Past
Grantees

LeilAwa [Leila Awadallah] is an artist working with movement through embodied research and storytelling. She is a Palestinian-American who engages culturally and politically with her ancestral roots and the geographic soils in which they are growing. LeilAwa lineages are Mediterranean, yet her body was born and lives on Dakota / Anishinaabe lands.

LeilAwa’s work manifests in dance pieces, durational performance installations, and short experimental film. Her dance examines the body’s resistance to settler colonial violence and systematic distortions and erasures, and the choreography of occupation in the context of Palestine. Her physical movement seeks connection to place, land, home and memory and is created within a framework of the Arab imaginary.

While at Camargo, LeilAwa plans to focus on a daily practice of body watani (Arabic for “my homeland") in order to build a clearer physical practice for future work and collaborations. She seeks to learn from land based, durational improvisation practices rooted in traditional dances of the region: baladi, raqs sharqi, and tarantella. The physical work will be paired with historical / cultural / spiritual research questions in order to merge what subconsciously manifests during the embodied practice, with active and reflective thought that helps guide the mind-body through the terrain of memory.

Marjani Forté-Saunders (she/her) is a mother, choreographer, performer, a collaborative artist, community organizer and a three-time Bessie award-winning choreographer and performer for her latest work, Memoirs of a... Unicorn. Marjani is an inaugural recipient of the UBW Choreographic Center Fellowship and a two-time Princess Grace Foundation awardee. Her work has been incubated in residencies at the Maggie Allesee National Choreographic Center (MANCC), Lower Manhattan Cultural Council Extended Life Residency, Brooklyn Arts Exchange, CUNY Dance Initiative, 651 Arts and Movement Research. Marjani has produced seven award-winning works in steady collaboration with her partner and composer Everett Asis Saunders (New Music USA Awardee) over the last ten years. Humbly, she defines her work by its lineage stemming from culturally rich, vibrant, historic, loving and irreverent conjurers!

Fellowship Statement

My storytelling is intended to thicken the common narratives of people of the African Diaspora, and stir up visions for human liberation. What might freedom, a reality that elevates culture, look like? I commit to the work of shifting and visioning through art. I dance to tap my heart and my prolific imagination, to ignite vision or desire for ontological integrity and ascension in my audiences. In dance, I can imagine my own liberation and engage a fantasy of free-being as a plausible reality. With Memoirs of a.. Unicorn, developed in collaboration with composer Everett Saunders, I've centered on thoughtfully sharing the work such that it reflects our core values:

• To echo and affirm the work of local community organizers
• To be malleable in design for unconventional spaces and limited resources
• And to explore and affirm the complexity of blackness as a unifying, expansive, cross-cultural concept and network.

Jasmine Hearn (she/they) is a performer, director, choreographer, organizer, and teaching artist. A native Houstonian, she graduated magna cum laude from Point Park University with her BA in Dance. She currently collaborates with filmmaker and visual artist, Alisha B. Wormsley. Jasmine has worked and performed with David Dorfman Dance, Alesandra Seutin (UK), Solange Knowles, Kate Watson-Wallace, STAYCEE PEARL dance project, Marjani Forté-Saunders, Jenn Meridian, Helen Simoneau Danse, Lovie Olivia, Bill T. Jones/Arnie Zane Company and Nick Mauss (as part of the performance cast of TRANSMISSIONS—an exhibition at the Whitney Museum of American Art). Jasmine is a 2018/2019 Movement Research artist-in-residence, was a 2018 Dancing While Black fellow, and was awarded a 2017 Bessie Award for Outstanding Performance as a part of Skeleton Architecture. They also received artist residencies at the Bronx Museum of the Arts, Jerome@Camargo Residency in Cassis, France, and Dance Source Houston. Jasmine is a vessel and storyteller using dance and sound as materials to make, teach, and perform around the world.

Fellowship Statement

The body of my work is rooted in the belief, born of language from my work with Marjani Forté-Saunders, Tara Aisha Willis, and Staycee Pearl, that I am a vessel for ancestry and spirt to speak through. I offer work that remembers and honors past, speaks of present, and prepares community for future. As a choreographer, dancer, sound-maker, and performer, I am investigating how the body is able to use memory, sensation, and imagination as ways to enter embodied practices to articulate story, ancestry, and personal truth. I use dance and sound as materials to conjure an environment to be experienced. I ask, “How can the body and voice act as bridges that connect communities with their individual truths and how these truths live together. Working as a freelance artist, I have had many opportunities to engage with community—teaching dance and movement classes, facilitating spaces for movement/sound exploration, performing in multidisciplinary projects, and creating intimate, immersive performance experiences. I am committed to the facilitating environments that gives space for folks to connect with their fantasies and feelings.

