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aMaSSiT - a MAKE iT/ SHARE iT/SHOW iT
Experience the creative practice investigations from our aMaSSiT participants
Experience the creative practice investigations from our aMaSSiT participants
Saturday, May 4th @ 8pm
Sunday, May 5th @ 7pm
aMaSSiT 2024 is a collaboration between The Dance Complex and Monkeyhouse.
Led by karen Krolak of Monkeyhouse it has featured mentoring sessions with Peter DiMuro of The Dance Complex, Nicole Harris of Monkeyhouse, Jason Ries, Anjali Nath,
We are grateful for support from the Mass Cultural Council's Innovation Fund Grant and the Miner Nagy Family Foundation for making this program possible.
Led by karen Krolak of Monkeyhouse it has featured mentoring sessions with Peter DiMuro of The Dance Complex, Nicole Harris of Monkeyhouse, Jason Ries, Anjali Nath,
We are grateful for support from the Mass Cultural Council's Innovation Fund Grant and the Miner Nagy Family Foundation for making this program possible.
Lilly Reyes
Program Notes
American Dream
Choreographed by: Lilly Reyes
Performed by: Lilly Reyes, Jackie Bowden, Madison Florence, and Sophie Nash
Music: American Dream by Chandler Leighton; Who by Nathan; Hate Myself by NF
Special thanks to my husband Javier Reyes, for always supporting me in everything I do, my parents Michael and Catherine Cryan for supporting my dance dreams since I was three, and Monkeyhouse and the Dance Complex for selecting me to take part in the 2024 aMaSSiT program.
Choreographed by: Lilly Reyes
Performed by: Lilly Reyes, Jackie Bowden, Madison Florence, and Sophie Nash
Music: American Dream by Chandler Leighton; Who by Nathan; Hate Myself by NF
Special thanks to my husband Javier Reyes, for always supporting me in everything I do, my parents Michael and Catherine Cryan for supporting my dance dreams since I was three, and Monkeyhouse and the Dance Complex for selecting me to take part in the 2024 aMaSSiT program.
Where is the work currently and where is it going?
This project will eventually be an evening length performance that tells a coming of age story of millennials. The beginning will be full of 2000's nostalgia and optimism about the future, followed by broken promises of the American dream, feelings of failure and hopelessness that surface after trying one's hardest to make their dreams a reality and still coming up short, the end will reflect the emotional resilience, of millennials and the generations that follow, who continue to find joy in life despite what appears to be a dismal financial and ecological future. The current state of the project is a work-in-progress piece that will take place near the middle of the full length show. The next ideal step for this work is to recruit more dancers through an audition, and hold weekly rehearsals that will include a company class. I would like to have another work-in-progress showing in the next 6-8 months.
Why is this work important now?
I know I'm not alone in feeling like the American Dream has died. It is important for people to talk about what it means for our future if young people can no longer own the homes they live in or afford to start families.
What support do you need to reach the next steps?
- Host for work-in-progress showing in late 2024
- Performance space
- Marketing to spread the word about the project
- Dancer pay
- Studio space for rehearsals
- Residency opportunity including performance
- Informal showing opportunities
- Performance opportunities
- Teaching artist opportunities
What designers and professionals could help mentor you as you move into the next steps?
- Costume Design
- Lighting Design
- Prop/set Design
- Accessibility
- Marketing
- Touring
- Grant Writing
Donate to Lilly's Work
What is your fundraising goal?
$5,000
Where will the money go?
$17 - one hour of rehearsal space
$200 - performance stipend for one dancer
$250-1000 - informal performance space rental for one night
$500 - Photoshoot
$200 - performance stipend for one dancer
$250-1000 - informal performance space rental for one night
$500 - Photoshoot
Priya Bangal
Program Notes
Ākār
Choreographed and Performed by Priya Bangal
Music composition by Guru Banamali Moharana (rhythm), Anagha Bhat (vocal)
Music performed by Ramprasad Gannavarapu (Percussion), Anagha Bhat (Vocal)
Costume Design by Priya Bangal
Rhythm training and guidance: Ramaprasad Gannavarapu, Mumbai, India
Dance guidance and choreography mentorship: Shipra Mehrotra
Professional mentorship: karen Krolak
Choreographed and Performed by Priya Bangal
Music composition by Guru Banamali Moharana (rhythm), Anagha Bhat (vocal)
Music performed by Ramprasad Gannavarapu (Percussion), Anagha Bhat (Vocal)
Costume Design by Priya Bangal
Rhythm training and guidance: Ramaprasad Gannavarapu, Mumbai, India
Dance guidance and choreography mentorship: Shipra Mehrotra
Professional mentorship: karen Krolak
Where is the work currently and where is it going?
