Our Inaugural Showcase will feature two works: An Odyssey by MDC Artistic Director Allana Loraine and Swimming in the Sky by MDC members Olivia Kleven and Nadia Benes, in collaboration with Emma Eileen. The evening will culminate in an exciting opportunity for the audience to learn a meaningful gesture from our performance, one we hope you will carry with you as an empowering token of human resilience. 

Dance belongs to the community, so we invite all in our community to come join us in celebration of Metamorphosis Dancers Collective Inaugural Showcase, where we hope to inspire you to get out there and move. 

FEATURING METAMORPHOSIS DANCERS COLLECTIVE ARTSITS

Allana Loraine – Director
Nadia Benes
Tyler Brunson
Danielle Goodman
Olivia Kleven
Verena Lee
Kristi Ann Scopfer
Mirai Shinde

With Guest Artists

Janae Bonnen 
Emma Eileen

Special Thanks to Anabella Lenzu, Hannan Mir, and Srikrithi Srinivasan for your generous support. 

Please visit www.metamorphosisdance.co for more on Metamorphosis Dancers Collective. 

Free, RSVP required (limited audience)
RSVP

Join Director/Choreographer and 2025 Technical Resident Ogemdi Ude, Dance Captain Selah Hampton, and Archivist Myssi Robinson for a workshop during which they will teach majorette technique and choreography, and introduce participants to The Chord Archive and its methodologies.

ABOUT THE ARTIST

Ogemdi Ude is a dance and interdisciplinary artist, educator, and doula based in Brooklyn. Her performance work focuses on Black femme legacies and futures, grief, and memory. Her work has been presented at Kampnagel, The Kitchen, Gibney, Harlem Stage, Danspace Project, Abrons Arts Center, BRIC, ISSUE Project Room, Recess Art, Brooklyn Arts Exchange, Center for Performance Research, and for BAM's DanceAfrica festival. She is a 2025 NYSCA/NYFA Artist Fellow in Choreography, 2025 Princess Grace Honoraria in Choreography, 2025-2028 Jerome Hill Artist Fellow, 2024 NEFA National Dance Project Production Grant recipient, and a Live Feed Residency Artist at New York Live Arts. She has been a 2024/2025 BAX Artist-in-Residence, 2024-2025 Leslie Lohman Artist Fellow, 2022-2024 Movement Research Artist-in-Residence, 2021 danceWEB Scholar, 2021 Laundromat Project Create Change Artist-in-Residence, and a 2019-2020 Center for Ballet and the Arts at NYU Resident Fellow. In January 2022 she appeared on the cover of Dance Magazine for their annual “25 to Watch” issue. Most recently, she has published a book Watch Me in a collection edited by Thomas DeFrantz and Annie-B Parson: Dance History(s): Imagination as a Form of Study published by Dancing Foxes Press and Wesleyan University Press.

Saturday, December 13, 2025
Sunday, December 14, 2025

General Admission: $25
Purchase Tickets

“The Art of Carrying”  follows two characters in a world turned upside down, each navigating shared experiences through their own distinct lens. Through moments of embrace, resistance, and mutual support, they explore what it means to carry and be carried.

An exploration of the invisible threads that bind all beings to each other and to the Earth. It speaks to a kind of universal intimacy, one that transcends physical presence and emphasizes the spiritual and ecological ties that weave through every aspect of existence. In this way, the work invites audiences to reflect on the ways in which we are constantly impacting and healing one another, even in the subtlest of gestures.

ABOUT THE ARTISTS

Dale Ratcliff is a dance artist and choreographer based between Toronto, Canada, and Detroit, Michigan. He trained in Ballet and Contemporary dance at Steps on Broadway in New York City. While living in New York, Dale performed in works by Julia Ehrstrand, Brice Mousset, Dante Brown, and Jennifer Archibald, as well as internationally in creations by Emma Evelein, presented in venues across Germany and Amsterdam. Since 2017, Dale has been developing and presenting his own choreographic work in venues including Westbeth, Triskelion Arts, The Tank, and Dixon Place. He is also the co-founder of Wildflower Dance Collective, alongside long-time collaborator Nikki Theroux, with whom he has been creating since 2018. Together, they are currently developing their new work, Return, supported by Moulin/Belle in France for further choreographic research and creation.

Nikki Theroux is a dancer and choreographer based in Brooklyn, NY. She received her BFA in Dance Performance and Choreography from Marymount Manhattan College and has additionally studied in Israel and Montreal. Nikki has performed and presented work in venues including the Park Avenue Armory, the Joyce Theater, Westbeth, Triskelion, and Bryant Park. Additionally, Nikki has worked with Doron Perk’s More Fish Dance Company and Soluq Dance Theater. She is a co-founder of Wildflower Collective, alongside her longtime collaborator, Dale Ratcliff. The collective’s creative process has been supported by Leimay’s Incubator Program, Moulin/Belle, and the Brooklyn Arts Council. Inspired by her work as a dance and movement artist, Nikki is currently in training to become a practitioner of the Ilan Lev Method.

