ARTISTS

ARTISTS

This page is currently under construction. No information is final at this time (last edited 2/6/18 11pm )

BRITTANY PATTERSON & KHALISA RAE

'THE INVISIBILITY PROJECT'

Friday, March 23, 8:30pm
CFCC Union Station Theater
free/donations encouraged
Tickets: at the door

"The Invisibility Project" is an exploration of how current residents of Wilmington, NC see and experience each other when interacting across race lines in the wake of the Coup d'etat of 1898.

more info

Choreography: Brittany Patterson in collaboration with the dancers.

Poetry and sound: Khalisa Rae Williams

Dancers: Cedric Turner, Qaadir Hicks, Kylah Thorpe, Amanda Cordova, McCall White, Brittany Patterson

>>> more about 'The Invisibility Project':
The piece will take place at Riverfront park in downtown Wilmington. The choreography relates to the historical significance of the river throughout the piece. The Cape Fear River is the unofficial burial ground of many victims of the Coup d'état of 1898 and this piece is in part about the current population of Wilmington contending with this shameful history. The accompaniment for the dance is a combination of narration, music, and original poetry performed by a local poet. The audience will be seated or standing within Riverfront park (so as not to block water St) and/or seated on the steps of the federal building if needed and plausible. Therefore the audience is facing the river and the dance occurs in front of the river.

Since all participants in the project are local and the Riverfront is open to the public rehearsals in the space will occur several times throughout the month of August for spacing concerns.

>>> Biography:
Brittany Patterson has been dancing since the age of 5 and began choreographing as a teenager. She danced as an apprentice for Demetrius Klein Dance Company in Lake Worth, FL and has presented her own work in New York, NY in conjunction with DKDC. Brittany studied dance at SUNY Purchase for two years before changing career paths. Brittany has a BA in Literature from SUNY Purchase and a Masters in Social Work from Simmons College. She moved to Wilmington in May, 2011 from Boston, MA and has enjoyed reentering the dance scene in Wilmington with performances and choreography in North Carolina Dance Festival tours, Dance-a-Lorus, Wilmington Dance Festival, and SARUS festival since 2012.

Biography>>>:
Kelly Rae believes that starting Poet.she Performing Arts is truly her greatest achievement. Her work with Poet.she has led to countless awards and recognition for her writing. Kelly Rae's published her first book in 2012, Real Girls Have Real Problems. Her recent work has been seen in Requiem Magazine, Dirty Chai, Tishman Review, Obsidian Magazine, She is a finalist in the Furious Flower Gwendolyn Brooks Prize, she was recently selected as a winner of the Fem Lit Magazine Contest, and was a winner of the online Voicemail Poetry contest. Her work hangs in the Cameron Arts Museum exhibit, She Tells a Story. She a staff-editor of the QU Lit Mag is a recent graduate of the Queens University MFA low-residency program in Charlotte NC. She currently submitting her full length poetry book and thesis project, entitled Outside the Canon: Poetry as Protest for publication. She is the newest writer for Cape Fear Living Magazine.

>>> Artist Statement Brittany Patterson:
I always create from a deep psychological place. I am often inspired by my experiences in my work as a clinical social worker and so I focus on intimate relational issues as well as social action challenges with my choreography. My intent in every project is to affect the audience in some way; to cause them to think or feel differently than when they arrived. This project is no different. "The Invisibility Project" started with a screening of Chris Everett's film "Wilmington on Fire" which sent me on a journey of exploration of the history of racism and its legacy in the Port City. I was most interested in exploring how these historical events shape our race relations now, how the horrors of 1898 still affect how we interact with each other across race lines in Wilmington, NC. It explores the thoughts and feelings that arise between people when they are faced with interacting with someone of a different race: bringing to light through movement the invisible processes that occur in these relationships. The creative process has been focused on both building the finished product and on forging new paths of authenticity in race relations within the cast. In some sense the cast of "The Invisibility Project" has been used as a microcosm of the greater community and my hope is that this project will jump start many more deep, authentic, and important conversations about the nature of race relations in Wilmington, NC

>>> Artist statement Khalisa Rae:
Outside the Canon is my thesis project and full-length manuscript. I entitled it Outside the Canon because for so long women of color, their stories, their truth,and their beauty have been silenced and pushed to the margins of the canon. In my experience as an academic and a writer, often times my narrative is not accepted in the literary canon. My stories, my jargon, my paid is not socially acceptable. Audrey Lorde says, “Poetry is not only a dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change, a bridge across our fears of what has never been before.” Poetry, indeed, has always been one of humanity’s sharpest tools for puncturing the shrink-wrap of silence and oppression, and although it may appear to be galaxies apart from science, these two channels of truth have something essential in common: nature, the raw material for both. The intent of Poetry of Protest is to expose the sheer power that poetry and the written word has to be an agent for change and shift. Shifting not only the political climate, but stigmas about what is taboo and what is appropriate. Poetry has the potential to change common misconceptions about people of color, queer people, transpeople and more. My hope is that through the workshop and through my thesis, the lens in which we view the world will be expanded.

