Kaila Bulé

Kaila Bulé is a New York City-based singer, poet, songwriter, and drummer deeply rooted in Afro-Dominican and Afro-Caribbean traditions. The daughter of cultural ambassadors Toné Vicioso and Nina Paulino—practitioners of Afro-Dominican roots rhythms—she was raised in a vibrant musical legacy, including her mother’s 15-year-long festival, Quiskeya en el Hudson. Kaila has performed as a vocalist and percussionist across the diaspora,
mastering Palo, Bomba, and Plena traditions.

A sought-after voice for Black and Indigenous liberation movements, her poetry and activism reflect a lifelong dedication to organizing and ancestral reverence. As an auricular activist, herbalist, and holistic health practitioner, Kaila channels her spirit and artistry toward collective liberation, sacred justice, and divine freedom.

Marco Buccelli

Marco Buccelli is a Neapolitan-born producer, composer, and drummer based in New York. He produced Xenia Rubinos’ critically acclaimed albums Black Terry Cat and Una Rosa, as well as highly regarded records for Giovanni Truppi, including Tuo Padre, Mia Madre, Lucia, which competed in the Sanremo Music Festival (2022). Additionally, Marco reimagined the work of legendary Italian artist Fabrizio De André on Nella Mia Ora Di Libertà, featuring esteemed performers Vinicio Capossela and Mauro Pagani. A graduate of Berklee College of Music and a seasoned performer, Marco has toured internationally, appearing at prominent venues such as Lincoln Center, MoMA, the Pitchfork Music Festival, North Sea Jazz, and the Montreal Jazz Festival.

His commissioned compositions include collaborations with acclaimed visual artist Alex Da Corte and the film score for Straighten Up and Fly Right, produced by Armando Croda and Lindsey Cordero.

Anthony Carrillo

Anthony Carrillo hails from a proud Puerto Rican musical heritage. With a career spanning over four decades, he has graced prestigious stages worldwide, performing and recording with renowned artists such as Eddie Palmieri, Gonzalo Rubalcaba, Paul Simon, and Harry Belafonte. An integral member of acclaimed Puerto Rican groups like Batacumbele, Descarga Boricua, and the metal band PUYA, Carrillo has been hailed by Palmieri as “the best bongocero in the universe.” In 2023, he was honored by Puerto Rico’s House of Representatives in San Juan for his cultural contributions and role as a global musical ambassador. Carrillo plays exclusively on MOPERC percussion instruments and collaborates with craftsman Francis Mercier to develop MOPERC’s Puerto Rican and Cuban percussion series.

Juta

Music for Naked Water.

Wayne Horvitz

Wayne Horvitz is an American composer, keyboardist and record producer. He came to prominence in the Downtown scene of 1980s and ’90s New York City, where he met his future wife, the singer, songwriter and pianist Robin Holcomb. He is noted for working with John Zorn’s Naked City among others.

Kazuhisa Uchihashi

Kazuhisa Uchihashi is a Japanese guitarist involved in free improvisation music. Born in 1959 in Osaka, Uchihashi began to play the guitar at age 12, playing in various rock bands, though he later studied jazz music. In 1988 he joined the band the First Edition, and in 1990 formed the band Altered States.

Tim Keegan

Tim Keegan is an English singer, songwriter and guitarist. Vocalist and principal songwriter with Departure Lounge since 1999, Keegan has recorded and performed with various bands and as a solo artist.

Merzbow

Merzbow is a Japanese noise project started in 1979 by Masami Akita, best known for a style of harsh noise music. Since 1980, Akita has released over 500 recordings and collaborated with numerous artists.

Fred Hatt

Lighting works for Nation of Compassion 2

Testimonial – Lemon Guo, Stanford Residency

“LEIMAY is such an incredibly passionate, dedicated, and creative group of artists that brings life to any collaborative environment. We were so lucky to have them in residency with us at Stanford.”

– Lemon Guo, 2024

Testimonial – Jess, A Meal Work in Progress

“I am always appreciative of how LEIMAY creates performances that activate their audiences. We are approached and respected as curious, full-bodied people who are there to share in a collective moment.”

– Jess, Audience member at A Meal Work in Progress, 2022

Testimonial – Akiko Nishijima, Alius Bodies WIP

“LEIMAY and CAVE have been creating art projects for many years that are open to the community. They are always independent, supportive, and challenging something new.

Last month when I saw LEIMAY’s new work-in-progress, their stance stayed the same but the work has deepened!

I’d like to support LEIMAY just like they support us in the community. It is a gem.”

– Akiko Nishijima, 2021

Testimonial – Peggy Resnick, Alius Bodies WIP

“I was in the audience at CAVE Home of LEIMAY when Krystel Copper and Masanori Asahara gave their all in Alius Bodies (work in progress) by Ximena Garnica and Shige Moriya. I felt I was watching an Egon Schiele painting come to life. Krystel and Masanori created a three-dimensional moving and living sculpture whose every movement was so deeply felt. What an incredible experience!”