Photo courtesy of Whitney Browne Photography.

Choreographer/Director Raja Feather Kelly (he/him) is the artistic director of New Brooklyn Theatre. In 2009 he founded the dance-theatre-media company the feath3r theory. The two companies merged in 2018. Raja has been awarded a Breakout Award from the Stage Directors and Choreographers Foundation (2018), Dance Magazine's inaugural Harkness Promise Award (2018), the Solange MacArthur Award for New Choreography (2016), and, twice, the Princess Grace Award (2017, 2018). He was born in Fort Hood, Texas and holds a BA in Dance and English from Connecticut College. Raja has been awarded a New York Dance Performance Bessie Award, a Bessie Schonberg Fellowship at The Yard, a DanceWEB Scholarship, a New York Foundation for the Arts Choreography Fellowship, a HERE Arts Fellowship, a 2018 Creator-in-Residence at Kickstarter and a Choreography Fellowship at the Center for Ballet and the Arts at New York University.

Fellowship Statement

I am obsessed with the development of popular culture over the last thirty years. My work unabashedly appropriates the structures, themes, and aesthetics found in reality television, celebrity culture, and social media (YouTube, Instagram, Facebook), then deconstructs it into new works which combine dance, theatre, and visual media. My aim is to challenge audiences to recognize their own implication in popular media: how media has trained and molded their desires, relationships, and identities. My movement-based performances combine fashion shows, gallery exhibitions, drag, stand-up comedy, minstrel shows, and stage-plays into a single, overwhelming, over-saturated Gesamtkunstwerk in which artists and audiences experience their shared humanity. I rehumanize our over-mediated experience of reality.

Photo by Thomas Dunn.

Pedro Pablo Lander (they/them) is a Venezuelan, queer Latinx performance artist, as well as a teaching artist with Pillsbury House Theatre and Upstream Arts. They have performed and produced over ten Drag Story Hours at multiple Twin Cities locations, supported by a Minnesota Center for Humanities grant. Doña Pepa, Pedro’s drag/burlesque persona and choreographic lens, has graced stages locally (First Avenue Mainroom, Minneapolis Burlesque Festival, Lush, Gay 90’s, University of Minnesota) and in Puerto Rico. Noche Bomba, which incorporates Doña Pepa, was presented by 20% Theatre’s Q-STAGE and will tour to Winona State University in April 2019. Solo-versions were performed at Walker Art Center’s Choreographers’ Evening and at Galería Oro in Vieques, Puerto Rico. Pedro’s newest work, Holy Doña, will premiere at Red Eye Theatre’s 2019 New Works 4 Weeks Festival. Initial research for this project has been shared at 1er Coloquio sobre Hombres+ y Masculinidades in San Juan, Puerto Rico.

Fellowship Statement

I am Pedro, Doña Pepa. I am a queer, gender-fuck, Venezuelan immigrant, Latinx, brown performance maker in Minneapolis.

My choreographic work is deeply personal, it is about my everyday experience, the coexistence of my oppressions and my identities. I create work that denounces current injustices. The work begins within me, then I transfer it to and cultivate it with other performers. I play with movement expression, singing, sound-making, draglesque, and visual media to create specific imagery, supported by costumes and props. I am interested in facilitating emotional journeys for audiences to ride with me and the performers.

“Draglesque” is my current solo research, a larger-than-life expression/explosion of gender, where my body transcends all social parameters. A space of radical freedom and self-love. This process is how I finesse and craft my skills as I mold my character(s). It is both a celebration and a transgression

Photo by Nic LaFrance.

Dustin Maxwell (he/him) is a dancer, choreographer and visual artist originally from Albuquerque, New Mexico, now based in Brooklyn, New York. In New Mexico he trained in Graham and Limon with his dance “mother,” Joanne Emmons. He has a BA in Dance from the University of Minnesota and extensive training in Yoga and Butoh. As a freelance dancer he has worked with Aniccha Arts, Chris Schlichting, Morgan Thorson, and many others. His choreography and performance installations have been shown in galleries, theaters, basements and alleyways in Minnesota, New York and Germany. He was a nominee for the 11th Annual Sage Awards, Outstanding Performer.