SUPPORT

The Art of Carrying” is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council.

Saturday, December 13, 2025
Sunday, December 14, 2025

General Admission: $25
Purchase Tickets

“The Art of Carrying”  follows two characters in a world turned upside down, each navigating shared experiences through their own distinct lens. Through moments of embrace, resistance, and mutual support, they explore what it means to carry and be carried.

An exploration of the invisible threads that bind all beings to each other and to the Earth. It speaks to a kind of universal intimacy, one that transcends physical presence and emphasizes the spiritual and ecological ties that weave through every aspect of existence. In this way, the work invites audiences to reflect on the ways in which we are constantly impacting and healing one another, even in the subtlest of gestures.

ABOUT THE ARTISTS

Dale Ratcliff is a dance artist and choreographer based between Toronto, Canada, and Detroit, Michigan. He trained in Ballet and Contemporary dance at Steps on Broadway in New York City. While living in New York, Dale performed in works by Julia Ehrstrand, Brice Mousset, Dante Brown, and Jennifer Archibald, as well as internationally in creations by Emma Evelein, presented in venues across Germany and Amsterdam. Since 2017, Dale has been developing and presenting his own choreographic work in venues including Westbeth, Triskelion Arts, The Tank, and Dixon Place. He is also the co-founder of Wildflower Dance Collective, alongside long-time collaborator Nikki Theroux, with whom he has been creating since 2018. Together, they are currently developing their new work, Return, supported by Moulin/Belle in France for further choreographic research and creation.

Nikki Theroux is a dancer and choreographer based in Brooklyn, NY. She received her BFA in Dance Performance and Choreography from Marymount Manhattan College and has additionally studied in Israel and Montreal. Nikki has performed and presented work in venues including the Park Avenue Armory, the Joyce Theater, Westbeth, Triskelion, and Bryant Park. Additionally, Nikki has worked with Doron Perk’s More Fish Dance Company and Soluq Dance Theater. She is a co-founder of Wildflower Collective, alongside her longtime collaborator, Dale Ratcliff. The collective’s creative process has been supported by Leimay’s Incubator Program, Moulin/Belle, and the Brooklyn Arts Council. Inspired by her work as a dance and movement artist, Nikki is currently in training to become a practitioner of the Ilan Lev Method.

SUPPORT

The Art of Carrying” is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council.

Thursday, December 11, 2025
Friday, December 12, 2025

General Admission: $15-40 (sliding scale)
Purchase Tickets

Cloud States is a new multi-disciplinary dance project / film screening / live art performance by Jian Yi.

Cloud States is a tender, visually-rich meditation on loss / love and self-identity, inviting audiences to reflect, feel, and rediscover what connects us across borders and experience.

Interwoven by choreography sculpted in immersive light atmospheres to create a sensory experience questioning the boundaries between dream / memory and reality – the work features a talented ensemble of trans-national performers in a powerful combination of video art, dance, autobiographical / personal storytelling and immersive lighting / FX. The work explores intersectional-migrant identities, the process of reconciling living in a new time and place with our ancestral connections and familial memories – and creates an awareness / new perception of personal-yearning for the fragile beauty and nostalgia of living in the present time. Set across neighbourhoods in Brooklyn, the work is a love letter to the city of immigrants and new beginnings.

At its heart is a multi-channel video installation in the performance space – an epic-visual poem chronicling intimate portraits of personal / migrant storytelling, quiet moments of beauty and joy paired with live performers moving sensuously through shifting atmospheres of light / sound and psychic-emotional space. By merging poetic-filmic storytelling, immersive lighting design and dance, the piece creates a liminal space whereby memory, identity, and the present / past / future of all the experiential-moments of our lives as ‘lonely travellers’ through this world collide.

CREDITS

Choreographer / Writer / Director: Jian Yi
Performers: Yuxi Ma, Jian Yi
Cinematographer / Project Assistant: Yining Chi
Production / Lighting Designer: Tuçe Yasak
Producing Associate: Stephanie Acosta

