Adam Kerbel (he/him/el) is a movement artist and choreographer working across choreography, improvisation, and hybrid forms as tools for reflection and connection. With roots in theater, circus, puppetry, and experimental performance, his work has been presented by New York Live Arts, Jacob’s Pillow, The Music Center, Skirball, and Breaking Walls Festival. He established Performa Choreographic, a platform for brave new dance, co-founded Almanac, and produced Cannonball. Kerbel creates spaces attuned to shifting culture.

From Jungwoong: I am a performing artist and arts educator from South Korea, currently based in Philadelphia, PA. Rooted in Korean folk dance, Korean shamanic aesthetics, martial arts, and Contact Improvisation, my work centers on improvisation as a vehicle for artistic discovery and human connection. Beyond performance, facilitation, and education, I value both solitary and collaborative reflection as ways to continually nourish my artistic vision. I also draw inspiration from cooking, walking, and time spent in communion with nature.

Rhonda Moore

Rhonda is a dancer, performance artist, educator, and a founding member of the Bill T. Jones/Arnie Zane Dance Company. Moore has danced with Jamie Cunningham’s ACME Dance Company and began her dance career with intensive training in Dunham technique, performing with the Akosua Afro-Haitian Dance & Drum Troupe. Currently a teaching artist for the award-winning Pierre Dulaine’s Dancing Classrooms Program, Moore previously served as Choral Director for the Singing City-in-the-Schools Program. Moore’s extensive international and domestic portfolios include conducting professional sound and movement workshops; creating site-specific interdisciplinary installations that integrate sound, movement and visual art through shared experience collaborative elaboration; teacher-specific professional development laboratories geared to generate curriculum development with a focused, integral inclusion of visual art, design, movement; and music and vocal concerts as jazz soloist in small combos as well as with chamber and full orchestral formations. She holds a BFA from SUNY Purchase, a diploma in classical piano performance from Hoff-Barthelson Music School in Scarsdale, NY, and full, permanent certification in Italian as a second language, conferred by the Foreign University of at Sienna, Italy. Ms. Moore serves as adjunct professor, dance faculty at Boyer College of Music and Dance, teaching a variety of courses spanning from dance composition to the study of the development of jazz music and dance in the United States.

Ben Grinberg (he/they) is a Philadelphia-based performing artist, director, educator, and festival producer. For over ten years, they have created community-based platforms for artistic presentation and exchange both in Philadelphia and abroad. He is a company member, co-founder, and director of Almanac Projects (formerly Almanac Dance Circus Theatre), an award-winning and internationally touring physical performance ensemble, and from 2017-2021 was a founding core faculty member and head of Performance and Artistic Craft at Circadium, the nation’s first certificate granting program in contemporary circus performance, where he developed and curated the Test Flights series. He co-founded and led (2021-2025) Cannonball Festival, a hub for new performance in Philadelphia, and is on faculty at the (formerly UArts) Pig Iron MFA program in devised performance. Through Almanac, they initiated and co-produce the biannual Fit Fest in Penn Treaty Park. He is the 2025 recipient of the APAP/CIPA Award for Outstanding Achievement in Creative Producing, is a 2024 Festival Academy graduate, and was a 2024 and 2022 invited choreographer at the Breaking Walls Festival in Cairo, Egypt, a 2022 Subcircle resident artist, and a 2021 APLI fellow. With Almanac, he won a 2020 Rocky Award, a 2017 Suraya Award, and a 2019 Barrymore Award for Outstanding Movement/Choreography. Recent directing and producing credits include I Think It Could Work, Dead Muse, Fix Me, $7 Girl, I Hear You and I’d Like to Respond, The Fleecing, and xoxo moongirl. Grinberg’s work has been presented by Queer Zagreb, Jacob's Pillow, the Philadelphia Museum of Art, Morris Museum Presents, Touchstone Theatre, FringeArts, New York Live Arts, Bill T. Jones/Arnie Zane Dance Co, the Mexico City International Festival of Contemporary Dance, Assembly Festival, Zoo Edinburgh, Circus Now, and more. Regional performance includes Pig Iron Theatre Company (Franklin’s Key, Swamp is On, 99 Breakups, Pay Up!), Theatre Horizon (Peter and the Starcatcher, Hero School), Lantern Theatre Company (The Tempest), and more. As a video collaborator he has worked closely with artists such as Jaamil Olawale Kosoko, Eiko Otake, and Zina Saro-Wiwa.

