Splishing and Splashing Through the Years!

What happens when brightly colored buckets, splashing water, and an energized group of dancers meet the summer streets? You get SPLASH!—a site-specific dance performance that is playful, surprising, and always a crowd favorite.

Created for six or more performers, SPLASH! is a structured improvisation set to an exciting collage of music inspired by water. Dancers in bathing suits move through the space with colorful buckets filled with water, creating an animated performance that is as visually striking as it is fun. Every splash, gesture, and interaction adds to the joyful atmosphere.

Designed to adapt to its surroundings, SPLASH! Has been performed in many types of outdoor venues, including parks, public plazas, festivals, and community spaces through the years, bringing audiences together through movement, music, and play.  A couple of my favorite performances were when it started to rain, that didn’t stop us!

SPLASH! was originally created for a drained outdoor pool and premiered at Dance Now at Carmine Pool in New York City in 2003. Since then, it has continued to delight audiences in new environments, transforming each location into a temporary playground, and one of our longest running dances.  Summer would not be the same without at least one Splash performance.

And the fun doesn’t stop when the performance ends. After the dance, children are invited to participate, making SPLASH! an interactive experience for audiences of all ages. With its bold colors, infectious energy, and joyful sense of surprise, SPLASH! turns an ordinary outdoor space into something extraordinary. It is a celebration of water, community, and the pure pleasure of dancing together.

Photos from our recent Department of Transportation performance at Summer Streets on August 22nd at the Classon Avenue Rest Stop in Brooklyn!
(link to event site)

More Than Movement by Chandler Wilson

When people ask me why I serve on Dance Entropy's Board of Directors, the answer is simple: dance has shaped every chapter of my life.

My love of dance began when I was a little girl taking ballet, tap, and jazz classes at my neighborhood dance school. Those early lessons sparked a lifelong passion that has only grown over the years. As I got older, I found myself drawn to many different styles of dance—from belly dance and West African dance to samba and salsa. Every dance form introduced me to a new culture, a new rhythm, and a new way of seeing the world.

Having traveled to more than 25 countries, I have discovered that dance is truly a universal language. I have danced on floors around the world—from Bordeaux, France, and London, England, to Montréal, Canada, and Quepos, Costa Rica. Whether in a local club, a cultural celebration, or an unexpected moment of connection with strangers, dance has always brought people together across cultures, languages, and backgrounds.

That love of dance has also taken me around the world and allowed me to experience some of the art form's most extraordinary traditions. One of the most unforgettable moments of my travels was attending a performance of Giselle at the State Opera and Ballet Theatre at the Rimsky-Korsakov Conservatory in Saint Petersburg. Sitting inside the historic theater felt as though I had stepped back in time. The building seemed untouched by the passing decades, preserving the elegance and grandeur of another era. You could almost feel the generations of dancers, musicians, and audiences who had filled those seats before you. Watching one of the world's most beloved classical ballets in such a historic setting was an experience I'll never forget.

Another deeply meaningful memory came much closer to home when I attended American Ballet Theatre's production of The Firebird at the Metropolitan Opera House and watched Misty Copeland perform. As an African American woman who has loved ballet my entire life, seeing Misty on one of the world's most prestigious stages was profoundly moving. For generations, Black women have faced enormous barriers to acceptance and opportunity in classical ballet. Misty's artistry, strength, and historic achievements represent not only extraordinary talent, but also perseverance and progress. Watching her dance was both inspiring and deeply personal—a reminder of how representation can transform the way we see ourselves and what we believe is possible.

For me, dance has never been just about movement. It's been about joy, freedom, creativity, connection, and self-expression. Through every stage of my life, dance has remained a constant—a place where I could celebrate life's happiest moments and find strength during its most difficult ones.

