Announcing the 2023 Documentation and Storytelling Fund Awards

June 27, 2023  •  14 minute read

A Latin woman, medium-skinned, seated in a chair in front of a microphone. In the back a big screen, projecting a mid-age Latin woman with a melancholic face.
Carla Forte, director and performing Bird Woman at Miami Theater Center/ Miami Light Project (2023). Photo by Alexey Taran.

This year, the National Performance Network (NPN) is awarding over $71,000 to 24 Documentation & Storytelling projects. NPN’s Documentation & Storytelling Fund aims to create pathways for artists’ career advancement and to support their ability to document, promote, and share their work, ideas, and selves.

“Documentation is often overlooked and unsupported yet is a necessary component of sustaining the career of an artist,” said Stanlyn Brevé, Director of National Programs. “Access to documentation can be seen as an equity issue. By supporting documentation and preservation of artistic works, this fund ensures that the stories, voices, and experiences of artists are captured and shared for generations to come. It not only helps to amplify the impact of these artists but also contributes to the cultural legacy of our society.”

Celebrating the richness of shared human experience, these works serve as powerful vessels that bridge gaps and challenge preconceptions. From a multi-media piece that reveals how the vibrant aesthetics of queer nightlife culture addresses humanity’s cognitive bias to a multi-disciplinary, interactive performance centered on Black feminism and healing, this year’s fund recipients produce thought-provoking and immersive pieces that reflect the richness of the global community.      

2023’s selected projects will develop in cities across the country, as well as internationally, with artists telling their stories in Hawai’i, Arizona, the Dominican Republic, and NPN’s local New Orleans community.

The NPN Documentation & Storytelling Fund is made possible by generous support from the Doris Duke Foundation.

2023 Documentation and Storytelling Fund Recipients

Allison Akootchook Warden/aulayaiqsimarugut

(Anchorage, AK)

All the Dimensions, All at Once

All the Dimensions, All at Once is a series of video artistic statements for Allison Akootchook Warden’s website. Warden is closely connected to her home community of Kaktovik, Alaska, and her Ancestors of the land. She plans to create videos to talk about her connection to her people, her land, and her practice. The hope is that the video statements will be compelling enough to submit to film festivals.

A woman with tribal tattoos is smiling with all of her heart and love against a brown and grey background. She is wearing a black and white dot-printed shirt and one of her traditional shoulder tattoos peeks through on one side. She has black hair, black eyes and is slightly overweight.
Allison Akootchook Warden. Photo by Allison Akootchook Warden.

Andrew Saito

(New York, NY)

Harlem Canary / Tokyo Crow

Harlem Canary / Tokyo Crow is a comedic theatrical exploration of a little-known WWII-era Japanese propaganda program, “Negro Propaganda Operations,” in which captured African American Prisoners of War (POWs) recorded radio plays that contrasted the supposed joys the POWs experienced living in Japan with the horrors of racism in the US. These recordings were intended for broadcast in Black communities in the US, to foment civil unrest within Japan’s enemy’s borders. The work is geared towards a mixed house of Black and AAPI (not exclusively Japanese) audiences, with the hope that such gatherings can spark conversations and new community building. Funds will support the filming of developmental workshops, community dialogues, and public staged readings of HARLEM CANARY / TOKYO CROW.

This photo was taken at Montalvo Arts Center after a 4-day developmental workshop of Harlem Canary/Tokyo Crow in July 2022.
This photo was taken by Patrick Ip. It features playwright Andrew Saito, director Steven Sapp, and actors Aldo Billingslea, Gamal Chasten, Ron Munekawa, Vicky Pham, and Patrick Rivera.

Ashwini Ramaswamy

(Minneapolis, MN)

Invisible Cities Documentation Project

Ashwini Ramaswamy + Kevork Mourad: Invisible Cities is a large-scale adaptation of Italo Calvino’s metaphysical novel. Performed by 13 dancers and featuring hand-created projections drawn and manipulated in real-time, Invisible Cities premiered to widespread acclaim in January 2023. The Invisible Cities Documentation Project aims to take footage from the two performances, filmed with multiple cameras, to create dynamic, short content to share with potential presenters, as work samples, on social media, and other online platforms. This will help lead artist Ashwini find new opportunities to present this work nationally and internationally.