BREANNE HORNE

'MARGE'

Thursday, March 22nd 5pm at Wabi Sabi Warehouse
Saturday, March 24th at 9:30pm at Jengo's Playhouse
Sunday, March 25th at 12pm at Athenian Press

Price: donations encouraged
Tickets: at the door

"Marge" is commentary on the process patriarchal society has presented women, how we are to be seen as strong, and where we are along that process in our society's consciousness. It celebrates the fragility and durability of women. Artistically the work explores suspended climax and immaculate retrograde.

The subject matter explores the dark path women have trudged along throughout history to come to the precipice where we currently reside and asks society, "Will you let us keep going, or will you put us back where we started?"

>>> credits
Choreography, sound design, props, costuming, actor:
Breanne Horne

Poetry: Marge Piercy's "For strong women"

Musical clips: " Boris Godunov" by Modest Mussorgsky

>>> biography:
Breanne is first and foremost a person, living in this crazy world with a LOT of other persons. She is interested in the intersections and commonalities of all of these people zipping around from do-this to do-dad. Artistic expression makes sense to communicate these observations, and she occasionally pulls some stuff together that feels like a complete thought or feeling in a form that is occasionally aesthetically accessible. In her time not arting she is a student, civil servant, educator, and canine enthusiast.

Artist Statement>>>:
I attempt to use modern dance and performance art to conjure conversations about the human condition. The goal for my artistic work is to provide art and art education across socioeconomic boundaries so that each person's culture and history has a chance to strengthen the foundation of our community that will proceed in a direction of growth of character.

links>>>:
https://www.youtube.com/watch?v=ejqVVbtk7gM&list=UUHEq_MfEi8AWCQ00a7cxgfA&index=7

'VR - WAITING POOLS'

Time: Saturday, March 24th
12:30-1:30pm
Location: Cameron Art Museum
Price: tba
Tickets: at the door

Slow Ear Ensemble is collaborating with Breanne Horne, Karola Luettringhaus (CA), Rachael Crawford Goolsby, Lena Rose Polzonetti (CA) on a live and virtual experimental dance and sound performance that takes place simultaneously in California and at the Cameron Art Museum.

DANIEL BEAR DAVIS

danielbeardavis.com

'SIMPLETON'S THAW'

Saturday, March 24, 2:30m
Cameron Art Museum
Price: tbd
Tickets: at the door

One body navigating information overload in an age of sensationalist media saturation - with clowning, butoh, trauma theory... and polar bears! This interactive interdisciplinary solo takes influences of butoh, clowning, and contemporary dance to explore the collective freeze response. From lectures on traumatic activation to a twerking tutorial.

A steady media assault of violence and horror has many people operating from a frozen state of hopelessness. How do our bodies freeze and thaw? How do we turn pain and sorrow to humor? Find beauty in the darkness? This piece is the result of Daniel’s explorations of clown and butoh and their various methods of bringing light to darkness.

>>> credits
Created and performed by Daniel Bear Davis

>>> biography:
Daniel Bear Davis is an interdisciplinary performer and movement educator. He has a creative practice driven by awe and wonder for humanity and curiosity and respect for the more-than-human world. He has taught Composition, Contact Improvisation, and Axis Syllabus internationally in Europe, the Middle East, Asia, and throughout North America. His performance work has been presented at Performaticá (Mexico), the Imagining Bodies Symposium (Estonia), Dancing in Place Festival (Malaysia), Half Machine/ Live Art Installations (Denmark).

Daniel’s recent work focuses on creating new communities through collaboration with marginalized populations engaging with personal story. He has worked with veterans and non-veterans in collaboration with Krista DeNio and EchoTheaterSuitcase project, and with inmates in San Quentin with Amie Dowling and The Artistic Ensemble. His most recent work explored intersections between the experiences of his students at St. Mary’s College of Maryland and the experiences of oppression expressed in interviews he conducted with Palestinians in the West Bank.

Daniel has been blessed with opportunities to perform with Nita Little, Nancy Stark Smith, Guillermo Gomez Peña, Live Art Installations, Felix Ruckert, Kira Kirsch, Erika Tsimbrovsky, Scott Wells, Caro Novella, and many other inspiring body/minds.

