Archive for the Category History


Butoh “POWERHOUSE” Vanessa Skantz Returns to Asheville for Workshop /Performance

Vanessa Skantz

Vanessa Skantz

July 17, 2014
Press Contact: Sara Baird
PH: (646) 522-2518

Asheville dance companies Anemone Dance Theater and Legacy Butoh will collaborate to host acclaimed Butoh artist and choreographer Vanessa Skantze for an artist residency in Asheville the week of August 5-12.

Highlights of the residency include:

“Listening to the Bones: The Body as Instrument and Offering”
a movement workshop and performance open to the public

When: Saturday, August 9, 2:00 – 5:00 pm
Where: Bebe Theater
20 Commerce Street
Asheville, NC 28801
Description: Creating a space of curiosity and trust while fostering intense physical/mental focus, the workshop will facilitate awareness of the concurrent structural and energetic alignment of the body; explore limits of flexibility and strength, speed and stillness, instability and ground; work in pairs to develop listening beyond the skin; and invoke imagery to be absorbed into the body–creating the offering of Butoh dance. Follow the workshop, a studio performance will feature workshop participants performing the newly created dance piece as well as Vanessa Skantze performing a solo set.

For more information or to register, email Sara Baird at or call (646)522-2518. Suggested donation is $30.

“Radiant Poison”
During her residency, Vanessa Skantze will work with professional dancers to choreograph Radiant Poison, a dance that journeys through four gardens: origins, illusion, creation, and dissolution. Radiant Poison will premiere October 25 and 26 at Grove Park in Asheville as part of UWABE – Art in the Park, a free outdoor dance series funded in part by the Asheville Area Arts Council with support from Black Mountain College Museum + Arts Center.

Vanessa Skantze, a Butoh artist and teacher of yoga and dance, has performed in the U.S. and Europe for more than 20 years and is now based in Seattle. She co-founded the New Orleans sound/movement ensemble Death Posture and collaborates with renowned musicians such as Jarboe and percussionist Tatsuya Nakatani. Skantze has trained and performed with Jinen Butoh founder Atsushi Takenouchi, has created numerous ensemble works and solo pieces under the name Danse Perdue, and taught as part of Lydia Lunch’s Post-Catastrophe Collaborative.

Anemone Dance Theater, under the artistic direction of Sara Baird, is influenced by the philosophy of Japanese Butoh Dance – a theatrical poetry of opposites, absurdities and unanticipated beauty. In addition to directing her own company, Baird has performed with the Butoh Rockettes directed by Celeste Hastings, Poppo & Gogo Boys, Richard Move for the Guggenheim Museum, VH1, and the Cannes Film Festival, and has toured the U.S., South America, and Europe. In 2007, Baird was chosen by master Akira Kasai to perform at The Japan Society in NYC for his commission, Butoh America.

Legacy Butoh was founded in 2005 by Julie Becton Gillum, an icon of the Asheville dance community who previously founded three modern dance companies. Gillum has been creating, performing, and teaching dance in the US, France, Cuba and Mexico for over 40 years. Since 1998, she has created and presented major Butoh pieces at a variety of venues in New York, Chicago, San Francisco and Mexico, along with producing the annual Asheville Butoh Festival. In 2009, she was awarded the prestigious Choreography Fellowship by the North Carolina Arts Council, which enabled her to travel to Japan to study with Butoh masters.

Sara Baird, Artistic Director of Anemone Dance Theater, and Julie Becton Gillum, Artistic Director of Legacy Butoh, are frequent collaborators, having choreographed and performed together at the Asheville Fringe Festival, as part of NC Stage’s Catalyst Series, at Black Mountain College Museum + Art Center’s Re-Happening, and at many Asheville street festivals.

8th Asheville Butoh Festival WORKSHOP INFORMATION

Jenni Cockrell


BeBe Theatre, 20 Commerce Street

This years festival will offer four exciting workshops for you to really get yourself satiated with the expressive art of butoh. Each workshop is designed for all levels of experience so spring into action and bring butoh into your body and life.


WHEN: Friday April 26, 10 AM-1PM

TAUGHT BY: Maureen “momo” Freehill


WHEN: Saturday April 27, 12 PM – 3 PM

TITLE: “One Drop”

TAUGHT BY: Keiko Hashimoto

DESCRIPTION: This class will explore the following questions:

How can we connect the unchanging and the ever-changing in our life?                            How can we bring one drop of life to the big river?

