Past
Grantees

Miatta Kawinzi is a multi-disciplinary artist and educator of Liberian and Kenyan heritage. Raised in the southern U.S.A. and based in New York City, her work engages themes of hybridity, diaspora, and belonging. She received an MFA in Studio Art from Hunter College and a BA in Interdisciplinary Art & Cultural Theory from Hampshire College. Her work has been presented in spaces including the Studio Museum in Harlem, BRIC, MoMA PopRally, the Museum of the Moving Image, and IFC Center. Past residencies include POV Spark in partnership with the Smithsonian's National Museum of African American History & Culture (NYC, DC, and Venice, Italy), Red Bull Arts Detroit (Detroit, MI), the Cité internationale des arts (Paris, France, with Lower Manhattan Cultural Council), Beta-Local (San Juan, Puerto Rico), the Bag Factory (Johannesburg, South Africa), and the Bemis Center (Omaha, NE). She received the 2018 Barbara Hammer Lesbian Experimental Filmmaking Grant administered by Queer|Art.

Fellowship Statement

Born in Nashville, TN to a Liberian mother and Kenyan father, I grew up moving through various geographic, cultural, and linguistic spaces, which informs my interest in hybridity and layered imagery and content. I work with still and moving images, the voice and body, language, objects, space and sound to explore practices of re-imagining the self, identity, and culture through abstraction and poetics. Recent work traces a performative and experimental impulse through sculptural sound and video installation.

During the Fellowship, I will expand my ongoing research and creative production though historical, contemporary, and speculative relationships between the U.S. and Liberia - the West African republic founded in the 1800s with formerly enslaved Black people returning to the continent from the Americas and newly occupying positions of power. This project explores questions around hierarchy, Indigeneity, multiplicities and complexities of Blackness, cultural fragmentation, and the deep and steady yearning for the reparative.

Amoke Kubat remains curious about self, the natural world, and the Sacred. She reclaims African Indigenous Spiritual sensibilities to reconnect to the first worlds, Spirit and Nature, as practice for holistic wellness. Self-taught, Amoke uses artmaking and writing to continue to heal herself and hold a position of wellness in an America sick with social injustices.

Amoke is an accidental playwright. Her play ANGRY BLACK WOMAN & Well Intentioned White Girl began as a conversation with a friend. Amoke expressed her annoyance with being called “angry black woman.” Her friend responded, “Like the well intentioned white girl'”? This play continues to tour as public readings in Minneapolis and rural Minnesota cities, and is available on Vimeo. As a Naked Stage Fellow, her second play, Old Good Pussy and Good Old Pussy, was performed at the Pillsbury House Theater in 2020. This play explores aging, ageist stereotypes, sexuality, and the social interpersonal tensions between intergenerations.

Fellowship Statement

My artistry is a tapestry of growing relationships, that has been woven from a motherless life, non-traditional black experience, discovery of the self through pain and tribulations as I strive to live my fullest life. I draw upon the strengths of diasporic African peoples and my Ancestors.

In 2020, in the time of COVID and World Wide Socio-political UNRESTS, I fought past, present and future. It was the battle to proclaim and be heard that, MY LIFE MATTERED when growing old is disdainfully feared. Old and aging peoples are more vulnerable and at risk and sometimes seen as collateral damage.

My new work will explore Black women's UNSAIDS about AGING; mind, body, and sexuality. But what if old black women, upon turning 100, revealed themselves to be Goddesses?

LeilAwa [Leila Awadallah] is a Palestinian, Arab-American dancer, choreographer, filmmaker and cultural activist based in Minneapolis, Mni Sota Makoce and Beirut, Lebanon. She holds a BFA in Dance and minor in Arabic Language and Literature from the University of Minnesota. LeilAwa founded the project: Body Watani (body-as-homeland) and is developing an offering of Arab Rooted Contemporary dance, both of which engage with dance forms, rhythms and rituals of SWANA, ancestral memories, and embodied reflections on settler-colonial occupation and indigenous resistance.

