2018 Artist Services Weekend

Join BAX for our fifth annual ARTIST SERVICES WEEKEND featuring an array of talks and workshops designed to serve working dance, theater, performance artists and their supporters.

Saturday + Sunday, February 10-11, 2018 — FREE

Reservations are highly recommended.


CHILDCARE IS AVAILABLE (free) by reservation ONLY. Reservations MUST be made no later than Monday, January 29, 2018 to artistservices@bax.org.

Workshops are sponsored through the underwriting and generous contributions of Scott Klein Team at Douglas Elliman Real Estate Park Slope. Many thanks.



Saturday, February 10th





Orientation and Information Session for 2018/19 Artist in Residence and Space Grant Applications

*Facebook Live streaming will be available for this info session. Can't make it? Join us online at www.facebook.com/Brooklyn.Arts.Exchange
Learn what goes into a “successful” application. Have your questions answered. Come to a deeper understanding of BAX’s commitment to racial equity in all its artist opportunities.

BAX has a proud history of and a commitment to developing cohorts that are reflective of all origins, ages, sexual orientations, genders, race and nationalities. In our curation and residencies, we take in to account our field's history of racism and discrimination, and make active steps to undo the effects of that history. We believe that this commitment enriches the experience for all artists and audiences.

BAX AIR Open Studio II

Maria Bauman (BAX AIR 2017-2018)

re(Source), an investigation-in-process, by Maria Bauman

Maria Bauman is a dance artist who mines her identities as an artist, a community organizer, and as a Black, queer, not-quite-southern-belle-now-living-in-New-York to create bold and honest dances. In this session, she is sharing her newest work-in-progress and hosting a discussion afterward.

Within the U.S. climate of upheaval, fear, and bullying at home and abroad, Bauman is focusing on what it takes to get by, get over, survive, and thrive. Improvisation, lineage, resilience: (re)Source is a danced solo exploration of how and when we call on these assets and when we reject them entirely. As research for the piece, Bauman has been studying cartography, marronage, stories about her family, and rituals for sustainability. The dance also includes a unique visual landscape co-created by Maria Bauman and by each set of audience members, with advising from Nontsikelelo Mutiti (www.nontsikelelomutiti.com).

Register in advance HERE


Process as Product

Hosted by Tanisha Christie: a conversation/presentation looking at work that is explicitly or implicitly "process based" whether that is defined as ritual, practice, or participatory; where the work is shown as generative, "raw," "unfinished," improvisational and/or in the moment.

Participants will view short works of artists who will explore questions, share process and/or ways they engage with audience and the marketplace. Participants will be encouraged to dialogue via prompts using Liz Lerman's Critical Response technique.

Participants include: Nina Angela Mercer (playwright/performer), Aisha Bell (multidisciplinary artist and sculptor), NIC Kay (artist), and BJ Evans (Associate Producer, Performing Arts @ BRIC)

Register in advance HERE


BAX AIR Open Studio II

Mariana Valencia (BAX AIR 2016-2018)

In her current work, Mariana Valencia examines authorship, questioning what gets carried into it her work through proximity, relation and alliance. Central is a choreographic algorithm, an amalgam of mediums― of dance, props and language― that manipulates perceptions of life and its collaborators. This research focuses on the concept of an ensemble, an assembly of objects and floral bouquets. A bouquet, an ensemble that’s authored by a person from the same or various flowers; a relation from where the intentionality of a person and object emerges. A bouquet is a gift that decomposes; a gesture where the device of loss is the symbol of life’s dying action. Valencia addresses a choral surround of subjects that are not solely bound to her cultural history, a new trajectory in her work.