Through the human body, using exercises in space like walking, standing, levels, qualities of strength and delicacy, we will discover “space flower” or “stone back”. This workshop will connect to Friday’s workshop with momo, in that both these teachers’ primary mentor was butoh c0-founder Kazuo Ohno.


WHEN: Sunday April 28, 12 – 3 PM

TAUGHT BY: Florence Poulain and Bob Lyness

TITLE: “Collective Consciousness at Play”

DESCRIPTION: In the tradition of butoh master Diego Pinon, this workshop will focus on exploring states of mind and attitudes, ranging from the subtle to the grotesque, through individual and interactive explorations. In this process of self-discovery we will connect with one another,  cultivating a supportive energetic exchange.


TITLE: “Dance and the Archetypal Symbol: An Improvisational Butoh Workshop”

DESCRIPTION: This improvisational, Butoh inspired class will explore the question “How does the soul experience image and archetype?”  Through Butoh exercises and improvisation, we will delve into symbols and images, exploring them as vital seeds for dance, performance and the human experience.

TAUGHT BY: Jenni Cockrell

WHEN: Monday April 29, 6 – 9 PM

“Butoh In Seattle” a review of 30 /30 Concert, written by Amontaine Aurore

photo by Briana Jones

Critic Mark Holborn has written that Butoh is defined by its very evasion of definition. A dance art form that started and developed in Japan after World War II, allegedly in response to the bombings of Hiroshima and Nagasaki, Butoh has spread to the United States and overseas, and continues to defy simple categorization. Unlike Hip Hop that also began as an underground movement but got quickly co-opted by corporate interest Concerts and molded for mass consumption, Butoh has remained true to its subversive roots. I recently witnessed what was described as a ‘Butoh-inspired’ performance in Seattle where Butoh has captured a following among a dedicated group of artists that have been evolving the form since the 90s. The production entitled 30/30 Concert was a two-day long performance that presented the work of four choreographers: Sheri Brown, Helen Thorsen, Diana Garcia-Snyder and Joan Laage, and featured a stellar lineup of Butoh dancers in and around the Seattle area. The slow, controlled movements and white-faced makeup that characterizes the form was still in use. Yet, I noted that these performances were ‘not your mother’s Butoh.’ Employing pioneering multimedia installations and fusing the form with modern dance sensibilities, there seemed a marked departure, an evolution from what had previously gone before. However, the iconoclastic underbelly remained, as well as the venturing into dangerous, uncharted territory where few dance forms would dare to tread. This, I suspect, is due at least in part by the organic structure and philosophical underpinnings of the form. Rather than mimicking a system of already devised steps, jumps, leaps and turns, Butoh is derived from the body discovering movement. As one enters into the discovery, bodies, minds, perceptions expand, and so necessarily, do the possibilities. It was precisely these possibilities, morphing into incredibility, which made the performances so thrilling.

Take for instance the piece entitled, Divided by Zero, choreographed by Sheri Brown, who also danced in it, along with collaborators, Angela Martinelli, Kaoru Okumura, Alisa Popova, Douglas Ridings and Alan Sutherland. The work poses the premise, “What happens when mathematical impossibility becomes bodily possibility? When humans import the infinite into their finite beings, putting the ungraspable on display in their bodies? Brown, who is a math teacher, and her dance collaborators, created an eclectic work that commingled the trademark Butoh slow adagio movements with gongs, spoken words, and da Vinciesque perfected anatomical poses. In developing the piece, Brown was interested in the discovery of how dance can be considered a valid and integral investigation into mathematical/cultural frontiers. She sites mathematical breakthroughs worked out first on paper that led to engineering know-how in building the space shuttle and traveling to the moon. What mathematical suppositions and technological triumphs can be derived from dance when its thrust is perpetual discovery? Fastidious control and precision movement, some of which brought to mind equations and geometric calculations being carved through space, shattered my notions of what the body can and cannot do. Brown, a petite woman, at one point during the performance carried a grown man across her back.

Breaking up the live performances, was the amazing short film, Scrap Life, choreographed by SU-EN from Sweden and featuring performers from the SU-EN Butoh Company. Filmed in a junkyard, dancers emerge from the rubbish, elegantly dressed, arms and hands moving in sublime and sacred phraseology. The junkyard setting seems pertinent, as Butoh is famous for being performed in unfathomable spaces, such as caves, or where life is absurd, dramatic or extreme.