>>> Artist statement:
I have a creative practice driven by wonder for humanity and curiosity and respect for the more-than- human world. My work prioritizes content over genre, weaving dance, text, video, music and new media into a total theater experience. I have performed in theaters, on submarines, desert rocks, construction scaffolding, and in art galleries.
I’ve made pieces about dementia, gender, war, heritage, identity. I care about image, awe, and beauty. In creating a wide and rich acceptance of what it is to be human.
I hold a commitment to dynamic physicality. In this sedentary age, we must continually be reminded of the amazing capacities of the human form. To see a body translating impulse, emotion, and image into action in time and space allows the audience to remember their own aliveness. Through physical prowess framed by lucid
content I aim to draw the audience into urgent or thoughtful interaction with the work.
I turn to dance and image-based performance work in an attempt to subvert the cognitive narrative and engage direct conversation with the cells and psyche. I am not interested in making statements. I don’t have any answers. I ask questions, open doors, hold mirrors. I seek to complicate, exacerbate, and occasionally offer balm.
Simpleton’s Thaw, like all of my work, arises out of my drive to better
understand myself, humans, and the changing world we live in. To understand where the animals of our bodies interact with the media barrage that crowds our perceptions.
My recent study of Somatic Experiencing has led to on-going inquiry into the workings of the nervous system and how those understandings interface with the intelligence intrinsic in many performance forms and pedagogies. Simpleton’s Thaw began as an exploration of clown and butoh dance and the different ways they offer me resilience
when dealing with dark content. The creative research brought me through labyrinthine terrain necessarily as complex and interwoven as the neuronal web of association and meaning-making we all construct to navigate the world.

more links>>>

Vimeo Main Page: https://vimeo.com/user34559374

danielbeardavis.com

'A DOG SONG FOR CAGED BIRDS'

Sunday, March 25th, 5:45pm Wabi Sabi Warehouse
Price: various
Tickets: at the door

This piece explores the privileges and inhibition of movement. It is inspired by the humans I have met recently - from Palestine, the Ukraine, and elsewhere - who follow their passions in the midst of social and political contexts that seek to contain, control, or disappear them. This piece is a tribute to human perseverance in the midst of immense struggle.

>>> credits
Choreography, performance and sound score by Daniel Bear Davis (USA)

Additional Text by Summar Taha, Hala Sweidan, and Yousef Aref Sbeih

Double Bass Music by Andy Benz - Tree Dub from Flowing in Circles

>>> Artist statement:
I have a creative practice driven by wonder for humanity and curiosity and respect for the more-than-human world. My work prioritizes content over genre, weaving dance, text, video, music and new media into a total theater experience. I have performed in theaters, on submarines, desert rocks, construction scaffolding, and in art galleries. I’ve made pieces about dementia, gender, war, heritage, identity. I care about image, awe, and beauty. In creating a wide and rich acceptance of what it is to be human.
I hold a commitment to dynamic physicality. In this sedentary age, we must continually be reminded of the amazing capacities of the human form. To see a body translating impulse, emotion, and image into action in time and space allows the audience to remember their own aliveness. Through physical prowess framed by lucid content I aim to draw the audience into urgent or thoughtful interaction with the work.
I turn to dance and image-based performance work in an attempt to subvert the cognitive narrative and engage direct conversation with the cells and psyche. I am not interested in making statements. I don’t have any answers. I ask questions, open doors, hold mirrors. I seek to complicate, exacerbate, and occasionally offer balm.
RE.PRE.SENT seeks to engage my own distraction by facing networks that promise intimacy while moving me deeper into isolation. Through screens and technologies my attention continuously leaks into the infosphere. Screens reflect, project, and hide my identity at every turn. Digital doppelgängers seek steady approval through documented reproduction of my experience. Social media creates a constant platform for the performance of myself. At any moment I can interact with people around the world. And I’ve never felt so alone. This piece is my attempt to wrestle with my own isolation.
This SARUS installation is also being used as research towards the development of an evening length performance.

more links>>>

Vimeo Main Page: https://vimeo.com/user34559374

RYAN O'DOUD

www.commodityfetishrecords.com

Bitter Inc.

Thursday, March 22, 5pm, @ Wabi Sabi Warehouse
Saturday, march 24th, 9:30pm @ Jengo's Playhouse
Sunday, march 25th, 8pm @ Bottega
Price: free/donations encouraged

Bitter, Inc. is an opera in 9 parts. Each album unfolds a story told in archetypes set to a backround of current events. Hermetic principles guide a psychological journey, as metaphor ...

... for an overarching story related to political and religious events not yet manifested.

God-Emperor Ryan O'Doud; Sound engineering/programming, lyrics, videography, Synthesis, visual &design editor, program facilitator.

JC MEYERS; Live sound manipulation, religious presentation, performance art, synthesis.

Chung Groar; Live performance art, body work, theater.

The God-Emperor is a manifestation of American consumer capitalism in conjunction with ancient mystery school ideas of alchemical self-transformation. He is a Pharaoh, a prophet, and a salesman In short, the apotheosis of perfect American manhood. JC Meyers is the Messiah, the sole leader of the Order of Celestial Integration, the master of all selves, the No master above all masters. He/they/she is the living embodiment of perfected religion and revolution. Bitter, Inc. is the vehicle through which they make profits and indoctrinate the masses, respectively.

more details

If you can imagine Industrial, Punk, Prog, Harsh Noise, Jazz-Fusion, Avant-Garde, and Pop music thrown together into 2-5 minute song formats with theater, BDSM, video, performance art and live audience interaction you still couldn’t be prepared for our opera.