Register in advance HERE


BAX AIR Open Studio II

luciana achugar (BAX AIR 2017-2018)

Brujas’ Work is being made to subvert our deeply ingrained notion that the instinctual, the feminine, the animal, the uncivilized in us are of lesser value and/or are to be shamed and silenced. It ritualizes the labor of the dancer first by exposing their work and later through the ritualizing of their labor transcending it and unearthing their powerful, magical and primal witches within. It proposes Dance as transformational healing rather than spectacle. It resists western assumptions of beauty and hierarchical order to set free a new feminist-post-civilized-decolonized self by freeing the dancers both of their role as worker in the power structure within the creative project and of the shame that they carry, as we all do in our society, of being animal sexual powerful instinctive creatures.

Register in advance HERE



Sunday, February 11th





Orientation and Information Session for 2018/19 Artist in Residence and Space Grant Applications

Learn what goes into a “successful” application. Have your questions answered. Come to a deeper understanding of BAX’s commitment to racial equity in all its artist opportunities.

BAX has a proud history of and a commitment to developing cohorts that are reflective of all origins, ages, sexual orientations, genders, race and nationalities. In our curation and residencies, we take in to account our field's history of racism and discrimination, and make active steps to undo the effects of that history. We believe that this commitment enriches the experience for all artists and audiences.

Redefining Power

A workshop created and facilitated by BAX's Youth Education Racial Equity Cohort: Angie Pittman, Donna Costello, Maira Duarte, Billy Schultz, Casey Hayes-Deats and Lucia Scheckner

BAX Youth Education invites you to join us for a conversation about ways in which we can dismantle white supremacist power structures while working with young artists (and beyond) in classrooms and studios. Adopting an "unconference-model" of facilitation to illustrate this inquiry, we will begin with questions with which the BAX community is wrestling, but the workshop will be participant driven and grow from the questions and experiences of those who join us. Add your questions to our own: How do we manifest power-within and power-with rather than power-over in class/studio environments? What does it mean to meet young artists where they are as opposed to where they might be expected to be?

Register in advance HERE


BAX AIR Open Studio II

Catherine Galasso (BAX AIR 2016-2018)

Catherine Galasso and collaborators will present excerpts from notes on de groat and use it as a starting point for a presentation about her father Michael Galasso’s musical compositions, offering context for her upcoming BAX April 2018 curation project.

Originally commissioned by Danspace Project in 2015 and remounted for the Bard Graduate Center in January 2018, notes on de groat is a poetic meditation on Catherine’s process of working with choreographer Andy de Groat, and the ways in which her own work intersects and deviates from de Groat’s aesthetic, which she has been steeped in since a young age through her father, composer Michael Galasso, de Groat’s longtime collaborator. This hybrid performance lecture will trace the ways in which music and dance hold relational power across various mediums, approaches, and family histories. Created in collaboration with, and performed by: Doug LeCours, Kristopher K.Q. Pourzal, and Meg Weeks.

Register in advance HERE


Open Forum

Studio C will remain open and available throughout the day. Meet a friend for coffee. Lay down on a mat, or continue a conversation from a previous workshop. Light body work will be available at intervals on a first come, first serve basis.

No cost, no reservation needed. Come as you are.


All Black: A Long Table – Dancing While Black/Angela's Pulse & Eva Yaa Asantewaa /EYA Projects

Stress and Self-care
Curated and facilitated by Eva Yaa Asantewaa

With Rashida Bumbray, Charmaine Warren, Orlando Hunter, and Paloma McGregor

Let's talk about the many sources of stress in the lives of Black and Brown artists. What approaches, resources and tools help us counteract the effects of stress on our physical health, psyches, interpersonal relationships and creativity?

Note: The All Black Long Table is conceived and created as private space for conversation among Black and Brown artists and community members. We request that all respect this designation.

Register in advance HERE


BAX AIR Open Studio II

written and directed by Aya Ogawa (BAX AIR 2017-2018)

An interactive exploration of our collective failures that honor our past regrets and celebrate all of our paths not taken

Register in advance HERE


Space for Everyone: Different Approaches to Finding the Right Space for Your Project and Your Community

Join Risa Shoup, Executive Director of Spaceworks, Inc. as she explores with and brainstorms about developing your own space and the creating & managing of capital campaigns.