LeilAwa’s work and research has been supported by Jerome Foundation, Springboard for the Arts, Arab American National Museum, Mizna, Lebanese National Theatre, Amalgam, Camargo Foundation, Cedar Tree Project, Walker, Rhythmically Speaking, Threads Dance Co. and SAGE. Leila danced with Ananya Dance Theatre, performing locally, nationally, and internationally in Ethiopia, Palestine and India; is a founding member of Kelvin Wailey, 3wadallahs and Solidarity Rising; and a collaborator with Theatre of the Women of the Camp.

Fellowship Statement

LeilAwa (lay-luh-wuh) merges my gifted name, لیلى , with my family lineage, عوض اللھ , to embody a self that is both rooted in histories and becoming into futures. I dive deep into intersections of arts and activism, beginning with body and breathing outwards to examine the ways dance engages with human rights, invites healing, invokes critical thinking, and physicalizes practices of decolonizing our bodies / lands through re-membering and re-imagining. This emerging project: Body Watani is a pathway, a container with soft edges, space for artists / peoples to reflect on this notion of body as a site of living homeland. Through this fellowship, I will take steps to establish Body Watani as a project-based dance company split between Minneapolis and Beirut, building community, creating workshops, growing collaborations, and initiating the company’s first full piece, Terraena: hakawati of the sea. As well as prioritizing Arab, SWANA, and Mediterranean dance / cultural / political studies. SWANA [South West Asia and North Africa] is a decolonial term used when referring to the ‘Middle East’ or ‘Arab world’ (which is not all Arab) to locate geographically rather than ethnically.

Ying Liu is a Brooklyn-based multimedia artist whose work hybridizes theater, dance, video, and performance art with DIY props and an exuberant sense of play by employing consumer technology—such as VR, GoPro and GPS—and featuring diverse, multi-generational performers. Emily Harvey Foundation (NYC) has presented Liu’s projects in numerous solo showings (2014-2017). In 2017, she staged HANG OUT, a site-specific, episodic play in Manhattan Chinatown’s Sara D. Roosevelt Park. MAKE A FOUNTAIN, an extensive catalog documenting those performances, was released in 2018. Liu was a resident artist at LMCC 2018-19 and ISSUE Project Room 2019, and a fellow at Institute for Public Architecture 2020. Her recent projects included PLAYDATE, a neighborhood-wide play in and about Downtown Brooklyn, and PIGTAIL–A Swivel Stool Dance™—both commissioned by ISSUE Project Room.

Fellowship Statement

Highlighting the shifting, participatory nature of viewership, mediated in real time by everyday use of technology, my practice reveals how experimentation is most fruitful when it escapes predetermination. My projects have included collaborations with bankers, construction and municipal workers, sociologists, psychotherapists, dog walkers, and scientists—sometimes all in the same performance. Poking at the traditional boundaries of media-based art, and often smashing the 4th wall between performer and spectator, I stir together contradictory forces of memory, spatiality, and the inherent friction and great possibilities of sociality. My second book, Heavily Prescribed Good Times, on PLAYDATE and PIGTAIL, will be released in 2021.

Jordan Demetrius Lloyd is a dance artist based in Brooklyn, NY. Originally from Albany, NY, Lloyd graduated from The College at Brockport where he performed works by Maura Keefe and Alexandra Beller. He has collaborated with and performed for Karl Rogers, Netta Yerushalmy, Tammy Carrasco, Monica Bill Barnes, Catherine Galasso, Laura Peterson, Ambika Raina and David Dorfman Dance. His teaching practice has brought him to Rutgers University and Mark Morris Dance Center, and his work has been produced by New York Live Arts, BRIC, ISSUE Project Room, Movement Research at Judson Memorial Church, The Center for Performance Research and Brooklyn Studios for Dance. He was selected as a 2019 Center for Performance Research Artist in Resident and is a recipient of the 2019-21 Fresh Tracks Performance and Residency Program at New York Live Arts. For more please head to jordandlloyd.com

