April 21st
FILM WORKS
FILM WORKS is a three-part screening series celebrating films and videos by (mostly) local, dance/performance artists experimenting with movement, sound and the body.
Curated with Keila Cordova, we invite you to join us this Spring 2024 as we gather to engage in an interactive creative exchange.
FILM WORKS is a part of the LSDC and Art Room Studio mission. Art Room Studio is a creative branch of LSDC, acting as a home to a vibrant community of artists in Philadelphia dedicated to making, supporting and sharing creative practice, research and performance.
suggested donation: $5 - $50
pay at door : cash or Paypal - no one turned away for lack of funds.
Accessibility:
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Please wear a mask!
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The Art Room Studio is in a building with a 4-step stoop.
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The basement is down 3 small flights of stairs with a total of 20 steps.
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There is no elevator.
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There is a single stall gender neutral bathroom in the basement of the building.
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If you are taking public transportation, the studio is close to the 57 bus route, and about a 20 minute walk from the BSL Snyder stop.
April 21st
This is a series of rebounds: coming together and apart and pushing to support, in play, anger, and affection. Witnessing and feeling seen are magnified through mediation. Watch what happens when the up-close and intimate gets big.
Saskia Globig and Michael Ipsen perform together for live audiences and for film. They have collaborated on installations, publication design, and curation for projects at the Pennsylvania Academy of Fine Arts, the Icebox, AUTOMAT Gallery, and HOT BED Micro Gallery in Philadelphia, as well as at Artspace New Haven. Globig has learned movement from Peggy Peloquin, Leslie Partridge-Sachs, Kathy Wildberger, and members of the Graham and Batsheva dance companies. In Philadelphia, she was in residence at Headlong Performance Institute in 2019 and has taught and performed at MAAS, Fidget Space, the Bok Building, and the Washington Avenue Pier. She continues to explore a multidisciplinary practice of site-specific movement, video, and print design as an MFA candidate at the Yale School of Art. Ipsen’s background is in theater and documentary filmmaking. He has performed at the Glove in Brooklyn and the University of Pennsylvania’s Institute for Contemporary Art, and currently works as a photographer at the Yale Center for British Art. Together, their work plays at the crossroads of poetry, sensory experience, and broadcast media.
Full Credits:
Saskia Globig, choreographer, dancer, videographer, and video editor
Michael Ipsen, dancer and videographer
Kevin Frech of Logical Chaos, external videographer
The Road is Long:
Six dancers explore the slipperiness of connection, to themselves and to each other, shifting and snapping between locations.
Ella-Gabe Mason:
An artmaker, educator and bodyworker, they combine rigorous academic research with lived experience, words with dance, brain with body, living in the tension between ways of knowing and methods of being. They have been granted residencies in Pittsburgh at Future Tenant and Pearlarts Studios and in Connecticut at the Dragon’s Egg. Their work has been presented in Pittsburgh at the New Hazlett Theater, Kelly-Strayhorn Theater, and Carnegie Stage; in NYC at WOW! Cafe Theater, BAAD!, and wild project; in Philadelphia at vox populi and the Cannonball Festival. Mason has received grants from the Heinz Endowments, PA Council on the Arts, and the Greater Pittsburgh Arts Council. As an MFA candidate at Temple University they received the competitive Thesis Completion Grant, the Vice Provost Student Research & Creativity Grant, the Dance Department Film Award, and the Sarah Hilsendager Innovation in Dance Education Award. Mason is currently an instructor at Temple University where they teach composition, improvisation, dance science and somatics, and research methods. In addition to their work as a creator and performer, Mason is a licensed massage therapist specializing in myofascial and trauma-sensitive bodywork.
Full Credits:
Ella-Gabriel Mason - Director, Choreographer, Assistant Editing
Nathaniel Lamont Gibson - Assistant Director, Editor, Sound Design, Camera
Eva Steinmetz - Assistant Director, Camera, Drone
Abby Waters - Camera
Babe Baldonado - Performer
Yuying Chen - Performer
Connor Cook - Performer
Malcolm Ellis - Performer
Emma Sue Ewing - Performer
Curtis Whitmire - Performer
And Eat It Too (I always do the dishes right on time):
The last time Bobalek, Bryck, and Hopfield were all in the studio together was in February 2020. They throught their rehearsals would be on pause for a couple of week. Instead, they grieved and waited. When they finally returned to the studio in August, it was like being let our for recess. They arrived with costumes and makeup, and just played. Seriously, collaboratively, continuously. And eat it too (I always do the dishes right on time) shares their joy in movement and togetherness.