Ākār is the word for 'shape' or 'form' in Sanskrit and other Indian languages. While exploring the geometries and possibilities in the Odissi form, the dancer distills what is passed on to her by the tradition into shaping her own experience of dance. Ākār is an unfolding of her own dance within the tradition - in her mind and body, through large and subtle movements, through rhythm and melody, through isolation and connection.
Ākār is envisioned as a 8-minute dance with distinct rhythmic and melodic sections that come together in a climactic finale. The rhythm sections are composed adhering to grammar and tradition and the next step is to have a musician compose a melody that works with it. The current melodic sections are merely placeholders and are improvised by the singer.
Ākār is envisioned as a 8-minute dance with distinct rhythmic and melodic sections that come together in a climactic finale. The rhythm sections are composed adhering to grammar and tradition and the next step is to have a musician compose a melody that works with it. The current melodic sections are merely placeholders and are improvised by the singer.
Why is this work important now?
This is my first attempt at original choreography in Odissi after more than a decade of training in the traditional repertoire. It is the next step in finding my own artistic voice within a traditional form.
What support do you need to reach the next steps?
- Music composer
- Compose the melodic parts to work with the rhythmic sections. Composer may be an Odissi musician or a musician of one of the other two Indian musical traditions (Hindustani or Carnatic).
- Studio recording
- Record the melodic sections of the piece with vocals and melodic accompaniments such as flute and/violin. 2-3 musicians will be involved.
- Sound Engineer
- Mix the melodic sections with the rhythm parts, melody will be in the background when rhythm sections are in the foreground.
- Roughly 40 hours of studio time for choreography and rehearsal
- Orissa silk fabrics for costume
- Costume tailoring
- Residency opportunities of any kind
- Informal and formal showing opportunities
- Teaching opportunities
What designers and professionals could help mentor you as you move into the next steps?
- Costume Design
- Lighting Design
- Prop/set Design
- Accessibility
- Marketing
- Touring
- Grant Writing
Donate to Priya's Work
What is your fundraising goal?
$2000
Where will the money go?
Composer: $700
Tailoring: $200
Studio Rental: $25/hour
Tailoring: $200
Studio Rental: $25/hour
Becky Bearse
Program Notes
Rave Against the Machine: Part I
Choreographer: Becky Bearse (beBE), Founder and Artistic Director, beBE dance
Dancers/Movement Collaborators: Shosh Cohen (they/he/she), Rhiannon Molly (she/her), Jassi Murad, Grace Skies (she/her)
Costume Design: Becky Bearse (beBE)
Interview conducted by Daphne Bishop
Sound Design: Grace Skies (she/her)
Music: ENVISION – Mångata Projekt by BABËL Music and Apollo by Charlotte de Witte
It takes a village to create a new work and thus there are many people to whom I would like to give special thanks in making this particular project come to life. First, I would like to extend a HUGE thank you to my dancers/movement collaborators, Shosh, Rhi, Jassi and Grace, who have worked tirelessly and passionately with me and with one another to bring this vision to the stage. Second, I want to thank the current aMaSSiT family of choreographers, sponsors and mentors for their creativity, support and resourcefulness in helping me to think critically about my role as a choreographer, this piece and for offering the venue and space for this dream to come to life. More specifically, a huge thank you to karen Krolak for her unwavering encouragement, empathy, compassion and expert insights into the artistic process, and creative solutions to the complex challenges of living life as a dance-maker with an invisible and unstable disability. I also want to thank Daphne Bishop, for volunteering her time and insights into this project, and for her unfaltering friendship and encouragement throughout this process.
