Announcing the 2025 Creation Fund Awards


September 2, 2025  •  13 minute read

From top left: a todo dar productions, Amy O'Neal, Ashli St. Armant, Brownbody, Carla Forte, Chris Jones, Cristal Gonzalez Avila, Cynthia Oliver Co Dance Theatre, Dorothy Victoria Bell, Elle Hong, Emily Johnson / Catalyst, Gabriel Cortez, keyon gaskin, Maree ReMalia, Meryl Zaytoun Murman, Nehprii Amenii, Ogemdi Ude, Quentin Ciissiar Simeon, Rosie Herrera Dance Theatre, slowdanger, and Sweat Variant: Okwui Okpokwasili and Peter Born.

The National Performance Network (NPN) is awarding an initial $398,000 and leveraging an additional $1,550,000 to support the creation of 21 new artistic works through the 2025 Creation Fund Awards.

This year’s wildly inventive Creation Fund awardees are combining theater, dance, music, spoken word, animation, puppetry, figure skating, a live marching band, virtual spaces, and more to develop, present, and tour new works that explore topics like personal and collective identity formation, intergenerational trauma and resilience, systemic inequalities, and the environment.

The Creation Fund comprises the first phase of a comprehensive three-part program that champions new artistic endeavors, promotes racial and cultural justice, and facilitates vibrant live interactions between artists and communities. This fund specifically targets early-stage projects, which emphasize establishing strong connections among artists, presenters, and communities as they embark on their creative journeys. Each project will also receive additional support through the National Performance Networks’ Development Fund.

Learn more about the Creation & Development Fund here.

“What made NPN’s support unique is that it didn’t just invest in the final product — it invested in the process. Unlike other funding I’ve received, which often requires a near-finished piece or is bound to strict production timelines, NPN’s Creation Fund allowed me to take risks, explore my personal story with care, and develop a piece that reflects a complex immigrant reality. That kind of trust and flexibility is rare—and invaluable.”

—Yosimar Reyes, 2024 NPN Creation & Development Fund Artist
Headshot of Yosimar Reyes. Photo by Marking IV Photography, 2022.

The Creation and Development Fund is made possible with support from the Doris Duke Foundation, the Mellon Foundation, and co-commissioners.

2025 Creation Fund Recipients

a todo dar productions

Cedar Park, TX

atododarproductions.com

Entre Lazos

Co-commissioners:

Pangea World Theater (Minneapolis, MN)

InSite (Phoenix, AZ)

Pregones / Puerto Rican Traveling Theater (The Bronx, NY)

Terra Advocati Inc (San Antonio, TX)

Entre Lazos is a traveling performance and sobremesa – a convivial gathering, a sharing of stories, a wild imagining of how we nourish and support each other, with each production uniquely designed for its location (San Antonio, Tucson, Bronx, and Minneapolis) based on conversations with community members who have made commitments to be co-creators with nature. Entre Lazos is created and produced by a todo dar productions, which stages public interventions and builds convivial spaces for and with community to study, think, imagine, create and dream together.

A 100ft train shed. Inside: several tables set, ready for dinner, in the background oranges hanging in baskets from a tall wooden structure.
Rasgos asiáticos, a project of a todo dar productions, by Virginia Grise, installation design by Tanya Orellana, at DiverseWorks in Houston, Texas (2021). Photo by Paul Hester.

Amy O’Neal

Seattle, WA

amyoneal.com

Again, There is No Other (The Remix)

Co-commissioners:

On the Boards (Seattle, WA)

UCLA’s Center for the Art of Performance (Los Angeles, CA)

Again, There is No Other: The Remix, is an evening-length performance by six femme-identified dancers that merges street and contemporary dance to explore fear of the Feminine in patriarchal culture, asking: if perceptions of race and gender are inseparable, can we be a post-gender society when we are far from a post-race society? It is fostered by The Hybrid Lab, an ongoing community engagement initiative by dancer, choreographer, curator, and dance educator Amy O’Neal that continues her decades-long creative inquiry into gender, race, and embodiment.

