Produced by Cory Neale & Mira Treatman
The E|MERGE Interdisciplinary Collaborative Residency is a two-week long creative residency where performance and visual artists, activists, scholars, scientists, and more come together as curated Earthdance Creators-in-Residence to explore methods of creation and collaborative decision-making through structures that allow for risk-taking—horizontal organization, collective decision-making, cross-disciplinary collaboration, nonlinear process, and more. E|MERGE provides a fertile space for pushing the boundaries of collaboration and leadership, undoing assumptions about creative processes, and exploring how creative practices transform our relationships.
The residency culminates in a final weekend of public installation, performance, and discussion: E|MERGE Presents 2020 March 6 & 7 (times tbd).
Earthdance enthusiastically encourages participation across social differences including race, sexual identity, gender, age, class, and ability. Earthdance is committed to ongoing learning about identity-based privileges, marginalization, inherent power dynamics, and how to be a more inclusive, equitable space. We have accommodations available for those who use mobility devices. Please inquire with your accessibility needs: email firstname.lastname@example.org.
The E|MERGE 2020 Application is closed.
Read: Earthdance's Pledge to Diversity, Equity & Inclusion.
Earthdance's buildings are ADA accessible. More info here.
Our Community Ethos
During all Earthdance events, participants contribute 1–2 shifts (typically Meal Cleans) and participate in a Final House Clean on Sunday. This is to enable a process of collective care for the space, where participants and staff work side-by-side to establish a shared sense of home. If, for whatever reason, you are not able to participate, please email email@example.com.
E|MERGE 2020 Creators-in-Residence
I am interested in creativity and creative process in general. All kinds of collaborations, structure, organizational models and creative disciplines. Creativity: how to exercise it and how to practice it.
At this time, I feel ready to release control while creating. More than I have ever been before, I am open and interested in creating within a medium, style, or method completely out of my comfort zone. In the past I have tended to participate without actually engaging myself in collaborations that didn’t feel immediately familiar. At some point, I would lose interest and stop trying different angles. I would feel that somehow no true part of myself was in the creative collaboration any longer. Instead, I would like to try approaching collaboration by puzzle-piecing myself into what at first seems foreign. I want to study methods of making. I am intrigued by how uniquely personal creative processes can become, and am particularly curious about the dynamics of power that always build through collaboration. Almost more than I am interested in what gets made by people, I enjoy considering the ramifications of how people make together. How can a creative process model previously unimagined modes of relating to one another? What variables go into developing a space or current in which people may begin to build together?
I am excited about learning how other interdisciplinary artists are bridging the divide between subjects. I know for myself, I have deep interest in biology (ecology, physiology, and molecular levels), neuroscience, psychology, neurosculpting, movement and dance, ancestral lineages, epigenetics, memory passage through DNA, linguistics, and community building/forming. These are large and vast areas of curiosity, but in my perception, there is a deep, clear linkage that I am thrilled to be exploring. I look forward to hearing, working with, and learning from other horizontal seers (ie, those who see across the boundaries), to learn and understand how and what connections they are seeing, and then beyond that, how they have learned to communicate and convey the cross linking they have become fascinated with.
Chris Oracle Miller
Working on street performance, changing stories. Moving from the usual "activist" role into something more non-traditional. A couple of projects:
1) The "sandwish" board — sandwich board, street corner expressions of desire and frustration
2) Flamenco inspired performance — mash up of movement, spoken word, whatever else arises
I'm very excited about being one of the core elements of a structure, holding the space for the “thing” to “be”. I feel fluent about the interdisciplinary of myself. I feel like I am the part of a jigsaw puzzle that can change color and shape for the place that is needed. I would love to be a part of the core team of the structure we've built as a team... I want to be more active, more present and take more initiative and more responsibilities of the structure.
Contact Improv and music are the most significant and creative practises in my life currently, so I would welcome any and all collaborations in those areas. I am very much interested in collaborations with other residents and the ideas and explorations that will come with it. Personally I'm inspired by the idea of making music based on dances or solo movement, and using the location (objects, ambient noise, visual theme) in the soundscape.
My priority as an artist is to both empower trans people through creativity and to educate allies about the trans experience. The many-layered and idiosyncratic moments of gender dysphoria are difficult to verbalize, and therefore require the transcendent format of movement to be shared with a wider public. As trans people suffer from disproportionately high levels of mental illness, I believe seeing stories of both discomfort and bravery that they can relate to will help mobilize the trans community to be vulnerable and reciprocally supportive. Taking the time to be in a secluded yet rigorous environment is very important for me to create authentically and with urgency. I get so caught up in seeing myself as a machine, that being in the emptiness of nature will be pivotal to seeing my own neutral rawness.
I am interested in exploring the confluence between horizontal-partnership models of collaboration, which in the spirit of Riane Eisler involves everyday activities and sees conflict as an opportunity to grow; interagency collaboration, which pulls resources from different disciplines for a shared purpose; and the respective spontaneities of nonlinear dynamics and chaos theories. By employing these and/or other methodologies, I would like to produce intertextual and experiential works that reinforce the lived theories and practices that unfold at the residency.
I am interested in engaging in all levels of collaboration presented here, and am working on integrating all levels in my own creative life and work. Given the opportunity, I would want to research all of the above in some capacity while at E|MERGE. However, since I have the most experience with artistic collaborations, if given a limited choice, I would probably lean towards a focus of shared leadership structures and/or collaborative organizational designs.
Sasha Steckel Wolfe
I am open to exploring all kinds of collaborations. I am envisioning a nonhierarchical, research-based lab structure, where folks bring their ideas and we experiment with collective movement or sound scores, using objects and environment to generate material, thinking about how labor, duration, and process can be valued as performances themselves. I want to be intentional about how my queer, anti-racist, anti-capitalist values influence the way I listen, collaborate, and create. I want to work with musicians and visual artists: how can our processes translate across mediums?
I think often about somatic and improvisational work as good training for unified mobilizations of skilled group-listeners sensitive to image-making in the moment along intentional parameters. I think a lot about image-making. When I think about climate justice, I also feel that there must be more that beautifully-crafted somatic, participatory performance experiences can offer movements at this time.
E|MERGE is supported in part by the National Endowment for the Arts.