What does it mean to advocate against cultural displacement and who are our allies in the business community? Are their public resources that we can take advantage of in developing a space? Share stories of working/making in non-traditional spaces.

With Stephanie Alvarado and Mara Kravitz from 596 Acres, Jimena Martinez from CUMBE, and Katy Rubin from Theater of the Oppressed NY

Register in advance HERE


BAX AIR Open Studio II

Iona Flies Away: A listening party

Conceived and written by (BAX AIR 2016-2018) Tanisha Christie

Music by and featuring Kelly Erin Sloan.
Music Direction Chris Vega
With Sauda Jackson, Kyana Brindle, Darby Davis, Shawn Shafner, and Christine Joseph

A concert/storytelling/theaterish work in progress. A story of a girl from a family who becomes a woman because that's what happens.

A few more songs and chapters will be shared.

Register in advance HERE


Artist Information

Process as Product

As a theater artist Tanisha Christie has produced, directed and performed for many regional theaters across the country, including the Hip Hop Theatre Festival, former Ohio Theatre; Arena Stage; Commonweal Theatre; PCPA Theatrefest and many others. She has directed children’s theater in Boston and a new work for the Deaf Way II International convention in Washington, DC, as well as, produced shows at Performance Space 122, Baltimore Theater Project and the District of Columbia Arts Center.

As a teaching artist, she credits her training to her time as Assistant Director of the former Living Stage Theatre Company, one of the preeminent Theatre for Social Change in the U.S. There she directed original performance works and led hundreds of workshops in improvisational theatre making for people ages 3-103. She has taught at many traditional and nontraditional performance spaces, schools and universities, including the Anacostia Mental Health Center, My Sister’s Place, New York University, Amherst College, Goucher College, The Kennedy Center, and Looking Glass Theatre.

Tanisha began filmmaking while creating and performing in an original interdisciplinary media-theater-dance piece Memory is a Body of Water (with Lisa Biggs, PhD and Kristin Horton, Dir.) for The National Black Theater Festival. She went on to work for several production companies and landed on the production team for PBS’ Citizen King. Her experimental shorts flag/body has been screened at international conferences in Australia and Denmark; GroundWater was screened as a part of an intercontinental artist exchange in Panama co-sponsored by the U.S. Embassy in Panama. Her feature length documentary Walk With Me (directed & produced with Ellie Walton), about three women who use theater for social justice, was digitally released in 2013 by Filmbreak/GoDigital and can be seen on Amazon, Google Play and other outlets.

Tanisha holds a BFA Theatre performance with a concentration in Holistic Drama from Arizona State University and an MA in Media Studies from The New School. She is a licensed clinical social worker from Hunter College. A member of Actor’s Equity Association, her work has been recognized through an Artist’s Fellowship from the DC Commission on the Arts and Humanities, the Puffin Foundation, the National Endowment for the Arts, and the Humanities Council of DC. She was a 2015 Target Margin Theater Fellow and is a 2017 MAP Fund grantee.


