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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.
Destiny Kluck
Program Notes
Ego Death: Redefining Self
Choreographed by Destiny Kluck + Video (Lauren Adams)
Performed by Destiny Kluck
Music: "Everything Must Change"- Nina Simone
Special thanks to Debra Kluck and Lacy Kluck
Choreographed by Destiny Kluck + Video (Lauren Adams)
Performed by Destiny Kluck
Music: "Everything Must Change"- Nina Simone
Special thanks to Debra Kluck and Lacy Kluck
Where is the work currently and where is it going?
The project "Ego Death: Redefining Self" is an artistic exploration of personal growth and self-discovery, rooted in the artist's experiences of abandonment, adoption, and their journey as a pre-professional dancer. Inspired by Sigmund Freud's concept of the ego, which he defined as the conscious mind that mediates between the desires of the id and the super-ego, the project delves into the artist's process of disassociating their sense of self from their dance skills, which had become intrinsically tied to their ego. Through this artistic endeavor, the artist seeks to heal from past traumas and redefine their identity beyond the confines of their dance career, paralleling the journey of self-healing and self-acceptance. Next steps is to develop the production visually with projectors and juxtaposing past videos to the dance of the present. I would also like to develop a series of dances to highlight the growth from traumas of interracial families, adoption, and competitive dancing.
Why is this work important now?
This project is emotionally charged and relevant as I have reflected and experienced this recent "ego death". Thus, I can apply dance as a creative therapy and expression of growth from past trauma.
What support do you need to reach the next steps?
- Choreography Space
- Projectors
- Photographers/Film
- Advising in integration of how to incorporate the stories of adoptees
- Studio space for rehearsals
- A period of dedicated studio space to develop sets/props/etc.
- 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 Destiny's Work
What is your fundraising goal?
$300
Where will the money go?
$16 provides one hour of rehearsal space
$14 provides for public transportation one whole trip
Rest of the funds to Costume Design and buying a projector and canvas
$14 provides for public transportation one whole trip
Rest of the funds to Costume Design and buying a projector and canvas
Calai Chandra
Program Notes
Devotion to Dance
Choreographed and Performed by Calai Chandra
Special thanks to my mother KamalaDevi and my Guru Hema Rajagopalan
Choreographed and Performed by Calai Chandra
Special thanks to my mother KamalaDevi and my Guru Hema Rajagopalan
Where is the work currently and where is it going?
My research based dance production links Temple architecture, Sculpture & Tamil Sangam literature through my poetry. It is manifested by the underlying common mathematics of the arts.
Why is this work important now?
STEM became STEAM with the A for Arts. And movement computation has its application in wide variety of fields including AI.
What support do you need to reach the next steps?
- Auditorium rental to stage the production
- Create new website as online research repository
- Record dance videos to create content
- Create promotional video
- Travel expenses for field research trips
- Costume design
- All residency 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
- Sound Design
- Projection/media Design
- Marketing
- Touring
- Grant Writing
Donate to Calai's Work
What is your fundraising goal?
$10,000
Where will the money go?
- Remuneration for time & effort to choreograph dance
- Pay musicians to score music for my poetry and Sangam Poetry (2000 years old)
- Pay co-dancers
Ava Grebe
Program Notes
Surrender: First Draft of a Duet
Choreographed by Ava Grebe.
Performed by Mia Muntu and Ava Grebe.
Music by Bendik Giske.
Album "Surrender" featuring tracks "Ass Drone" and "Adjust."
Costume Design by Ava Grebe
Thank you to Nicole Harris and karen Krolak and all of the aMaSSiT participants for inspiring me so greatly in these last few months. I'd also like to thank Brian McGinnis, Daniel Pelzig, Diane Arvanites and Daniel McCusker for mentoring me throughout my college dance experience. You have taught me to embrace change and take creative risks. My toolkit will last forever.
Choreographed by Ava Grebe.
Performed by Mia Muntu and Ava Grebe.
Music by Bendik Giske.
Album "Surrender" featuring tracks "Ass Drone" and "Adjust."