A composite of four photos featuring dancers in front of large, projected visual drawings.
Rehearsal for Invisible Cities. Performers – Ashwini Ramaswamy, Ranee Ramaswamy, Berit Ahglren, Gemma Isaacson, Joseph Tran, Marie Thayer, Alanna Morris, Canaan Mattson, and Anna Pinault. Photos by Ying Diao.

Bakara Johnson

(Hyattsville, MD)

Documenting A Portrait of Henrietta Lacks

A Portrait of Henrietta Lacks was created during an artist-in-residency program to honor and explore the compelling story of Henrietta Lacks and HeLa cells—the first immortalized human cell line. Partnering with the Coleman Center for the Arts to create this installation provided an opportunity for talks about informed consent, medical ethics, and biopolitics. This project will employ film, still photography and interviews to capture the artist’s first residency, an artist-led community workshop, an artist talk with the community and the Portrait of Henrietta Lacks exhibit. Further, the funds will support the artist in upgrading their website and developing a marketing package. Additionally, funding for the planning and execution of Documenting A Portrait of Henrietta Lacks will allow artist to use this documentation to garner support, inform potential constituents/partners and preserve a record of the project for the future.

A 1940 photo of Mrs. Henrietta Lacks, a Black American woman whose cancer cells were used by researchers without her knowledge and consent to develop a critical and profitable cell line. Henrietta's black blouse was given white polka dots with acrylic paint and a caterpillar with black, white, and yellow polka dots was added. Other digital elements were added, such as a canary yellow short-brim hat on Mrs. Lacks' head, a background mix of yellow, black, and white stem flowers, and a bumble bee. Henrietta is spelled out in a large black font with small flowers interspersed between letters.
Bakara Johnson developed this piece as part of A Portrait of Henrietta Lacks, an installation at the Coleman Center for the Arts. The original image is an old 1940 family photograph of Mrs. Henrietta Lacks taken from Ron Lacks’ book Henrietta Lacks, the Untold Story. The photographer is unknown.

Carla Forte

(Miami, FL)

Silenced Voices

Silenced Voices is based on and inspired by stories of Latin immigrant women. The piece explores the human condition and translates their stories into gestures, emotions, and movements, creating a new language to express these women’s thoughts, desires, emotions, and hopes. Documentation of these community voices will expand the research and body work, to share inspiration, ideas, and goals for future subventions and collaborations.

A Latin woman, medium-skinned, seated in a chair in front of a microphone. In the back a big screen, projecting a mid-age Latin woman with a melancholic face.
Carla Forte, director and performing Bird Woman at Miami Theater Center/ Miami Light Project (2023). Photo by Alexey Taran.


(Washington, DC)


Funds will be used to create promotional material, digital content, and archival documentation for TEMPLE to attract other collaborators and partners and to be integrated into future work. In TEMPLE, Chitra Subramanian uses the language of Indian Classical Dance and Hip-Hop culture to explore the experiences and stories of her South Asian immigrant journey through the lens of the major institutions that were powerful anchors in her life. TEMPLE shines the spotlight on the fraying of public life and the growing reality that people participate in institutions less and less. From her childhood Hindu Temple in Pittsburgh to the Temple(s) of the DC Club, TEMPLE lifts up the limitless ways in which Hip-Hop and dance continue to inspire and transform.

Three women are posed in this image with their right arms up high and left arms stretched low. The women on the left and right sides are side bending away from each other, while the woman in the center is facing forward. The woman on the left is a medium-skinned Black woman. The woman in the middle is a medium-skinned Indian woman, and the woman on the right is white. The women are wearing similar shirts and darker bottoms and the background is black.
Performers in Photo – Bethany Hall, Chelsi Knight, Chitra Subramanian. Piece – TRIBE. Venue/ Festival – Global Perspectives Festival at Dance Place (2020). Photo by Jonathan Hsu. Courtesy of Dance Place.

