Musician

Noah Jackson, Julius Rodriguez, Hsinwei Chiang, Melanie Dyer, and Leonor Falcon 

Dancer

 Rachel Hustell,  Ghalib Kayali, Claire Kretzschmar, Lars Nelson, Cassia Wilson and Silas Farley

Practicing Silence at GRACE FARM

The work is being developed in response to poet Ilya Kaminsky's unpublished manuscript Deaf Republic, as well as and lectures and writings by scholar Peter Bouteneff of the Arvo Pärt Project at St. Vladimir's Seminary. The creative team includes: choreographer Silas Farley, dancers Rachel Hutsell, Ghaleb Kayali, Claire Kretzschmar, and Lars Nelson of the New York City Ballet, and dancer Cassia Wilson of Ballet Austin; composer and sound designer Pornchanok Kanchanabanca; bassist and cellist Noah Jackson with The Ase Quartet; pianist and drummer Julius Rodriguez; poet Ilya Kaminsky; and scholar and author Peter Bouteneff. 

Practicing, the signature program of the Foundation’s Arts Initiative, is led by Kenyon Victor Adams, Arts Initiative Director and a performance artist, director, and poet.The ongoing series brings together individuals working at the intersection of the visual, literary, and performing arts to examine universal subjects, such as empathy, awe, and now silence. These collaborative, site-specific works are shared with the public following an extended workshop at Grace Farms.

GALATE

A journey, refracted through the body of a single woman, from the innermost molten centre of our Earth to the farthest reaches of outer space.

A NIGHT OF WONDER

As a Sound artist, I want to produce a show that starts from Sound. I want to explore how could sound lead the performance like a text scrip.

I always start writing my music or making sound from a scrips of plays or seeing the device pieces rehearsal. Start writing music without any guiding is very challenging for me, so I need some story line to follow. I have been inspired by the story of Tarot card. The image of the card contain story and meaning that anyone can interpret indifferent way. The Tarot is a map of our unconscious mind, making the imaginary happen. It speaks in the language of symbols, the language of unconscious, and when approached in the right manner it may open the hidden thought of our own mine. Story about the stage of life that we have in common. Tarot contain the countless variations of human choice and possibility.

I want to experiment on this possibility making the show that will be different every time depend on the audience. Let the audience choose their card and decide what the show will be each time. 

LUX 2015

A projection mapped piece projected on the Beinecke Library at Yale University. A piece based on Roman Sculpture for Lux: Ideas Through Light at Yale University April 10th -12th 2015. 
PROJECTION DESIGN BY Rasean Davonte Johnson

Fresh Horn Piece

I’m with you in Rockland: Yale Cabaret

“Howl,” a poem written in 1955 and published as part of his 1956 collection, “Howl and Other Poems,” is best remembered “as an ecstatic lament over the plight of the artist” in society, points out the Yale Cabaret. The downtown New Haven theater is mounting five performances of “I’m with you in Rockland,” inspired by Ginsberg’s life and work, including “Howl,”

Creative Team

Kevin Hourigan, director and production designer; Jason Najjoum and Rachel Shuey, co-producers; Elizabeth Mak, lighting designer; Nok Kanchanabanca, sound designer; Michael Commendatore, projections designer; Avery Trunko, stage manager; Rae Powell, technical director; Ian Gottlieb, Dylan Mattingly, composers; Baize Buzan, Ricardo Dávila, Lucie Dawkins, Tori Sampson, additional contributing writers

Performers: Josh Goulding, Alteronce Gumby, Kevin Hourigan, Helen Jaksch, Lynda Paul, Nahuel Telleria, Avery Trunko; Musicians: Ian Gottlieb, Fred Kennedy, Dylan Mattingly

Composed for New Morse Code in Composition for Sound Designer Class, Yale School Of Drama. 2015

Cello by Hannah Collins
Percussion by Michael Compitello

Shade Borders (Ngao-Rang)

Womanly Bodies Experiences

Movement Choreograph & Direction : Sineenadh Keitprapai                                          By Crescent Moon Theatre Company                                                                              Re-stage in Meet 2017 at Seoul Arts Mullae

“Openly spoke about their bodies – the parts they loved, the parts they had come to accept, the parts they disliked – and their internal selves. Together, they weaved a collective history the female emotional and physical experiences. In a society where there is little discussion about the body and boundaries, Ngao-Rang felt refreshing and necessary.”