Costume Design by Ava Grebe
Thank you to Nicole Harris and karen Krolak and all of the aMaSSiT participants for inspiring me so greatly in these last few months. I'd also like to thank Brian McGinnis, Daniel Pelzig, Diane Arvanites and Daniel McCusker for mentoring me throughout my college dance experience. You have taught me to embrace change and take creative risks. My toolkit will last forever.
Where is the work currently and where is it going?
For my aMaSSiT pitch, I will be premiering the first draft of a duet inspired by Bendik Giske's album titled "Surrender." This duet is part of a greater vision I have to create a visual album piece that is dedicated to life in love. I am interested in researching the use and isolation of the five senses in the effort to mold a compassionate and mindful moving atmosphere.
The current state of my project is a drafted duet featuring myself and Mia Muntu as the performers. This edition is what would appear first if presented in a full-length performance (ideally an hour long). To continue this project, my next step will be to research with Mia and another dancer to build movement and story for the rollercoaster this album takes us on. I am excited to share my current progress with Bendik Giske and receive feedback on the possibility of a musical collaboration. I aim to build more materials with the two dance artists so I am able to apply for the funding and creation spaces I need to begin presenting versions of this work in New England.
The current state of my project is a drafted duet featuring myself and Mia Muntu as the performers. This edition is what would appear first if presented in a full-length performance (ideally an hour long). To continue this project, my next step will be to research with Mia and another dancer to build movement and story for the rollercoaster this album takes us on. I am excited to share my current progress with Bendik Giske and receive feedback on the possibility of a musical collaboration. I aim to build more materials with the two dance artists so I am able to apply for the funding and creation spaces I need to begin presenting versions of this work in New England.
Why is this work important now?
In the last few years, due to the Covid-19 pandemic and technological advancement, we are witnessing hyper-independency in modern society. Dance will forever be a connective force and I hope this project will inspire a focal shift.
What support do you need to reach the next steps?
- Studio space for rehearsals
- Residency opportunity with housing/away from home
- Residency opportunity for creation only
- 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
- Sound Design
- Projection/media Design
- Accessibility
- Marketing
- Touring
- Grant Writing
Donate to Ava's Work
What is your fundraising goal?
$500
Where will the money go?
- $100 covers Mia's payment for this performance edition.
$200 covers expenses paid for Ava's registration in the 2024 aMaSSiT cohort.
$10-20 provides an hour of rehearsal space.
Shirin Kuppusamy
Program Notes
I'm Putting on a Show!
Performed By: aMaSSiT & audience volunteers
Music By: Reynaldo Fisher
If I thanked everyone that has supported me in my career, this list would never end. But, I'd like to extend a special thanks to the following people:
+ Ms. Christina Simkovich, Ms. Kumud Savla, and all my other childhood dance teachers for igniting and supporting my love for dance.
+ Annabelle Platt for helping me co-found a safe and loving dance environment at Olin College, re-find my passion for movement, and for being my friend and cheerleader at dance to this day.
+ Babson Dance Ensemble, Wellesley College Dancers, and Brandeis Dance Ensemble for welcoming me into your communities, building my confidence as a dancer, and first allowing me to develop my creative voice.
+ Olin College of Engineering for supporting both my academic and creative passions - both fiscally through stipends and resources and emotionally through mentorship and education. A special thanks to Zhenya Zhastavker and Alessandra Ferzocco for supporting my passionate pursuits in dance for several years in a row.
+ karen Krolak and Nicole Harris of MonkeyHouse for several professional development and mentorship opportunities to develop my choreographic voice and create choreography
+ Pantos Project Dance, Movement Under Development, Collective Moments Dance Company, and Tess Saoirse Dance Company for opportunities to take class, create new work, and perform.
+ Tess Liddy for being my first friend post-college in the dance community, helping me find a network of dancers, and always sharing new opportunities with me.
+ The Dance Complex, The Human Movement Lab, and SomArts Space for trusting me to regularly rehearse in their beautiful spaces.
+ Each and every one of my dance friends for helping me in classes to grow and improve as a dancer, taking the time and energy to bring my choreographic visions to life, supporting me in the hardest of times, welcoming me wholeheartedly for who I am, and for supporting me to get to where I am today. An extra shoutout to those who have taken the time to perform in and support my creation of the works in progress that make-up this project.