Aisha Tandiwe Bell is first generation Jamaican & ninth generation traceable Black American. Her parents met at City College. Conceived in Tanzania & born in Manhattan, she was Raised Bobo Shanti Rasta spending her early childhood on Bobo hill in Bull Bay, Jamaica. Inspired by the fragmentation of our multiple identities, Bell’s practice is committed to creating myth & ritual through sculpture, performance, video, sound, drawing & installation. Bell holds a BFA, & an MS from Pratt & a MFA from Hunter College. Bell received a NYFA in Performance Art/ Multidisciplinary Work & has had artist residencies/fellowships at Skowhegan, Rush Corridor Gallery, Abron’s Art Center, LMCC’s Swing Space, The Laundromat Project, BRIC & more. She has been a fellow with DVCAI on International Cultural Exchanges (Jamaica 2012, Surinam 2013, Antigua 2014, Guadeloupe 2015 & 17). The Museo De Arte Moderno’s Triennial 2014, The Jamaica Biennial 2014 & 17,  The BRIC Biennial 2016,  The Venice Biennial 2017, MoCADA, The Rosa Parks Museum, CCCADI, Columbia College, Space One Eleven, Welancora Gallery & Rush Arts are a few spaces where Bell has exhibited her work. She lives in Brooklyn with her husband & two children.
B.J. Evans is the Associate Producer, Performing Arts at BRIC Arts Media in Brooklyn where she programs and produces BRIC’s theater and dance productions, short-term and long-term residencies for performing arts – including the BRIClab – and public programs for Stoop Series. She has worked for non-profit and commercial theaters alike, including Dallas Theater Center, Working Theater, The Public, Blue Man Group, Our Town, and Sleep No More. She is also the Artistic Producer for Barton Booth and is currently pursuing an MA in Applied Theatre at CUNY.


NIC Kay is from the Bronx. Currently occupying several liminal spaces.They are a person who makes performances and creates/organizes performative spaces. They are obsessed with the act and process of moving the change of place, production of space, position, and the clarity/meaning gleaned from shifting of perspective. NIC’s current trans disciplinary projects explore movement as a place of reclamation. NIC has performed and shown work Internationally and in The United States. NIC Kay will be a 2018 Artist in Residence at Pioneer Works in Red Hook, Brooklyn.


Nina Angela Mercer is a cultural worker. Her plays include GUTTA BEAUTIFUL; RACING MY GIRL, SALLY; ITAGUA MEJI: A Road & A Prayer; GYPSY & THE BULLY DOOR; and MOTHER WIT & WATER BORN, a trilogy, including BETWEEN WHISPERED BLOOD-LINES. Her work has been shared at the Warehouse Theatre, The Woolly Mammoth Theatre Company for DC’s Fringe Festival, Rutgers University-Newark and New Brunswick, Wings Theatre, Brecht Forum, The Classical Theatre of Harlem, Dr. Barbara Ann Teer’s National Black Theatre, The Nuyorican Poets’ Café, Abrons Arts Center/Henry Street Settlement, Dumbo Sky, and The Little Carib Theatre. Her writing is published in The Killens Review of Arts & Letters, Black Renaissance Noire, Voices Magazine #SayHerName Edition, and Continuum: The Journal of African Diaspora Drama, Theatre, and Performance, among other upcoming publications. She has performed in collaboration with Betty’s Daughter Arts Collaborative, Angela’s Pulse, Abigail DeVille and Charlotte Brathwaite, BWA for BLM, among others. Recently, Nina collaborated with film-maker Toshi Sakai for a video performance poetry project for the Visionary Aponte exhibition at Little Haiti Cultural Center Art Gallery. She is a co-founder and co-director of Ocean Ana Rising – www.oarinc.org. Also, Nina is currently a doctoral fellow of Theatre and Performance at The Graduate Center-CUNY. She holds an undergraduate degree from Howard University, and a MFA from American University. She teaches at Brooklyn College. Find updates about Nina’s work at  http://windowsdoorsclosetsanddrawers.blogspot.com