In addition, I want to thank my extended fitness and dance community, from Teamworks to The Umbrella Arts to The Dance Complex. In particular, I want to thank Joh Camara, my dance teacher and fellow creative, for his advocacy, mentorship and constant inspiration. In addition, I want to thank my extended dance community, with special thanks to Sory Diabate, Samantha Lakin and Harolyn Bowden; thank you for believing in me and supporting me in this critical journey as a dance-maker. I also want to thank Anne Ferguson, owner of Dragonfly Wellness Center, for offering me an affordable space in which to create and dream before, throughout and after Covid; I would not be where I am at as an artist and choreographer without this peaceful space.
Finally, I want to thank my family for their support over the decades; it is not easy pursuing the life of an artist and all of you have believed in my gifts from a young age. To my dad, who has been my fiscal sponsor and mentor in my various entrepreneurial pursuits throughout my various careers; thank you for believing in my resilience, grit and intelligence in bringing new projects to life, even when it seemed impossible. With this said, this section would not be complete without a final and special thanks to my mom for placing me in my first dance class at three years old; thank you for always knowing that dance, and the art of dance-making, was and forever will be my most special gift I have to share with this world.
Choreographer: Becky Bearse (beBE), Founder and Artistic Director, beBE dance
Dancers/Movement Collaborators: Shosh Cohen (they/he/she), Rhiannon Molly (she/her), Jassi Murad, Grace Skies (she/her)
Costume Design: Becky Bearse (beBE)
Interview conducted by Daphne Bishop
Sound Design: Grace Skies (she/her)
Music: ENVISION – Mångata Projekt by BABËL Music and Apollo by Charlotte de Witte
It takes a village to create a new work and thus there are many people to whom I would like to give special thanks in making this particular project come to life. First, I would like to extend a HUGE thank you to my dancers/movement collaborators, Shosh, Rhi, Jassi and Grace, who have worked tirelessly and passionately with me and with one another to bring this vision to the stage. Second, I want to thank the current aMaSSiT family of choreographers, sponsors and mentors for their creativity, support and resourcefulness in helping me to think critically about my role as a choreographer, this piece and for offering the venue and space for this dream to come to life. More specifically, a huge thank you to karen Krolak for her unwavering encouragement, empathy, compassion and expert insights into the artistic process, and creative solutions to the complex challenges of living life as a dance-maker with an invisible and unstable disability. I also want to thank Daphne Bishop, for volunteering her time and insights into this project, and for her unfaltering friendship and encouragement throughout this process.
In addition, I want to thank my extended fitness and dance community, from Teamworks to The Umbrella Arts to The Dance Complex. In particular, I want to thank Joh Camara, my dance teacher and fellow creative, for his advocacy, mentorship and constant inspiration. In addition, I want to thank my extended dance community, with special thanks to Sory Diabate, Samantha Lakin and Harolyn Bowden; thank you for believing in me and supporting me in this critical journey as a dance-maker. I also want to thank Anne Ferguson, owner of Dragonfly Wellness Center, for offering me an affordable space in which to create and dream before, throughout and after Covid; I would not be where I am at as an artist and choreographer without this peaceful space.
Finally, I want to thank my family for their support over the decades; it is not easy pursuing the life of an artist and all of you have believed in my gifts from a young age. To my dad, who has been my fiscal sponsor and mentor in my various entrepreneurial pursuits throughout my various careers; thank you for believing in my resilience, grit and intelligence in bringing new projects to life, even when it seemed impossible. With this said, this section would not be complete without a final and special thanks to my mom for placing me in my first dance class at three years old; thank you for always knowing that dance, and the art of dance-making, was and forever will be my most special gift I have to share with this world.
Where is the work currently and where is it going?
Created in only two months, this work features a quartet in a fusion dance story that takes the viewer on a magnificent journey from past to present to future, all while begging the question as to what this “machine” truly is and who we truly are as humans. Raising more questions than answers, this piece speaks to many of today’s critically important moral and political issues, with movement being the celebratory anchor to potentially save humanity from itself and the various metaphorical and literal machines we have created over the centuries. This piece was inspired not only from current events, but also from the choreographer’s daily challenges of living with an invisible disability, which inextricably ties her to this greater machine.