+ I dedicate much of the pieces that make-up this project to Austin Veseliza - a classmate that passed too soon. The world will always remember your generosity, love, and passion.
+ My friends and family for putting up with my chaos, working around my dance schedules, coming to watch me at shows, and welcoming me into their lives despite the constant "I can't, I have dance."
+ My parents for being my biggest supporters in every aspect of my life.
Performed By: aMaSSiT & audience volunteers
Music By: Reynaldo Fisher
If I thanked everyone that has supported me in my career, this list would never end. But, I'd like to extend a special thanks to the following people:
+ Ms. Christina Simkovich, Ms. Kumud Savla, and all my other childhood dance teachers for igniting and supporting my love for dance.
+ Annabelle Platt for helping me co-found a safe and loving dance environment at Olin College, re-find my passion for movement, and for being my friend and cheerleader at dance to this day.
+ Babson Dance Ensemble, Wellesley College Dancers, and Brandeis Dance Ensemble for welcoming me into your communities, building my confidence as a dancer, and first allowing me to develop my creative voice.
+ Olin College of Engineering for supporting both my academic and creative passions - both fiscally through stipends and resources and emotionally through mentorship and education. A special thanks to Zhenya Zhastavker and Alessandra Ferzocco for supporting my passionate pursuits in dance for several years in a row.
+ karen Krolak and Nicole Harris of MonkeyHouse for several professional development and mentorship opportunities to develop my choreographic voice and create choreography
+ Pantos Project Dance, Movement Under Development, Collective Moments Dance Company, and Tess Saoirse Dance Company for opportunities to take class, create new work, and perform.
+ Tess Liddy for being my first friend post-college in the dance community, helping me find a network of dancers, and always sharing new opportunities with me.
+ The Dance Complex, The Human Movement Lab, and SomArts Space for trusting me to regularly rehearse in their beautiful spaces.
+ Each and every one of my dance friends for helping me in classes to grow and improve as a dancer, taking the time and energy to bring my choreographic visions to life, supporting me in the hardest of times, welcoming me wholeheartedly for who I am, and for supporting me to get to where I am today. An extra shoutout to those who have taken the time to perform in and support my creation of the works in progress that make-up this project.
+ I dedicate much of the pieces that make-up this project to Austin Veseliza - a classmate that passed too soon. The world will always remember your generosity, love, and passion.
+ My friends and family for putting up with my chaos, working around my dance schedules, coming to watch me at shows, and welcoming me into their lives despite the constant "I can't, I have dance."
+ My parents for being my biggest supporters in every aspect of my life.
Where is the work currently and where is it going?
I have a few pieces I have been developing that I'd like to stitch together and present as a larger work. The theme of these pieces revolve around processing of grief, the diversity within one's own self-identity, and the essence of human connection. I also have the long-term goal of putting on a show that raises money for a given charity - particularly in support of Cancer research/treatment, Education Access, or Mental Health Awareness and Support. I'm also looking to meet more Boston area dancers and create opportunity for us to collaborate in movement and support each other's work. Thus, I am reaching out for a cast that is interested in and available to stage an extended work and for support from the dance community to put on a show to present this work and other local artists' work for a good cause. To connect with me, visit my instagram @sk_dance236.
Why is this work important now?
Lack of Cancer treatment, educational opportunities, and mental health support are ongoing global concerns that we cannot lose traction on advocating for, supporting, and making change because each and every day more lives are permanently altered as a result of inadequate resources - each day we wait holds a consequence.
Dancers entering the community during the past few Covid pandemic years have been inequitably affected in their ability to connect with other local artists, so ways to bring together our community are important now more than ever!
Dancers entering the community during the past few Covid pandemic years have been inequitably affected in their ability to connect with other local artists, so ways to bring together our community are important now more than ever!
What support do you need to reach the next steps?
- Consistent access to 1-3 hours of studio space/week from October 2024 - July 2025 (especially on Sunday afternoons/evenings)
- A space in the greater Boston area (unraised stage but with Marley, large enough to seat an audience of 30 and fit 10 dancers in space, and lighting capabilities) willing to host us for a performance on a Saturday in June or July 2025.