Full Credits:
Kayla Bobalek
Julia Bryck
Maddie Hopfield
Kayla Bobalek, Julia Bryck, and Maddie Hopfield met in 2013 while studying dance at Bard College. They have collaborated on and off for many years, performing work in Philadelphia and New York. Kayla Bobalek graduated from Bard College in 2017 with a degree in Dance Composition. Post- college she moved to Philadelphia where she has held numerous positions including: barista, Teaching Artist in a Philadelphia public school, After School Director with After School Philly, and currently, Assistant Director of Urban Movement Arts. She has performed with Vince Johnson’s project Philly Kerplop, as well as co- choreographed and performed in 2 duets with Maddie Hopfield via a residency at Urban Movement Arts and as part of the Philadelphia Fringe Festival in 2019. Maddie Hopfield is a New York City-based dancer, performer, and taiko drummer. She has collaborated with Kayla Bobalek and Julia Bryck, and makes work with Marin Day under the name PEPTALK. She has performed with Barnett Cohen, Amelia Heintzelman, Paris Cullen & Sarah Zucchero, Lindsey Jennings, Maya Lee-Parritz, Amalia Colón-Nava, Leah Stein Dance Company, Philly Kerplop (Vince Johnson), Jillian Jeatton, Amalia Raye Wiatr Lewis, Lily Kind, Lillian Ransijn, and Concept Kinetics ("Cricket" / James Colter). Julia Bryck (she/her) is a performer, dancetheater maker, dramaturge, and chronic sentimentalist. After graduating from Bard College, she returned to Philadelphia in 2018 to attend Headlong Performance Institute and has lived in south philly ever since. Julia was one of the 2021-2022 GWYN (Get What You Need) performance support residency artists and is currently an artist in residence at Mascher Space Cooperative.
Office Best Practices:
The hinges are off the office the door. The ham is on the face. The donut has been dipped in the coffee, and the dildo dipped in the donut. Somewhere between a dance video and an industrial film, Office Best Practices is a work out, and an absurd study of deviant work-craft.
Circuitous Situationship was born when the inimitable performer, Crackhead Barney, thought Emmett was Rose’s husband at a show in which Rose shared her persona, Shelly Nut, and Emmett shared their persona, Yung&Bizzy. The two mingle their multitudes in this project for fun, for freaks, for family, forever.
Full Credits:
Rose Luardo, director/performer + Emmett
Wilson, choreographer/performer
Dancers:
Kim Barbetta
Desire Dabice
Camera:
Dan Angelucci
Geoffrey Nichols
Music:
Wolfgang Hanulec
"S'KIN to SKIN" was conceived of as a video response/continuation of S'KIN a site-specific work that premiered In Kent, CT at the Earl Mosley Institute of the Arts. In S'KIN I/we were playing with the idea of brothers of different races being family and how they need or don't need each other. In S'kin to SKIN we wanted to take some of the movement vocabulary, motifs and intention and put them outside - figuratively and literally.
Meredith Rainey began dancing at 15 in his hometown of Fort Lauderdale. In 1985, he became the first African American dancer of the Milwaukee Ballet. In 1987, he joined the newly formed Pennsylvania-Milwaukee Ballet, when the collaboration ended, he remained with the Pennsylvania Ballet for 17 years—much of that time as a soloist—until his retirement in 2006. Rainey has been the recipient of the Pennsylvania Council on the Arts Fellowship (1995 & 2002), Mid Atlantic Arts Foundation Artist as Catalyst Grant (2001), Independence Foundation Fellowship in the Arts (2002), a finalist for the Pew Fellowship in the Arts (2003), and a Pew Center for Arts and Heritage Grant (2010). He has been commissioned by the Royal Winnipeg Ballet, Pennsylvania Ballet, BalletX, Delaware Ballet, Hubbard Street 2, National Ballet De Cali, Danse4Nia Repertory Ensemble, and The University of the Arts, Drexel University, Stockton University, Georgian Court University, Goucher College, Swarthmore College, and Bryn Mawr College. In 2009, Rainey founded and directed Carbon Dance Theatre, a contemporary ballet company in Philadelphia. In 2014 he closed the company and now remains a sought-after independent choreographer, teacher, and mentor. In the fall of 2019, Rainey graduated with top honors as a member of the first cohort of candidates for the Master of Fine Arts in Dance from The University of the Arts.