A group of three people stand in a diagonal line under deep blue stage lighting against a black background. They are mid-movement in a dance sequence, with each person’s right arm resting gently on the shoulder of the person in front of them. From left to right: the first person is a dark-skinned individual with medium-length locs pulled into a bun, wearing large hoop earrings, an abstract-patterned zip-up jacket, and dark pants. The second person is dark-skinned, with short hair and wearing a multi-colored patterned jacket with dark pants. The third person, light-skinned with shoulder-length dark brown hair and bangs, wears a white jacket and blue pants, and holds the hand of the second person. They all look ahead with a focused expression.
Amaria Stern, Nia-Amina Minor, and Amy O’Neal performing an excerpt of Again, There is No Other: The Remix at The Hybrid Lab in Seattle, WA (2023). Photo by Erin O’Reilly.

Ashli St. Armant

Irvine, CA

ashlistarmant.com

Ordinary Folks

Co-commissioners:

ArtPower at UC San Diego (La Jolla, CA)

Chandler Cultural Foundation (Chandler, AZ)

In Ordinary Folks, six dynamic musical storytellers bring African-American oral traditions to life through reclaimed ancestral stories combined with original New Orleans Jazz and Afrobeat music, vibrant costumes, and interactive staging. Lead performer, creator, and producer Ashli St. Armant, is a queer, Black, neurodivergent artist and parent who brings a lived experience to inform the production’s inclusive and multifaceted approach.

Caramel skinned Black American woman with short curly hair in a hot pink dress, holding a tambourine. Outside; blue building in the background.
Ashli St. Armant. Photo by Julie Casey, Queen Skittles Photography.

Brownbody

St. Paul, MN

brownbody.org

Infinite Slow Drive/Obsidians in the Wild

Co-commissioners:

Painted Bride (Philadelphia, PA)

Springboard for the Arts (St. Paul, MN)

Infinite Slow Drive is a multi-sensory, multi-site, interdisciplinary dance work for ice and stage that serves as an ode to Tallahassee, Florida, and the spontaneous events of Black stroll culture and adorned processionals. Infinite Slow Drive was created by Lela Aisha Jones of Brownbody, an organization that blends modern dance, theater, social justice, and figure skating to affirm the complexity, beauty, strength, and resilience of so many U.S.-based Black communities.

A Black woman is performing a dynamic dance move while seated on an ottoman chaise surrounded by a set depicting a domestic location. She is dressed in a suit and is throwing her head forward, causing her hair to fan out and up. Her arms are spread out behind her as she snaps her fingers.
Lela Aisha Jones, Choreographer, performing Re-emancipate at Christ Church Neighborhood House, Philadelphia, PA (2024). Photo by Mochi.

Carla Forte

Miami, FL

fortecarla.com

The Elephant

Co-commissioners:

Miami Light Project (Miami Shores, FL)

BellaBoo Productions, Inc. (New York, NY & Los Angeles, CA)

Cucalorus Film Foundation (Wilmington, NC)

FUNDarte (Miami Beach, FL)

O Cinema (Miami, FL)

The Elephant is a dance feature film that explores the struggle for women’s rights through powerful imagery and ritualized movement inspired by the elephant, an enduring symbol from nature of strength, wisdom, and resilience. Venezuela-born Carla Forte is a Miami-based dancer and filmmaker whose work focuses on the Latin-American community; her recent feature film Maniac Miki (2022) is currently streaming on Amazon Video.

A medium-skinned person with long hair is seen from behind, partially silhouetted against a black background. A black-and-white image of an elephant, facing forward with its ears spread and trunk centered, is projected onto their bare back. The person’s hair catches a soft golden light from behind, creating a subtle halo effect. The surrounding space is entirely dark, drawing full attention to the glowing projection and the figure’s outline.
Carla Forte in The Elephant. Photo by Alexey Taran.