Fellowship Statement

I work primarily within the modalities of somatic improvisation and butoh. Being born queer into a Mormon family of eight has shaped my perspective in many ways. Sexuality, spirituality and the experience of otherness are major themes in my work. My choreography is highly visual and minimal in movement relying on the innate history, ancestry, cultural identity and politics inherent in the body. My body is a field for knowing that which is seen and unseen; that which lies beyond the boundaries of the mundane. My artistic endeavors use performance as a method for connecting with others at this essential level and perhaps provoking “awakeness.” I believe this expands the limits of consciousness which is a radical and subversive action.

Photo by Justin Hickman.

Leslie Parker (she/her), a contemporary dance artist, performer, maker, improviser and educator, holds an MFA in Dance from Hollins University in partnership with Kunstlerhaus Mousonturm, The Frankfurt University of Music and Performing Arts and the Dresden Frankfurt Dance Company. Leslie has a rigorous research and practice in dance forms derived from the African Diaspora. She designed the “Moving Dialogue for Non-Violence” dance for social change platform used at Broadway Women’s House Shelter in Brooklyn, New York and at The Family Place in Saint Paul, MN. She is a 2017 Bessie award recipient and a member of Skeleton Architecture. The Leslie Parker Dance Project, her foundation to envision and make dances, has presented at Walker Art Center, Theatre, Center for Performance Research, Performance Mix Festival, Thelma Hill Performing Arts Center, Painted Bride Arts Center, Roseville Women’s Correctional Facility, Movement Research at Judson Church, “late nite series” at Pillsbury House Theatre, Harlem Stage’s Emoves13, and New York Live Art’s Fresh Tracks Artist-in-Residence 2013-14. Currently, she is lecturer in dance at University of Minnesota Theatre Arts and Dance. She will present a new work in Momentum: New Dance Works at St. Catherine’s University in Summer 2019.

Fellowship Statement

I am a dance artist, performer, dance maker, educator and improviser, trained in and experimenting with an aesthetic rooted in the Black experience. I make dances that explore spirituality, identity and social justice to spark questions and conversations with and between people.  As an improviser, I invite observers to a real-time exchange through movement, sound, space and the body. Described by choreographer Bill T. Jones as “haunting,” former Director of Quixote Foundation, June Wilson describes the experience of “watching Parker’s work is like being a voyeur; the intimacy and emotional energy of her movement makes you want to look away and yet it’s impossible to stop watching.”

Photo courtesy of Leslie Parker.

As an independent choreographer and Choreographic Associate with Ragamala Dance Company, Ashwini Ramaswamy’s (she/her) work references ancient myths and ritualistic practices, global literature and poetry, and the mixed media contemporary culture she has absorbed for over 30 years. Her work draws from myriad influences to express a personal identity with universal resonance. Celebrated for her ability to “[weave] together, both fearfully and joyfully, the human and the divine” (New York Times), Ashwini has studied Bharatanatyam since the age of five. She has toured extensively with Ragamala, performing throughout the U.S. and in Russia, Taiwan, Indonesia, Japan, the U.K, and India. Ashwini's choreographic work has been presented by the Cowles Center, the Yard, and the Joyce Theater, among others. Her work is supported by the National Endowment for the Arts, the Jerome Foundation, the Mid Atlantic Arts Foundation’s US Artist International, and the New England Foundation for the Arts’ National Dance Project, among others.

Fellowship Statement

I have spent decades steeped in the south Indian classical dance form of Bharatanatyam. I am committed to maintaining the beauty, technique, rigor, and values embedded in the form as it has been taught to me, while creating my own personal vision of women’s representation in performance. Like a phantom limb, my Indian ancestry lingers within me, informing my artistic work and daily interactions; my upbringing in both India and the U.S. has encouraged an aesthetic perspective with a hybrid internal compass. As an artist of diaspora, I am a cultural carrier with an instinct to move within ancestral patterns. There is a continuum between what we perceive as real/tangible and what we accept as unknown/unknowable; this gravitation between the human, the natural, and the metaphysical—which are forever engaged in sacred movement—is a focal point in my work.

Photo by Ed Bock.