The current state of the project is a work-in-progress, which has begun with this section, referred to as Rave Against the Machine: Part I. At the end of May, I will lose one of my dancers and thus my ideal immediate next step is being able to share this work again at any and every venue possible in order to make dance, and the arts, accessible to all. This performance can be accompanied by a lecture-demonstration and other interactive measures in order to have dialogue about the underlying themes of this piece. Venues could include, but are not limited to, non-traditional venues such as schools, museums, outdoor parks and traditional venues such as festivals and dance concerts.
In terms of a longer-term vision, I would like to build out this work to include additional sections to delve deeper into this complex and timely theme, thus creating at minimum a twenty-minute work.
For more information about Becky, her background and her full range of artistic endeavors, please visit her website: www.bebedanceboston.com.
The current state of the project is a work-in-progress, which has begun with this section, referred to as Rave Against the Machine: Part I. At the end of May, I will lose one of my dancers and thus my ideal immediate next step is being able to share this work again at any and every venue possible in order to make dance, and the arts, accessible to all. This performance can be accompanied by a lecture-demonstration and other interactive measures in order to have dialogue about the underlying themes of this piece. Venues could include, but are not limited to, non-traditional venues such as schools, museums, outdoor parks and traditional venues such as festivals and dance concerts.
In terms of a longer-term vision, I would like to build out this work to include additional sections to delve deeper into this complex and timely theme, thus creating at minimum a twenty-minute work.
For more information about Becky, her background and her full range of artistic endeavors, please visit her website: www.bebedanceboston.com.
Why is this work important now?
First and foremost, it is important to work on this piece now as the themes are relevant to today’s most pressing issues with which we are all grappling. From the metaphorical machine that represents our various dysfunctional societal and political systems to the literal machines, ranging from social media to AI to any and all electronic equipment, this piece is one that is critical to develop and share now, so that audiences can think more deeply about topics that can and will change the course of history.
What support do you need to reach the next steps?
- Weekend and/or evening rehearsal space at two-hour blocks of time, ideally for four-hours a week, at a studio with sprung wood floors in the greater Cambridge area for a total of 60-90 hours (TOTAL TIME calculated via following formula: Four hours of rehearsal time + two additional hours of choreographer time = one-minute of work) Please note: Two hours of choreographer time does not necessarily need to be in the studio. In addition, the formula takes into account working with dancers with whom I have worked with in the past. When working with new dancers, it often takes approximately ten additional hours of time to get to know their movement styles and to create an inclusive and cohesive working group for a piece such as this one.)
- Traditional and non-traditional venue/s to present current and future work, which includes, but is not limited to schools, museums, theatres, festivals, workshops.
- Volunteer marketing intern or freelance marketing professional for as little as two-hours/week to work on social media campaign/s to build presence for the full breadth of services offered by beBE dance Boston.
- Volunteer administrative, research or grant writing/development professional for as little as two-hours a week to research and identify short- and long-term funding and performance opportunities.
- Summer (preferred)/Fall or Winter Residency, ideally equating to 60-90 hours of total studio time (to account for both rehearsals and choreographer time), that provides rehearsal space, additional dancers, costume designer (with experience with different textiles), sound designer/musicians, lighting design, a venue and funding at $15/hr. for dancers, choreographer, costume designer and sound designer/musicians to complete 20-minute work.
What designers and professionals could help mentor you as you move into the next steps?
- Costume Design
- Lighting Design
- Prop/set Design
- Accessibility
- Marketing
- Touring
- Grant Writing
Donate to Becky's Work
What is your fundraising goal?
$5000
Where will the money go?
REHEARSAL SPACE: $314.75
COSTUMES: $271.56
DANCERS/MOVEMENT COLLABORATORS (calculated at $15/hr. minimum wage* 4 Dance Collaborators for 19.5 hours of rehearsals + 4 hours for tech/performance) = $352.50 per dancer or $1,410 TOTAL
CHOREOGRAPHER: (calculated at $15/hr. minimum wage*19.5 hours of total rehearsals + 41 hours of prep/administrative work + 4 hours for tech/performance = $967.50
SOUND DESIGN: (calculated at $15/hr. minimum wage*10 hours) = $150
(PLEASE NOTE that while dancer and choreographer labor is calculated at minimum wage, ideally this rate would be higher to afford artists a living wage with which to support themselves in a city that is ranked as one of the most expensive cities to live in the country.)