Chris Jones

Baton Rouge, LA

chrisjonesworld.com

Norma

Co-commissioners:

Ashé Cultural Arts Center (New Orleans, LA)

The Myrna Loy (Helena, MT)

In the short film Norma, an aging blues singer struggles to revive her career in the racially divided industry of the 1930s, and with the help of a young and idealistic writer, finds the courage to challenge the status quo and reclaim her rightful place in music history. Chris Jones, the writer, producer, director, and editor of Norma, is an award-winning filmmaker from Baton Rouge, Louisiana, and an NPN Take Notice Fund cohort member.

A dark-skinned man sits smiling beneath a concrete overpass covered in leafy green vines. He wears a forest green mesh baseball cap, a beige T-shirt with the word, and light blue ripped jeans. He accessorizes with a gold chain, beaded bracelet, gold rings, and a smartwatch with a brown strap. One arm rests casually on his leg while the other holds the edge of the stool he is sitting on.
Chris Jones. Photo by Superior Shots Photography.

Cristal Gonzalez Avila

San Juan Bautista, CA

cristalgonzalezavila.com

What If She Could Walk?

What If She Could Walk? is a 75-minute multidisciplinary performance that weaves theater, original music, movement, and archival media to explore the intergenerational impact of disability, labor, and gender in Latinx farmworker communities through the artist’s personal story as the daughter of a mother with multiple sclerosis. Cristal González Ávila was born and raised in the migrant farmworker town of Watsonville, CA, and her practice as a multidisciplinary artist and playwright is rooted in the culture that spans the thousands of miles between the central mountains of Zacatecas, the coastal climate of Colima, and the central coast of California.

A Mexicana identifying individual with long brown hair wears dangling earrings and a brown button-up shirt with patterned trim and pockets. She stands against a wall mural of a brown tree with green leaves, against a yellow background.
Cristal Gonzalez Avila @ Alisal Center for the Fine Arts, Salinas, CA. Photo by Bobby Gordon.

Cynthia Oliver Co Dance Theatre

Urbana, IL

cynthiaoliver.com

Turn. Turning. TURNT.

Co-commissioners:

Bates Dance Festival (Lewiston, ME)

Brooklyn Academy of Music (Brooklyn, NY)

Krannert Center for the Performing Arts at Illinois (Urbana, IL)

Museum of Contemporary Art Chicago (Chicago, IL)

Red Eye (Minneapolis, MN)

Turn. Turning. TURNT is a triptych made up of three movement experiments explored before, during, and “after” (if there is one) the global pandemic: Tether — an AfroFuturistic aspirational experiment and meditation on black girls’ creativity, drawn from double dutch as life skill training; Fallow — run ragged by ever changing threats, pivoting quickly and persistently; and Summon. Sow. Reap — we relish what we have summoned, what seeds are sown, and just or unjust rewards are reaped. Cynthia Oliver is a St. Croix, Virgin Island-reared dance maker, performer, and scholar whose work incorporates textures of Caribbean performance with African and American aesthetic sensibilities.

Five dancers in mostly dark clothing (excepting one in bright orange) of mixed genders with their backs to the camera looking over their shoulders to their right in a rehearsal studio with pooled overhead lighting.
From left: Leslie Cuyjet, Kendra Portier, Oluwadamilare Ayorinde, Angie Pittman, Nik Owens. Photo by Cynthia Oliver (2025).

Dorothy Victoria Bell

Atlanta, GA

@deedrama77

Incarceration Plantation: The Musical

Co-commissioners:

7 Stages (Atlanta, GA)

The Ninakula Collective (Decatur, GA)

In Incarceration Plantation: The Musical, a sister and brother reflect on more than 30 years of dealing with America’s prison system, its impact, and how systemic racism and the disproportionate sentencing of BIPOC perpetuates a form of modern slavery. Creator and director Dorothy Victoria Bell is an Atlanta-based actor, director, singer, songwriter, and teaching artist whose vision is to inspire people to use art as a way to discover and share their personal stories, with a particular focus on helping those who are often unheard to find, embrace, and express their own voices.