Dan Froot & Company

(Los Angeles, CA)

Arms Around America video podcast

The NPN Storytelling & Documentation Fund makes it possible for Arms Around Americato be simultaneously released as an audio podcast and a vlog (video podcast) in Fall 2023 and Winter 2024. The podcast will be a companion to the live iteration of Arms Around America (Fall 2024), a performance and community forum in which we stage six short plays based on oral histories of families around the country whose lives have been shaped by guns.

A Latina woman, a middle-aged white man, and a Latino man gesture with their hands and lean in over a table where a diverse group of eight people sits, listening and engaging in conversation. In the background is a larger-than-life photo of a mixed-race mom surrounded by her nine smiling children.
Dan Froot & Company performing Pang! at the University of Saint Joseph in West Hartford CT (2019). Standing, left to right – Natalie Camunas, Dan Froot, Christopher Rivas, Donna Simone Johnson (obscured). Seated – members of the audience seated on stage. Backdrop – Conching Matthews and family. Photo by Ray D. Shaw.


(Philadelphia, PA)

The Making of a Public Enemy (working title)

The Making of Public Enemy will be a heartwarming documentary by Carmella Vassor Johnson in collaboration with Iquail Shaheed that chronicles Iquail’s harrowing journey through his family’s lore about incarceration, sex, betrayal, and death toward self-discovery of love during the creation of his dance work also titled Public Enemy.

Iquail, a dark, brown-skinned man with short, cropped cut hair and a goatee, stands in dark lighting with his arms folded across his chest while wearing a black hoodie shirt, a gold watch, and gold chains.
Dr. Iquail Shaheed photographed in studio by Andrew Fassbinder of Rachel Neville Studios. All rights reserved 2023.

Deneane Richburg

(Saint Paul, MN)

Film Documentation of the Choreographic Process of Working in Ensemble on the Ice

Deneane Richburg’s work blends dance, theater, and figure skating to affirm honest and nuanced narratives rooted in Blackness. Representation of Black skating artists in the world of skating is rare and essential. This project will document Richburg’s ensemble process, including how her approach cultivates collectiveness and shared aesthetics. The project will not only document this unique approach but will serve as a tool to reflect and grow her creative process.

A Black woman in a gray dress with a full skirt wearing a matching gray head wrap in figure skates on the ice with both arms raised performing a movement that brings her right skate in front of her left skate which is balanced on the toe pick. Her gaze is facing down toward the ice.
Deneane Richburg performing in Tracing Sacred Steps, St. Paul, MN (2019). Photo by Alice Gebura.

Donia Jarrar

(Los Angeles, CA)


Funds will be used to adapt music-based performance, BUTHCER, into a professionally recorded album, expanding audiences for the work. Outside of infamous Egyptian serial killers Raya and Sakina and the mythological Aicha Qandicha, North African women as figures of darkness have rarely been explored, much less so in music. BUTCHER is a loosely autobiographical concept album based on Jarrar’s own experiences with domestic and intimate partner violence and sexual assault, in which she takes on the persona of a vigilante and antihero doling out punishments through the power wielded to her via a sonic cleaver.

Brown woman with curly black hair stands on a stage covered with a Persian red rug in a blue dress, black and red corset, and black boots. She is holding a bass guitar and singing. To the right is a red baby grand piano. To the left is a table draped in black lace floral cloth. Behind her is a diptych video of the inside of the piano and tabletop. A sword lies on the piano. A notebook with a poem for her mother is open on the tabletop, surrounded by petals, skulls, and other femme treasures, covered with yellow shawls.
Donia Jarrar performing BUTCHER at the Arab American National Museum in Detroit on June 25, 2022. Photo by Houssam Mchaimech.

