Jungwoong Kim: what we have, that’s enough #5, May 2025

what we have, that’s enough is a series of five improvised performances curated by Studio 34's artist-in-residence Jungwoong Kim. Each performance will present a different configuration of artists from diverse disciplines—dancers/movers, vocalists, instrumentalists, designers, visual artists—in spontaneous and continuous improvisations among two to five artists. They will explore what possibilities can emerge when various types of improvisers commit to being present for and responsive to one another. Short talks and informal discussions will invite audience members and performers to exchange thoughts and observations on how practices of improvisation can build awareness, trust, and connection.

This fifth and final performance in this series will feature Jungwoong and fellow dancers Stephanie Turner, Sarah Konner, Dan Safer, Kendra Portier, David Brick, Germaine Ingram, and Juliette Lee; musicians Bhob Rainey and Juan Castrillón; plus special guest chef artist Morgan FitzPatrick Andrews

Admission to this show is $10–$30 sliding scale.A recption will follow the performance.

Photo by David Brick

PERFORMER BIOS:

Stephanie Turner is a dance artist and teacher based in Providence, RI currently on faculty at Roger Williams University and MIT. She holds a BFA in dance performance from Rhode Island College and MFA in Choreography from Smith College.

Sarah Konner is a dance artist and maker. She has performed and collaborated with Austin Selden, Jeanine Durning, ChavasseDance & Performance, Sara Shelton Mann, Jenna Reigel, Gabrielle Revlock, and Shura Baryshnikov, among others, and is an Associate Professor at the Boston Conservatory. Sarah holds an MFA in dance from Smith College and is certified in Yoga, Pilates, and Body-Mind Centering. www.SarahKonner.com

Dan Safer is the Artistic Director of dance/theater company  Witness Relocation (www.witnessrelocation.org) and has directed/ choreographed all of their shows, ranging from fully scripted plays (including world premieres by Chuck Mee, and an English language premiere by Toshiki Okada) to original dance/theater pieces, to many things in between, all over the place, from the back rooms of bars in NYC to Théâtre National de Chaillot in Paris to a giant leaky warehouse at a dance festival in Poland where a light fell off the grid halfway thru a show and almost killed him. WR is a resident company at LaMama in NYC. Dan recently choreographed “Jedermann”, at the Salzburg Festival in Austria. His work has been at Brooklyn Academy of Music, Dance Theater Workshop, Danspace, Les Subsistances (Lyon, France), and many other places. In 2011, he choreographed Stravinsky's RITE OF SPRING for Philadelphia Orchestra with Obie-winners Ridge Theater. Artforum Magazine called him "pure expressionistic danger" and Time Out NY called him "a purveyor of lo-fi mayhem.” He has choreographed plays, fashion shows, operas, music videos, films, flash mobs and more, got kicked out of high school for a year, used to be a go-go dancer, and once choreographed the Queen of Thailand’s Birthday Party. Dan taught at NYU for almost two decades and is now faculty at MIT.

Kendra Portier is a dance artist—a choreographer, educator, and performer.  Born at home in Ohio, Kendra has facilitated dance and performed across the globe from San Diego to Salzburg, Dushanbe to Athens (Greece, Georgia, and Ohio). She has an extensive teaching portfolio and holds the Maya Brin Endowed Professorship in Dance at the University of Maryland, College Park, where she is on faculty. Portier has contributed to a wide range of works, including a decade with David Dorfman Dance (NY), and most recently performing in projects directed by Big Dance Theater (The March!: Annie-B Parson, Donna Uchizono, Tendayi Kuumba), Lisa Race, Jasmine Hearn, and Cynthia Oliver/Coco Dance. Her choreography has been presented nationally, drawing inspiration from Portier’s visual arts practice and ecological interests. Recent and upcoming choreographies include untitled vital glacier, All Tomorrows, skies we’ve yet to see, and red dirt glitter. www.kendraportier.com.  

David Brick collaborates broadly in making dance, participatory installations and community. The experience of growing up hearing in a Deaf family influences his thinking about how bodies perform as both subjects and agents of culture. Losing his hearing as an adult continues to contribute to his holistic and innovative practices that understand inclusivity as a resource for making work that is more meaningful and excellent in every sense. David is Artistic Director and Co-Founder of Headlong Dance Theater, a platform for performance research founded in Philly in 1993. David also directs the Headlong Performance Institute, a trans-disciplinary performance practice and training residency whose graduate fellows are leaders in creating experimental and community-based work around the US. Headlong’s large body of work has been performed natonally and internationally, and is known for its experiential and participatory nature, often co-created with audiences and communities. David’s work has received many awards and accolades including a NY Bessie for choreography; a Japan-US Friendship Commission Fellowship and a Pew Fellowship in the arts. A significant part of David’s work is created in collaboration with other artists as they exchange approaches and values, particularly around process and community building. Precious collaborations with artists whose insights continue to influence him, include Jungwoong Kim and Germaine Ingram, Ishmael Houston Jones, Eiko Otake, Rosie Herrera, Dan Rothenberg, Toshiki Okada, Maiko Matsushima, Mimi Lien, Hari Krishnan, Jaamil Kosoko, Reggie Wilson, Larissa Velez Jackson, and Richard Bull/ Cynthia Novack.