- A cast of 6-10 dancers interested in performing in my work without pay and able to consistently meet together once/week (timing TBD based on artist availability but likely Monday evenings or Saturday/Sunday afternoons) from October 2024 - July 2025.
- 5 or more choreographers/companies/independent artists wanting to perform their work in a show in June/July 2025 free of cost
- Collaboration with a charity (ideally cancer research/treatment, education access, or mental health related) such that we can donate all show ticket proceeds to them
- An ASCAP license or collaboration with a musician to use their sound for choreography & performance
- Free mentorship (monetarily - happy to compensate by also providing feedback or support) from other dancers that'd be willing to provide feedback on my work or talk through what the process of putting on a show looks like.
- A stretch goal is to get funding to pay for rehearsal space or to go even further and offer compensation for dancers
- Studio space for rehearsals
- Residency opportunity without housing
- Residency opportunity for creation only
- 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?
- Lighting Design
- Sound Design
- Accessibility
- Marketing
- Grant Writing
Donate to Shirin's Work
What is your fundraising goal?
$1900
Where will the money go?
Performance Space: ~$150-$550 (many typical subsidized performance spaces with safe flooring for dance cost ~$450 excluding extraneous costs)
Studio Rehearsal Rental: $750 ($25/hour for 3 hours of rehearsal per month from Oct-July)
Dancer Stipend: $2700 ($15/hour for 3 hours of rehearsal per month from Oct-July for 6 dancers)
My stretch goal is to be able to fund a proper dancer stipend reaching a total cost of $4000. I would like to be able to at least compensate each artist involved $100 (significantly below minimum wage of $15/hour) for the time and energy they would be dedicating towards this project. That would bring me to a total cost of $1900.
Studio Rehearsal Rental: $750 ($25/hour for 3 hours of rehearsal per month from Oct-July)
Dancer Stipend: $2700 ($15/hour for 3 hours of rehearsal per month from Oct-July for 6 dancers)
My stretch goal is to be able to fund a proper dancer stipend reaching a total cost of $4000. I would like to be able to at least compensate each artist involved $100 (significantly below minimum wage of $15/hour) for the time and energy they would be dedicating towards this project. That would bring me to a total cost of $1900.
Yarumi González
Program Notes
Hacerse un Cuerpo/ Crafting a Body
Choreographed by Yarumi González
Dance performed by: Yarumi González
Ritual performed by:
(Venezuela)
Yolimar Medina, Ketsy Medina, Liset Ariyuri Medina, Lesly Pérez, Arquímedes Blanco, Rafael Jiménez, Johana Vivas
(USA)
Hilani Morales, Kaitlyn Jolly
Recording and edition Jesús Reyes, Víctor Hugo Rivera, Yarumi González
Sound Design by Victor Hugo Rivera
Music by Arquímedes Blanco y Rafael Jiménez
Prop Design by Yarumi González
A special thanks to my parents and my sister Vanessa, who have sailed with me through countless seas, resisting all the storms.
My sister Vanessa and Olin Janusz for their support and professional orientation.
To my sisters and brothers in Venezuela, who are an example of resistance and struggle, resilience and joy. Especially to Yolimar Medina, Ketsy Carola Medina, Osleyda Pérez, Liset Ariyuri Medina, Sofia Saavedra, Lesly Pérez, Johana Vivas, Arquímedes Blanco, Rafael Jiménez, Jesús Reyes, Víctor Hugo Rivera.
To my new creative friends in the USA, especially to Mestra Isaura Oliveira and Power of Skirt, Hilani Morales and Kaitlyn Jolly.
Choreographed by Yarumi González
Dance performed by: Yarumi González
Ritual performed by:
(Venezuela)
Yolimar Medina, Ketsy Medina, Liset Ariyuri Medina, Lesly Pérez, Arquímedes Blanco, Rafael Jiménez, Johana Vivas
(USA)
Hilani Morales, Kaitlyn Jolly
Recording and edition Jesús Reyes, Víctor Hugo Rivera, Yarumi González
Sound Design by Victor Hugo Rivera
Music by Arquímedes Blanco y Rafael Jiménez
Prop Design by Yarumi González
A special thanks to my parents and my sister Vanessa, who have sailed with me through countless seas, resisting all the storms.