Full Credits:
Alexander Diaz - cinematographer/editor
Daniel Moore - dancer
Jesse Obremski - dancer
Commissioned by Kelly Strayhorn Theater, SWITCH SIGNAL is a site-responsive film rooted in the technologies of imagination and mindfulness taught by Pittsburgh’s beloved Mister Rogers. The film was shot on location at Kelly Strayhorn Theater and throughout Pittsburgh with moments in The Hill District and at Carrie Furnace in June 2021. Conjuring the absent presence of community during the global pandemic, this work is about listening and includes movement, marches, choreographies, music, and rites as a love letter to Pittsburgh. Through performance we simultaneously mourn what we lose in our quest for growth, while embodying hope for the future. The viewer travels with us through city streets and Frick Park where we honor the earth by laboring with her. In the end, the camera rests on candles memorializing the Jewish lives lost at the Tree of Life synagogue. We pay our respects to Pittsburgh by heeding Mister Roger’s call for us to slow down and direct our attention. This project is made possible with support from The MAP Fund, Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, the National Performance Network’s Artist Engagement Fund, and the Frank-Ratchye Fund for Art @ the Frontier in the STUDIO for Creative Inquiry at Carnegie Mellon University.
Propelled Animals are: Esther Baker-Tarpaga (Philadelphia), Barber (Chicago), Heidi Wiren Bartlett (Pittsburgh), Raquel Monroe (Austin), Doc Courtney Jones (Boca Raton), Papa Djiga (Ouagadougou). Founded in 2014, Propelled Animals is a group of artists, dancers, scholars, musicians, and designers who embed innovative and provocative art in unconventional spaces. We are committed to creating work that interrogates, challenges, and ultimately attempts to dismantle the systemic "isms" of oppression. We adapt our projects and processes to address the specific needs of the communities we engage. Our performances encourage efficacy of the body, resilience, and radical tenderness as strategies for self-empowerment. Our work is centered on art as social action and ritual as performance. The Propelled Animals have presented work nationally and internationally including site-specific performances at: University of Iowa and Englert Theater (Iowa City, IA);
Full Credits:
PROPELLED ANIMALS
Performers:
Barber Esther Baker-Tarpaga
Heidi Wiren
Bartlett Courtney
“Doc” Jones
Raquel Monroe
Editors:
Barber Heidi
Wiren Bartlett
Shooting:
Trey Duplain
Stefano Ceccarelli
Sound Recordist: Ricardo iamuuri Robinson
Sound Engineer: Cody Walat
Light Design: Scott Weston
This project was made possible by generous support from Kelly Strayhorn Theater, MAP Fund Grant, NPN Artist Engagement Fund, NPN Storytelling Fund, Rivers of Steel Frick Park Hill District Community, Headlong Dance Theater
The Art Room Studio
May 11th
| community | noun: a feeling of interpersonal connection with others, as a result of sharing attitudes, interests, goals, or experiences. This film explores community and the movements of interpersonal connection.
Loren McFalls is a choreographer, performer, and teaching artist. Her dance training began in 1993 and continues indefinitely. She is most notably a member of the Drexel Dance Ensemble, co-founder of the femme. artists’ collective, and a board member with DanceATL. She currently teaches at Pointe of Grace, Atlanta Ballet, and is a live stream engineer for Core Dance. Her works have been featured in Philadelphia Fringe, DanceATL’s A.M. Collaborative Program, Spring for Spring & Fall for Fall Festivals, Zoetic Dance’s MIXTAPE, Full Radius Dance’s MAD Festival, Peace One Day, and Core Dance’s REEL Arts Series.
