What will the artists of INCUBATOR AUTUMN 2024 do in the studio?
“Through my time at LEIMAY I will be exploring a study of mine called, To Flare. I am drawn to the notion of a flare with its duality lying in a sudden burst of bright flame or light and that which also burns with a sudden intensity. This dichotomy lives within something that is both sharp and searing, and this work explores the poles of these extremities through movement. With my time in the studio through Leimay’s Incubator Program, I will push into the next iteration of movement invention for this piece. I am specifically curious in unearthing what the body holds onto and exploring that through my movement practice. ” – SHIRA KAGAN-SHAFMAN
“I will be coming off a studio art and writing residency and will be focusing on the movement aspect of my current project leading up to Spring showings. I will be primed to focus on rehearsals and solidify the performance aspect of the work. This will include working alone and with single collaborators to develop scenes and shared movement vocabulary.” – STEPHANIE ACOSTA
“The dedicated studio time would support us in shaping an artistic container that prioritizes deep listening. An abundance of time and space (without financial strain) will allow us to hold room for resting, talking, sourcing, quitting, nonstop moving, inviting outside eyes, questioning, re-inventing, and failing.” – SOFIA ENGELMAN & EM PAPINEAU
“I would use this time to continue to work my curriculum that I teach in community and to previously incarcerated youth. I would also spend this time deepening my movement practice as an artist and begin to build the performance piece I have been working on for a few months now. It would be a great honor to have this space and time to explore my inner worlds, to continue to make space and growth in my outer worlds.” – ASH RUCKER
“I’ll research Japanese Tea Rituals, Zen gardens, and the concepts and practices of Zen to create a choreographic score of “stillness” at the studio. In 2024, I researched Japanese Tea Rituals through online articles. I learned how Japanese Tea houses and Zen gardens are composed differently (not having centers and symmetry in spatial compositions) from Western spatial perspectives. At the program, I’ll research spatial compositions of Japanese Tea houses and Zen gardens to create a choreographic score interpreting the spatial and temporal concept of Zen into dance. The choreographic score I’ll create at the residency also examines how I can realize “stillness” in movements, aiming to realize a Zen garden as human statues as choreography, stretching the sense of time by moving minimally to realize the “presentness” that the Zen culture aims to represent through the “stillness.” “- MAHO OGAWA (水素co)