– Peggy Resnick, 2021

Testimonial – Audience member at Hurleyville Arts Centre, Alius Bodies

“I know you said, don’t try to make sense of it, and so of course, the entire time I was trying to make sense of it. . . I had a whole script in mind that was happening. Basically, a birthing of these beings. . . And they started to communicate a little bit. So then when the monkey [song appeared]. . .What is that? Because they’re in the primordial soup! It was interesting to try not to make sense of it, and then to have my mind blown by that!”

– Audience member at Hurleyville Arts Centre, 2019

Testimonial – Audience member at Hurleyville Arts Centre, Alius Bodies

“A lot of the movements were unfamiliar to me, they weren’t reminiscent of anything else, but at the same time, like with the words, it wasn’t just gibberish, it wasn’t, ‘Oh, just do something that no one has seen before.’ In a way, It was very intentional. So, how do you create movements that were so unfamiliar and so intentional?”

– Audience member at Hurleyville Arts Centre, 2019

Testimonial – Alessandro Anglani, Watermill Summer 2019

“I would say that this type of work is developed on two levels: the first, given by the strong image that is created, is the first impact that hits the public. These almost alien beings, despite being perfectly recognizable as human bodies, which are found inside this showcase, like observatory animals, that try to stand upright but are punctually dragged by the sand to the bottom, certainly generate a strong emotion for the spectator, along with a whole series of reflections that are not “explained” and are not didactic. The second level is from the inside perspective: the dystopian environment definitely requires a great deal of psychological concentration and physical control, but it is equally interesting because it connects you to a more intimate self. It is very easy to slip into memories and feelings that belong to a life that we often forget in our daily routine. Personally I refer to my childhood and to the relationship with the earth, with sand. In all this the use of the voice increases the distance with respect to reality, using words that do not exist and enhancing this “alien” effect. In essence, an experience for those who assist and those who participate that’s unique.”

Testimonial – Sorin Prodea, Watermill Summer 2019

“In terms of the performance, it was an amazing opportunity to perform such a piece of work. It was hard to do it, but it was so rewarding. Plus, working with all the amazing people that were involved during it, was an amazing and fun experience. I’m glad I did it and I’m grateful for the trust that they had in me to perform it.”

– Sorin Prodea, 2019, Correspondences

Testimonial – Megan Kendzior, Team/Ensemble

“Working with the brilliant family of LEIMAY artists is such an honor! They are the hardest-working and most brilliant beings, and it’s such a joy to support this community through my administrative and advocacy labor. I always feel valued as a whole human in our work together and I’m so inspired by the LEIMAY entanglement. I know that your support of this community would make such a difference!”

– Megan Kendzior, 2021

Testimonial – Ricardo Bustamante, Team/Ensemble

“LEIMAY can be seen as a safe oasis of artistic creation where artists of all identities can express, develop, evolve and visualize their creative, educative, and community based artistry.

The space exists as a testament to the importance of art as a pillar for the growth of society. You can see its merit in the quality of LEIMAY’s artistic and educational work; that which always embodies a unique aesthetic accompanied by deep concepts that are always relevant to the social reality and leave you with a lasting message.”

– Ricardo Bustamante, 2020

Testimonial – Masanori Asahara, Team/Ensemble

“I love dance. Personally, in this moment (of pandemic), I am thinking more about dance in a social way. I am thinking about traditions. People pray through dance. People connect to nature through dance.

We (LEIMAY) are good translators from art to nature and society. We observe, we listen to material, to empty space, to timing, and to the different energies of that space and time. We have a good ear to listen, and we can translate that. There is a lot of meaning in that, not only one world.

We have potential! For me, LEIMAY has space. Space for me to use my sense and go through my energy, where it is directed and translated.”

– Masanori Asahara, 2020

Testimonial – Polina Porras Sivolobova, Team/Ensemble

“LEIMAY breaths art and life into everything we do. I enjoy the creative spirit in everything, and I appreciate our values and work ethic, and our dedication to craft, art and creativity. Led by amazing human beings, LEIMAY builds and maintains community.”

– Polina Porras Sivolobova, 2020

Testimonial – Jennifer Montoya, White Studio Rental

“I wanted to tell you how much I appreciate your space, it is my favorite in the city. I love the setup and the good vibes I get every time I work in the studio. Thank you.”

– Jennifer Montoya, 2013, Touch Theory 

Testimonial – Maggie Marguerite Studios / Georgina Richardson, White Studio Rental

“The Studio has been great. I’ve had some wonderful portraits shoots in the space – which is so unique, clean, organised and in the heart of cool Williamsburg (and around the corner from my house which is also helpful ;)) I love the look on people’s faces when they first walk in and say “wow!!!”. The booking process is super fast and easy too.”