Jumper Cables is a collaborative duo whose movement practice lives between the worlds of street and post modern dance. Co-founders Allison Smith and Kayliani Soods’ respective backgrounds in contemporary styles weave through foundations in popping, breaking, and house to create a rigorous, athletic, and unornamented approach to dance making. Smith and Soods’ methods value creative ingenuity, collective agency, and interdisciplinary collaboration with musicians. They have performed and set work in the Philadelphia Fringe Festival, Urban Movement Arts’ Flow State, Philadelphia Dance Projects’ DANCE UP CLOSE series, and St. Louis Contemporary Dance Festival. Their work has been featured in ThINKing Dance journal and Broad Street Review.

Allison Smith (she/her) is a dance artist based in Philadelphia. She works to focus her contemporary dance aesthetic on breath, weight, power, release, rhythm, and risk; Smith honed these interests working closely with Momar Ndiaye, Eddie Taketa, and Abby Zbikowski while receiving a BFA in dance at The Ohio State University. Smith practices street dance styles such as house, popping, and breaking, and investigates the relationship between those forms and contemporary dance. In her creative work, she desires to acknowledge and highlight why hip-hop’s presence is vital in concert dance.

Kayliani Sood is a white femme dance artist, choreographer, and educator based in Philadelphia. Their multidisciplinary work spans movement, songwriting and visual arts to articulate rich, personal narratives of neurodivergence and femmehood. Sood is a passionate teacher— whose practice ranges from the realm of early childhood to adult dance education. They hold a BFA in Dance from the University of the Arts, and have performed with Chloe Marie, Curt Haworth, and Vincent Johnson among others. Sood’s choreographic works have featured in the 20/92 film festival, Cannonball Festival, Philadelphia Fringe Festival, and Philadelphia Dance Projects’ DANCE UP CLOSE series.

Shannon Murphy (she/her) is a dance artist/educator who creates invitations to notice our complexity, differentiation, and resilience in the classroom, studio and stage. She received her MFA in Dance from the University of the Arts and a BA in dance from Point Park University. She is senior faculty specializing in Franklin Method for dance at Franklin Method Institute, Switzerland, training educators internationally since 2019. Shannon created the first Franklin Method modular training for dancers and has focused on bringing this to professionals and dancers in training. As an educator, she is committed to radical sustainability and develops curricula to reduce injury and support the resiliency of performers. Shannon is an Assistant Professor at Temple University. As an adjunct professor, she has taught at Drexel University, was assistant director of the Drexel Dance Ensemble, Stockton University, and UArts, where she was the Curricular Head of Body Pathways for 10 years. This year she was commissioned for a new site specific work at Subcircle Residency and has been presented at many institutions including Cannonball Festival, Penn Museum, The Painted Bride Art Center. Her choreographies span contemporary performance, dance theater and musical theater. Shannon has performed for choreographers such as Charles Anderson, Nichole Canuso, Group Motion, Jaamil Kosoko, and Annie Wilson, and was co-director of idiosynCrazy productions alongside founder Makini (Jumatatu Poe). She has been awarded a Rocky Award through Dance USA Philadelphia for her choreography. Her work has been supported by numerous residencies, including New Edge at the Community Education Center, Live Arts LAB, Mascher Space Co-Op, the Whole Shebang, Archedream for Humankind, University of the Arts, The Loretta C. Duckworth Scholars Studio at Temple University, and most recently, Subcircle Residency.