Although the Seattle Butoh community has not received as much press in Seattle as some other art forms, it was interesting to note the full house and enthusiastic reactions of their audience, as they have garnered a most remarkable following. What’s most palpable in this teeming and blossoming milieu is the driven devotion of the artists themselves that are not only dancing the form, but living it fiercely.

photo by Briana Jones

30/30 Concert was performed on June 22 and 23rd at Velocity Dance Center in Seattle, and was produced by DAIPANbutoh Collective, Last Leg and Danse Perdue.


What: Asheville Butoh Festival presents an evening of butoh inspired films by video artists: Lucas Baumann, Peter Brezny, Rainer Doost, and Megan Ransmeier.

When: June 13, 2012 @ 6:00 PM

Where: Black Mountain College Museum, 56 Broadway, Asheville

Cost: $5

Here is the line-up.



-Directed by Megan Ransmeier and Lucas Baumann

-Photography and Editing by Lucas Baumann

-Performance by Julia Taylor, Mariana Templin, Amelia Burns, and Megan Ransmeier.

Shot in and around Lake Eden, site of the former Black Mountain College, this film presents emotionally evocative images of contemplative movement, influenced by the local landscape and individual narratives. Characters emerge and recede within an abstract world of relation, while housed in sculptural costume and situation.


Excerpts from the performances of Diego Pinon, Yukio Suzuki, and Yukio Waruri

-Filmed and edited by Peter Brezny


Pre-release excerpts from the documentary film

a collaboration between Peter Brezny and Julie Becton Gillum

(currently in production)

GHOSTS OF THE SOUTH” An Affrilachian Butoh Homage

Filmed and edited by Rainer Doost, Zamani Productions

Directed by Julie Becton Gillum in collaboration with Valeria Watson-Doost

The 18 minute film honors and calls forth the Ghosts of the Asheville River Arts District, a part of town in which blacks thrived and from which they were displaced.Fo otage is derived from a live performance at the fall 2011 opening of Valeria Watson-Doost’s art exhibit entitled “NiceNasty.” The exhibit and performance addressed the continuing inhumanity we visit on each other through war, torture and racism.

The choreographers and lead performers Valeria Watson-Doost (a black woman) and Julie Becton Gillium (a white women) both have deep historic roots in Western North Carolina. In this profoundly personal performance the two dancers take us from deep racial dissonance to possible redemption.

It is the same ray of hope that makes Valeria Watson-Doost’s art not only bearable, but beautiful.


5 minutes – 2012

-Photography by Megan Ransmeier

-Performance and Editing by Lucas Baumann

A short picture of human grace, curiosity and persistence in the forest.

NiceNasty/Ghosts of the South

Boulder Butoh Festival

Julie has been invited to perform in the first annual Boulder Butoh Festival. Here is the link:

Check it out.

Butoh Garden Party

When: Saturday, October 2, 2010
Where: 104 Flint Street, Asheville

Come enjoy live performances with dancers and musicians Julie Becton Gillum, Erik Moellering, Julia Taylor, Elisa Faires, and Chandra Shukla

Join us for a glass of wine and live music and dance in the gardens. Suggested donation is $20/pay what you can.

All proceeds benefit Anemone Dance Theater and Legacy Butoh for the production of Yugen at the NC Stage Company’s Catalyst Series June 23-July 2 2011.

Please bring your friends. We hope you will join us!

Call Sara Baird/Anemone Dance Theater with any questions, 646.522-2518.
More information:


The Great Buddha of Kamakura, photo by JBGOn Monday July 20, I went to Kamakura, which was the capital city of Japan between 1192 and 1333. It is a religious hub with 65 Buddhist temples and 19 Shinto shrines. We hiked from temple to shrine and saw many but not all of them. Ginger and I were guided by our new friend Hiromi who is charming and lots of fun.

We visited the Great Buddha (32 feet high) at Kotokuin Temple. He is seated out-doors because in the 13th century a tidal wave washed away the massive temple structure that used to house him. He remains unmoved and most impressive.

Hase Kannon Temple is home to the famous 11-headed gilt statue of KannonStatue female diety, Kamakura, photo by JBG (29 feet tall). The many faces of the goddess symbolize various stages of enlightenment and she is a carved from the trunk of a giant camphor tree. WOW!

