Demyanenko is a Russian-born graduate of the Academy of Theatrical Arts (Moscow) and has been performing, teaching, and choreographing in New York City since 2001. She was a member of Stephen Petronio Company from 2003 to 2008 and a member of Trisha Brown Dance Company from 2009 to 2012. Her long list of performance credits includes Martha Clarke’s Garden of Earthly Delights and Continuous Replay with Bill T. Jones/Arnie Zane Company and a lengthy engagement as guest artist with Riverdance. As a recipient of a Jerome Robbins Fellowship for the creation of new work, Demyanenko premiered Disparate Bodies with Joe Poulson at Baryshnikov Arts Center (2011). Blue Room (2014), recently premiered in collaboration with Dai Jian and commissioned by New York Live Arts, was described by The New York Times as “luxurious” and “eloquently meticulous” (Kourlas). Also a maker of dance film, Demyanenko was the recipient of an EMPAC Dance Movies Commission and was nominated for the Dance on Camera Jury Prize for her work on Kino Eye. Her other works have been shown at many venues including Baryshnikov Arts Center, Danspace Project, Movement Research at Judson Church, Dance New Amsterdam, Dixon Place, Red Bean, Wow, and Architecture of Movement Festival, Yaroslavl, Russia.
Mijlin is a producer, editor, writer, and was a founding partner of the media production company, Artifact Pictures. Some professional credits include The View from Amber Street (co-producer/writer); Virtual Memory (writer); The Adventures of Teddy P. Brains (co-producer/animation producer); From Philadelphia to the Front (associate producer/cinematography); and Viewfinder (co-producer/editor). In addition, she has produced many of her own short films and videos, which have shown at a variety of film festivals and cultural venues. In 2008, Mijlin wrote and directed Feldman and the Infinite, an original play that was staged for the Philadelphia Fringe Festival. She has received numerous production grants, including an Art and Social Change grant from the Leeway Foundation. She has also taught editing, documentary production, and media studies at the Film and Media Arts Department of Temple University and the Television Department of Columbia College.
with the collaboration of
For the past four decades independent dance artist, Eva Karczag, has practiced, taught and advocated explorative methods of dance making. She performs solo and collaborative work internationally, and many of her collaborations involve links across the arts. Her performance work and her teaching are informed by dance improvisation and mindful body practices, including the Alexander Technique (certified teacher), Ideokinesis, Taiji/Qigong and Yoga. Eva was a member of leading groups in the field of experimental dance, Strider (UK, 1972-75), and Dance Exchange (Australia, 1976-79), and danced with the Trisha Brown Dance Company (NY, 1979-85) creating original roles in Opal Loop, Son of Gone Fishin' and Set and Reset. She continues to teach through the company education program in NY and elsewhere. She has taught dance and the Alexander Technique at major colleges and studios throughout the USA, Europe and Australia, including a sustained period of teaching on the faculty of the European Dance Development Center, (EDDC) Arnhem, The Netherlands (1990-2002). Eva also has a Master of Fine Arts degree (Dance Research Fellow) from Bennington College, VT, USA. Recent performances include Promenade, a series of improvised durational performance/installations with visual artist Chris Crickmay and composer Sylvia Hallett; and on-going collaborative duets with Gaby Agis (Winlab, London), with Malgven Gerbes (Tanzfabrik, Berlin), and with Shelley Senter (Freedom to Move Conference, NY). Together with Vicky Shick, she has reset Set and Reset/Reset at the Budapest Contemporary Dance School, the Modern Dance Department of the Amsterdam Theater School, and at Princeton University. Through her performing and teaching, she aims to communicate her love of full-bodied dancing and her interest in the practice of being in the moment.
Jodi Melnick – NYC based choreographer, dancer, and teacher graduated from SUNY Purchase with a BFA in Dance. Melnick is the recipient of the Jerome Robbins New Essential Works Grant (2010-2011), The Foundation for Contemporary Arts Grant (2011), and has been honored with two Bessie Awards for sustained achievement in dance (2001 and 2008). Her works Fanfare and Suedehead, were presented February 2009 at The Kitchen in NYC. Fanfare, in collaboration with artist Burt Barr, was chosen as one of TIMEOUTNY’s best in Dance 2009 and opened the Dublin Dance Festival (2011), performed at The Irish Museum of Modern Art (IMMA). In NYC, other works have been presented at Dance Theater Workshop, and La Mama. Additionally, Melnick’s choreography has been commissioned by: OtherShore Dance Company (NYC), Dance Box (Kansai, Japan), Barnard College (NYC), George Washington University, Rex Levitates (Dublin, Ireland), Maiden Voyage Productions (Belfast, Ireland), Bates College (Maine) Monmouth College (Oregon), and throughout Estonia, Russia, and Japan. Melnick was a member of Twyla Tharp Dance Company (1990-1994), and worked with her again in 2009. She continues to perform with choreographers: Sara Rudner, Susan Rethorst, Jonathon Kinzel and Vicky Shick. In 2005, she revisited working with Donna Uchizono, creating and performing in a trio with Mikhail Baryshnikov. Since 2007 Melnick has been working with John Jasperse creating/performing/and restaging current versions of Becky, Jodi, and John. Becky, Jodi, and John’ was included in the New York Times top 5 dance gems of 2007 worth bringing back, and as one of the New York Times 2008 highlights of the coming year. Melnick has worked as an assistant director to Trisha Brown, creating and restaging two operas, Schubert’s Winterreise, and Scrainno’s De Gelo a Gelo. Currently, Melnick is thrilled to be working with Trisha Brown again, creating a new solo. In Spring 2007, she was privileged to be the dance mentor in NYC for the Young Arts award winners through the NFAA scholarship based in Miami, Florida. In 2004, in collaboration with choreographer Joachim Schloemer, composer Olga Neuwirth, and nobel-prize winning playwright and novelist Elfriede Jenilek, Melnick created her role, singing mezzo soprano, in David Lynch’s opera based on his film “Lost Highway’. She has performed in the video/film works of Burt Barr and Charles Atlas. As a teacher, Melnick has taught master classes, technique, improvisation, and composition workshops throughout the US, Europe, Australia, and Asia.Currently, she is teaching at Barnard College/Columbia University in NYC.