Deneane Richburg (she/her) grew up a competitive figure skater, spending time in spaces where she felt she had to check her racial/cultural identity at the door, as the predominantly white skating world excluded her ancestry’s truths. To quote Zora Neale Hurston, Deneane always felt “most colored when [she was] thrown against a sharp white background.” As an adult, she realized the need to carve out a space for her ancestral history, so she established Brownbody, a creative home for her artistic work that fuses theater, dance, social justice practice, and skating. Through Brownbody, she honors the complex narratives of Black diasporic communities. As a modern dance choreographer and skater, Deneane is interested in expanding creative expression on the ice by engaging ancestral narratives as a framework for movement exploration. Deneane is a grateful recipient of a 2017 McKnight Choreography Fellowship administered by the Cowles Center and funded by The McKnight Foundation.

Fellowship Statement

I fuse different movement worlds; a modern dance choreographer that presents works on and off of the ice. The themes of my work range from visual objectification through the story of Saartjie Baartman to issues of re-memory through a piece based on Toni Morrison’s Beloved. My latest on ice evening length work is Quiet As It’s Kept, which focuses on the Reconstruction era and rise of Jim Crow laws. I’m interested in ensemble work on the ice. As a dancer I’ve performed with companies in ensemble pieces and have learned to appreciate the intricacies and manipulation of group nuances—engaging many bodies to create a fully realized and unified statement. I am interested in exploring the power of these elements on the ice in telling stories relevant to my ancestral history. Currently I am working on an ice ensemble piece that explores American Black social dances of the 17th through 19th centuries.

Photo by Alice Gebura.

Darrius Strong (he/him) is a Twin Cities based choreographer, dancer, and educator whose creative work has been performed in Walker Art Center’s Choreographers Evening and Rhythmically Speaking. He was featured in the 2015 New Griots Festival as well as an American Standard Billboard advertisement in New York City Time Square in 2016. He was a 2017 Momentum New Works recipient. Strong has created works for Threads Dance Project, Flying Foot Forum, Alternative Motion Projects, and most recently was commissioned to create a new work for James Sewell Ballet. Strong developed his own dance company STRONGmovement in 2015. He is a faculty member at Saint Paul Conservatory Performing Arts High School, TU Dance Center. At Eleve Performing Arts Center, he teaches young dancers how to connect their identity to movement. Strong is also a company member of Stuart Pimsler Dance & Theater.

Fellowship Statement

I tell stories through movement. I feel that our bodies tell stories and it’s up to us as individuals to define those stories. As a child it was hard for me to communicate my feelings through words, so I began to rely on movement as an outlet in times of sadness, frustration, anger, and other emotions.

I created my own dance company, STRONGmovement, because I truly believe that movement empowers conversation between dancers and audiences. Conversation invokes community building, an aspect of my background in hip hop I center in my work. Through the movement I create, I desire to empower others, create communities, inspire people to invest in themselves and their stories.

Photo by Bill Cameron.

André M. Zachery (he/him) is an interdisciplinary artist and founding artistic director of Brooklyn-based Renegade Performance Group (RPG). Zachery’s practice, research and community engagement artistically focuses on Black/African Diaspora cultural practices through the mediums of choreography, site-specific projects, film, digital projection, audio installations and responsive technology. He is a former Jerome Foundation supported Movement Research artist-in-residence and a 2016 New York Foundation for the Arts Fellowship/Gregory Millard Fellow in Choreography. He has served as a guest faculty artist in dance departments at Florida State University, Virginia Commonwealth University and Ohio State University. His works have received acclaimed reviews from the New York Times, Culturebot and other notable publications. RPG has presented work at Danspace Project, The Kennedy Center, Wexner Center for the Arts, Harlem Stage and the Brooklyn Museum. Zachery extensively collaborates with artists of various genres and mediums to create innovative projects that expand notions of performance and space.

Fellowship Statement

I am interested in dimensionality as a means to disrupt and dismantle hierarchy. Currently, my work and research in Afrofuturism reconsiders the relationship of the Black body in digital landscapes to recoding (virtual) reality. The presence, experiences and narratives of the African Diaspora are severely lacking in the field of performance and technology. For me dimensionality offers the ability to shape and form our stories, legacies, myths and sense of place with complexity and nuance in consideration to time. Moving forward, I want to find ways to actualize the conversation and theory of Black futurity into physical and material spaces.  I want people to input their information into a constructed environment where the material and physical architectures interact cohesively with supporting sonic and visual elements, exploring how Afrofuturism can be a generative mechanism to address societal issues with parity, equity and resourcefulness

Photo by Rachel Neville.