COSTUMES: $271.56
DANCERS/MOVEMENT COLLABORATORS (calculated at $15/hr. minimum wage* 4 Dance Collaborators for 19.5 hours of rehearsals + 4 hours for tech/performance) = $352.50 per dancer or $1,410 TOTAL
CHOREOGRAPHER: (calculated at $15/hr. minimum wage*19.5 hours of total rehearsals + 41 hours of prep/administrative work + 4 hours for tech/performance = $967.50
SOUND DESIGN: (calculated at $15/hr. minimum wage*10 hours) = $150
(PLEASE NOTE that while dancer and choreographer labor is calculated at minimum wage, ideally this rate would be higher to afford artists a living wage with which to support themselves in a city that is ranked as one of the most expensive cities to live in the country.)
Sapna Govindan
Program Notes
Līlā: Where Ideas Come to Play
Choreographed and Performed by Sapna Govindan
Music Composition (Rageshri Thillana) by Lalgudi Jayaraman
Vocal Support by Vignesh Ravichandran
Special thanks to The Dance Complex, karen Krolak, Dr. Neena Prasad (Sougandhika Centre for Mohiniyattam), and Vignesh Ravichandran (Vocalist)
Choreographed and Performed by Sapna Govindan
Music Composition (Rageshri Thillana) by Lalgudi Jayaraman
Vocal Support by Vignesh Ravichandran
Special thanks to The Dance Complex, karen Krolak, Dr. Neena Prasad (Sougandhika Centre for Mohiniyattam), and Vignesh Ravichandran (Vocalist)
Where is the work currently and where is it going?
Līlā ("play", "sport" or "drama" in Sanskrit language based on context) is the tentative title for this project which involves the ideation and creation of two dances intended to be completed over the next year. The dancer will explore and expand on both the abstract and interpretive aspects of Mohiniyattam, an Indian classical dance genre from the state of Kerala, in Southwestern India. The first piece, Rageshri Thillana, is a choreography based on a classic composition in Carnatic music, the south Indian genre of classical music, composed by violin maestro, Lalgudi Jayaraman. In this primarily abstract piece, the dancer will draw upon the traditional movement vocabulary of Mohiniyattam to create rhythmic and movement patterns overlaid on the melodic mode (Rāgam) of Rageshri. The dance is a technical exploration of how rhythmic and melodic patterns come together to create movements in space. The second piece is primarily an interpretive dance, where the dance of Kāli, a dance of creation and destruction is celebrated. Kāli, the dark one, the fierce and protective mother goddess of Kerala, belongs to the masses who were the oppressed in a caste ridden society. This dance is based on a poem in Malayalam language, by the philosopher and social reformer Sri Narayana Guru, who fought against casteism in Kerala
Why is this work important now?
This choreographic project is a significant step in my personal growth as a dancer/performing artiste and choreographer where I will create full length original works. This project is also an attempt to bring the Mohiniyattam genre of dance with its technical and choreographic possibilities into the diverse performing art spaces of the Greater Boston area.
What support do you need to reach the next steps?
- Create original music (will need to work with musicians in the US and India)
- Record original music (will need to be recorded in India)
- Create costume
- Studio space for rehearsals
- Residency opportunity without housing
- Residency opportunity for creation only
- Residency opportunity including performance
- Informal showing opportunities
- Performance opportunities
What designers and professionals could help mentor you as you move into the next steps?
- Costume Design
- Lighting Design
- Sound Design
- Projection/media Design
- Marketing
- Touring
- Grant Writing
Donate to Sapna's Work
What is your fundraising goal?
$2500
Where will the money go?
Music Creation and Recording for two dances: $2000
Costume: $200
Twenty hours of rehearsal space: $320
Costume: $200
Twenty hours of rehearsal space: $320
Eva Marder
Program Notes
Cover Letter 1
Choreographed, Performed, and Sound Design by Eva Marder
Special Thanks to Lydia Gomez, Gabriel Hidalgo, and Hunter Swanson
Choreographed, Performed, and Sound Design by Eva Marder
Special Thanks to Lydia Gomez, Gabriel Hidalgo, and Hunter Swanson
Where is the work currently and where is it going?