Ivette Román-Roberto

(Houston, TX)

HOUricán: Documenting the project RÉQUIEM

HOUricán captures and showcases the profound and transformative journey of RÉQUIEM, a performance that united Puerto Ricans from the Island and Houston, TX. During their weekly gatherings, the participants found solace in expressing their collective experiences of loss caused by climate disasters, the COVID-19 pandemic, hate crimes, and migration through experimental voice techniques. These documented authentic moments will be launched in six YouTube videos as a platform to inspire meaningful interactions with the viewers, while serving as a catalyst for promoting RÉQUIEM to other communities who seek to address their pressing issues creatively, and to obtain funding to further expansion.

Nine Caribbean women performers vocalizing on stage. Standing in front of a screen projecting clouds in the sky. They are wearing white costumes. Minimal props. Dark blue light design. Musical instruments: guitar, percussion. Sound equipment on the floor. Part of the audience is visible from the left side.
Ivette Román-Roberto’s RÉQUIEM at MECA@TBH, Houston TX, September 10, 2021. Photo taken by Nicolás Carrión-Román. Participants/ left to right – Miriam Maldonado, Lourdes Jiménez, Ivette Román-Roberto, Natalia Giraldo, Gidelys Rodriguez, Adnaloy Espinoza, Mayra Sorondo, Rosaly Acosta, and Wendy Guzman. As part of the Performance Festival sponsored by NPN through MECA.

Jasmine Hearn

(Houston, TX)

Memory Fleet: Online Archive and Anthological Catalog

Memory Fleet: A Return to Matr is a migrating performance and archive that preserves the living memories of eight Black matriarchs of the North and South sides of Houston, TX. Their shared stories will be the source for original sound scores, choreographies, and garments that will be experienced as a site-specific performance, album, online archive, anthological catalog, and a mercurial system of somatic, embodied sound, and dance practices. Memory Fleet will articulate the numerous connections between people and places in Houston, and then travel across the country. Funds will be used to create an online archive and catalog of artists, archivists, and care workers core to the project.

Jasmine Hearn, a person with brown skin and a shaved head, turns their head over their left shoulder looking back towards a white bench. Jasmine is wearing a yellow, orange, and sage green print dress. Draped over the bench is a cobalt blue garment made by Athena Kokoronis of DPA underneath a silver studded black top. An orange citrus fruit is near the edge of the bench. The walls are white, and the floor is wooden.
Jasmine Hearn performing excerpts from Memory Fleet at DiverseWorks in Houston (2023). Photography by Jay Warr.

Lionel Popkin

(Santa Monica, CA)

Reorient the Orient

Reorient the Orient is a durational performance unpacking the history of inter-culturalism through Popkin’s 30-year archive of dance-making, placed in the historical context of presentations of the South Asian diaspora within the United States. Part performance event, part durational installation, and part social agitation on the history and assumptions that have attached themselves to performances of South Asian identity. The project is a personal response to the dubious history of inter-culturalism, expanding the conversation on how South Asian artists inhabit contemporary art and performance, shifting the context away from religious and spiritual tropes and toward an investigation of diasporic existence. Funds will be used to document the 8-hour durational work, create dynamic web content, and a printed primer to accompany the work.

A quarter-inch scale model of a black box theater filled with benches, screens, and models of people (some sitting and some stranding), and in the back corner there is something very bright and yellow, although it is hard to tell what it is.
Model sketch for Reorient the Orient (2022). Photo by Lionel Popkin.

Micaela Tobin

(Los Angeles, CA)

APOLAKI: Opera of the Scorched Earth

This outdoor, site-specific opera follows the diasporic pilgrimage of the displaced pre-colonial Philippine God of Sun and War, APOLAKI, as they travel through time and space searching for a new home in the San Gabriel Mountains overlooking the city of Los Angeles. Their pilgrimage begs the question–on whose land are we walking upon? Funds will be used for drone documentation of a core element of the work – the labyrinth at Zorthian Ranch. Documentation will serve as both a valuable relic for the community of Zorthian Ranch and help attract more opportunities to perform this piece in other locations.