OreOluwa Badaki’s movement practice, writing, and research examines how power moves through bodies and spaces within food and land systems. Currently a Research Fellow at Teachers’ College, Columbia University, OreOluwa’s ongoing projects focus on embodied understandings of place and center African diasporic dance practices connected to food and land. She is grateful for the generous and dynamic Philly dance community that she has been a part of for the past eight years, performing, practicing, and teaching with dancers across various genres including West African, Afro-Cuban, Afro-Brazilian, Hip Hop, House, and Contemporary. She has performed and taught across the US as well as in Brazil, South Africa, Ghana and Samoa. She co-produces and co-hosts the Groovin’ Griot podcast and her multimodal work has been supported by the Center for Experimental Ethnography, SACHS Center for Performing Arts, the Leeway Foundation, and the Pennsylvania Council on the Arts.

Anna Martone (she/her) has moved through many artistic iterations, guided by movement but delighted by the endless mediums to explore. While currently deepening her practice in a dance/movement therapy master’s program, she is expanding her creative voice through new styles of movement, community, and collaboration. She is in the beginning stages of exploring the world of house dance and has been lucky enough to have found herself amongst a sea of incredible artists, each with unique and powerful voices. As time moves on, she is beginning to recognize the strength in harmonizing her voice with those who inspire, support, and push her forward. Finding depth in collaboration, beauty in connection, and strength in stillness, Anna is beginning to uncover the echoes of a new voice. 

I am a Philadelphia PA-based performing artist, vocal and movement improviser, percussive dancer, cultural strategist, writer, oral historian and archivist. A principal focus in my practice is the histories and cultures of Philadelphia Pennsylvanians of the African Diaspora. I create songs, texts and choreographies for performance works, and design and execute projects that tell stories of African American life, arts and culture. And I design and support environments and creative structures for exploring the power of improvisation to animate performance and hone habits of connection among people and between people and their built and natural environments. My archival work challenges the ways that conventional archives tell the stories of African Americans and other marginalized people, and supports important African American culture bearers in collecting and preserving their archival assets. One way I share my practice is by advising and supporting other artists in articulating their artistic vision and locating resources to realize them.

kaijo caggins is a Black trans performance artist, educator, and doula working at the edges of improvisation, somatics, and pleasure. Their performance practices move through the body as archive, oracle, glitch, and channel of disorientation — inviting audiences toward sensation as a form of knowledge. kaijo’s work lingers in the unstable and euphoric, tracing how the body bends time within the frame of refusal. Living and creating on Nacotchtank and Piscataway land, kaijo is in ongoing relation with local CI dancers, multidisciplinary artists, families, and the rivers that shape the region’s voice. Their facilitation of Contact Improvisation centers the body’s capacity to listen through weight, negotiate care through shared momentum, and generate new relational worlds through risk. For kaijo, CI is a method for unlearning dominance and cultivating queer futurity.

kaijo pursues his graduate work in Women’s, Gender + Sexuality Studies at The George Washington University, and his scholarly research moves through Black mysticism and interiority, Black feminist thought, and Afrofuturist methods for change — looking to land-based practices, performance studies, and embodied inquiry as guides. kaijo engages how Black life generates knowledge beyond the limits of the archive, and their work asks how scholarship might circulate through breath and experiencing rather than solely through text. In 2026, kaijo presented at the Southern Connecticut State University’s WGSS Conference, offering a talk on hacking linearity and refusal through sonic rhythm. This presentation explored how sound disrupts normative temporalities and opens portals for Black trans fugitivity. Through rhythm, they considered refusal as a kinetic somatic practice that rearranges the conditions of the present. 

Outside of the studio and classroom, kaijo is continuously learning from his dog (Reese), practicing kitchen magic, and collecting vinyl records that shape the soundscape of his home space.