Bitter, Inc. is a multimedia presentation built around a 9 part opera composed from electronic music. Our live performance features synthesizer music, noise, avant-garde sound, live digital sound manipulation, performance art, video, and the creation of a temporary "stage installation."The audience is generally in front of us as we perform, but Chung will often move through the audience as well. We encourage the audience to participate in the performance art act which can include anything as simple as singing along to unconventional acts such as stapling money to Chung's body. We will most likely hand members of the audience "commodity fetish bank notes," rewarding them financially for behaving. We also give the audience receipts.We often build a barrier between ourselves and the audience that we forbid them to break or move through. We conduct pseudo-religious allegorical ceremonies, hermetic rituals, live corporate seminars and other theatrical performances during our set.This is all in addition to the main portion of our set which is essentially electro-industrial song writing and live performance.

www.bitterinc.bandcamp.com
www.facebook.com/BitterInc/facebook.com/bitterinc

LUIS ADORNO

wakinglifenc.bandcamp.com

'The Waking Life / Inference Engine'

Thursday, March 22, 5pm, Wabi Sabi Warehouse
Saturday, march 24th, 9:30pm Jengo's Playhouse
Sunday, March 25th, time tbd, Bottega
Price: free/donations encouraged

Musical performance. 'The Waking Life' is the creation of Wilmington based multi instrumentalist and visual artist Luis Adorno. Drawing inspiration from multiple styles and genres to create sprawling instrumental pieces. Inference Engine is an extension of this project but incorporates ensemble groups of ever changing artists performing improvised durational musical performances and sound installations.

>>> credits
Luis Adorno- musician, producer, band leader, visual artist
Various artists - tbd

>>> biography
The Waking Life is a Wilmington, NC based experimental music project created by Luis Adorno in 2014 after some previous musical projects had dissolved. Since then The Waking Life has evolved to become a full on one man show mixing visual art, composition, noise music, synthesized sound and performance art. The Waking Life has recorded and released albums prolifically while also playing shows and festivals in various locations on the East Coast including SARUS Festivals 2016 event.

SLOW EAR ENSEMBLE

website

'WAITING POOLS'

Time: Saturday, March 24th, 12:30pm
Location: Cameron Art Museum
Price: tba
Tickets: at the door

one sentence description

continue reading ABOUT 'WAITING POOLS'>>>

>>> SLOW EAR ENSEMBLE

Carl Kruger
Allison Parker
Phil Zampino
Sean Hart

Dancers: Breanne Horne, Rachael Goolsby
Virtual dancers: Karola Luettringhaus, Lena Rose Polzonetti

Slow Ear Ensemble is collaborating with Breanne Horne, Karola Luettringhaus (CA), Rachael Crawford Goolsby, Lena Rose Polzonetti (CA) on a live and virtual dance and experimental sound performance that takes place simultaneously in California and at the Cameron Art Museum.

>>> more information coming soon

>>>

GREY PASCAL

website

'NEW VENICE'

Time: Saturday, March 24th, 2018 opening
exhibition runs through September 7, 2018
10-5pm installation
4-4:45pm Q&A, tour
Location: CAM outdoors
Price: tba
Tickets: at the door

In the spirit of postminimalism, “New Venice” petitions society to reject ecocide and to establish technological harmony. Boxes, each representing a single decision, were collected over years to construct floating skyscrapers. Identical bases symbolize uniformity as humans; varied heights celebrate individual diversity. Together, these forms illustrate the cumulative effect of small actions and the potential to generate monumental change.

>>>
Sculpture concept, construction by Grey Pascal
Photo by Grey Pascal

>>> Biography:
Grey Pascal’s conceptual installations use deliberate and monomaniacal repetition of recycled objects collected over years and numbering in the thousands. His work is driven by materials, philosophy, and dreams. He sketches with words—writing is how he develops an idea. He frequently pairs visual art with performances, seeking to minimize the barrier between artist and spectator. His live-in studio is located in Burgaw, NC where he is creating an outdoor gallery space.

RACHAEL CRAWFORD GOOLSBY

http://www.rachaelgoolsby.com/

'TRIPQUATICA'

Time: Saturday, March 24th
1:45pm
Location: Cameron Art Museum
Price: tba
Tickets: at the door

Tripquatica reminds us our connection to Water. In 3 parts the dancers become the ocean, spawning frogs, and finally mermaids. This magical piece stirs the mysterious flow of life.

>>> Credits
Choreography: originally performed 2011
Choreographers: Rachael Crawford Goolsby + Suzanne Palmer
Costume Design: Rachael Crawford Goolsby
Sound: tba
Performers: tba

>>>
The Spring Equinox, or equal night (to day) reminds us the balance of light and dark. Water in essence is still. Other forces propel water into movement. Water wants to collect itself and be conjoined to more of itself. Take a droplet of water for instance, nearby another droplet. They will magnetically pull toward each other until they are one larger drop. Thousands of them form a puddle. Water conforms its shape to fill any container that surrounds it. Water is a leveler, and is still used as such to make buildings balance. The equinoxes resemble water in this way of seeking balance. Now is the time to take what is inside out, and bring what is outside in. It is a time to see if your life equates with your heart's desires. This a great time to make & observe art, organize oneself, get rid of excessive baggage, and plant new seeds. The Spring Equinox is a time to reinspire yourself.