Fellowship Statement

My approach to making is visual and imaginative, using movement as a tool to manipulate time and space and to stretch the edges of the collective experience. I work intuitively when generating material and focus on formal elements such as shape, color and texture to arrive at a place of cohesion. My work is home to considerations of place and moments in the world, teetering along lines of fantasy and vast, radical imagination. By rooting my work in compositional specificity and performative intention, I aim to muddle interpretation and complicate association, keeping the viewing experience active and participatory. Movement, to me, can act as a portal into memory, ancestry and a deeper level of feeling that widens the possibilities of what a moment represents. In many ways, my work seeks to sustain attention, evoke questions, and stimulate opinions while bringing communities together to share a specific moment in time.

Ifrah Mansour is a Somali, refugee, Muslim, self-taught multimedia artist and an educator based in Minnesota. Her artwork explores trauma through the eyes of children to uncover the resiliencies of blacks, Muslims, and refugees. She interweaves poetry, puppetry, films, and installations. She's been featured in Middle East Eye, BBC, VICE, OkayAfrica, Star Tribune, and City Pages. Her critically acclaimed How to Have Fun in a Civil War premiered at Guthrie Theatre and toured to cities in Greater Minnesota. Her first national museum exhibition, Can I Touch It!? premiered at Minneapolis Institute of Arts. Her visual poem, I am a Refugee, is part of PBS’s short Film festival. Mansour’s installation, My Aqal, Banned and Blessed premiered at Queens Museum in New York. Learn More: facebook.com/ifrahmansourart

Fellowship Statement

My artwork is informed by my lived experience, and that of my community of Muslim, refugee, black, and Somali immigrants. I create art out of my most painful experiences to connect communities, spark conversation, and create meaningful relationships between refugees and Americans. As a refugee, I didn’t see my story represented on stage or in cinema. Now, I am a self-taught multimedia artist blending poetry, puppetry, sculptural installation, and films to stage resilient refugee stories. I am also an educator to East-African elders that often are learning for the first time. They teach me so much about Somali life and culture. My proudest work, How to Have Fun in a Civil War, is a play about Somali history seen through the eyes of children, has given me such an insight to bringing out the hidden complex identities, and resiliency of minorities in Minnesota. With my fellowship, I hope to learn what it takes to write, develop, produce and distribute powerful refugee and new American stories in cinema.

Anaïs Maviel is a vocalist, percussionist, composer, writer and community facilitator. Her work focuses on the function of music as essential to settling common grounds, addressing Relation, and creating utopian future. She works at the crossroads of mediums - music, visual art, dance, theater and performance art, and has been a creative force for artists such as William Parker, Daria Faïn, Shelley Hirsh, César Alvarez, Steffani Jemison. Maviel is dedicated to substantial creations from solo to large ensembles, music direction of cross-disciplinary works, and to expanding the power of music as a healing and transformative act. She performs and teaches extensively in New York, throughout North, South & Central America, and Europe. Both solo albums hOULe and in the garden, were released on Gold Bolus Recordings and received international acclaim. Lastly, Anaïs Maviel was the 2019 recipient of the Van Lier Fellowship to generate new works at Roulette Intermedium in New York City, and of the 2020 American Composers Forum Create commission for new work with the Rhythm Method string quartet.

Fellowship Statement

My work wants to hold space for weaving and disentangling narratives of self in relation to society, earth and cosmos. Despite globalization and refined technologies, individualized lives scarcely embrace interdependence. Yet the uniqueness of each being— this one thing that we share —is in fact our livelihood, both for one and many. The relational complexity of this Creole (not quite postcolonial) anthropocene era, is the field in which I operate. Music, as a form of communication prior to articulate language, is fundamental to the human experience and for the capacity to conceive of oneself in relation to one’s environment. I shape sensory experiences made of what I hear from the world, bridging the fragmented and envisioning harmony in the sensible. I hope to light the desire in everyone to re-create ways to relate, so that actualizing one means actualizing all. Transformation is an alchemical phenomenon, a leap connecting ancestral wisdom to utopian futures.