Julie With Fox, Kamakura, photo by JBGOne of my favorite shrines, paid tribute to foxes (inari) with thousands of the little buggers everywhere. It was charming!

Vampire Diety, Kamakura, photo by JBGI had a delicious, very Japanese lunch of soba noodles covered with a lovely pile of delicately arranged vegetables (I couldn’t tell you what most of them were).  We enjoyed a delicious cup of macha (thick green tea) and elegant sweet bean paste treats about mid-afternoon then on to the money laundering, I mean “washing” shrine , where you wash your money in the sacred stream and pray for it to bring you wealth. Hope it works!

The most magical part of the day happened after dark when we visited the largest shrine. There was an enormous lake filled with giant lotus, with leaves as broad as my torso and head-sized flowers of pink and white.  I took some photos but they are not very good. We had a lovely encounter with an 80 year-old man who spoke English and told us about the history of Kamakura, the shogun and women samurais. He included some fascinating and sometimes gory details the history books leave out. What a fabulous day in Japan!Hiromi With Paper Crane Chains, Kamakura, photo by JBG

“Butoh History in Asheville” (1997-the present)

  • "Alchemy" performed at Galapagos Art Space, NY

    "Alchemy" performed at Galapagos Art Space, NY

    1997    Julie Becton Gillum (JBG), Susan and Giles Collard attended Min Tanaka’s performance based on the life and writings of Edgar Allan Poe, PS 122, New York