Eight headshots arranged in two rows of four. Top row, from left: Dorothy Victoria Bell, Roger B. Bell II, Michelle Barnard, and Kai Anwuzia. Bottom row, from left: Stephanie S. Scott, Khari Cabral Simmons, Alisha Simmons, and Aubrey Salm.
Top row, from left: Dorothy Victoria Bell, Roger B. Bell II, Michelle Barnard, and Kai Anwuzia. Bottom row, from left: Stephanie S. Scott, Khari Cabral Simmons, Alisha Simmons, and Aubrey Salm.

Elle Hong

Denver, CO

ellehong.com

Potemkin village

Co-commissioners:

RedLine Contemporary Art Center (Denver, CO)

Fictional Artists Contemporary Theatre San Franciso (San Francisco, CA)

Longmont Museum (Longmont, CO)

Potemkin village is an evening-length dance performance that interrogates mechanisms of social and personal perception management. The piece reframes the historical mythology of “Potemkin villages,” facades constructed to disguise uncomfortable truths, through lenses of (trans) identity, relationality, the falsity that constructs reality and vice-versa. Elle Hong is a multidisciplinary artist currently based in Cheyenne/Ute/Arapaho Territories (Denver, CO) whose work incorporates dance, media arts, text, sound, and pedagogy to expose embedded power structures and pave way towards new methods of being that actively resist and transcend categorization.

A medium-skinned trans woman with long, bleach-blonde hair is seen lying across a black marley floor in a "death drop." She wears a pink satin slip dress and a pair of white, knee-high gogo boots. Her hair cascades into the floor in the foreground, while her feet trail into the distance. Her arms are spread flat into the ground in full wingspan. Her gaze is set towards the ceiling and she has an easeful look on her face. The main colors that pop out from the photo are shades of pink, blue, and white.
Elle Hong performing Bull in a China Closet at the University of Colorado Boulder, Charlotte York Irey Theare in Boulder, CO (2021). Still from video captured by Cipriano Ortega.

Emily Johnson / Catalyst

Hobart, NY

catalystdance.com

Speculative Architecture of the Overflow

Co-commissioners:

Roy and Edna Disney CalArts Theater / REDCAT (Los Angeles, CA)

DiverseWorks (Houston, TX)

Massachusetts Museum of Contemporary Art (North Adams, MA)

University of Minnesota (Minneapolis, MN)

Encompassing exhibition, performance, radio-broadcast, and activism, Speculative Architecture of the Overflow gathers in-person and remote audiences for 24 non-consecutive hours in a global tribute to better possible futures; in-person audiences will experience dance performance, meals, intentional rest, skill shares and participatory story-circles, while remote audiences will be guided by a tool-kit so they can gather anywhere to co-create localized experiences. Speculative Architecture’s choreographer and director Emily Johnson (of the Yup’ik Nation) is a body-based artist; a land and water protector; and an organizer for justice, sovereignty and well-being. She is based in Lenapehoking / New York City, and since 1998 has created work that considers the experience of sensing and seeing performance.

A Yup’ik woman with long dark hair wearing a colorful, sleeveless patterned dress walks purposefully along a pathway lined with orange-and-white barricades. Her legs are wrapped with four strips of white fabric tape, and her hair and dress are blown in the breeze as she looks upward with focus. Behind a chain-link fence, onlookers watch from inside a city park on a sunny day, with shadows and trees visible.
Pictured: Emily Johnson. Emily Johnson / Catalyst, Being Future Being: Land / Celestial, 2022. Photo by Maria Baranova. Courtesy of New York Live Arts.

Gabriel Cortez

Oakland, CA

gabrielmcortez.com

Between Two Rising Seas

Between Two Rising Seas is a 75-minute solo theater performance by California-based Gabriel Cortez that blends spoken word, archival projection, live sample music, and personal narrative to examine the shared histories of Panama and the Bay Area — both port regions shaped by global trade, Black labor, and ongoing resistance — through the story of his Panamanian grandfather’s migration to the U.S. Gabriel Cortez is an award-winning poet, educator, and organizer whose work explores power, climate crisis, colonialism, and Afro-Latinx identity.