Benjamin May’s directorial debut, The Legend of Swee’ Pea, premiered at DOC: NYC and played at over 40 festivals worldwide, winning five Best Documentary Feature awards and two Best Director awards. His second feature, Wet House, an immersive film about the largest harm reduction facility for chronic alcoholics in the US, is distributed by 1091Pictures and Saboteur Media. Ben's work has been funded by grants from the McKnight Foundation, St. Paul Cultural Star, and the Jerome Foundation.

Fellowship Statement

As a documentary filmmaker, I am most interested in subjects and environments we might consider strange or remote—not because they are inherently more interesting or offer more conflict—but because I believe we are all a lot more similar than we are different. Everyone is susceptible to abandonment, failure, and loss. And because film is a deeply intimate endeavor it is the ideal medium to probe our proximity, question our biases, and examine the constructions we take for granted.

Humans are robust, but life is fragile. Working as a neuroradiologist for the past ten years, I have learned that, despite our powerful tools to observe the nature of life, truth is elusive, and certainty is non-existent. As a physician and a filmmaker, I find this idea both terrifying and inspiring and it is the crux of my work.

LaJuné McMillian is a new media artist, and creative technologist making art that integrates performance, virtual reality, and physical computing to question our current forms of communication. McMillian has had the opportunity to show and speak about their work at Pioneer Works, National Sawdust, Leaders in Software and Art, Creative Tech Week, and Art & Code’s Weird Reality. McMillian was previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and figure skating to teach girls of color about movement and technology. They have continued their research on Blackness, movement, and technology during residencies and fellowships at Eyebeam, Pioneer Works, Abrons Arts Center, Barbarian Group, and Barnard College.

Fellowship Statement

As an artist, I leverage embodied and digital technologies to research and develop various artistic works across platforms (digital, and in person). During this Fellowship I plan to continue my work on The Black Movement Library. A library for Black people to learn about digital technologies in relation to Blackness, our movements, our histories, and our liberation.

Catherine Meier creates drawings, animations, and large-scale installations of earth, sky, and horizon – of vast, open landscapes. Large in scope, her projects develop through time spent deep listening and giving attention to specific locations. She holds a BFA from the University of Nebraska, Lincoln, and an MFA from the University of Michigan Ann Arbor. Her work has been shown in museums, galleries, and film festivals as well as in the very land that gives rise to her work. Meier’s project Standing Witness, site: Sage Creek, a hand-drawn animation that records the temporality and vastness of the land, was a featured project in Creative Capitals’ online web forum On our Radar. She has held place-oriented residencies at Badlands National Park and Cedar Point Biological Station. Meier received a McKnight Visual Artist Fellowship, Minnesota State Arts Board and Arrowhead Regional Arts Council grants, and the Jacob K. Javits Fellowship for graduate study. Meier lives with her family near the North Shore of Lake Superior.

Fellowship Statement

I work to describe in visual artistic form the human encounter with vast, open landscape. My drawings, animations, and installations speak to the intricate, beautiful, and unseen understandings of land and place.

A settler descendent, I grew up in a small town at the eastern edge of the Nebraska Sandhills, and for seven years I worked as a truck driver hauling cattle throughout the Great Plains. While my personal and family history is tied to the Plains, my work is not based in nostalgia—it originates from a deep physical, mental, and emotional need to move in and through open land. My interest extends beyond visceral, personal need into a deep and abiding engagement with the history, culture, and environmental concerns of these large but delicate grasslands. I am deeply rooted in rural working class experience, and I find inspiration and guidance from contemporary Indigenous scholars, artists, and activists, the study of place and language, and environmental activism.

My work has become the story of time told through the language of place.