  • 1998    GooSayTen, featuring Itto Morita and Mika Takeuchi, workshop and performance at BeBe Theatre
  • 1998-2002     (5 summers) JBG attends San Francisco Butoh Festival
  • 2000   (May) Soul Motion concert produced by JD Project (JBG and Dana Davis) at YMI Cultural Center, Premiere of “Cairn” (first butoh choreography by JBG)
  • 2000   1st Asheville Butoh Festival with guest artists Itto Morita, Mika Takeuchi and Goo Say Ten at BeBe Theatre
  • 2001    2nd Asheville Butoh Festival with performances by JBG, butohmoshpitt (Jenni Cockrell and Shawn Oldham), Susan and Giles Collard
  • 2002   (July) Last year of San Francisco Butoh Festival, JBG invited to perform “Cairn” at the festival opening in Yerba Buena Gardens
  • 2003   (July) JBG performs “Mound” at American Dance Festival, “Opening Acts”
  • 2003   3rd Asheville Butoh Festival with guest artist Diego Pinon, workshop and performance at BeBe Theatre
  • 2004   (March) Asheville Butoh Festival, BeBe Theatre, guest Diego Pinon performance and workshops, Butohmoshpit, Mound
  • 2004   An Evening of Dance, BeBe Theatre, premiere of “Keng-San-Ku” conceived and directed by JBG
  • 2004   (August) JBG attends workshop with Diego Pinon, Tlalpujahua, Mexico
  • 2004   (September) JBG performs “Mound” and “Nuclear Family, butohmoshpit performs “Wedding,” Moving Women perform “Moon,” @ LAAFF, Asheville
  • 2004   (October) Diego Pinon in residence teaching workshops, Eagles Home Studio
  • 2004   (October) JBG performs “Mound” at “onearmred” New York
  • 2005   (January) JBG directs “Feather” installation for Asheville Fringe Arts Festival, Wedge Gallery, Asheville
  • 2005   (February) “Keng-San-Ku,”choreographed by JBG, performed by Jenni Cockrell @ NC Dance Festival, Diana Wortham Theatre, Asheville
  • 2005   (April) JBG performs “Stair Piece” for Red Night Cabaret @ Eagles Home Studio
  • 2005   (June) JBG performs “Haiku Spring” @ Morganton Arts Festival
  • 2005   (July) JBG attends workshop with Diego Pinon, Tlalpujahua, Mexico
  • 2005   (September) Julie performs “Mound” at Chicago Cultural center (3 performances) and at the Spare Room, Chicago (2    performances)
  • 2005   (October) “Welcome To Butoh” Tryon, NC, a series of butoh pieces choreographed by JBG, produced by Michael McCue – premiere of “Alchemy” at Tryon Arts Center; “Haiku” performed at Blue Ridge Community College; “Cairn” performed at Rogers Park amphitheatre; “Mound” private performance for members of Upstairs Gallery
  • 2005   (October) JBG performs solo version of “Alchemy” for NY Butoh Festival, Galapagos Art Space
  • 2005   (October) Julie performs “Alchemy” solo in the Nightmare Cabaret @ the Grey Eagle in Asheville
  • 2005   (November) JBG performs solo “Alchemy” @ BeBe Theatre with Julia Taylor performing “Embrace”
  • 2005   (November) full “Alchemy” performed at WWC
  • 2006   (January) JBG performs solo “Alchemy” @ Jolie Rouge Pirate Cabaret
  • 2006   (February) JBG performs “Butap” for NC Dance Festival, Diana Wortham Theatre, Asheville
  • 2006   (March) JBG attends workshop /rehearsal for Monarch Project with Diego Pinon and workshop with Yumiko Yoshioka, Chicago
  • 2006   (April) JBG works with Kathy Myers students at Asheville School on a production of “Masque of the Red Death”
  • 2006   (July) JBG produces “Butoh and Beyond” with guest artists: butohmoshpit, Rachel Finan, Lani Fand-Weissbach, and Crystal Sabbagh
  • 2006   (August) JBG attends workshop /rehearsal for Monarch Project with Diego Pinon, Tlalpujahua, Mexico
  • 2006   (September) Legacy Butoh performs “Funeral For America” @ LAAFF, Asheville
  • 2006   (September) Legacy Butoh performs “Funeral For America” @ WWC
  • 2006   (September) Legacy Butoh performs “Trio” and “Maze” for River Sculpture Festival, Amboy Road River Park
  • 2007   (January) JBG directs “Butoh Buddies” performed at Asheville Fringe Arts Festival
  • 2007   (April) Julia Taylor performs “Embrace” @ BeBe Theatre, Asheville
  • 2007   (May)”Butoh and Beyond? at WWC guest artists “Moving Women”
  • 2007   (June) Legacy Butoh (JBG and Elisa Faires) produces film for URTV, Asheville
  • 2007   (September) “Pledge” premiered at River Sculpture Festival
  • 2007   (October) Tina Ford-Cox, JBG, Manon Manavit, Mike McCue, and Julia Taylor attend NY Butoh Festival
  • 2008   (December) JBG attend workshop at Butoh Ritualo Mexicano with Diego Pinon, Tlalpujahua, Mexico
  • 2008   (January) JBG performs “Haiku-War and Peace” (with dove release) at Vance Monument for Asheville Fringe Arts Festival
  • 2008   (January) “Pledge” Asheville Fringe Arts Festival
  • 2008   (May) JBG performs “Haiku Spring” @ Four Seasons Arts Council, fundraiser, Hendersonville
  • 2008   (June) JBG attend workshop with Tadishi Endo, Cave, New York
  • 2008   (July) JBG performs “Pledge” for Butoh Across Generations, Sal Anthony’s Movement Salon, New York; teaches workshop at Joyce Soho
  • 2008   (September) Monarch Project, directed by Diego Pinon, premieres in Chicago at School of the Art Institute and Osaka Park
  • 2008   (October) “outthereouthere” with John Crutchfield, directed by Ron Bashford, performance at NC Stage Catalyst Series
  • 2008   (October)  JBG in residence @ U. of Iowa – workshop and performance of “Pledge” and “Butap”
  • 2008   (October) Butoh Halloween installation for “Haunted Busride,” Lazoom Bus
  • 2008   (September) JBG performs “Blessing” for the opening of the River Sculpture Festival, Reynold’s Mountain Park
  • 2008   (October) JBG performs “Tunnel” @ River Sculpture Festival, Reynolds Mountain Park
  • 2008   (November) The Monarch Project, directed by Diego Pinon, workshop and performance of “Mariposa” at Warren Wilson College
  • 2009   (January) Premiere of “Zombie Jesus,” with music by Marcus Chatfield and Duke Ramuten, Lazoom Bus Tour, Asheville Fringe Arts Festival
  • 2009   (February) JBG performs butoh improvisation for “Voicing BMC: The Women” @ Black Mountain College Museum + Arts Center
  • 2009   (April) JBG hosts Maureen “MOMO” Freehill in Asheville, workshop at Warren Wilson College and performance at Sacred Embodiment Center, 31 Carolina Lane

Butoh Choreography and Performance by Julie Becton Gillum (2000 – 2008)

"Tunnel" for the 2008 River Sculpture Festival
“Tunnel” for the 2008 River Sculpture Festival

Bio – Julie Becton Gillum: As founder of three modern dance companies and finally Legacy Butoh, Gillum has been creating, performing and teaching dance in the US, France, Cuba and Mexico for over 40 years. She currently teaches modern dance, musical theatre, performance art and butoh at Warren Wilson College. Gillum’s primary form of artistic expression has become butoh, which she has been practicing, performing and teaching since 1998. She has created and presented major pieces in the genre, at a variety of venues in New York, Chicago, San Francisco and Mexico. Gillum was awarded the 2008-09 NC Choreography Fellowship and intends to use the funds to go to Japan this summer to study butoh.

