Live Artery Studios


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Live Artery Studios



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Presented during the annual Association of Performing Arts Professionals conference (APAP), the 2022 edition of Live Artery returns in two concurrent parts, Live Artery, and Virtual Artery, featuring the recent work of New York Live Arts’ residency artists and curated guests. Live Artery will present in-person performances and works-in-progress showings in the studio and theater at New York Live Arts.

Live Artery has evolved to become a space for artists to network and share their work with presenters from around the world which has led to commissions, tours and the building of long-term relationships. After the last edition of Virtual Artery, we are excited to celebrate live performance both in person and virtually.


“Being in a place, being in an era, for instance an era of mass extinction, is intrinsically uncanny. We haven’t been paying much attention.”
-Timothy Morton, All Art is Ecological

Faye Driscoll’s newest work Weathering is a multi-sensory flesh sculpture made of bodies, sounds, scents, liquids and objects. Ten people (dancers/singers/crew) enact a glacially morphing tableau vivant on a mobile raft-like stage surging through the Anthropocene. Their voices generate a score that crescendos and resonates as they clutch, careen and cleave, in a space too small to contain them, spilling off the edges. The audience embanks the performers, close enough to smell the sweat and feel the steam of the central, spiraling scenes. The symphonically active, luminously living work is a breathing, leaking, choreography of micro events within a momentum thrusting from just beyond the perceivable. Driscoll and her team of collaborators ask: How do we feel the impact of events moving through us which are so much larger? Yet are animating and activating our bodies all the time? How do we get closer to the impact? Can we slow down enough to feel the dust, hurt, howl, absence, spill, plume?

Weathering is commissioned and produced by New York Live Arts as part of the Randjelović/Stryker Resident Commissioned Artist Program, which is made possible with lead funding from the Andrew W. Mellon Foundation and has been named for lead donors Jon Stryker and New York Live Arts board Vice-chair Slobodan Randjelović; and co-commissioned by Theater der Welt 2023 in Frankfurt – Offenbach and The Joyce Theater Foundation’s Artist Residency Center, made possible by lead funding from The Andrew W. Mellon Foundation, Howard Gilman Foundation, LuEsther T. Mertz Charitable Trust and Doris Duke Charitable Foundation. Additional commissioning support provided by Wexner Center for the Arts and members of Faye Driscoll’s Commissioners Circle.

Weathering is made possible with generous support from New York State Council on the Arts, Café Royal Cultural Foundation and NYC Department of Cultural Affairs, and developed with residency support from Carolina Performing Arts at University of North Carolina at Chapel Hill, Maggie Allesee National Center for Choreography at Florida State University, Pillow Lab at Jacob’s Pillow, and Dancers’ Workshop.

Touch of RED

Touch of RED is a new male duet that will take place inside of a contemporary ring. It’s research deal with the allowance of black men to soften; the power in vulnerability; the meeting point of two individuals within a boxed space that references a futuristic and voyeuristic gladiator entertainment site in which a heat path between the two performers builds not out of aggression or combat but within an enhanced electrifying effeminacy that heals.

UnFiNiShEd aNiMaL

UnFiNiShEd aNiMaL is a 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. An interdisciplinary approach invites the audience to meditate on what might be unfinished about human cognition and how these biases keep us from building a better world together.

UNTIL THE LION TELLS the Story, There is No Glory

During my research, I was amazed by the qualities of observation, patience, analytical thinking, and mindfulness of the ancient Egyptians, which enabled them to understand the fundamental functions of nature. They understood that everything is linked and affects one another, just as the Nile River affected their lives. Egyptians observed, measured and noted everything. They ended up doing the unthinkable, the unimaginable thing. They measured a drop of water and developed the 1 cm scale, which became a universal constant, the element that allowed them to master the notion of measurement. The blueprint for geometry was born.