Germaine Ingram is a Philadelphia-based jazz percussive dancer, choreographer, song writer, vocal/dance improviser, oral historian, and cultural strategist and archivist. She creates evening-length pieces that explore themes related to history, collective memory and social justice, and designs and directs arts/culture projects that explore and illuminate community cultural history.  She collaborates with artists from diverse cultural traditions and artistic disciplines, including jazz/experimental music composers, site-specific/informed choreographers, dance and vocal improvisers, African Diasporic culture specialists, and visual/media artists. Her recent writing is represented by a chapter she co-authored with Dr. Toni Shapiro-Phim for an international academic publication on the arts and human rights.  She collaborated with musician/composer/curator Alex B. Shaw and filmmaker Aidan Un on a media installation for the 2023/2024 group exhibition Bahia Reverb, sponsored by the California African American Museum.  She is part of an international cohort of improvisational vocalists and movers in Murmuration, a new performance ensemble led by improvisational vocalist Rhiannon and Canadian dancer/choreographer Margie Gillis.  Germaine’s work has been recognized with fellowships, project grants and residencies from The Pew Center for Arts & Heritage, Leeway Foundation, Independence Foundation, Lomax Family and Wyncote Foundations, the Sacatar Institute in Itaparica Brazil, the Robert Rauschenberg Residency, and in 2024 with a Philadelphia Cultural Treasures Fellowship.

Bhob Rainey is a Philadelphia-based composer, saxophonist, and sound designer celebrated for his innovative contributions to contemporary, experimental, and improvised music. A recipient of the prestigious Pew Fellowship in the Arts and co-founder of the influential improvisational duo nmperign, Rainey has garnered acclaim for his groundbreaking work across disciplines, including collaborations in theater, dance, and visual art. With performances and commissions spanning prestigious venues and festivals worldwide, his work continuously challenges boundaries of musical thought and instrumental technique. 

Juan Castrillón Performer, scholar, media maker, educator and conceptualist. His research interests include theories of listening, media archives, contemporary healing arts, mimesis, and modes of inscription. His scholarly works as multimodal cultural anthropologist and ethnomusicologist with regional expertise in Türkiye and the Northwest Amazon in Colombia have been published in peer-reviewed journals, edited volumes in different languages, and screened in international art galleries and film festivals. Apart from his academic career, he is a facilitator of a music therapy protocol,  pursues Arabic calligraphy and Ney reed-flute training under Turkish instructors, and designs sound installations and listening experiments. His creative and artistic practice fosters worlds-shifting, and the production of micro-atmospheric instantiations of light, sound and affect. 

Author and video artist Sueyeun Juliette Lee grew up three miles from the CIA. She now lives in Denver, Colorado where she explores displacement, and resilience through an ecological attention. Her latest book, Aerial Concave Without Cloud(Nightboat Books) meditates on starlight, survival, and resilience after intense grief. She currently consults for environmental and conservation organizations across the Pacific Northwest, British Columbia, Alaska. Find her at silentbroadcast.com. 

Morgan FitzPatrick Andrews bakes cake, curates art, and helps people go upside-down at Studio 34. Last year he made a show about the Fluxus movement, and this year he might make a show about being swallowed by a whale. What about next year? Now taking offers—just leave a note at the desk.

Jungwoong Kim born and raised in South Korea, has been a dance/performing artist, choreographer, curator, actor, theater choreographer and arts educator for 25 years. He is trained in Korean martial arts and traditional dance/ritual of Korean shamanism, which strongly inform his aesthetic and artistic vision.  Kim describes his practice as “a dynamic dialogue between my training and background in South Korean traditional dance and music and my embrace of western improvisation, especially Contact Improvisation, as a performance medium.” His performance practice spans a spectrum of improvisational solos, durational ensemble work, site-specific engagement with visual and media artists, and characterizations for mainstage and experimental theater. He has performed with noted Contact Improvisors such as Karen Nelson and Christine Simpson. Kim teaches workshops nationally and internationally that focus on movement, deep listening, and observation practices as a form of thinking that we can apply to any aspect of life, be it dancing, making, or being in the world. He has been adjunct faculty at Temple University (Philadelphia PA), University of the Arts (Philadelphia PA), and Franklin & Marshall College (Lancaster PA), and been a visiting teaching artist at Massachusetts Institute of Technology (Boston MA), and Richmond University (Richmond VA). He regularly leads workshops for the Hothouse repertory company of Wilma Theater in Philadelphia, and has led improvisation workshops across the U.S. and in Colombia, Mexico, Argentina, Germany, Japan, Thailand and South Korea. His work has been supported by The Pew Center for Arts & Heritage, and the Knight Foundation among other funders.