This project is something I made uniquely for aMaSSiT, as the program sits very far outside of my comfort zone as a non-contemporary dancer in a mainly contemporary and classical dance space. I wanted to challenge myself and learn to use professional resources like a career dancer would. I view this as the first step in my career toward commercial dance. The end goal would be to teach hip hop and/or Latin dance and become a related background dancer. The end end goal is to own a dance studio! To reach these accomplishments, the largest asset I could ask for in support of my career is an opportunity to shadow and closely learn from a professional with an aligned career in hip hop or Latin dance. The chance to take subsidized classes, work study, or train with a dancer or organization that matches my ideals would be crucial in my journey as I am also pursuing a business degree, stifling the time and money I can spend on turning my dance hobby into a career. Support for these opportunities could include transportation, student class discounts, program recommendations, and more. I want to be a sponge!
Why is this work important now?
As an undergrad student considering my post-grad opportunities, I knew it was crucial to send the message that it is okay to not know your future but hone the pieces to get there, whether in the dance space or job market. This piece is inherent in gaining footing in the professional dance space and understanding the resources available to a new artist in Boston. I aim to make connections and foster a presence in the Boston dance community before I graduate college to return to a community as a graduate navigating a career in business and dance.
What support do you need to reach the next steps?
As this project is practically finished, I plan to use the following resources to support my career as a dancer and dance instructor.
- studio space
- costume materials
- teacher shadowing opportunities
- hip hop and latin dance teaching opportunities
What designers and professionals could help mentor you as you move into the next steps?
- Marketing
- Costume designers
- Media designers
- Grant writing
- Teaching mentors
Donate to Eva's Work
What is your fundraising goal?
$300
Where will the money go?
One hour of rehearsal space x 2: $40
One local dance class ticket x 5: $100
Costume and latin dance heels: $60
Digital design tools for marketing: $100
One local dance class ticket x 5: $100
Costume and latin dance heels: $60
Digital design tools for marketing: $100
Liana C. Percoco
Program Notes
On the Impulse to Move
Choreographed in collaboration with and performed by: Dana Alsamsam, Hannah Brown, Erica Codd Garcia, Sophie Nash
Music Composed by: Lavell Blackwell; Performed by: Boston Public Quartet
Special thanks to NEFA Dance New England Fund, MCC Festival & Projects grant via BDA Fiscal Sponsorship, NACHMO Boston, and aMaSSiT lab program at The Dance Complex. Betsy Hinkle of Boston Public Quartet
Choreographed in collaboration with and performed by: Dana Alsamsam, Hannah Brown, Erica Codd Garcia, Sophie Nash
Music Composed by: Lavell Blackwell; Performed by: Boston Public Quartet
Special thanks to NEFA Dance New England Fund, MCC Festival & Projects grant via BDA Fiscal Sponsorship, NACHMO Boston, and aMaSSiT lab program at The Dance Complex. Betsy Hinkle of Boston Public Quartet
Where is the work currently and where is it going?
This is the beginning of a collaboration between me and the Boston Public Quartet (BPQ). BPQ commissioned a new composition through a string quartet commission collective from Lavell Blackwell. When thinking about how to collaborate with BPQ, we thought this new composition "On The Impulse to Move" would be a good place to begin- the composition came about from the composer's struggle to find the stillness of meditation, and with my background in healing and movement arts, thought I'd have a good grasp on how to explore this through movement, adding a visual layer to the music. The dance was just completed and premiered April 19th as part of the quartet's concert at the Strand Theatre in Dorchester. We hope to bring the work to music and dance festivals to reach a wider audience, but also have future plans for more collaboration- specifically to bring dance and music to unexpected places such as Schoolmaster Hill Ruins in Franklin Park and the Courtyard of the Central branch of the Boston Public Library. We want to bring music and dance to unexpected audiences in unexpected places.
Why is this work important now?
As I am just starting to come back to making creative work after the pandemic and audiences are also figuring out how to re-engage in public life, I feel it's important to create access and engagement with the arts. Removing the barriers to artistic experiences such as having to go to theatre, buy tickets, find childcare, etc.. By performing in public sites or offering free events, allows a low stakes opportunity for audience members to re-engage with the arts with a high benefit return.
What support do you need to reach the next steps?