>>> Biography
Rachael Crawford Goolsby is a mother, wife, dancer, choreographer, sister, yoga teacher, massage therapist and textile artist. She earned her degree in Dance + Choreography from VCU in 2002. She dances with The Dance Cooperative and Alban Elved. This is Rachael's 5th Sarus Festival. You can find her at rachaelgoolsby.com + @rachaelmove on Insta + Rachael Goolsby Yoga on FB.

Artist Statement>>>
I make art because I am human. We are each innately creative. In Tantric Hindu philosophy it said that She (meaning the divine) is self-organizing. Life is messy, like art. Through work: awareness, attention, love + time, spontaneous organization arises.

youtube video

'VR - WAITING POOLS'

Time: Saturday, March 24th
12:30-1:30pm
Location: Cameron Art Museum
Price: tba
Tickets: at the door

BONNIE MONTELEONE

video

'PLASTIC OCEAN PROJECT'

Thursday, March 22nd - Sunday, March 25th
5pm opening celebration
works are on display through Sunday, March 25th, 9-5 at Wabi Sabi Warehouse

Location: Wabi Sabi Warehouse
Price: free/donations encouraged
Tickets: at the door

Visual art and sculpture created from ocean plastic that her and fellow scientist collected.

>>> Credits

>>> Biography
Executive Director, Director of Science, Research and Academic Partnerships (Wilmington, NC)

As the Director of Science, Research and Academic Partnerships for Plastic Ocean Project, Inc. as well as the Executive Director, Bonnie Monteleone is a researcher who has collected plastic marine samples globally including four of the five main ocean gyres, the Caribbean, and has extended this work to Pyramid Lake, outside of Reno, Nevada. Monteleone completed her first field study exploration in the North Atlantic Gyre in July 2009 in collaboration with Maureen Conte, PhD. Woods Hole Oceanographic Institute and Bermuda Institute of Ocean Science (BIOS). In the fall of 2009, Monteleone accompanied Algalita Marine Research Foundation’s 10-year resampling of the North Pacific Gyre, quantifying the rate of plastic marine debris growth to the Great Pacific Garbage Patch, sampling a transect of 3,460 nautical miles (nm).

In 2010, she continued her North Atlantic study resampling the same region in the North Atlantic. In fall of 2010, she joined 5 Gyres Institute in a first ever South Atlantic transect sampling for pelagic marine debris traveling 4,270 nm from Brazil to South Africa. In 2012, Monteleone collected samples from the South Pacific as part of the film project, A Plastic Ocean. To date, she has five years of data sets from the North Atlantic. A total of 217 surface samples were collected from all four oceans. Monteleone collaborates with Charles Moore, founder of the Algalita Marine Research Foundation (AMRF), Dr. Marcus Eriksen and Anna Cummings, co-founders of 5 Gyres Institute, Dr. William J. Cooper, University of California Irvine (UCI), and Dr. Maureen Conte, BIOS. In 2012, Bonnie Monteleone and Paul Lorenzo co-founded the 501c3 Plastic Ocean Project, Inc.

Monteleone also works in the Chemistry Department at UNC Wilmington as an Administrative Assistant and Plastic Marine Debris Lab assistant working with student Directed Independent Studies (DIS) research. Research projects vary from fieldwork collecting beach samples to lab analysis looking at plastic leachates, persistent organic pollutants (POPs) uptakes, and plastic ingestion by marine organisms. She collaborates with Drs. Pamela Seaton, Brooks Avery, Susanne Brander, and Alison Taylor at UNCW.

Bonnie is also an accomplished artist, turning some of the plastic she collects on her voyages into modern artistic masterpieces. This work story boards her research and has become a traveling art exhibit - What goes around comes around.

KAROLA LUETTRINGHAUS

karolaluettringhaus.com

'VR'

Thursday, March 22nd, 5pm, Wabi Sabi Warehouse 'VR 1'
Saturday, March 24th, 12:30pm Cameron Art Museum 'VR WAITING POOLS'
Sunday, March 25th, 8pm, Bottega 'VR 2'

free, donations encouraged
Tickets: n/a

A screen will be set-up at various venues throughout the festival that connects Wilmington audiences with choreographers/dancers Lena Polzonetti and Karola Luettringhaus in California. Exploring space, reality, virtuality and long distance relationships.