Photo of Gabriel Cortez smiling in front of a photo gallery of Black men's haircuts at the Museum of the African Diaspora (MoAD) in San Francisco. Gabriel is seen wearing a white t-shirt and gold necklace.
Gabriel Cortez. Photo courtesy of the artist.

keyon gaskin

Portland, OR

untitled Black experimental sound and movement (evolving title)

Co-commissioners:

Portland Institute for Contemporary Art / PICA (Portland, OR)

Luminary Inc (Saint Louis, MO)

The Chocolate Factory Theater (Long Island City, NY)

keyon gaskin’s new collaborative Black experimental sound and movement work centers improvisation and deep research, gathering together local dancers, poets, and sound artists to explore Black abstraction and experimentalism through body, voice, sound, and poetics. Rather than beginning with a fixed concept, the work will emerge through collective inquiry and trust in the process. This marks a shift in gaskin’s practice from solo work to ensemble collaboration, with the long-term goal of presenting site-specific iterations in other cities collaborating with local Black artists.

Zinzi Minott standing in an entryway in the left side of the picture with the door ajar dancing in red light, the photographer is in a room on the other side of the doorway that room is dark with green light streaming in from the right a shadow of a person is cast onto the wall a bag made out of double sided mirror multicolor film lies on the floor in the foremost front.
Zinzi Minott in a performance of keyon gaskin at Artists Space, NYC. Photo by Destiny Mata.

Maree ReMalia

Tulsa, OK

mareeremalia.com

WITH OURSELVES, WITH EACH OTHER

Co-commissioners:

Kelly Strayhorn Theater (Pittsburgh, PA)

Bates Dance Festival (Lewiston, ME)

Hatch Arts Collective (Pittsburgh, PA)

WITH OURSELVES, WITH EACH OTHER is an evening-length performance that uses dance, text, pop music, and the setting of a karaoke-funeral-lounge in the round to invite audiences to collectively mourn and celebrate both personal and global griefs. Tulsa-based dance artist Maree ReMalia is a South Korea-born but Ohio-raised adoptee whose work is rooted in exploring how we build connection — with ourselves, each other, and the world of which we are part.

A medium-light skinned Asian woman with short black hair, emotively singing into a stand with a round light at the top. One hand is clutching the light stand, the other hand extends out reaching toward the audience. She is wearing a black button up shirt under an oversized glittery overcoat. The wall behind her is covered with shiny, glittery tiles that are framed by red velvet curtains.
Maree ReMalia performing WITH OURSELVES, WITH EACH OTHER (work-in-progress) showing at Inter- in Pittsburgh, PA (2024). Photo by Kitoko Chargois.

Meryl Zaytoun Murman

New Orleans, LA

merylmurman.me

Bathing Studies

Co-commissioners:

Arab American National Museum (Dearborn, MI)

Caribbean and New Orleanian Arts (New Orleans, LA)

Daring Dances (Ann Arbor, MI)

Khayrallah Center for Lebanese Diaspora Studies (Raleigh, NC)

Bathing Studies uses dance and media to examine the history of bathing, through which we can attune ourselves to the daily actions that reveal our deeply held emotions, guarded beliefs, and primeval instincts around subjects like migration, bodily autonomy, and the climate. Arab American choreographer and filmmaker Meryl Zaytoun Murman, who often works in and between communities and cultures on processes that involve both professional and “non-trained” dancers, is developing Bathing Studies with SWANA refugees as well as Arab American and community art organizations.

An olive skinned person with black short hair pours water from a flat round copper pan (Baraka bowl) onto the head of another olive skinned person kneeling below. The person receiving the water is shrouded in a light gray thin towel (fouta) folded and placed over their eyes and face. Their skin and the bowl reflect the light, while the rest of the interior space of the dome shaped bathing room (hammam) remains mostly in shadow.
Kamel Ahmad and Stefanos Michaelides in Bathing Study 2, what have these walls heard? at Polis Hammam Polis Loutron (2023). Photo by Meryl Zaytoun Murman and Sebastian Tsifis.

