EMERGENYC 2018: About the Faculty
Lead Faculty
George Emilio Sánchez
George Emilio Sánchez is the Chairperson of the Department of Performing and Creative Arts at the College of Staten Island (CUNY). He teaches undergraduate courses in the Drama program and graduate courses for the Education Department. He has directed five original student productions for the PCA and continues to work with students and classes with the goal of creating original theater/ performance works. He continues to work as a teaching artist outside of the college demonstrating how the arts can be utilized in education across disciplines. Most recently he was the resident teaching artist for the Bronx Museum of the Arts for their Action Lab Theater. In this capacity he worked with teachers and artists teaching them Augusto Boal’s Theater of the Oppressed techniques. As a result of his work in education he was the recipient of the Brooklyn Arts Exchange 2006 Arts Educator Award. His most recent performance work with collaborator Patricia Hoffbauer, The Architecture of Seeing-REMIX, was presented at La MaMa in 2006. In 2004 they premiered Milagro at Dance Theater Workshop. A year earlier Hoc Est Corpus/This Is A Body premiered at Symphony Space in April 2003. His third solo performance ROSA premiered at Dixon Place in 2002. His first solo performance, Chief Half-Breed in the Land of In-Between, was commissioned and premiered at Dance Theater Workshop and was also part of Mo’ Madness curated by George C. Wolfe at The Public Theater. His second solo performance piece, LATINDIO also premiered in New York City and both pieces have since been performed in over 20 states as well as in Puerto Rico and Peru. He has collaborated with Brazilian choreographer Patricia Hoffbauer on numerous pieces. Among those are A Night in La Mezcla and The Architecture of Seeing. As an artistic associate under JoAnne Akalaitis he created the Latino Lab at the New York Shakespeare Festival/Public Theater. He has garnered two New York Foundation for the Arts fellowships for Performance Art/Emergent Forms and was a Fulbright Scholar to Peru in 1994.
Invited Artist Faculty
Ebony Noelle Golden
Houston, TX native, Ebony Noelle Golden, is a public scholar, performance artist and director of Betty's Daughter Arts Collaborative. She also serves as the artistic director of Body Ecology Performance Ensemble. BDAC specializes in creative workshops, curriculum development, cultural and performance art design for progressive social change. Working nation-wide, her work spans creative, academic and community organizing spheres. Ebony believes that liberation is a precarious and awesomely terrifying pursuit; yet she is wholly dedicated to activating art, culture and education for liberation and transformation of individuals and communities. Golden’s approach to community arts and cultural design is steeped in the practices of black women, activism, experimental performance and secular/spirituality that honors and affirms individuals and communities working to be self-actualized, self-determined, creative and liberated. Recognized as a Woman Warrior by Casa Atabex Ache and a Black Girl Geek in Arts & Culture by Lived Unchained, Ebony’s work has been supported by a variety of organizations including: New York University, Alternate Roots, We Shall Overcome Fund, Fund for Southern Communities, Soul Mountain Poetry Center, The Highlander Center for Research and Education, Cave Canem Foundation, North Carolina Humanities Council, State of the Nation and Atlantic Center for the Arts. Currently Golden is conjuring RingShout for Reproductive Justice (cultural arts campaign), Weaving Revolution: A Tool Kit for Cultural Organizers, Black Fantastic: New Media Exhibit, The Body Ecology: Performing Cultural Arts Direct Action (tool kit) and "again, the watercarriers”, a book of poems.
Alicia Grullón
Alicia Grullón moves between performance, video, and photography. She channels her interdisciplinary approach towards critiques of the politics of presence--an argument for the inclusion of disenfranchised communities in political and social spheres. Grullón's works have been shown in numerous group exhibitions including Franklin Furnace Archives, The Bronx Museum of the Arts, BRIC Arts | Media House, School of Visual Arts, El Museo del Barrio, Columbia University's Wallach Art Gallery, and Performa 11. She has received grants from several institutions including the Puffin Foundation, Bronx Council on the Arts, and the Department of Cultural Affairs of the City of New York. Review's and essays regarding Alicia's work can be found in the New York Times, Village Voice, Hyperallergic, Creative Time Reports, Art Fag City, and ArtNet News. Grullón has participated in residencies in the United States, South Korea, and Germany, and has presented workshops as part of the 2017 Whitney Biennial with Occupy Museums, Creative Time Summit '15, and The Royal College of Art, among others. Currently, Alicia is working on a commissioned piece for the High Line and a project through the Lincoln Center Initiative with The Point CDC. She holds a BFA from NYU Tisch School of the Arts, and an MFA from the State University of New York at New Paltz, and has completed advanced graduate level coursework in art and philosophy of education at the Teacher's College at Columbia University.