A person bathed in sunlight walks around the carving of a sacred shape in a brown dirt ground.
Pictured – Apolaki’s Labyrinth, Jay Carlon performing as APOLAKI, Labyrinth Pattern designed by Carlo Maghirang. Photograph by Joshua Hill.

Moira (Miri) Villiard

(Duluth, MN)

Waiting for Beds – Cataloguing of community submissions, web page management, and professional scanning of featured work

Waiting for Beds is a traveling experimental duo-exhibit exploring the “wait” often associated with crisis care. It features an embedded, rotating community exhibit of objects and artwork from time spent in incarceration, institutionalization, or during the “wait” for care generally. Funds will be used to document these items, as well as to develop a website landing page to hear recordings of exhibit programming and panels, and to document artwork created by lead artists Moira Villiard and Carla Hamilton.

Four pieces of art are hanging on a white gallery wall; the first is a poster that says, "Rock Bottom" and features an illustrated image of a cart that holds an unsheltered individual's items and objects. Next to it are three paintings, one featuring a light-skinned individual in a blue tanktop from the shoulders down extending hands that have real orange and blue ribbons sewn to the canvas. The second is an abstract woman's face screaming, made up of a collage of gold and gray shapes. The third is a black slouching figure with similar ribbons extended off the canvas.
The photo features a digital poster, two works depicting the artists by Moira Villiard, and one by Carla Hamilton that form a central point in Waiting for Beds. Photo by Moira Villiard.

NAKA Dance Theater

(Oakland, CA)

Circulos de Aprendizaje

This project will result in a 15-minute video documentary telling the story of Circulos de Aprendizaje, a collaboration between NAKA Dance Theater and grassroots Latina-immigrant advocacy organization, Mujeres Unidas y Activas’. Documentation will tell the story of how this ongoing community collaboration resulted in publishing a Fotonovela and producing public performances. Media will be used to communicate the story of project, enhance the capacity to fundraise, connect to other organizations and communities, garner publicity for upcoming events and much more.

A woman in a purple top and green folkloric skirt laughs as she dances and moves the skirt and colorful ribbons. Three other women in colorful skirts (bright pink, yellow, and purple) are dancing in the background against a brightly colored mural with a sun and flowers. They are outdoors on a sunny day, and shadows of their bodies are cast upon the ground.
Ana, Agustina, Cindia, and Adriana performing Y Basta Ya! at Eastside Arts Alliance’s Garage Lot, Oakland, CA (2022). Photo by Scott Tsuchitani.

Nia O. Witherspoon

(Brooklyn, NY)

Priestess of Twerk: A Black Femme Temple to Pleasure + Wisdom School

Priestess of Twerk: A Black Femme Temple is a multi-disciplinary work of live and interactive performance that offers participants embodied experiences of Black feminist spirituality, inspired by African traditional religions, Black feminist literature, Southern folkways, healing justice movements, and the lived experiences of Black women + femmes. This work erects a functional temple that re-imagines our ancestral spaces for healing, and thus re-claims “the sacred” from white supremacy + toxic masculinity, supporting the wholistic health of Black femmes in a society that denigrates our bodies, minds, and spirits. Project funds will be used to document the process of creation, diving deep into the rehearsal room, as well as following the journey of the collaborators, the work, and its impact on and with the artists, collaborators, and community. 

A light-skinned Black woman with locks wearing a neon-green sheer dress and gold-sequined bra-let sings with her hands in a prayer pose.
Nia Witherspoon performing an excerpt of Priestess of Twerk at Judson Memorial Church as a part of Feeling Good, produced by Musical Theatre Factory (2019). Photo by Michelle Y. Thompson.