Full Credits:
by loren mcfalls
commissioned by core dance
collaborators
leah behm shea carponter-broderick danni clark meg gourley t’shauna henry jenna latham emma morris ryan plecha
director of photography christina massad editor
christina massad composer
dan carey bailey special thanks tyler knapp mr. shadow
copyright2023
Cistern; After Murakami; Inspired by the author’s surrealistic use of empty wells as a conduit between multiple realities, Cistern places the dancer in an empty stone reservoir. Later, in true Murakami style, she suddenly finds herself on a desolate rock formation by the sea. The dance is both an investigation of physical surfaces and a contemplation of the nature of space and time. The recorded passage of chronological time in the dark cistern seems to pass very slowly, even though there is little of it. On the beach, where most of the action takes place, the sense of time is condensed because of the relative sense of freedom. The dancer explores the cistern’s contours, she has a dance with her shadow, the floors, and the walls, but she makes no attempt to leave. She just happens to find a spot on the wall that leads elsewhere. Like one of Murakami’s characters, she is in the cistern by choice, passively awaiting the adventure that will find her if she remains open to the possibility.
Christy Walsh started her performance career as a child, singing, acting and dancing with her grandmother, Alice Wamsley, in Wamsley’s musical theater company, Norfolk Musical Theater. Walsh went on to study with Gene Hammett, Glenn White, Susan Boree and others at the Tidewater Ballet in Norfolk, Virginia, where she also graduated from the Governor’s Magnet School. This led to an itinerant career with regional ballet companies: Virginia Ballet Theater, Pennsylvania Ballet, Richmond Ballet, and others; independent choreographers: Elbert Watson, Beverly Cordova Duane, and others, and even event performances at Heartbreak Cafe in Virginia Beach - all while concurrently studying photography at Tidewater Community College and Rochester Institute of Technology, finally graduating from Virginia Commonwealth University with a BFA in Communication Arts and Design. She continued to perform for her grandmother whenever she could and started choreographing under the mentorship of Theresa and Anna Maria Martinez at Virginia Beach Ballet Academy. It was in Richmond that Walsh first presented choreography independently and made her first dance films. While she would continue to dance in other choreographers’ work, her focus shifted to making her own art. Part of that art-making involves two-dimensional work on paper and canvas, as well as three-dimensional work that takes the shape of sculpture and costume. She developed these skills in college, and it was during this time that she first began to show photographs, drawings and collages in group shows and galleries in the Hampton Roads area. The development of this work fed into her dance video projects, which were featured in festivals. After university, Walsh participated in a “Dance for Camera” residency at MASS Moca, the CUNY Dance Initiative, and a number of other artist residencies in New York, Virginia and Texas. She settled in New York and in 2001 started stringdance+media, under the banner of which she created a large repertoire of dances and produced many dance videos. Walsh’s works for the theater include evening length pieces: “Stories of the Sun God”, at Green Space in Queens; “Luminitza” at multiple venues in San Antonio, TX; Για σε το Ροδο, Ροδο μου at Katrominas Theodorakis Theater in Chios, Greece. She has also produced site-specific works like “As Much As Things Change” for FIGMENT, “The Friend and the Enemy Are In the Mirror” for Chashama, in addition to collaborative efforts such as “Carving the Curve” at the Sculptors’ Dominion in San Antonio, TX. Many shorter works have been presented in a wide range of venues, from choreographic showcases to arts festivals in the US, Greece and Korea. Her video art and photographs have been shown in group shows in New Jersey, New York, Texas, and Virginia as well as in Greece and Spain. Walsh’s award-winning films and videos have been screened in festivals in an expanding list of countries that includes: China, Columbia, Cyprus, Denmark, France, Greece, India, Indonesia, Israel, Italy, Paraguay, Portugal, South Africa, Spain, Sweden, Romania, Russia and the US. “Schemes Ripening In The Midday Sun”, an exhibition of drawings and video, was accompanied by a short performance at Scarsdale Library, in Scarsdale, NY, in April 2023. Walsh received a grant from Arts Westchester for the show. Her multimedia show “The Lost Colony of the Argonauts” is in development and is the recipient of a 2024 NYSCA grant.
Full Credits:
Spyros Stefanou, Producer and videographer
Cognatus on the larger scale investigates ecofeminism and the patriarchal mechanisms that assimilate women and nature. Both often devalued and exploited, seeking elevation and liberation, the relationship between them is a rhizome of interconnections. Radical ecofeminism celebrates the relationship between women and nature through the revival of ancient rituals, creating a source of inspiration and empowerment. For socialist ecofeminism, environmental problems are rooted in the rise of capitalist patriarchy and the ideology that the Earth and nature can be exploited for human process through technology. Movement motifs and systems based on this research are created in collaboration with the dancers. Fishel uses history and theory, combined with text and poetry to weave movements that explore ideas of womanhood, cyclical patterns of nature and violence, migration, resistance, and identities in bloom. We invite audience members to dive deeper into community connection and empathy towards both women and our Mother Earth- through reflection, conversation, and action.