- Partnerships with civic and arts organizations to perform in public spaces
- Rehearsal space where musicians and dancers can work together more often
- Consistency (and accountability) to develop a movement and creative practice again (Community)
- Funds to pay living and union wages to artists for their time and work (also during the week daytime so I/we don't have to miss out on time with kids!)
- Also though, a break from my kids so I can make dance based and site art AND clean my house
- Studio space for rehearsals
- All types of residency opportunities
- Informal showing opportunities
- Performance opportunities
- Teaching artist opportunities
What designers and professionals could help mentor you as you move into the next steps?
- Costume Design
- Lighting Design
- Prop/set Design
- Sound Design
- Projection/media Design
- Accessibility
- Marketing
- Touring
- Grant Writing
Donate to Liana's Work
What is your fundraising goal?
$10,000
Where will the money go?
$30-$40 covers 2 hours rehearsal space X 40 hours rehearsal= $1200-$1600
4 dancers @ $15/hr X approx 40 hours rehearsal = $2400 (This time allows for baseline development of a 10-15 minute dance work such as On the Impulse to Move) If we are going for larger experiences that may be an hour of work- double this number at least for performer rehearsal pay)
Proper documentation (photo and video) could run $1500. If there is any live streaming, could cost more.
4 dancers @ $15/hr X approx 40 hours rehearsal = $2400 (This time allows for baseline development of a 10-15 minute dance work such as On the Impulse to Move) If we are going for larger experiences that may be an hour of work- double this number at least for performer rehearsal pay)
Proper documentation (photo and video) could run $1500. If there is any live streaming, could cost more.
DeVante Love
Program Notes
Mythopoetic Dance 101
Choreographed and Performed by DeVante Love
Music by Alim Qasimov and Michel Godard
I want to give thanks to my family for supporting my quirkiness, my many martial arts masters for teaching me to be physically and mentally tough, Dr. Johnson and Zhenevere Sophia Dao for teaching me movements and meditations that have soften and expanded my spirit, my ancestors for carrying me along this journey.
Choreographed and Performed by DeVante Love
Music by Alim Qasimov and Michel Godard
I want to give thanks to my family for supporting my quirkiness, my many martial arts masters for teaching me to be physically and mentally tough, Dr. Johnson and Zhenevere Sophia Dao for teaching me movements and meditations that have soften and expanded my spirit, my ancestors for carrying me along this journey.
Where is the work currently and where is it going?
Soon I will be opening the "doors" to my Healing Temple called Healing Kung Fu. Healing Kung Fu is a virtual sacred space for folks to explore into the depths of their being and find meaning in their lives through philosophical contemplation and mythopoetic movement practices. Today's particular project provides and introduction to the mythopoetic dance style for which I am creating. Mythopoetic Dance is a ritual movement style that skirts around/between rigid binary oppositions with the purpose of awakening the dormant mythic power and healing sensibilities that have been suppressed in our bodies due to the forces of modernity. After a short guided teaching, I will perform a work in progress called REGENERATION which retells the story of Persephone's descent to the Underworld. For more information about the healing temple and the work I am doing, please follow my Patreon, patreon.com/HealingKungFu
Why is this work important now?
We are living in a time where folks are disconnected from each other, themselves, and the natural world that surrounds and creates them. This work is about reconnection for the purpose of regenerating meaning, depth, and feeling into life
What support do you need to reach the next steps?
- a small group of massachusetts-based queer folks interested in working with me individually to create a healing dance based on mythopoetic movement
- dance spaces to teach mythopoetic movement and qigong
- educational spaces (high schools, universities, museums) to teach about ritual, healing, and mythology
- introduction to fun, quirky, artistic places in Boston
- introduction to places in Boston (or nearby) that feel 'spiritually vibrant'
- recommendation for the best tea place in Boston
- opportunities to perform in the New England area
- connections to other folks of color who think about the intersections between movement, emotional intelligence, spirituality, and healing
- connection to other queer folks who are movement minded
- someone skilled at drag make up
- Residency opportunity with housing/away from home
- Residency opportunity for creation only
- Residency opportunity including performance
- Informal showing opportunities
- Teaching artist opportunities
What designers and professionals could help mentor you as you move into the next steps?
- Costume Design
- Touring