Redefining Power

Angie Pittman is a dance artist, educator, and choreographer. She holds a MFA in Dance and Choreography from the University of Illinois at Urbana-Champaign with a graduate minor in African American Studies and a BA in Dance from Old Dominion University. Angie has had the pleasure of dancing in work by Ralph Lemon, Jennifer Lacey and Wally Cordona, Tere O’Connor, Jennifer Monson, C. Kemal Nance, Johanna S. Meyer, Rachel Thorne Germond and others. Angie’s work has been shown at BAAD! Bronx Academy of Arts and Dance, Movement Research at Judson Church, Triskelion Arts, and STooPS. She was a 2015 DanceWEB scholarship recipient for Impulstanz Dance Festival in Vienna, Austria and is a 2016-2018 Artist-in- Residence with Movement Research. As a teaching artist, Angie focuses on offering dance as a way for students to access agency, freedom, and mobility.
Donna Costello is a dance artist working in the field of dance, theater and performance. She is drawn to investigative processes that asks questions, allows space for new discoveries and provides opportunities to share work within and for a community. Her practice and passion for the art form continues to deepen with the exchange she has cultivated over the past 15 years as a performer, creator and educator in dance. She has had the privilege to perform with Vicky Shick, jill sigman / thinkdance, Shannon Hummel/Cora Dance (founding member), Carrie Ahern, Jimena Paz and Mollie O’Brien. Additional projects that have shaped her as an artist include works by Stephan Koplowitz, Juliette Mapp, Naomi Goldberg Haas, Pele Bauch, Kelly Bartnik, Barbara Mahler, the human company, director Jennifer Sargent and collaborating with composer Anne Hege. In 2010, she taught and performed throughout Germany with the program Dancing to Connect for Aviva Geismar’s Drastic Action alongside Battery Dance Company. Her own work has been presented in New York by Movement Research at Judson Church, Dance Conversations at the flea theater, Green Space, Wow Café, Dixon Place, DanceNow/NYC, Brooklyn Arts Exchange, SWEAT dance series and at Performatica in Mexico. She was a space grant recipient at BAX in 2011. As a teaching artist, Donna dances with young people of all ages and ability in a multitude of settings. She has been on faculty at Poly Prep Middle School , Greenwich House Music School and Queensborough Community College. She currently creates and facilitates workshops for Lincoln Center Education and the Park Avenue Armory. She has taught at BAX since 1999 and very much considers this her artistic home.


Maira Duarte is a Mexican dancer, teacher and choreographer. She obtained an M.A. in Dance Education by New York University, supported by the National Fund for the Arts and Culture of Mexico. Her choreographies have been presented in several venues and festivals in Mexico, Spain, Uganda and the United States. Maira has taught in more than twenty schools in the NYC area and New Jersey with the non-profit organizations Education in Dance, Dance Theater of Harlem and the New Victory Theatre. In 2012 she was a full time dance professor at the University of the Americas in Puebla, Mexico. Presently she performs with Tanztheater Andre Koslowski and co directs Dance To The People, a dance laboratory and forum, starting activities in 2014 at the College of Staten Island, supported by the CUNY Dance Initiative. Maira is also an independent dance-film and documentary director and producer. She is currently working in a Dance Film documentary, titled Being There, and a documentary titled A Scientist’s Search, which will be featured at the Carnegie Museum of Natural History, in Pittsburgh.


Billy Schultz’s areas of expertise include physical theater, physical comedy, circus arts, and participant-centered exploration. As a teaching artist he has worked with organizations such as Brooklyn Arts Council, Metropolitan Opera Guild, and New Victory Theater, among others. Billy received his training from the Stella Adler Studios, Dell Arte International School and the International School for the Comic Actor in Reggio Emelia, Italy.