continue reading ABOUT 'VR' >>>

>>> credits
Concept by Karola Luettringhaus

Performance/movement creation by Lena Polzonetti and Karola Luettringhaus

Coordination/collaboration/live performance by Breanne Horne, Rachael Goolsby

>>> Biography:
Karola Lüttringhaus was born and grew up in Berlin, Germany, where she founded ALBAN ELVED DANCE COMPANY in 1997 to form an outlet for her diverse artistic pursuits. Her interdisciplinary dance-theatre works are marked by a unique visceral and kinetic voice that traces the changeable electricity of thought and sensation that underlies human interaction and interpersonal relationships. For the past 15 years she has been the artistic director of ALBAN ELVED DANCE COMPANY, as well as working as a freelance choreographer and designer at theatres and universities across Europe and the US, including residencies at UN Las Vegas, Auburn University, Salem College, Wake Forest University and many others. Among others, she has performed and choreographed at the Prague Quadrennial, the T-Werk Potsdam, MoBe Berlin, the Landesbühnen Sachsen, Germany, Dance New Amsterdam NYC, The Snowy Range Dance Festival, The International Aerial Dance Festival, CO, Dock 11 Berlin. She is currently Artist in Residence at UNCW's Office of the Arts, creating a new work for all ages, which will premiere on July 27th). Karola founded thte SARUS Festival in 2007.

She holds a BFA in Dance and Choreography from the University of North Carolina School of the Arts and a MA/MFA in Scene and Costume Design and Scenography from the Technische Universität Berlin, Germany. She is currently attending the PhD program in Performance Studies at UC Davis. www.karolaluettringhaus.com

>>> Artist Statement>>>
I define myself through my creative work. It has been a tool for understanding and processing the world ever since I can remember.I grew up in Germany, in Berlin, a city and culture that was extremely enmeshed in a creative environment that understood art to be a catalyst for personal, and collective catharsis and growth. Art was a means to uncover, express, question, face, and discuss. This self revealing work, has been the foundation for my artistic inquiries ever since.

am a detail-oriented, athletic and philosophical choreographer. I am enchanted by visceral and fiercely kinetic expressions, by spaces that offer transformation, and by materials that resonate within the characters and the story. I love for intricately interwoven relationships and strong personalities to develop and merge with the environment, the lighting, the sound, and the costumes, into something intimately connected and meaningful. My work is 'extractive': I look for aspects of life that exist at deeper layers of our experience or the subconscious. I enjoy creating multi layered, complex explorations and psychological renderings of situations and relationships. My creative process includes research, improvisation, analysis and detailed choreography and fine-tuning in the studio. Intellect and instinct are at work in equal measure: an ongoing exchange between creativity and analysis. I avoid illustration. My work is eclectic and interdisciplinary.

'VR WAITING POOLS'

Time: Saturday, March 24th
12:30-1:30pm
Location: Cameron Art Museum
Price: tba
Tickets: at the door

SKYLAR DAWNA

vimeo

'Bipolar I'

Thursday, March 22nd, 5pm
Wabi Sabi Warehouse

Price: free/donations encouraged
Tickets: at the door

A haunting representation of what it is like to live with the conflicting forces of depression and anxiety.

>>> Credits
Every facet of the project was designed and executed by Skylar Dawna.

>>> Biography
Skylar Dawna is a published visual artist and model based in New York City/New Jersey specializing in fine art photography.

>>> artist Statement
I am an artist because I need to create in order to survive. I created Bipolar I directly after being diagnosed, as a sort of acceptance speech.

>>> Youtube link
https://www.youtube.com/watch?v=-jwLhUlYF9Y

AMY FITZGERALD

www.instagram.com/damiyana_art

'Damiyana'

Saturday, March 24th, 5pm, Cameron Art Museum
Saturday, March 24th, 9:30pm @ Jengo's Playhouse

Price: tbd/donations encouraged
Tickets: at the door

Damiyana is an interactive music and design experience featuring earth-inspired melodies, recorded sounds from nature, and an assortment of atmospheric accents both within the music and aesthetic environment.

>>> Credits
Amy Fitzgerald - Vocals, Guitar, Woodrow, Percussion, Hat Design
Laura Gardea - Vocal harmonies, percussion accents
Annie Gladden - Bass

>>> Biography
Amy Fitzgerald is an artist and educator who has called Winston-Salem home for the past decade. Born in Charlotte, North Carolina, she received her Masters in Education at Wake Forest University and spent nine years teaching English and creative writing at Reynolds High School. She has now moved on to work part time in elementary after school programs in order to free up her schedule for other creative endeavors. She serves as a communications coordinator and creative partner at Brightheart Farm, and is preparing to release an album for her current music and design project, Damiyana.

Artist Statement>>>
The music and aesthetic design of my current project, Damiyana, have uplifted me through a personal time of transition and growth, arriving promptly in correlation with an urgency to redirect trends in human sexual misconduct and lack of respect for the Earth. I offer my music and aesthetic story as a tool to encourage communication and propitiate growth in these areas, through melody, rhythm, and multisensory stimulation.