Joiri Minaya (1990) is a Dominican-United Statesian multi-disciplinary artist based in New York City, who focuses on destabilizing historic and contemporary representations of an imagined tropical identity. Minaya attended the Escuela Nacional de Artes Visuales in Santo Domingo (2009), Altos de Chavón School of Design (2011) and Parsons the New School for Design (2013). She has participated in residencies at Skowhegan School of Painting and Sculpture, Guttenberg Arts, Smack Mellon, the Bronx Museum’s AIM Program and the NYFA Mentoring Program for Immigrant Artists, Red Bull House of Art, the Lower East Side Printshop and Art Omi. She has received awards, fellowships and grants from Artadia, the BRIC’s Colene Brown Art Prize, Socrates Sculpture Park, the Joan Mitchell Foundation, the Rema Hort Mann Foundation, the Nancy Graves Foundation, amongst other organizations. Minaya’s work is in the collection of the Museo de Arte Moderno and the Centro León Jiménes in the Dominican Republic.

Fellowship Statement

My work is a reassertion of Self, an exercise of unlearning, decolonizing and exorcizing imposed histories, cultures and ideas.

It’s about reconciling the experience of having grown up in the Dominican Republic with living and navigating the U.S.A. and the global North, using gaps, disconnections and misinterpretations as fertile ground for creativity. I’ve learned there is a gaze thrust upon me which “others” me. I turn it upon itself, mainly by seeming to fulfill its expectations, but instead sabotaging them, thus regaining power and agency.

Through various visual disciplines, my work questions historic and contemporary representations of black and brown womanhood in relation to an imagined tropical nature, questioning ideas projected onto these identities and spaces from a feminist and decolonial position. I’m interested in the body, landscape, discourse, framing, (in)visibility, opacity, hybridity.

Junauda Petrus-Nasah is a writer, a soul sweetener, runaway witch, and multi-dimensional performance artist of Black-Caribbean descent, born and working on Dakota land in Minneapolis. She employs poetics, the erotic, and experiences re-membered via ancestral dreaming within her writing. She’s written for the stage, including the aerial-poetic-play, There Are Other Worlds and co-wrote the puppet show, Queen with Erik Ehn. She wrote and directed, Sweetness of Wild, an experimental, episodic film project inspired by wildness, queerness, Black-diasporic-futurism, ancestral healing, sweetness, shimmer and liberation. She is the co-founder of performance collective Free Black Dirt with Erin Sharkey. Her writing can be found in several anthologies, including Queer Voices, How I Resist and Pleasure Activism. Her first YA novel, The Stars and The Blackness Between Them received a Coretta Scott King Honor Award and was a Minnesota Book Award Finalist. She is currently writing her second young adult novel, Black Circus.

Fellowship Statement

For my fellowship, I’ll center on healing and balance as an artist. I’ll get professional career counseling, as well as take more walks, rest and reflect. I will spend intentional time researching Black and queer ancestors of my artistic lineage. I’ll spend time connecting with my artistic mentors, including Alexis DeVeaux and Sharon Bridgeforth. I’ll be writing, researching and editing new books including a young adult book, Black Circus, set in the 90s about a young, Black woman studying aerial acrobatic arts with a mysterious and mystical former circus performer. I’ll work on a collection of poetry, pum pum, as well as an experimental interdisciplinary work called Erotics of Abolition.

Samora Abayomi Pinderhughes is a composer, pianist and vocalist known for large multidisciplinary projects and for his use of music to examine sociopolitical issues. Samora is the director and creator of The Transformations Suite, an acclaimed project combining music, theatre, and poetry to examine the radical history of resistance within the communities of the African Diaspora. Samora’s collaborators include Sara Bareilles, Titus Kaphar, Herbie Hancock, Glenn Ligon, Daveed Diggs, and Lalah Hathaway. He works frequently with Common on compositions for music and film, and is a featured member on the new albums, August Greene and Let Love, with Common and Robert Glasper. A Sundance Composers Lab fellow, Samora scored the award-winning documentary Whose Streets? and the Field of Vision film Concussion Protocol. He is a member of Blackout for Human Rights, the arts & social justice collective founded by Ryan Coogler and Ava DuVernay, and was musical director for their #MLKNow and #JusticeForFlint events.