(New York, NY)

UnFiNiShEd aNiMaL

UnFiNiShEd aNiMaL is a party and multimedia performance that uses the vibrant aesthetics of queer nightlife culture to reveal how cognitive bias connects us all. This piece tells the story of humanity coming to grips with our collective inheritance, a ramshackle meshwork of cognitive processes evolved to survive, not for self-awareness. The creative team will journey to the Dominican Republic for Performance Awareness-building workshops and a video shoot in nature. This video will be used in projection during the live performance, and this Documentation and Storytelling Fund would support that footage being transformed into a VR experience.

A daytime image of mountains in the distance using a 360 camera has trees in the foreground wrapping around the perimeter of the image with the sky forming a circle in the upper center. In the lower center of the image, a road curves down and back up, mirroring the circle of sky above.
Photo by MX Oops UnFiNiShEd aNiMaL, Site Visit 360 Test, Peravia Province, Dominican Republic (2023).


(New Orleans, LA)

Ocean Filibuster Interactive Content: Making It “LIVE” on the website

Ocean Filibuster is a performance that explores the intimate, critical relationship between humans and the ocean. Using large-scale projections, music, a locally cast “ocean ensemble” and augmented reality, Ocean Filibuster draws from myth, stand-up, and science to plunge audiences into the most heated debate of our time. Ocean Filibuster includes an interactive intermission that lets audience members explore ocean health and human-ocean interconnection in playful and provocative ways. Some of the intermission activities tour with our show; others are designed specifically with local partners to tackle hyper-local issues. It is difficult to convey the texture and wonder of these “stations” on the website and tell the story of the deep collaborations that created them. PearlDamour will work with a web designer to bring the story of the interactive intermission to life on our website — as a resource for presenters, artists, art-science educators and more.

Six actors - a mix of African American and white bodies, wearing flowing robes and multi-colored headdresses made from recycled plastic, resembling ocean corals and sea creatures.
Evan Spigelman, Dawn L Troupe, Marshall Hughes, Rachel Share-Sopolsky, Nia Weeks, Emerson Sieverts, American Repertory Theater, Maggie Hall, 2022.

The Peek-a-Bows

(Wailuku, HI)

Adventures With The Peek-a-Bows

Adventures with The Peek-a-Bows is a series of place-based educational videos designed for family viewing to teach and inspire young children about Hawaiʻi businesses, programs, and organizations. These videos will explore fine art and traditional Hawaiian practices that feature local specialists and Hawaiian cultural practitioners.

The Peek-a-Bows are three colorful sisters from the rainbow in Hawaiʻi. Lena is dressed in yellow & green with a green wig, ʻAlani is Hawaiian dressed in red & orange with a red wig, & Poni is dressed in purple & blue with a purple wig & flower in her ear. Their young 6-year-old friend wearing a ti-leaf grass skirt. They are all wearing yellow & pink flower leis. They are under the shade of a tree surrounded by green ti leaf plants and lauaʻe bushes. Lena is medium-dark-skinned, ʻAlani is medium-skinned, Poni is light-skinned. Their keiki (child) friend is medium light-skinned.
The Peek-a-Bows filming episode 2 of The Peek-a-Bows: Aloha & ʻOhana at Hale Hoʻikeʻike in Maui, Hawaiʻi. Photo by Kiakona Ordonez.

Rashaud Michel; 7NMS | Marjani Forté-Saunders + Everett Saunders

(Brooklyn, NY)

Prophet: The Order of Lyricism

A 4-year archival, research, & multi-genre storytelling project on the life journey of a Lyricist, Prophet: The Order of Lyricism, illuminates the distinctive practices, systems, philosophies, and political ideologies that have shaped Hip Hop’s Emcee/Lyricists. The Lyricist is an Order of craft, of prose, oration, and exposé (to name a few). Through the coming-of-age story of Everett as ‘Mental’ the Emcee, audiences are invited to enter a world of courage, self-determination, and devotion. Using text, sound, film, and performance, Prophet is our critical and embodied offering to the scholarly, civic, and ancient bodies of radical Black expression.