The name Damiyana originates from the medicinal herb damiana, which a friend of mine recommended as a tool to aid me in recovering from the impact of sexual abuse and overall repression of sexuality. Subsequently, music that began as an expression of frustration over past events steadily developed into a method of reconciliation and growth in the way humans care for themselves, one another, and the Earth.

This project is intimately connected to my experience living on Brightheart Farm, a homestead located here in Winston-Salem, NC that is working toward becoming a local food source and creative hub for the community. Living at Brightheart has helped me maintain stability during a time of transition, both due to the support of an extended network of friends and a renewed sense of responsibility for the well-being of the land on which we live. Many of the songs in this project feature recorded sounds from life on the farm, and the design pieces--mainly headdresses--that accompany the music are adorned by a variety of found objects from around the farm. A key instrument I play on one song for the project is in fact a tree branch I found in the forest surrounding our home that had been hollowed out by insects in such a way that when you play it, it produces a beautiful haunting tone.

Please keep in mind that the impact of the Damiyana experience for you will depend greatly on your willingness to engage with it. I provide many opportunities at my shows for others to participate, whether through playing percussion or other instruments along with me, singing, dancing, wearing headdresses, etc. The full experience culminates in the persistent pounding of drums, interspersed with an assortment of other mantras I’ve begun collecting from members of the audience at my shows, some of which the audience members have taken to chanting for themselves. My vision is to provide a creative environment for others that encourages the personalized path of self-realization that comes from within.

Chris Everett

www.wilmingtononfire.com

'Wilmington On Fire' (award winning documentary film)

Saturday, March 24th,
7:30pm
Jengo's Playhouse

Price: tba
Tickets: at the door

Rosewood has long been infamous, but Wilmington came first and was even more devastating in its effects. In 1898, Wilmington was North Carolina's largest city, with a majority black population, a thriving black middle class, and a biracial Republican-Populist fusion government. On November 10, an armed mob of Democrat-backed ...

.... white supremacists opened fire on African American neighborhoods, slaughtering hundreds and driving thousands out of the city for good. In a five-year passion project that consumed all his resources, director Christopher Everett amassed rare photographs, original research, and testimonies from historians and descendants of the victims to uncover a shocking event that marked a turning point in the politics of the post-Reconstruction South.

>>> Credits
A film by Christopher Everett

>>> Biography
Christopher Everett is the Communications Manager of the Full Frame Documentary Film Festival. He is a film director, film producer, social media specialist and graphic artist from Laurinburg, North Carolina. He is a graduate of King’s College in Charlotte, North Carolina with a degree in Graphic Design. Christopher founded Speller Street Films in 2015 in which he produced and directed the award-winning documentary “Wilmington on Fire”. Through various grassroots marketing efforts, the film has gone on to win 4 awards and has screened in 12 film festivals and counting. Christopher and Speller Street Films recently acquired the distribution rights to the 2002 cult classic “As an Act of Protest” in which they are currently remastering with plans on releasing the film on DVD in 2018. Christopher has also consulted various film festivals on social media strategies, community engagement and programming.

Artist Statement >>>
"I've always had a love for researching and learning more about African-American history, especially history that is rarely discussed or talked about. That was one of the main reasons why I decided to do a film on the 1898 Massacre in Wilmington, North Carolina. I wanted to make a film from the perspective of the African-American victims and also how the Coup plotters were able to pull off this horrific event that changed the course of American history forever."

more links >>>
https://vimeo.com/wilmingtononfire

HEATHER DIVOKY

heatherdivoky.com

'1,000'

Thursday, March 22nd
5pm
Wabi Sabi Warehouse

free/donations encouraged
Tickets: at the door

'1,000' uses beautiful detail with wire and patterned illustration to describe an ugly statistic: for every 1,000 cases of rape, only around 310 are reported. Even less make it to court, and only 6 see the assailant sent to jail. This project aims to bring awareness to a topic that, until recently, has been taboo. It attempts to visually quantify something that may be hard to ascertain and harder to face.

>>> Credits
heather Divoky - visual artist

>>> Biography
Heather Divoky is an artist living and working in Wilmington, North Carolina. She has worked in the Arts as a creator, curator, historian, designer, and administrator. Heather’s art has shown in Nashville, the Netherlands, and all over North Carolina. Her primary concern is story-telling through great detail and color. She frequently uses her environment and its history as an inspiration, obsessively researching a subject until she is ready to illustrate it. Divoky works with marker, ink, wire, and stained glass, although she is always trying new media and techniques.

Artist Statement >>>
'1,000' is an attempt to start a conversation on why so many rape cases remain unreported, but more importantly, why are there so many to begin with. What are we as a society prepared to do to change such an alarming statistic?

My work tends to focus on bright color and careful craftsmanship. I find inspiration through history and story telling. This is a very important story to tell.

EMILY BANNERMAN

'Lucid'

Saturday, March 24th
1:45pm
Cameron Art Museum

Price: tba
Tickets: at the door

What if our lives were simply the expression of consciousness… a living dream?