Nehprii Amenii of Khunum Productions

Brooklyn, NY

khunumproductions.com

HUMAN

Co-commissioners:

Sandglass Theater (Putney, VT)

Asheville Creative Arts Inc (Black Mountain, NC)

Brooklyn Academy of Music (Brooklyn, NY)

The Clarice Smith Performing Arts Center (College Park, MD)

HUMAN is an hour long multimedia puppetry-based stage play for a multigenerational audience. Set at the bottom of the ocean in a future where humans have gone extinct, a curious sea creature with a plan to bring them back discovers that the decision isn’t his to make, because the choice belongs to the “Council at the Bottom of the Sea” — the spirits of Black bodies who jumped overboard during the transatlantic slave-trade. HUMAN’s creator Nehprii Amenii is a Brooklyn-based stage director, playwright, puppeteer, and educator known for creating experiences that dismantle the wall between players and audiences, enchant the imagination, and inspire new ways of seeing and thinking.

A theatrical underwater scene is depicted on stage, bathed in blue lighting and fog to create an oceanic ambiance. Performers dressed in black operate large, colorful puppets, including black mermaid, a bright pink octopus, and a yellow seahorse. A light blue submarine with round windows and a periscope is set center stage, surrounded by piles of plastic-like debris. Strips of fabric resembling seaweed hang from above and the sides, adding to the immersive, underwater environment.

Ogemdi Ude

Brooklyn, NY

ogemdiude.com

MAJOR

Co-commissioners:

New York Live Arts (New York, NY)

Bates Dance Festival (Lewiston, ME)

Duke University (Durham, NC)

On the Boards (Seattle, WA)

Wexner Center for the Arts (Columbus, OH)

MAJOR is a dance theater project exploring the history and physicality of majorette dance, with six Black femmes embodying the movement of their girlhood to answer the questions of their present through majorette movement, verbatim theater, a live marching band, and an online oral history archive to preserve, continue, and transform majorette legacy. Ogemdi Ude is a Brooklyn-based dance, theater, and interdisciplinary artist who creates performances, texts, installations, and media that focus on Black femme legacies and futures; the wellness of Black, brown, femme and queer communities; grief; and memory.

A group of Black femmes in dance clothing stand in a staggered formation with their arms lifted up parallel and pressed out to the sides. They look over their right shoulder.
Junyla Silmon, Selah Hampton, Jailyn Phillips-Wiley, song tucker, Chanel Stone, and Kayla Farrish (not pictured) performing an excerpt of MAJOR at The Mercury Store in Brooklyn, NY (2024). Photo by Myssi Robinson.

Quentin Ciissiar Simeon

Anchor Point, AK

Yaaruiin Qanemciit

Co-commissioners:

Bunnell Street Arts Center (Homer, AK)

Alaska Native Heritage Center (Anchorage, AK)

Yaaruiin Qanemciit is a three-part film that combines dance, 2D animation, watercraft, and dolls to convey Yup’iit and Indigenous Alaska history from the Time of Warring to current times, and to explore broader Alaska Native perspectives regarding recent history. The project is adapted and directed by the visual artist and professional storyteller Quentin Ciissiar Simeon, who will also provide narration, storyboard illustrations, and foley sound effects.

The image consists of a drawing of Yup’iaq mask, from Messenger Dances. The drawing is sewn into a dried fish carcass. Greedy hands with toothed finger tips protrude from the mask body. The entire spine has teeth and the mouth is huge. This mask represents the hunger of war.
This image shows the work of Ellangukut Production’s primary artists: Amber Webb and Quentin Ciissiar Simeon. Photo is a still from stop-animation production by Quentin Ciissiar Simeon. Photo by Quentin Ciissiar Simeon.