ABOUT JIAN X YI

Through Jian Yi's multidisciplinary work of performance art / contemporary dance, video art/photography, new genres, installation art, and social sculpture – they seek to explore the experiential trauma of marginalized persons within our society, such as neurodiverse and queer people of color, and how we reflect on the broader human condition. Their practice is rooted in an ongoing enquiry into the ambiguities of emotional experience, and touches upon borderline states – considering Otherness, neurodivergence and alternative states of consciousness / being – in line with their continuing research focus on queer mental health. Jian Yi's work has been performed/exhibited internationally in locations such as New Museum, The Kitchen NYC, ACMI Melbourne, Buddies in Bad Times Toronto, Contact Manchester, CPT London, DanceLive Aberdeen, Summerhall, Dance Base Edinburgh, Tramway and Centre for Contemporary Arts Glasgow. They have been selected for awards / funding and artist residencies including with Cove Park, Tramway, Unlimited, Dance4, Dance Base, Made in Scotland at the Edinburgh Festival Fringe / Summerhall, Take Me Somewhere Festival / Work Room Glasgow, Creative Scotland, NTS, Live Art Development Agency London, Movement Research NYC, Brooklyn Arts Council, Theatertreffen Berlin, People's History Museum Manchester, and Seventh Gallery Melbourne among others. In 2023, they curated / produced the second edition of Journey to the East Festival – featuring performing artists including Matt Mullican, Sung Im Her, River Lin, and Keioui Keijaun Thomas. jianxyi.com

OUR FUNDERS + SUPPORT

Jian Yi / Cloud States was awarded BAC's 2025 – ‘Creative Equations Fund: Cultural Heritage & Diversity + Dance’. Creative Equations Fund is sponsored by the Howard Gilman Foundation, administered by Brooklyn Arts Council. Jian Yi is a 2024-2026 Movement Research Artist in Residence in support of the development of their project Cloud States, funded in part by the Jerome Foundation.

Thursday, December 11, 2025
Friday, December 12, 2025

General Admission: $15-40 (sliding scale)
Purchase Tickets

Cloud States is a new multi-disciplinary dance project / film screening / live art performance by Jian Yi.

Cloud States is a tender, visually-rich meditation on loss / love and self-identity, inviting audiences to reflect, feel, and rediscover what connects us across borders and experience.

Interwoven by choreography sculpted in immersive light atmospheres to create a sensory experience questioning the boundaries between dream / memory and reality – the work features a talented ensemble of trans-national performers in a powerful combination of video art, dance, autobiographical / personal storytelling and immersive lighting / FX. The work explores intersectional-migrant identities, the process of reconciling living in a new time and place with our ancestral connections and familial memories – and creates an awareness / new perception of personal-yearning for the fragile beauty and nostalgia of living in the present time. Set across neighbourhoods in Brooklyn, the work is a love letter to the city of immigrants and new beginnings.

At its heart is a multi-channel video installation in the performance space – an epic-visual poem chronicling intimate portraits of personal / migrant storytelling, quiet moments of beauty and joy paired with live performers moving sensuously through shifting atmospheres of light / sound and psychic-emotional space. By merging poetic-filmic storytelling, immersive lighting design and dance, the piece creates a liminal space whereby memory, identity, and the present / past / future of all the experiential-moments of our lives as ‘lonely travellers’ through this world collide.

CREDITS

Choreographer / Writer / Director: Jian Yi
Performers: Yuxi Ma, Jian Yi
Cinematographer / Project Assistant: Yining Chi
Production / Lighting Designer: Tuçe Yasak
Producing Associate: Stephanie Acosta

ABOUT JIAN X YI

Through Jian Yi's multidisciplinary work of performance art / contemporary dance, video art / photography, new genres, installation art, and social sculpture – they seek to explore the experiential trauma of marginalized persons within our society, such as neurodiverse and queer people of color, and how we reflect on the broader human condition. Their practice is rooted in an ongoing enquiry into the ambiguities of emotional experience, and touches upon borderline states – considering Otherness, neurodivergence and alternative states of consciousness / being – in line with their continuing research focus on queer mental health. Jian Yi's work has been performed/exhibited internationally in locations such as New Museum, The Kitchen NYC, ACMI Melbourne, Buddies in Bad Times Toronto, Contact Manchester, CPT London, DanceLive Aberdeen, Summerhall, Dance Base Edinburgh, Tramway and Centre for Contemporary Arts Glasgow. They have been selected for awards / funding and artist residencies including with Cove Park, Tramway, Unlimited, Dance4, Dance Base, Made in Scotland at the Edinburgh Festival Fringe / Summerhall, Take Me Somewhere Festival / Work Room Glasgow, Creative Scotland, NTS, Live Art Development Agency London, Movement Research NYC, Brooklyn Arts Council, Theatertreffen Berlin, People's History Museum Manchester, and Seventh Gallery Melbourne among others. In 2023, they curated / produced the second edition of Journey to the East Festival – featuring performing artists including Matt Mullican, Sung Im Her, River Lin, and Keioui Keijaun Thomas.

jianxyi.com

OUR FUNDERS + SUPPORT

Jian Yi / Cloud States was awarded BAC's 2025 – ‘Creative Equations Fund: Cultural Heritage & Diversity + Dance’. Creative Equations Fund is sponsored by the Howard Gilman Foundation, administered by Brooklyn Arts Council. Jian Yi is a 2024-2026 Movement Research Artist in Residence in support of the development of their project Cloud States, funded in part by the Jerome Foundation.