>>> Credits

Choreography by Emily Bannerman
Music/Spoken Words: Alan Watts

>>> Biography
Emily Bannerman trained at the University of North Carolina School of the Arts for high school and college, as a ballet major and later, as a contemporary dance major. Emily's education at UNCSA and at summer intensives such as, Boston Ballet and American Ballet Theatre has provided her with extensive training in classical ballet with many internationally notable dancers and teachers, as well as in several modern techniques such as Limon, Cunningham, Nikolais, and Graham. In 2013-2015, Emily was a soloist with Cape Fear Dance Theatre and was assistant director of The Wilmington School of Ballet from 2015-2016. She now works as a free lance dancer, choreographer and teacher.

Artist Statement >>>
It’s hard to put into words why I dance or choreograph. It’s all I’ve ever known and done. Movement just naturally pours out of me.
I have always been fascinated with dreams. When I was in high school I first learned about Alan Watts. I was so intrigued with his lectures, not only with what he was saying, but the sound and rhythm of his voice. It was like music to my ears. I knew I had to create movement to his words, playing with/portraying the uncertainties in life — and how they are exactly what makes life so complex, exciting, and sweet. For years I’ve had this idea, I was just waiting for the perfect time to create, and now it has arrived.

Alanna Adorno

Instagram: alanna.n.a

'Organs- a contemporary dance piece'

Thursday, March 22nd, 5pm, Wabi Sabi Warehouse
Saturday, March 24th, 1:45pm, Cameron Art Museum

Price: tba
Tickets: at the door

A contemporary dance piece about how the lingering memory of something can leave your soul to feel bitter and regretful.

>>> Credits

Choreography: Alanna Adorno
Dancer: Alanna Adorno
Music:Organs by Of Monsters and Men
Dance Studio: Just Dance Studio in Pembroke/Lumberton

>>> Biography
I am a freshman theatre major at UNCP. I have done an array of performances (theatrical and dance) as well as competitions for dance.

Artist Statement >>>
i work as a dancer because its a way to express yourself with your entire body so all of you is involved in the moment. i dance because i speak for myself and for others who cant. im really inspired by musicians intent in their music, i can capture their emotion in my movement and play with the music. I believe that my role as an artist is to inspire and remind others what dancers do. dance is not about competing and doing the best of the best. dance is about movement and emotion and drawing people in by how you move and feel the music. I dance barefoot or with socks so that i can feel more grounded and actually feel the music and know where my body is taking me.

COURTNEY RIVENBARK

@heycococlem

'Visual Art'

Thursday, March 22nd
5pm
Wabi Sabi Warehouse

free/donations encouraged
Tickets: at the door

illustration art

>>> Credits
Illustrations by Coco Clem

>>> Biography
This year has emotionally inspired me to begin my journey of advancing my self worth with resiliency techniques. In therapy I learned that I have an ACE (Adverse Childhood Experiences) score of 8 out of 10; creating art has mitigated the long term effects of my early childhood, traumatic experiences. If I do not create, my heart will become ill, forever in psychic pain. Being mindful has allowed me to be open to these methods of self-discovery.

Artist Statement >>>
I want to embody being an organic, intuitive esteemed being, who knows what it takes to take direction from my higher self and nurture my inner genius. I want to attract abundance through my imagination. As dreams impale comfort zones, I want to unplug from the industrial media complex and tune into the visions and fantasies of collaborative imagination. My passion is that my determination and vibrant vision of artistic therapy will put me in a position to provide creative jobs for more women than myself.

WORKING NARRATIVES & TECHMOJA DANCE

http://workingnarratives.org/

'Free Movement'

Time: tba
Location: tba
Price: tba
Tickets: tba

Free Movement is a performance and residency project conceived by Working Narratives and Techmoja Dance. Informed by the historic Orange Street landing slave escape this project examines social justice and free through a modern interpretation. Using a procession as the core form community participants are invited to walk as a group a route along Orange Street ending at the Cape Fear River the site of the escape.

>>> CreditsWorking Narratives artistic team
Techmoja Dance and Theater Company

>>> Biography
Techmoja Dance and Theater Company provides an outlet for creative artists of all ethnicities, whether trained or untrained, with hopes of fostering an abundance of talent. The company’s main goal is to produce quality performance for both the spectator and the performer.

Working Narratives is a arts and social justice organization based in Wilmington, North Carolina.

Artist Statement >>>
Working Narratives believes in the power of both listening and telling stories. Through storytelling we build community connections that can creative positive social change.

Techmoja Dance and Theater Company provides an outlet for creative artists of all ethnicities, whether trained or untrained, with hopes of fostering an abundance of talent. The company’s main goal is to produce quality performance for both the spectator and the performer.

Free Movement is a performance and residency project conceived by Working Narratives and Techmoja Dance. Informed by the historic Orange Street landing slave escape this project examines social justice and free through a modern interpretation. Using a procession as the core form community participants are invited walk as a group a route along Orange Street ending at the Cape Fear River the site of the escape.