Using drops of water, the ancient Egyptians called roughly 1 cm the Royal Finger, and a decimeter equaling 10 drops of water is called the Royal Hand. A meter equaling 100 drops of water is called the Royal Leg. They measured Pi and Phi, the Golden Ratio, which is also called the addition sequence or golden rectangle. They invented the screw pump or so called Archimedes screw. And there is much more to discover from them.

The Egyptians called their land Kemet, or Black land, and their kings were known as Pharaohs. It is said that the lion is the king of the bush, but it is more accurate to say that the lion is of the savannah. All of these ideas inspired my new solo, Until the Lion Tells the Story, There is No Glory.

Rose Rhythm by Doudou N’Diaye Rose
Vibrations rituelles & Magie ethnique by African Music Drums Collection.
Mountain Love Dance by Jack DeJohnette  & Foday Musa Suso.
Costume designs by  Zinda Williams (US) and Ben Isac /Black (BF)
Special thanks to Anikaya dance theater, Theater/Dance and Performance Studies at Yale University, and New York Live Arts.

Co-production / logistic support: New York Live Arts and Hakili Sigi.

transitions into terrestrial

For 2023 Live Artery, jumatatu m. poe will present transitions into terrestrial, sharing images, video, poetics, and movement reflecting on transitions in artmaking and life. Having completed a 10 plus year cycle of research and performance with collaborator Jermone Donte Beacham through the J-Sette focused Let ‘im Move You series, jumatatu is reflecting on the vastness of the voyage, the depth of the lessons on both being and being with that sprang forth from that intimately collaborative series of processes. Currently, jumatatu’s attention is turned toward nobility and indigeneity in early research for the forthcoming terrestrial project.

mourning after mornings

Inspired by early & contemporary death and grieving rituals, three archetypal female outcasts (facing their own aging bodies) tell an ancient story that is also the present. Narrative and time is constructed and deconstructed in cyclical reverie. This seasoned cast of performers (and younger ghosts) explore communal loss and mourning, reclaiming wildness, as they attend to the devastating, absurd, and sacred ways we come to care for bodies and ritualize endings. mourning after mornings is being made in collaboration with Anna Azrieli, Rebecca Serrell, maura nguyễn donohue, along with composer Leslie Alison, and lighting designer Kathy Couch.


unSurrendered is an evening-length musical performance by composer, vocalist, clarinetist, and Holland Andrews where they examine the dissonance of being stuck in a pattern of suffering and how we may not trust the way through it, or even feel that we don’t deserve freedom from it. We often hear the term “unlearning” in the context of changing thought patterns that don’t align with what we feel is true. But what parts of ourselves are we returning to when we “unlearn” something? Is where we land after we release a cycle of conflict without peace? By using extended technique voice and clarinet processed through electronics, unSurrendered is meant to abstractly interpret the paradox of wanting peace and not trusting its existence, validate the mistrust we have developed for how to find peace, and within it all, create a vessel of hope of being open to the possibility available to us.


Onyx digs into the origins of “Rock and Roll” revealing the Black and Brown people whose sounds, performances and personalities created this revolutionary genre. This 40-minute dance features a cast of five performers, Bree Breeden, Niara Hardister, Kyle Marshall, Nik Owens, and Cayleen Del Rosario. Costumes, Hair and Make Up are designed by KMC visual director Edo Tastic, with costumes constructed by Meagan Woods. Lighting will be by Itohan Edoloyi, KMC’s resident designer. The soundtrack, shaped by artist Kwami Winfield, incorporates samples of text and songs by groundbreaking Rock and Rollers including; Little Richard, Betty Davis, Death, James Brown, LaVern Baker, Tina Turner, Big Mama Thornton, and Sister Rosetta Tharpe.