Lucia Scheckner (BAX Education Director) Since receiving an MFA in Theater Studies from Columbia University’s Graduate School of the Arts in 2006, Lucia has developed and directed theater and arts education programs in a variety of community spaces. From 2008 to 2012, she served as Director of Museum Programs for the Children’s Museum of the Arts (CMA), a hands-on art making and exhibition space, where she was committed to ensuring the accessibility of the arts, regardless of means or ability, through a wide variety of fine arts and media arts program offerings. Prior to that, she was Director of Community Programs at CMA, leading the museum’s public school, charter school, and early childhood outreach programs. During her five year tenure at CMA, Lucia helped to expand the museum’s education programs to include a free tween and teen (Young Artist Kollective/YAK) and community-based programs, including free public programs on Governors Island, the High Line, and at the Dumbo Arts Festival. She founded the Museum’s RESTART program to bring free arts programming to youth living in temporary housing shelters. Prior to CMA, Lucia worked with Community Works West (CWW) in San Francisco where she developed, administered, and taught creative writing, theater, and performance workshops with youth and adult female populations impacted by incarceration. Through CWW, she co-founded an all women’s theater group, Rising Voices, for women formally incarcerated, collaborating and producing original theater productions based on the ensemble’s experiences. Concurrently, she worked as a freelance production dramaturg and script-consultant for Bay Area theater companies and playwrights, including the experimental Cutting Ball Theater and Just Theater Company, the Magic Theater, and the Berkeley Aurora Theater, among others. A New York City native, Lucia have also worked with youth through the Leadership Program, Inc., Theaters Against War (THAW), The Renaissance University for Community Education through Harlem Children’s Zone, and Brooklyn Nonviolent Communication.


Casey Hayes-Deats (BAX Education Manager) is an educator, theater-artist, and administrator who hails from rural West Virginia. She has worked administratively  with The Chocolate Factory Theater, the Contemporary American Theater  Festival at Shepherd University, and The Creative Arts Team. Her artistic projects have included producing and  performing in the New York premiere of Pains of Youth with the company she co-founded (The Cake Shop), and devising an interactive play about bioethics and race  based on  the true story of Henrietta Lacks and her “immortal” cells, which was toured to high school and college classrooms.  Her work as an educator has included designing and implementing a playwriting workshop for teens with Barefoot Theatre Company in Redhook, Brooklyn, and co-facilitating workshops for undergraduate students studying to become drama teachers at the University of Rwanda. She is a graduate of Columbia University (BA in anthropology), the Stella Adler Studio of Acting, and CUNY (MA in applied theatre). Her masters thesis involved creating and performing devised theater in collaboration with seniors with dementia. She also works with Stella Adler’s Outreach Division, acting and creating alongside incarcerated populations at Rikers Island. casey@bax.org


All Black: A Long Table – Dancing While Black/ Angela’s Pulse & Eva Yaa Asantewaa /EYA Projects

Eva Yaa Asantewaa (2017 Bessie Award, Outstanding Service to the Field) is an arts writer, educator and curator with more than forty years in practice. She has contributed writing on dance to Dance Magazine, The Village Voice, SoHo Weekly News, Gay City News and other publications and interviewed dance artists and advocates as host of two podcasts, Body and Soul and Serious Moonlight. She blogs on the arts, with dance as a specialty, for InfiniteBody. As part of the curatorial team for Danspace Project’s Platform 2016: Lost and Found, she created the skeleton architecture, or the future of our worlds, an evening of group improvisation featuring 21 Black women and gender-nonconforming performers. Her cast was awarded a 2017 Bessie for Outstanding Performer. Her EYA Projects partners with organizations to curate and facilitate Long Table conversations on topics of concern in the dance/performance community. More at https://infinitebody.blogspot.com/p/eva-yaa-asantewaa-is-native-new-yorker.html.


Charmaine Warren is a performer, historian, consultant, and dance writer. She is the founder/artistic director for “Dance on the Lawn: Montclair’s Dance Festival,” curates for E-Moves, and The Wassaic Project Festival. She danced with david roussève/REALITY, is a faculty member at Hunter and Empire State Colleges, and a former faculty member at Ailey/Fordham, Sarah Lawrence College and Kean. She is published in Dance Magazine, Amsterdam News, and served on panels for The Pew Center for the Arts, Robert Battle’s New Directions Choreography Lab, and Kevin Spacey Foundation.  Charmaine holds a Ph.D. in History/Howard University, a Master’s in Dance Research/City College, and Bachelor Degrees (Dance & English)/Montclair State College.  She is member of the collective Skeleton Architecture, brought together by Eva Yaa Asantewaa.