My sister Vanessa and Olin Janusz for their support and professional orientation.
To my sisters and brothers in Venezuela, who are an example of resistance and struggle, resilience and joy. Especially to Yolimar Medina, Ketsy Carola Medina, Osleyda Pérez, Liset Ariyuri Medina, Sofia Saavedra, Lesly Pérez, Johana Vivas, Arquímedes Blanco, Rafael Jiménez, Jesús Reyes, Víctor Hugo Rivera.
To my new creative friends in the USA, especially to Mestra Isaura Oliveira and Power of Skirt, Hilani Morales and Kaitlyn Jolly.
Where is the work currently and where is it going?
It consists of a series of rituals, video-performances, and choreography, which are part of a personal research project, exploring the inseparable and inextricable experiences of Life-Death-Rebirth-Transformation; and also delves into the grief of post-emigration. It is an offering to Life, to the Ancestors, to the struggle against the multiple systems of oppression. The ritual includes the creation of human-shaped bread, which is consecrated to the earth and distributed among participants, echoing ancient ceremonial practices of harvest and fertility.
I am currently in the pre-production phase of recording the ritual (both in Venezuela and the United States).
The next steps would be:
1) to reach community gardens and community kitchens
2) to secure funding for some production expenses
3) to explore opportunities to integrate the work into various artistic circuits.
I am currently in the pre-production phase of recording the ritual (both in Venezuela and the United States).
The next steps would be:
1) to reach community gardens and community kitchens
2) to secure funding for some production expenses
3) to explore opportunities to integrate the work into various artistic circuits.
Why is this work important now?
It holds significance as it brings together diverse artistic expressions in a non-conventional way, fostering community and promoting the integration of cultures and peoples.
What support do you need to reach the next steps?
- Like-minded individuals in Boston who are dedicated to promoting social movements and community organization. From here, we could plan different activities that connect local experiences.
- Locations in Boston where I can conduct and record the ritual.
- Performance opportunities in alternative venues, streets, or traditional theaters.
- Studio space for rehearsals
- A period of dedicated studio space to develop sets/props/etc.
- All 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 Yarumi's Work
What is your fundraising goal?
$864
Where will the money go?
- Cost of conducting the performance-ritual in Venezuela: $100 (includes food for collaborators, ritual scenography elements, materials for bread making).
- Symbolic payment for audiovisual collaborators (recording and editing of material): $300
- Cost for production of the performance-ritual in Boston (food for participants, props, materials for bread making, transportation): $150
- Whole wheat slicing loaf for each performance: $10.
- Props under development, estimated $100.
- Wix domain monthly payment $17, annual cost $204
Madison Florence
Program Notes
Finding Space - A Work in Process
Direction by Madison Florence
Movement by Lila Klaus, Nell Mancini, Sunnie Hodge, and guests
Music by Sleeping at Last
Thank you to my dancers and community for allowing me the space to play, experiment, talk through, and discover more with this piece. Thank you to karen, Nicole, and Jason for their work on aMaSSiT and providing the opportunity for growth.
Direction by Madison Florence
Movement by Lila Klaus, Nell Mancini, Sunnie Hodge, and guests
Music by Sleeping at Last
Thank you to my dancers and community for allowing me the space to play, experiment, talk through, and discover more with this piece. Thank you to karen, Nicole, and Jason for their work on aMaSSiT and providing the opportunity for growth.
Where is the work currently and where is it going?
Finding Space tells the stories of people with identities often excluded or not recognized for their work in space sciences like those who identify as women, BIPOC, queer, trans, nonbinary, and parents. Focused on process, this piece is being developed to include the identities of the dancers and welcomes a wide range of people into the work. Finding Space will become a feature-length performance telling these stories and exploring our fascination with our solar system and beyond. Over the next two years, the dancers will explore the themes of space through improvisation, exploration of shapes and lines, proximity to each other, focus and the act of being unseen or seen, and the recorded stories of people in space sciences eventually building to a full-length work. Please visit madisonbflorence.com/finding-space to learn more, sign up for email updates, or apply to be a dancer with this project.