Artistic Director, Choreographer: Kyle Marshall
Performers: Kyle Marshall, Bree Breeden, Cayleen Del Rosario, Niara Hardister, Nik Owens
Sound Collaborator: Kwami Winfield
Visual Director – MUA, Hair + Costume Designer: Edo Tastic
Lighting Designer: Itohan Edoloyi
Costume Construction: Meagan Woods
Company Manager:
Madalyn Rupprecht


Reverb is a series of personalized genetic operas, created by artist Pearlyn Lii. Each performance is an intimate interaction between opera singer Ān the Guide, and Person X. Ān performs a personalized soundscape scored from the participant’s mitochondrial DNA, which uniquely retains genetic material that is passed only through maternal lineage. Ān guides Person X through their matrilineal line—contemporary to the beginning of time—through notes of magical realism to connect them to their feminine origins.

In this special presentation, guests will experience a three part expression of this ongoing body of work including a live performance of the artist’s genetic opera, a screening of Reverb: Episode 1, a short film featuring curator and writer Michelle Millar Fisher’s matrilineal opera, and an interview with the artist.

Presentation & Performance at Live Arts
Lead Artist: Pearlyn Lii
Project Director: Alex Darby
Creative Sound & Mastering: Kyle Chang
Costuming: Ji Won Choi
Emma Goldberg Liu, Soprano in the role of Ān the Guide

Reverb Episode 1
Lead Artist: Pearlyn Lii
Director: Tatyana Kim
Cinematographer: Huy Dang
Producer: Alex Darby
Creative Sound & Mastering: Kyle Chang
Editor: Greg Truono
Gaffer and Key Grip:Jon-Luke Fillippi
Michelle Millar Fisher, as herself
Emma Goldberg Liu, Soprano in the role of Ān the Guide
Costuming: Ji Won Choi
Special Thanks to Duy Pham and Michael Brown @ Speaklow

Artist: Pearlyn Lii
Project Director: Alex Darby

Original Concept
Pearlyn Lii & Connie Bakshi


MOVEMENT  (Premiered March 2022 @ PEAK Performances) is the new evening-length work from Netta Yerushalmy that synthesizes over one hundred citations from an expansive range of dances across genres and cultures. It is a radical quilt of borrowed material that stretches the idea of pluralism until it almost snaps.The project features a new score by award-winning composer Paula Matthusen and is performed by dancers hailing from Korea, Senegal, Israel, Taiwan, and across the USA.

This piece follows Yerushalmy’s last major work, PARAMODERNITIES, a six-part series generated through reverently and violently dissecting iconic modern choreographies, provoking dynamic conversations with the troubled legacies of the past.

MOVEMENT is a continuation of Yerushamly’s practice of repurposing, reorienting, and re-contextualizing dance, spinning fragments of seemingly unrelated works into an enthralling new whole. This new maximalist spectacular performance shines light on dance as an inevitable and unifying force in a brittle and confused world.

A new work by Netta Yerushalmy
Created with and performed by: Burr JohnsonCatie LeascaChristopher RalphCaitlin ScrantonJin Ju Song-BeginHsiao-Jou TangKhalifa Babacar Top

Original Music: Paula Matthusen
Dramaturgy: Katherine Profeta

MOVEMENT is produced by and managed with Los Angeles Performance Practice

MOVEMENT is co-commissioned by PEAK Performances at Montclair State (NJ). This project was created, in part, at The Yard, an artist residency and performance center dedicated to contemporary dance and related arts, with additional development support from a New York City Center Choreography Fellowship, Dance Initiative, Miami Light Project, Lower Manhattan Cultural Council, and the Maggie Allesee National Center for Choreography (MANCC). Support for MOVEMENT came from DanceNYC, New Music USA, NYSCA, The O’Donnell-Green Music and Dance Foundation, Harkness Foundation, and Foundation for Contemporary Arts Emergency Grant. MOVEMENT was developed in residence at the Alexander Kasser Theater, Montclair State University.
Produced for Broadcast and Online Streaming by Montclair State University (NJ) for PEAK Performances.

MOVEMENT is produced by and managed with Los Angeles Performance Practice /