Rosie Herrera Dance Theatre

Miami Beach, FL

rosieherrera.dance/tropical-depression

Tropical Depression

Co-commissioners:

Live Arts Miami (Miami, FL)

American Dance Festival (Durham, NC)

Miami Light Project (Miami Shores, FL)

Channeling the spirits of Desi Arnaz, David Lynch, and Pina Bausch, the evening-length performance Tropical Depression weaves together dance, cabaret, and theater in a surreal, emotionally charged celebration of immigrant life that both honors the sensuality of the Caribbean and provokes meditation on how diasporic narratives are remembered, mythologized, and reshaped across generations. Cuban-American dancer and choreographer Rosie Herrera is the artistic director of Rosie Herrera Dance Theatre in Miami, and a classically trained lyric coloratura soprano.

Seven dancers of varying skin colors are dressed in guayaberas (traditional Cuban male dress shirts) and long voluminous skirts. They are sitting, squatting, and laying on the ground in a tropical setting filled with palm fronds. Some are holding machetes and looking into the camera with various expressions of confrontation, surrender and reverence. One dancer's body is totally immersed in palm fronds and only her face is visible.
From left: Claudia Rightmire-Train, Gerardo Pilatti, Victoria Mora, Cecilia Benitez, Katie Stirman, Barbara Caridad Meulener, Liony Garcia. Photo by George Echevarria.

slowdanger

Pittsburgh, PA

slowdangerslowdanger.com

STORY BALLET

Co-commissioners:

Dance Place (Washington, DC)

Texas A&M University (College Station, TX)

STORY BALLET is a recontextualization of Hector Berlioz’s Symphonie Fantastique into an evening length multidisciplinary performance that explores mental health, obsession, addiction, and escapism to reflect on the question, “What holds us together?” slowdanger is a queer and non-binary multidisciplinary performance entity founded in 2013 by co-artistic directors and life partners anna thompson and taylor knight, to create work at the intersection of dance, sound, and technology that deconstructs gendered binaries and practices queer world-building.

Two white non-binary folks with dark mullets lean their heads in towards the center for a moody headshot with a grey background. Taylor, on the left with a mustache and semi-transparent black lace top, tilts their head to their right with their eyes slanted towards the camera. Anna, in a black low cut black top with a brown birthmark on their chest, leans their chin on taylor’s shoulder and angles their head in towards taylor while pointing their eyes towards the camera.
Photo by Iain Delavan.

Sweat Variant: Okwui Okpokwasili and Peter Born

Brooklyn, NY

sweatvariant.com

adaku, part 2

Co-commissioners:

Walker Art Center (Minneapolis, MN)

ASU Gammage (Tempe, AZ)

DiverseWorks (Houston, TX)

Institute of Contemporary Art / Boston (Boston, MA)

Sweat Variant’s adaku trilogy uses text, song, soundscapes, movement, and spatial design to explore how one family in precolonial West Africa becomes entangled in the transatlantic slave trade; adaku, part 2, set in a near-future United States, investigates the embodied impact of this violent rupture, including the devastating consequences of the theft of artifacts designed to protect ancestral bonds. Okwui Okpokwasili (she/her), a child of Nigerian immigrants who was born and raised in the Bronx, is today a Brooklyn-based performer, choreographer and writer. Her frequent collaborator Peter Born (he/him) works as a director, composer and designer of performance and installation. Together as Sweat Variant, they create challenging and rigorous work that explores Black interiority to reaffirm that which has been deemed marginal as the true center.

In the center of two vertically suspended steel circles, a medium-dark skinned Black woman wearing a maroon lace tracksuit with a tank top and long pants dances with her right arm raised behind a medium skinned Black person with both arms raised. They are wearing a long-sleeved version of the same tracksuit. Both dancers are standing in a wide stance with legs far apart and bare feet. They gaze up at a suspended disc that shows a blue and purple projection of water, and stand on a large red circle. In the foreground of the image, there are five lanterns placed on the floor. Two more lanterns and two red, beaded headdresses are also visible on the floor. In the midst of the darkness of the surrounding room, two more dancers, wearing maroon lace tracksuits and red beaded headdresses, sit on stools.
Okwui Okpokwasili and Kris Lee performing let slip, hold sway at the Whitney Museum of American Art in New York (2025). Photo by Maria Baranova.