Why is this work important now?
We are at an exciting time where space sciences has pressed forward and we are continuing to see growth in this field. Those involved deserve to be seen and this piece shines a light onto them while intersecting both art and science.
We're currently seeing ground breaking and record setting inclusion in the space sciences, yet still only 4% of the astronauts participating in NASA have been Black, despite African Americans making up 14% of the US population. Globally, only 93 women have been to space out of 681. The more we can highlight the stories that have not been told and highlight the stories to come, the sooner we'll see more inclusion, not just in space sciences but across all STEM.
We're currently seeing ground breaking and record setting inclusion in the space sciences, yet still only 4% of the astronauts participating in NASA have been Black, despite African Americans making up 14% of the US population. Globally, only 93 women have been to space out of 681. The more we can highlight the stories that have not been told and highlight the stories to come, the sooner we'll see more inclusion, not just in space sciences but across all STEM.
What support do you need to reach the next steps?
- 8-10 additional dancers and funding to support our current and future performers. You can apply here: https://forms.gle/zHkhYibJQsEtMBDN6
- Consistent access to studio space, discounted space, or long-term rental agreements for at least 2-3 hours a week to continue this work.
- Performance space rentals and stage tech support.
- Sign up for my email newsletter
- Social media engagement and sharing
- Space for in-studio works-in-progress showcasing
- Studio space for rehearsals
- Residency opportunity for creation only
- Informal showing opportunities
- Performance opportunities
What designers and professionals could help mentor you as you move into the next steps?
- Lighting Design
- Projection/media Design
Donate to Madison's Work
What is your fundraising goal?
$6,000
Where will the money go?
For this phase of the project, funds will support studio rentals, dancer time, administrative time, and the general monthly expenses. Those break down to approximately:
- $12-$25.50/hour for studio rentals
- $15/hour for one dancer
- up to $60 monthly travel stipend per dancer
- $15/hour administrative time
- about $1000/month total for all expenses with the current 6 dancers
- about $2,400/month total for all expenses with the of future cast of 15 dancers
Laporsha Dees
Program Notes
Descent to Madness
Choreographed by: Laporsha Dees
Dancers: Mayte Martinez, Cesar Urzua, Laporsha Dees
Music by: Prvis
I want to thank my dancers for allowing me to be creative and open with my emotions. I want to thank karen and Nicole for allowing me to go beyond. I want to thank my friends in Tess Saoirse Dance Company, and my friends and family for encouraging me to follow my dream.
Choreographed by: Laporsha Dees
Dancers: Mayte Martinez, Cesar Urzua, Laporsha Dees
Music by: Prvis
I want to thank my dancers for allowing me to be creative and open with my emotions. I want to thank karen and Nicole for allowing me to go beyond. I want to thank my friends in Tess Saoirse Dance Company, and my friends and family for encouraging me to follow my dream.
Where is the work currently and where is it going?
This piece is an excerpt of Descent to Madness, a project that I am developing that will talk about the negative emotions me and other people of color are not allow to display in public.
This piece will become a video essay that will be three parts. Each part will present the themes love, despair and anger. When completed, I am hoping to tour this project around the country in different venues that will help specifically women of color acknowledge and express their negative emotions in a safe space.
This piece will become a video essay that will be three parts. Each part will present the themes love, despair and anger. When completed, I am hoping to tour this project around the country in different venues that will help specifically women of color acknowledge and express their negative emotions in a safe space.
Why is this work important now?
Due to the nature of the world, I have to hide my negative emotions to not be seen as a threat. Thus, I do not know how to process those emotions, so I want to display my process to the world and allow people the space to feel.
What support do you need to reach the next steps?
- Practice space
- Music rights
- Videographer/Editor
- Dancers
- A safe place to develop the show
What designers and professionals could help mentor you as you move into the next steps?
- Marketing
Donate to Laporsha's Work
What is your fundraising goal?
$4000
Where will the money go?
1 hour of studio space $30
Costume for 1 dancer $10
Show promotions (ads and flyers) $10
Music rights $50
Costume for 1 dancer $10
Show promotions (ads and flyers) $10
Music rights $50