Cairn” (2000) A solo for one man and 1400 pounds of granite blocks, based on ideas and images of martyrdom.                                           Performance history:

  • 2000 – Soul Motion with J D Project at YMI Cultural Center, Asheville
  • 2001 – Soul Motion with JDP at Kittredge Theatre, WWC
  • 2001 – UNCAsheville Dance Department outdoor concert
  • 2002 – My yard for 30 invited guests
  • 2002 – San Francisco Butoh Festival, Yerba Buena Gardens, (August 3)
  • 2003 – Warren Wilson College, May 10 & 11
  • 2004 – Roger’s Park Amphitheatre, Tryon, NC

Mound” (2002) A solo ritual delving into feminine rites of passage.
Performance history:

  • 7/1/03 – My yard for 25 invited guests
  • 7/10/03 – Opening Acts, American Dance Festival, Duke University
  • 2003 & 04 – Lexington Ave. Arts and Fun Festival, Asheville, NC
  • 2003 – Asheville Butoh Festival with guest artist Diego Pinon
  • 2004 – “onearmred” Dumbo New York, NY
  • 2004 An Evening of Butoh Dance @ Warren Wilson College
  • 2005 Chicago Cultural Center (3 performances)
  • 2005 The Spare Room, Chicago (2 performances)
  • 2005 Welcome to Butoh, Tryon, NC

Haiku” (2002) The Japanese poetry becomes a talisman for this crone/ clown/ angel/ fool.
Performance history:

  • 2002 Festival des Artes, Holguin, Cuba, (4 performances)
  • 2002 – NC Dance Festival, Asheville, NC
  • 2003 – UNC-A Dance Department performance
  • 2003 – An Evening of Dance, BeBe Theatre, Asheville, NC
  • 2004 – Kittredge Theatre Lobby, WWC
  • 2005 – Morganton Arts Festival, Morganton, NC
  • 2005 – Isothermal Community College, Columbus, NC
  • 2007 – Asheville Fringe Festival, Vance Monument
  • 2008 – Henderson County Arts Council Fundraiser
  • 2008 – IMPAC Sports Facility Fundraiser
  • 2008 – Black Mountain College Museum

Keng san-ku” (2003) A solo based on the Chinese myth of the goddess of the privy: During the seventeenth century, the second wife of a government official is murdered by the jealous first wife, who throws her into a privy pit on the Day of the Feast of Lanterns. Even today this holiday is celebrated by young wives in China throwing stick and cloth effigies of the Purple Lady into their toilets asking for her intimate womanly advice.
Performance History:

  • 2003-4 NC Dance Festival
  • 2004 An Evening of Butoh Dance, BeBe Theatre, Asheville, NC
  • 2004 Warren Wilson College, Kittredge Theatre
  • 2006 “Butoh and Beyond” BeBe Theatre, Asheville, NC

Labyrinth” (2003) (A companion to “Cairn”) Delving into Medieval mythology, dancers ritually organize 350 pounds of falling rice into symbolic patterns. Premiered at Kittredge Theatre, Warren Wilson College in May.

Slime” (2004) This piece depicts the American Nuclear Family confronting the 21st century. Created for Lexington Avenue Arts and Fun Festival (LAAFF).

Feather” (2005) an installation work based on birds and their humanlike behavior. Six Performances at the Wedge Gallery for the Asheville Fringe Festival.