Paloma McGregor, originally from St. Croix, is an award-winning artist and organizer living in Harlem. Paloma’s work centers Black voices through collaborative, process-based art-making and organizing. A lover of intersections and alchemy, she develops projects in which communities of geography, practice, and values come together to laugh, make magic and transform.
Paloma has created a wide range of work, including a dance through a makeshift fishnet on a Brooklyn rooftop, a structured improvisation for a floating platform in the Bronx River and a devised multidisciplinary performance work about food justice with three dozen community members and students at UC Berkeley. Since 2011, she has been researching and developing Building a Better Fishtrap as an iterative project performed in public spaces, non-traditional venues and theaters.

Paloma was a 2013‐14 Artist In Residence at NYU’s Hemispheric Institute for Performance and Politics, a 2014-16 Artist In Residence at BAX/Brooklyn Arts Exchange, and is currently a Movement Research Artist in Residence and an Urban Bush Women Choreographic Fellow. She is director of Angela’s Pulse and founder of Dancing While Black, which is celebrating its Fifth Anniversary Season. Recent support for her work includes grants from MAP Fund, Surdna Foundation, Dance/NYC, NYSCA and Dance/USA Engaging Dance Audiences. Paloma also facilitates technique, creative process and community engagement workshops around the world. She toured internationally for six years with Urban Bush Women and two years with Liz Lerman/Dance Exchange, and continues to perform in project‐based work, including Skeleton Architecture, with whom she received a 2017 New York Dance and Performance Bessie Award for performance.


Rashida Bumbray’s choreographic practice skillfully combines dance, contemporary art and live music to create and present work that interrogates society and initiates healing. Bumbray received an MA in Africana Studies at New York University, with a focus on Performance Studies, Contemporary Art and Comparative Literature and a BA in African American Studies and Theater & Dance from Oberlin College where she studied Jazz, Blues and Afro dance forms with master dancer Adenike Sharpley and collaborated with Oberlin Jazz Ensemble under the direction of Wendell Logan. While Bumbray’s primary dance forms are tap, blues improv, and ring shout, she has studied with international dance masters of various forms in Brazil, The Gambia, and London. Her work has been presented at SummerStage 2014 (opening for Wynton Marsalis/Jazz at Lincoln Center Orchestra); Harlem Stage E-moves 2014; Dancing While Black: Collective Action at BAAD (Bronx Academy for Art and Dance); The Whitney Museum of American Art; Weeksville Heritage Center; Columbia University; Caribbean Cultural Center African Diasporic Institute (CCCADI); Project Row Houses; The Bronx Museum of Art; The Studio Museum in Harlem and New York University among others. Bumbray’s performance RUN MARY RUN featurned in Jason Moran & Alicia Hall Moran’s BLEED, Whitney Museum of American Art was listed i Best Concerts of 2012 by Ben Ratliff, New York Times. Bumbray was nominated for a 2014 Bessie Award—The NY Dance and Performance Award—for Outstanding Emerging Choreographer for her newest work Little Red Rooster in a Red House, created through the Fund for New Work (Harlem Stage).


Orlando Hunter is an international artist , who has performed in Trinidad & Tobago and Zimbabwe, Africa with Ananya Chatterjea, on a project that was based on the economic dysfunction and exploitation of oil and how its extraction from the earth causes systemic violence against women, water and children. Orlando has studied GLBT activism and history in Amsterdam and Berlin. He is a choreographer that creates, researches and illustrates an African-American male who responds to a white supremacist system. In addition, he has done outreach with Threads Dance project, at Wise Charter School teaching the Lester Horton technique. Also, he has taught modern dance at the Burn The Floor dance intensive in Dickinson, North Dakota. Orlando Hunter’s solo “Mutiny” was selected to represent the University of Minnesota at the 2011 American College Dance Festival dance gala. He was also invited to dance at the 2010-11 LGBT national conference called “Creating Change” in Minneapolis Minnesota. Orlando was a 2015-16 Dancing While Black Fellow.