Britt Whitmoyer Fishel is an award-winning choreographer, screendance maker, educator, author, and scholar. Her work examines relationships between the ephemeral nature of live performance and the permanence of dance in the digital sphere, with a research focus on the rhizomes of feminism, gender gap, access, and community. Fishel is the leader and Artistic Director of Britt Fishel and Artists, a collaborative, contemporary dance company in Philadelphia. In addition, she is the director and curator of Opine Dance Film Festival, an annual, international screendance festival in its 9th season. She holds a BFA in Dance Performance from East Carolina University and a MFA in Dance and Screendance from the University of Michigan. Fishel has led company tours throughout New York City, Philadelphia, D.C., Richmond, Asheville, Charlotte, Atlanta, Chicago, London, Italy, and France. Her screen work has been seen in Greensboro Dance Film Festival, Y’allywood Film Festival, Detroit Dance City Festival, EnCore Dance on Film Festival, DanceBARN, Dance for Reel, FilmFest by Rogue Dancer, Women in Dance Leadership Conference, FringeArts, MashUp Dance's IWD Festival, FlorenceDanceOnScreen, well as several gallery exhibitions across the country. In 2021, Fishel and BF and Artists received the “Lorenzo il Magnifico" International Award for Performance from the Florence Biennale and in 2022 she authored The Screendance Practitioner's Workbook: A Pre-Production Guide for Creativity and Organization. Fishel has presented research at Dance Studies Association's Annual Conferences and currently sits as Co-Chair of DSA's Dance and Technology Working Group.
Full Credits:
Film by Britt Whitmoyer Fishel
Choreography by Britt Whitmoyer Fishel in collaboration with the artists
Original Score by James Reindeer
Performance by Teigha Beth Bailey
Elizabeth Cousar
Noëlle Davé
Lexi DiFilippo
and Lydia Patselas
Clarity and obfuscation, entropy and order- explored through movement, music, video and film. The Sound of Sinking Ships is a dance improvisation documented in film, video, and animation. This video highlights movement itself as the figure flows through mediums, styles and levels of obfuscation and abstraction- including video, degraded 16mm and 8mm film and hand drawn animation.
Oona Taper is a Chicago-based artist creating films, installations and animations that are invested in the materiality of moving images to create tactile and embodied experiences for the viewer.
Full Credits:
Oona Taper
Ellen K. Foster- Movement
Street Rat - Sound
Penumbra is an embodied exploration of integrating the shadow self using archetypes in astrology and tarot. Important archetypes used for movement generation were the dance artist's Cancer Sun sign and the Four of Swords card that was pulled multiple times throughout the creative process.
Amber Hongsermeier is a neurodivergent and interdisciplinary movement artist, educator, and dance filmmaker. She received her BA in Dance with a history minor from the University of Nebraska at Lincoln, where she was awarded the Porter Award for Creativity in Dance. In 2021, she earned her MFA in Dance from Rutgers University with her thesis focused on finding embodiment by exploring archetypes in astrology and tarot. Also, in 2021, she completed her 200-hour yoga teacher training. Her varied educational and performance background consists of commercial, concert, and vernacular dance forms, which gives a nuanced understanding of aesthetics and the high-brow and low-brow narratives built around these forms. She has performed works by Kayvon Pourazar, Blanca Huertas-Agnew, Jody Sperling, Pavel Zustiak, and Jessica Bostock. Her work for stage and film has been shown in Nebraska, Iowa, Washington, Pennsylvania, New Jersey, and Japan. Often, her creative research uses frameworks from cultural anthropology, Jungian psychology, religious studies, and somatics to examine Western society, especially concerning the body, spirituality, and movement. Currently, she resides in South Jersey/Philadelphia, where she works as a full-time dance professional and part-time tarot reader.
Full Credits:
Amber Hongsermeier
Nova Teeling
Virtual - on Zoom
May 18th
"Dis Place: Paper Edition" investigates our national legacy of deisplacement under the banner of "urban renewal." Rooted in interviews with displaced individuals and housing activists, the work interogates power strucutres and policies that have displaced generations of US residents and surfaces solutions to our national housing crisis.