Fellowship Statement

As an artist, my primary goal is to ensure that whoever experiences my work will be altered in some way that affects their daily lives; how they think and act, how they relate to others, how they consider their daily relationship to their country and world. I hope to bend the conventions of artistic genre and discipline to create pieces that deeply pierce the soul, grasping at the foundational elements of what it means to be alive in this moment. My work deeply criticizes the oppressive systems of American corporatism and colonialism, and reveals the many ways people are wounded by these systems as well as the many ways they fight back, imagining possibilities beyond what is allowed. I am a prison and police abolitionist. Current projects I'm working on include The Healing Project (about trauma & healing from incarceration and violence), Venus Smiles Not (about how traditional masculinity distorts the ways men learn how to deal with loss), and Grief, a collection of songs reflecting on the past two years. I'm honored to receive this support from the Jerome Foundation to continue my work.

Michael Prior (he/him) is a writer and a teacher. His poems have appeared or are forthcoming in The New Republic, Poetry, Narrative Magazine, Poetry Northwest, Poetry Daily, the Academy of American Poets’ Poem-A-Day series, Global Poetry Anthology (2015 and 2020), and the Asian American Writers’ Workshop’s The Margins. He is the recipient of awards and fellowships from The Sewanee Review, Magma Poetry, Hawthornden Castle International Retreat for Writers, and the Banff Centre for the Arts. He is the author of Burning Province (McClelland & Stewart / Penguin Random House, 2020) and Model Disciple (Véhicule Press, 2016). Michael holds an MFA from Cornell University. He lives in Saint Paul, where he teaches English and creative writing at Macalester College.

Fellowship Statement

As a Yonsei, whose Japanese grandparents were forcibly incarcerated in a camp during the Second World War, my poems explore intergenerational memory, cultural trauma, diaspora, and my own mixed-race identity. My engagement with the lyric often encompasses the ways various verse forms might be reimagined to express my own experience and to attend to conversations about race in North America. I am currently at work on a manuscript of ekphrastic responses to Japanese American and Japanese Canadian visual artists whose work either documents or re-witnesses the Internment.

Peggy Robles-Alvarado is a Dominican and Puerto Rican Pushcart Prize nominee, 2020 Atticus Review Poetry Contest winner, and a BRIO award winner with fellowships from CantoMundo, Desert Nights Rising Stars, The Frost Place, and VONA. With degrees in education and an MFA in Performance Studies this former teen mother, and initiated priestess in Lukumi and Palo celebrates womanhood and honors cultural rituals. She’s a three-time International Latino Book Award winner who authored Conversations With My Skin (2011), and Homage To The Warrior Women (2012). Through Robleswrites Productions, she created The Abuela Stories Project (2016) and Mujeres, The Magic, The Movement, and The Muse (2017). Her work has been featured on HBO Habla Women, Lincoln Center, and her poetry appears in several anthologies including The Breakbeat Poets Vol. 4: LatiNext (2020), and What Saves Us: Poems of Empathy and Outrage in the Age of Trump (2019). For more visit Robleswrites.com.

Fellowship Statement

My poetry honors and questions cultural norms, rituals, and the use of Spanglish and Caribbean slang as valuable forms of communication, and language production rooted in oral tradition. My work celebrates women who don’t break but gracefully stretch through emotional, physical, and socio-economic struggles. With humor, heartbreak, hand me down rituals, and speakeasy belief systems that coax Afro-Cuban deities into clandestine gatherings, problems are handled, and communities are sustained. My work embraces the possibility of repair as related to the body and mind of a people marred by imagined and perceived borders resulting from forced immigration, colonization, displacement, and how spiritual practices involving water and words foster survival. These themes derive from my experiences as a rape survivor, teen mother, initiated priestess in Lukumi and Palo Afro- Caribbean spiritual systems, and a daughter of Dominican and Puerto Rican parents whose footing in America was never secure.