A Black man stands, looking up, arms stretched upwards, hands partially open, extending from his wrists. His pointer fingers are the furthest extended. He wears a cap; bracelets; mixed blue/gray/yellow scarf; gray/blue quarter-sleeve button shirt; and gray pants. Peeking out from behind him, a Black woman is dancing, and leaning her head and torso backwards. Both of her arms are outstretched, one overhead elongating the lean of her torso. She wears an African wooden mask, black/white tank top, bracelets, and brown pants. They are framed diagonally by a hyper-close projected image of a gray/green tone face, just the eyes identifiable.
7NMS | Marjani Forté Saunders and Everett Saunders performing Prophet: The Order of Lyricism at Abrons Art Center (2022). Photo by Whitney Browne.

Shamel Pitts | TRIBE

(Brooklyn, NY)


TOUCH OF RED: RECOLLECTION (TORR) is an ethereal dance documentary following acclaimed dancer/choreographer Shamel Pitts as he embarks on a journey of discovery through multiple art residencies with members of his Brooklyn-based collective TRIBE. TORR weaves together the threads of memory and experience leading up to a live premiere. Cinematographer Taylor Antisdel captures the creation process of Touch of RED, which is set in a stylized ring, designed by McArthur Fellow Mimi Lien. The duet examines the way Black men are perceived and perceive themselves and how masculinity and vulnerability can be reconsidered in a compassionate, and healing way.

A group photo of 13 individuals from different ethnic backgrounds, dressed in predominantly black outdoor clothing, posed in front of a brick wall and fall foliage.
The artistic team of Touch of RED (2022) taken at MASS MoCA by Taylor Antisdel. Pictured here – Rus Snelling, Shamel Pitts, Tushrik Fredericks, Sivan Jacobovitz, Kaz Russell, Lucca Del Carlo, Sophie Myrtil-McCourty, Taylor Antisdel, TT Britt, Mimi Lien, Matthew Adeboye, and David Adeboye (one name unlisted).


(Pittsburgh, PA)

SUPERCELL Premiere Documentation

SUPERCELL is an evening-length multidisciplinary quintet, responding to climate change, media sensationalism, desensitization, and environmental collapse. Funds will be used to document the premiere of SUPERCELL to share with possible presenting and community partners who we are in conversation with, while simultaneously cultivating new relationships for the work’s tour. Documentation will also be used to create an audio companion that will serve as an assistive device and available to audiences to stream after the work has premiered.

Two white folks (Anna Thompson and Taylor Knight) are partnering in a dimly lit room with a gray background. Anna hangs upside down; their dark hair is wildly suspended in time. They have their legs wrapped around Taylor’s neck and are holding their hand to provide support. Taylor has their hair slicked back into a ponytail braid; they are looking down towards Anna with their left hand providing support on their back.
Anna Thompson and Taylor Knight are in a dimly lit room from a studio photo shoot with photographer Anita Buzzy Prentiss in the fall in Pittsburgh (2022).

Yvonne Montoya/Safos Dance Theatre

(Tucson, AZ)

Documenting Stories from Home

The Documentation & Storytelling Fund will support the video and written documentation of the full premiere of Stories from Home by Yvonne Montoya taking place at GALA Hispanic Theater in Washington, DC, October 28-29, 2023. Stories from Home is a series of dances embodying oral traditions of Latinx communities in the American Southwest exploring how geographies, languages, and histories among Latinx and border communities have shared histories and experiences.

A medium, brown-skinned Mexican American dancer leaps looking upwards with a mouth full of torn pages of a book. His gaze is looking left with his right arm reaching upholding a fist and the other extending out from shoulder height. His legs are bent in a kneeling position suspended from the ground. He wears a short sleeve red button-up top with a single wide vertical orange stripe along the rib cage his pants are wide-leg and orange. The background has a black curtain and a dark floor with torn pages at the edge.
Esteban Rosales performs “Deslenguadas” an excerpt of Stories from Home at Community Performing & Arts Center in Green Valley, AZ (2023). Photo by Dominic AZ Bonuccelli.