Alchemy” (2005) Structured on the Medieval symbolic process of alchemy, whose express purpose is to turn baser metals into gold, a metaphor for goodness of the human soul.
Performance history:

  • 2005 – Premiered at Tryon Fine Arts Center, Oct 1
  • 2005 – Solo performed at Galapagos Art Space, Brooklyn, NY, Oct 15
  • 2005 – Solo performed at “Nightmare Cabaret” Asheville, NC, Oct 28
  • 2005 – Entire piece performed at WWC, Kittredge Theatre, Nov 20
  • 2006 – Solo @ Jolie Rouge Cabaret, Asheville, Jan 13,14
  • 2006 – Solo @ ‘06 Asheville Fringe Festival, Jan 27, 28, 29

Wound” (2006) This dance is based on the idea of physical as well as spiritual wounds.
Performance history:

  • 2006 – “Rant and Rave,” the Wedge Gallery, Asheville, N
  • 2007 – “Butoh and Beyond” Warren Wilson College

Ritual” (2006) This piece is created as a transformational blessing for the feminine.
Performance history:

  • 2006 – River Sculpture Festival, (3 performances)
  • 2007 – “Butoh and Beyond” at Warren Wilson College

Quartet” (2006) This piece is based on ritualistic symbolism of the four elements: earth, air fire & water. Created and performed for the ‘06 River Sculpture Festival, Asheville, NC.

Funeral for America” (2006) This dance explores the horrors of war.
Performance history:

  • 2006 – Lexington Avenue Arts and Fun Festival (September)
  • 2006 – Warren Wilson College (October)

Butap . . . for my son John” (2006) Based on my relationship with my son, the piece explores both light and darkness found in maternal love.
Performance history:

  • 2006 – “Butoh and Beyond” @ Warren Wilson College
  • 2007 – “Asheville Fringe Festival,” The Orange Peel, Asheville, NC
  • 2007 – NC Dance Festival, Diana Wortham Theatre, Asheville, NC
  • 2007 – Future of Traditions performance space, Asheville, NC
  • 2008 – “Hour Earth” joint concert with John Crutchfield (2 performances, May)
  • 2008 – “out there out here” Catalyst Series at NC Stage Company, Asheville, NC (5 performances, October)
  • 2008 – University of Iowa, guest artist (October)

Arise” (2007) An exploration of ritual tattoo, this piece was created and performed in collaboration with tattoo artist Kitty Love at WWC. Score by Elisa Faires. (2 Performances, May).

Pledge” (2007) An installation based on the pledge of allegiance, created and performed at the River Park Sculpture Festival with sound sculpture by composer Wayne Kirby.

  • Performance history:2007 – River Sculpture Festival
  • 2008 – Asheville Fringe Festival
  • 2008 (May) “Hour Earth” Kittredge Theatre, Warren Wilson College(2 performances)
  • 2008 (July) Guest Artist, “Butoh Across Generations,” Vangeline Theatre, Sal Anthony’s Movement Salon, New York, NY
  • 2008 “out there out here” (October) Catalyst Series, NC Stage Co. Asheville, NC (5 performances)
  • 2008 (October) Guest Artist, U of Iowa, Iowa City, IA.

Bio . . .A Hazard” (2008) A ritual for the acceptance of death. The 10-year transformation I have experienced during the deterioration and reconstruction of my hip has given me insight into the prospect of aging and inevitably death. Score and video projections by Elisa Faires. Created and performed for the NC Dance Festival, Diana Wortham Theatre, 2/29/08.

out there out here” (2008) A duet created in collaboration with John Crutchfield and Ron Bashford (director). Poetry by John Crutchfield, music by Wayne Kirby.
Performance History:

  • 2008 – “HOUR EARTH” (2 performances, May)
  • 2008 - “out there out here” (5 performances, October)

Blessing” (2008) A ritual improvisation to honor the new sculptures and new location. River Sculpture Festival, Reynolds Mountain Park.

Tunnel” (2008) A ritual installation honoring transformation and rebirth. River Sculpture Festival, Reynolds Mountain Park, “Bamboo Tunnel” by AB Tech students.

Lazoom Halloween Tour” (2008) An installation created at an abandoned warehouse in Asheville’s river district. (6 performances, October).

Zombie Jesus” (2009) A scathing tribute to my mother, an avid supporter of PTL and founders Jim and Tammy Bakker. Music composed and performed by Marcus Chatfield, with Duke Ramuten accompaniing on harmonica, vocals, and preaching. (3 performances, Fringe Arts Festival, January).

Moving The Women” (2009) An improvised performance for “Voicing BMC: The Women” an evening honoring the women writers, visual artists, dancers and musicians who were present at Black Mountain College (February).

“Lifeblood” (collaboration with Michael McCue), musical score by Elisa Faires. A piece that honors chosen roles as well as the care and feeding of relationships. (2 performances – May 12 , June 1)