See more at aliciagrullon.com
Fulana
Fulana is a video collective in that emerged as the vision-fusion of four New York-based Latina artists joined by a love of video and performance, a critical gaze, a bilingual sense of humor and —most of all— a shared desire to create art within a collaborative onda. So we put our Spanglish brains together, drank some coffee, and founded Fulana in 2000. Through parody and satire, we explore themes that are relevant to Latino cultures in the U.S., delving into the nuances that bind our experiences, experimenting with strategies to make visible what we're so often made to read between the lines. Our work, whose aesthetic ranges from cable-access kitsch to Telemundo tinsel, consists mainly of mock television commercials, music videos and print advertisements. Focusing on popular culture, we respond to the ways ideologies and identities are marketed to us, sold to us—and how we sell ourselves—through the mass media. (Marlène Ramírez-Cancio, Lisandra María Ramos, Andrea Thome) www.fulana.org
Patricia Hoffbauer
Patricia Hoffbauer is a Brazilian-born dance artist/educator. In addition to creating her dance work with several NY-based artists including Sara Rudner, Nayland Blake, and Guy Yarden, Hoffbauer has developed a long artistic collaboration with writer/performer George Emilio Sanchez. Her latest project, Small Dances for Intimate Spaces and Friendly People, was awarded the Gibney Dance Center DIP (Dance in Progress) residency, and was commissioned and presented there in 2015. NYSCA, NYFA, NEA, Rockefeller Foundation Map Fund, Princeton University’s Lewis Center for the Arts research grants, and CUNY grants supported her individual work and Hoffbauer/Sanchez collaborations. Hoffbauer is also a founding member of Yvonne Rainer’s “The Raindears.” | Full bio here.
Aaron Landsman
Aaron Landsman makes live performances involving people, space, time and language. Based in New York City, his projects range from monologues and stage plays to participatory and conceptual works presented in places where people perform their lives: offices, homes, meeting rooms and buses. Recent works include: Empathy School, a performance created with filmmaker and composer Brent Green, commissioned by EMPAC and presented on a night bus ride through a country road; Appointment, a suite of works for a single viewer and a single performer in offices; City Council Meeting, a participatory, community-engaged work presented in five US cities, funded by NEFA’s National Theater Pilot, NPN, MAP and Jerome; and Running Away From The One With The Knife, a new play about suicide and religious faith commissioned by NYSCA and presented at The Chocolate Factory. His earlier work was commissioned and produced by The Foundry Theater and PS 122 in New York, and DiverseWorks and Project Row Houses in Houston. Aaron’s regular collaborators include director Mallory Catlett and designer Jim Findlay. Aaron recently finished a 2014-2016 Princeton Arts Fellowship, a three-year residency at ASU Gammage in Tempe, and a residency at Abrons Arts Center. Upcoming work includes Perfect City, a collaboration with Lower East Side young adults commissioned by Crossing The Line, and the multimedia work SQUARES, with photographer Paul Shambroom. He performed from 2004-2015 with Elevator Repair Service and has appeared in the work of many artists, including Richard Maxwell, Tory Vazquez, Andrea Kleine and Julia Jarcho.
Ed Woodham
Ed Woodham has been active in community art, education, and civic interventions across media and culture for over thirty-five years. A visual and performance artist, puppeteer, and curator, Woodham employs humor, irony, subtle detournement, and a striking visual style in order to encourage greater consideration of–and provoke deeper critical engagement with–the urban environment. Woodham created Art in Odd Places (AiOP) to present visual and performance art to reclaim public spaces in New York City and beyond. Woodham is on the faculty of Wilson College's MFA program, and teaches workshops in politically based public performances at School of VIsual Arts in NYC for City as Site: Performance and Social Intervention. He was a featured speaker for TEDxGowanus and TEDxIndianapolis in 2014. For 2016 he was commissioned to create a socially engaged work for Jamaica FLUX at the Jamaica Center for Arts and Learning in Queens, NY and was awarded a commission by The Gowanus Public Arts Initiative to create The Keepers, in his longtime neighborhood of Gowanus, Brooklyn. In 2016-2017, he was an artist-in-residence at the Department of Art, Appalachian State University in Boone, NC, and a 2017 resident at Hambidge Arts Center in Rabun Gap, Georgia. For 2017-18, he is currently artist-in-residence at the University of Virginia Art Department, Charlottesville. www.edwoodham.com