Get To Know Our 2023 Dance Awardees


These innovative artists are using the power of movement to address colonialism, the planet, emerging technologies, and more. Discover the then Dance projects Creative Capital is supporting as part of the 2023 Creative Capital “Wild Futures” Awards:

Athey walks through a videoscope of the “Road to Golgotha” with video intercut from the christ fantasy scene in Fassbinder’s Querelle and The Passion of the Christ, carrying on his back six 10-foot poles with phallus heads Solo Badolo & Jacob Bamogo

In Baggré: Science and Maths of the AncestorsBadolo will give life to ancestral knowledge through choreographic creations, using signs that are marked in sand and shells.

A group of men and women of varying Brown skin tones are huddled together and collectively looking upward with earth-toned textiles covering them. Stefanie Batten Bland

Spaces expands on Company SBB’s immersive physical-theater practice and is based in observation, with audience as both onlookers and participants, nestled under the soft, penetrable walls of a tent.

Waiting (work in progress). Photo by Umi Akiyoshi Photography. Sidra Bell & Immanuel Wilkins

Sidra Bell & Immanuel Wilkins Quartet Collaboration, a collaboration entitled waiting, places hybrid forms of movement against a wild mixture of textures and sound in the environment of the space.

Cursive black vinyl letters spelling out “Exorcism,” have been ironed on Yanira’s grandmother’s crochet doily. Behind the doily is the colors (canary yellow and black) of Yauco’s flag, El Pueblo del Café where Yanira’s maternal side is from in Borikén (Puerto Rico). Yanira Castro

I came here to weep is a multimodal project composed of participatory scores for the public, dances for mourning, and the communal exorcism of US treaties on territorial possession.

Three performers jump, and two performers are on the floor under the red and purple abstract video projection. LEIMAY: Ximena Garnica & Shige Moriya

Extinction Rituals is an evening-length, interdisciplinary grieving ritual/performance that reflects on biodiversity loss in the artists’ places of home and birth: Japan, Colombia, New York City.

Laurel arches backward, balancing on two wheels, impossibly close to the floor. Arms curve loosely up over body and face; her silver top drapes and flows into her silver chair frame. Photo David Clifton-Strawn The Choreodaemonic Collective: Laurel Lawson & Sydney Skybetter

The Choreodaemonic Platform is a multiply-manifesting choreo-computational performance in which artists, audiences, and AI contend with symbiotic and adversarial relationships between nature, art, and emerging technologies.

An image of the dancer, Emily Wexler in the first experiment costume to be finalist in Meier's piece “Hidden”. Yvonne Meier

Faulty childhood memories, Brechtian alienation, charming yet sinister props that literally envelope the audience, Hidden in the seemingly innocent dance is a hidden (Ukrainian) war.

Two people, one wearing white, the other bright blue, sit on black pavement and wrap their legs around each other, arms clasped and arching away, with their faces out of frame. Rashaun Mitchell & Silas Riener

Open Machine is an interdisciplinary dance performance that improvises navigation through physical and digital space with movement scores, objects, and social interaction.

Prumsodun Ok & NATYARASA dancers, wearing diaphanous costumes of red cloth, perform Drops & Seeds on a dark stage at the Department of Performing Arts, Cambodia. Prumsodun Ok

Setting Khmer classical dance to gagaku music, Japanese Buddhist drumming and chanting, and holographic animation, A Deepest Blue contemplates humanity’s relationship to the ocean and life.

Jasmine Orpilla

Orayson is an operatic sound installation of larger-than-life Filipino bulletproof vests, each triggered by combat-courtship choreography and live vocalization of Orpilla’s Ilokano grandmother’s traditional call-and-response love riddles.

A Latinx woman with black curly hair and tan skin dances in a mint green and black tiger print t-shirt and maroon leggings. The floor is blonde wood, the walls are off-white her feet are bare. Mariana Valencia

An improvisatory score of choreography, music, and text that responds to time; a flux of embodied ease, rigor, and distress. Arrival is a rumination on refracture.


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