– Maggie Marguerite Studios / Georgina Richardson, 2013, Photography

Testimonial – Daniel Ellis-Ferris, White Studio Rental

“…Hopefully we will get to work in your beautiful space again in the future! We really enjoyed the acoustic and the atmosphere of the place. We can tell that great things have happened in there :)”

– Daniel Ellis-Ferris, May 2013, Theater

Ecstasy Mule

Ecstasy Mule humbly considers itself to be a blues band in the tradition of Derek Bailey, Eugene Chadbourne and Fred Frith. It is made of Casey G andLen37.

Yael Gaathon

Yael Gaathon is an Israeli – Danish actress and butoh dancer.
She completed her acting studies in Israel in ’93, after which she joined the internationally acclaimed Itim Theater Ensemble. During her work with the Ensemble Yael was introduced to butoh and received regular butoh training.
In 2002 Yael moved to Denmark, where she established her company Blue Cliff and began to choreograph and direct solo and group pieces.Throughout the years she has been giving butoh workshops, as well as training and teaching actors and dancers in film, the state theater schools in Denmark, private theater schools, the Danish Actors Association, and in various dance and theater training programs. Yael is currently based in Aarhus, Denmark.

Yael Gathon

Yael Gaathon is an Israeli – Danish actress and butoh dancer.
She completed her acting studies in Israel in ’93, after which she joined the internationally acclaimed Itim Theater Ensemble. During her work with the Ensemble Yael was introduced to butoh and received regular butoh training.
In 2002 Yael moved to Denmark, where she established her company Blue Cliff and began to choreograph and direct solo and group pieces.Throughout the years she has been giving butoh workshops, as well as training and teaching actors and dancers in film, the state theater schools in Denmark, private theater schools, the Danish Actors Association, and in various dance and theater training programs. Yael is currently based in Aarhus, Denmark.

Jen Koshy

Jen Kosky/Dance Projects is a contemporary dance company founded and directed by Jen Kosky. Jen Kosky is a Brooklyn-based contemporary dance artist. Her work is largely inspired by the energetics of nature, urbanity and the body and is often portrayed with a fiery feminine point of view. Her movement style draws from release technique, improvisation and African dance forms. Jen has had the pleasure of dancing for numerous talented choreographers including Ellis Wood, Martha Williams, Dorian Nuskind-Oder, Jody Oberfelder, Stephanie Sleeper and Shalewa Mackall. Jen’s choreography has been presented at various venues including ABC NoRio, the Hatch, the Chelsea Art Museum, Galapagos Art Space, Studio AIR, New York City Theater and Media, The Schermerhorn Theater and BAX. Jen has been honored to be a guest artist at the Gershwin Hotel for two years where she has been sponsored to create two full evening length works. Jen is currently enjoying a fruitful time of creativity as a resident artist at CAVE arts.

Jorge Vasquez Villarreal

Jorge VazquezVillarreal was born and lives in Mexico. He started his artistic studies at the National Conservatory of Music in 1999. He joined Diego Pinon’s Butoh Ritual Mexicano in 2003, and has also trained in Butoh with Akira Kasaiand Natsue Nakajima. He studies Kabuki with Irene Akikolida.

Irem Calicusu

Irem Calikusu’s life as a dancer started in Istanbul, at the Theater Research Lab with Mustafa Kaplan. Being deeply moved by a butoh performance she saw in Istanbul, she went on to complete a Master’s thesis on but and post-war politics in Japan at the Anthropology Department of Mass, Amherst. She has studied with Akira Kasai, Ko Murobushi, and Takuya Muramatsu as well as trained for 2 years at the Cunningham School for Dance. Her biggest inspiration was the 5 months she spent training with Min Tanaka at the Body Weather Farm. Irem has been showing her own work in various venues such as Dixon Place, Movement Research at Judson Church, Cave Art Space and Cunningham Studio.

Perry Amitri

Amiti Perry received her BA in Dance from the University of North Texas and MFA in Choreography from The Ohio State University. She co-founded DIPdance with collaborator Coco Loupe in 2001; presented and performed works in New York, Texas, Louisiana and Ohio; performed as a guest artist with Rachel Lampert and Dancers (Ithaca, NY, 1999); and performed, taught, assisted and designed, nationally and internationally, with Skip Costa/COREmovement Project-NYC (1999-2003). She was company in residence at Bridge for Dance for 5 years and most recently accepted a residency for 2011 at CAVEarts in Brooklyn, NY. Her work has been presented at the Merce Cunningham Studio, Uptown Performance Series, HOT!DanceFestival, DUMBO Dance Festival & COOL NYC, 60×60 Dance events, and Fertile Ground (at Greenspace). Last fall, her choreography was commissioned by Women In Motion and performed at Joyce Soho in conjunction with the Estrogenius Festival. æmp:dance / amiti perry + company is a multi-dimensional contemporary dance company whose focus is to create and perform a diverse body of work through independent and collaborative explorations. Consciously clever concepts combined with highly physical performances are indicative of the consistent work being produced since 2006.

Ryan Yu

Technical Assistance for Residency Concert

Lemon Guo

Collaborator for Residency Concert

Carlos Lema

Photography for Kinetic Resonances – Bogota

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