Aviva Geismar is a New York City-based dancer, dance educator, choreographer and artistic director of Drastic Action, a contemporary dance company. She is also an Associate Professor at Queensborough Community College. Since 1989 she has been creating a body of theatrical dances, rooted in a full-bodied physicality and an interest in social justice. Her dances have been performed in many prominent venues throughout the US and Germany including the Millenium Stage at The Kennedy Center, Inside/Out at Jacob’s Pillow, Dance Theater Workshop, the Philadelphia Fringe Festival and Haus der Berliner Festspiele. From from 2006-2010 she led Dancing to Connect,” an intercultural performance and education project, developed in collaboration with Battery Dance company which brought Drastic Action to numerous cities across Germany. In 2016 “Dis/Location (Fort Tryon)” explored the immigrant experience in Washington Heights through creation of a site-specific piece and creative dance workshops at a local school.
Full Credits:
Aviva Geismar - Director, Choreographer, Video Editor
Heather Huggins - co-director
Kirk German co-director
Peter W. Richards - videographer
Kendra J. Bostock - collaborating performer
Clement Mensah - collaborating performer
When are you safe? Where are you safe? "Everyday" explores the lived experiences of walking alone in a myriad of places circumstances, real and imagined.
Megan Mizanty, Audren Harden and Lillian Stamey are artists based in the tri-state region.
Full Credits:
Megan Mizanty - Dance/Choreographer/Producer
Audrey Harden: Dancer/Choreographer/Director
Lillian Stamey: Dancer/Choreographer/Director
It's hard to be a colonizer. Constant anxiety, nervous breakdowns. Nature dying and stuff...
Irina Varina makes movies and theater. She moonlights as the Minister of Loneliness on the streets of New York and Philly collecting people's loneliness claims.
Full Credits:
performers:
Andrea Clinton
Constance Cooper
Irina Varina
music and vocals: Constance Cooper
camera: Karl Clinton
director/editor: Irina Varina.
Red Shadow is an impermanent body duet shifting constantly through past and present. Official selection of the 2022 Impro Dance Festival, curated in collaboration with Dance Camera Istanbul.
Leslie Bush is a Philadelphia based interdisciplinary artist working with dance and media. Fascinated by discrete/discreet movements, her improvisational practice exists in the in-between, the unstable, and the hard to describe. Her creative process amplifies the subtle body, often through technological mediation. Her ongoing solo project Clearly or Darkly has been presented in both Philadelphia and New York City. Leslie’s most recent production was Exo-skin-esphere, an experimental dance created in collaboration with Rowan University dance and theater students, and robotics engineering faculty and graduate students. She was awarded an Illuminate the Arts Grant in 2021 and 2022 by the Philadelphia Office of Arts, Culture, and the Creative Economy for her contributions to the field. She received her MFA in dance from Temple University in 2017. Leslie is currently a member of Rowan University’s Department of Theater and Dance.
Concept, performance, filming and editing, and sound design by Leslie Bush
In the summer of 2021, the Company of Collaborative Artists made the commitment to continue to bring dance art to people despite the global shutdown and closing of theaters and traditional performance spaces for dance. We elected to bring our creative process and performances outdoors and into public spaces, making dance art accessible to new and unsuspecting audiences. Our intention was to meet people where they were and create immersive artistic experiences that enhanced or awakened their day. This film work was created in residency at Stockton University and recorded in one-take on the boardwalk in front of their Atlantic City campus residence hall. [Music: "Ahya Simone Enough No BPM" by Kelela (the remixes) "Waking up in Assam" by Dan Savell]
Camille Rennie (MFA, Rutgers University) is a freelance choreographer and dance artist from New Jersey who serves her community as a choreographer, a university professor in dance and somatics, a wellness practitioner, and a certified yoga instructor (RYT 200-hour). She currently presents her choreography, movement practices, and artistic collaborations through the artwork & immersive events of her dance company, the Company of Collaborative Artists; a 501c3 nonprofit dance company with a mission to spread love and light internationally through dance arts and creative community. We strive to energize, express, and elevate our collective human experience by illuminating the beauty, power, and consciousness of the embodied creative. www.cocamoves.com | https://linktr.ee/cocamoves
Full Credits:
Camille Rennie, Choreography and Film
Aaron Lewis, Dancer
Damani Van Rensalier, Dancer
José Lapaz Rodríguez, Dancer
William Issac Bridges, Photography
The Art Room Studio