Dana Reitz is a choreographer, dancer and visual artist who has developed and produced projects since 1973. Most of these works have been performed in silence to reveal the movement's own musicality. Since the early 1980’s, she has created scores that weave movement and light and has collaborated with lighting artists Beverly Emmons, James Turrell, David Finn, Richard Martin, and, extensively, Jennifer Tipton. Her projects include Unspoken Territory, a solo she created for Mikhail Baryshnikov, Necessary Weather, a collaborative work with Tipton and dancer Sara Rudner, Shoreline, Private Collection, Lichttontanz, Suspect Terrain, Circumstantial Evidence, Severe Clear, and Field Papers. In 1996, she and Mikhail Baryshnikov toured together with a program of solos; in 1998, she created Cantata for Two, a duet for Baryshnikov and Tamasaburo Bando (Tokyo). Since then, her works include Gestures for Edwin, Again for Rudy Burckhardt, Cadences for Cunningham and Cage, Some Chamber Pieces, With Meredith in Mind, and Sea Walk. Her work has been commissioned and produced by the Festival d'Automne in Paris, the Hebbeltheater in Berlin, the Brooklyn Academy of Music Next Wave Festival, The Kitchen, and PepsiCo Summerfare, among many others. Reitz has toured extensively as a performer and teacher throughout North America, Europe, Australia, Hong Kong and Japan, and she is currently on the faculty of Bennington College. She is the recipient of two New York Dance and Performance (“Bessie”) Awards, she is the Artistic Director of Field Papers, Inc, and her work has been supported in part by many foundations and public agencies, including the John Simon Guggenheim Memorial Foundation, the Foundation for Contemporary Performance Arts, Inc., and The National Endowment for the Arts.
ray sun, video designer
Ray Sun Ruey-Horng is a video artist who specializes in time- based media work in conjunction with live performances. His works have been presented in galleries, theaters and opera houses in Canada, France, Germany, Taiwan and United States. In 2013, Ray is the recipient of Lincoln Center Directors Lab. Sunʼs installation and video works focus on human perception, memories and the uncanny experiences in our daily lives. His recent theatrical video design works include: Rocky das Musical, directed by Alex Timbers, TUI Operettenhaus. Heidi Duckler Dance Company, Kiss n’ Ride, LAX Flyaway Terminal. ISLA, directed by Emilie Sabath, CalArts. Emptied Memories, Directed by Chou Tong- Yen, Sung Shan Cultural Park Taipei. The Builders Association, House/ Divided, directed by Marianne Weems, Baryshnikov Arts Center. Soul Leaves Her Body, directed by Peter Flaherty, Here Arts Center and EMPAC. The Turn of the Screw, Directed by Kelly Robinson, the Banff Centre. Sun: A poem for Malcolm X inspired by his murder, directed by Danrae Wilson, CalArts. Shakespeareʼs wild sisters group, Avignon Off 09ʼ: Remix- Hsu Yen-ling x Sylvia Plath, directed by Baboo Liao, Au Théâtre de la Condition des Soies. Ray received his MFA in Video for Performance and Integrated Media from CalArts.
jon kinzel, sound designer, artistic consultant
Jon Kinzel has presented his work, including numerous commissions and solo shows, at a variety of national and international venues: receiving critical praise for Responsible Ballet and What We Need Is a Bench to Put Books On (2010), Someone Once Called Me A Sound Man (2013) – Best of 2013 in Artforum, COWHAND CON MAN (2015), Provision Provision (2015), and Atlantic Terminus (2016). He has received fellowships, residencies, and ongoing support from several foundations. As a performer and collaborator he has worked with many influential artists, composers, and choreographers. His writing and visual art has been featured in publications such as SCHIZM and the MR Performance Journal, and, he has been an Adjunct Professor and Guest Artist at Barnard, Yale, NYU, GWU, Amherst, Vassar, Emerson, Tsekh Moscow, Dance House in Ireland, and the Merce Cunningham Trust. Currently, he is a faculty member at LIU, LCE, and Movement Research.