One story has become something of a metaphor for how I've approached life. When I was in college at American University in Washington DC, two of my favorite hip-hop groups, A Tribe Called Quest and De La Soul, performed an outdoor concert on campus. My friends and I were standing right at the front of the stage, dancing and having the time of our lives. We looked at one another and, without saying much, knew exactly what we were all thinking—we wanted to be on that stage. There was only one thing standing between us and that dream: a line of fellow students volunteering as concert security, proudly wearing bright yellow "official" security vests. We exchanged a glance, counted to five, and went for it.

For about ten unforgettable seconds, we were dancing on stage before the student security team gently escorted us back into the crowd. To this day, it's one of my favorite memories—not because we bent the rules, but because we followed our instincts and embraced a moment of pure joy

Dance has taught me that life isn't meant to be lived from the sidelines. Sometimes you have to trust your instincts, take a thoughtful risk, and say "yes" before you know exactly where the music will lead. It encourages us to embrace spontaneity, celebrate our individuality, and recognize that some of life's greatest rewards come from having the courage to step outside our comfort zones.

That philosophy has shaped both my personal life and my career.

I've spent more than two decades working in nonprofit health communications, helping organizations educate, inspire, and improve people's lives. Throughout that journey, I realized something that has become one of my core beliefs: dance is a form of healthcare.

While serving as Assistant Director of Public and Patient Education at Hospital for Special Surgery, I had the privilege of developing and launching the hospital's first Dance for Fitness classes. It was one of the most meaningful projects of my career because it brought together my professional expertise and my lifelong passion for dance. The program reinforced what I had experienced personally since childhood: movement has the power to heal. Dance strengthens our bodies, improves balance and mobility, reduces stress, supports mental and emotional well-being, builds confidence, and creates meaningful social connections. It reminds us that caring for ourselves isn't only about medicine or medical appointments—it's also about finding joy in movement and nurturing the whole person.

That belief is one of the many reasons I was drawn to Dance Entropy.

Dance Entropy demonstrates every day that dance is more than performance. Through artistic innovation, education, and community engagement, the organization creates spaces where creativity flourishes, artists are empowered, and people from all backgrounds can experience the transformative power of movement.

Serving on the Board has deepened my appreciation for everything that happens behind the scenes to make that mission possible. Every performance, residency, educational program, and community partnership reflects extraordinary dedication, collaboration, and vision. I'm honored to contribute my experience in nonprofit communications and strategic storytelling to help advance an organization whose mission aligns so closely with my own values.

I believe healthy communities need thriving arts organizations. Dance helps us build empathy, resilience, creativity, and connection. It reminds us that healing can happen through movement, music, and shared experiences just as powerfully as it can through words.

As a lifelong New Yorker, I've experienced dance everywhere—from neighborhood studios and concert halls to cultural festivals and the city's vibrant music scene. Some of my most unforgettable dance experiences came in the late ’90s, when I returned to New York City to attend NYU and immersed myself in the legendary club scene. I spent countless hours on dance floors of iconic clubs like Nell’s, Tunnel, 2i’s, Speed, Limelight, Wetlands, Bentley’s, and Webster Hall. Those experiences reinforced my belief that dance belongs to everyone. It transcends age, language, and background. It brings us together in ways few other art forms can.

Looking ahead, I'm excited to continue supporting Dance Entropy as it nurtures artists, expands access to dance, and inspires future generations. It's a privilege to serve an organization that so beautifully demonstrates how art can strengthen both individuals and communities.

For me, dance has always been more than movement. It has been a lifelong teacher, a source of healing, a celebration of community, and one of the greatest joys of my life. Serving on Dance Entropy's Board is my way of giving back to an art form that has given me so much.

Green Space – Making Dance Possible and Fun By Chris Ferris

Valerie Green and I go back quite a bit - to the days before Green Space existed at the Silk Building. Valerie curated showcases at Broome Corner Studio in Manhattan and included my work often. Then Dance Entropy’s move to Queens came in 2005 which was very convenient for me as I live in Jackson Heights. Green Space evolved into a lovely studio with wood floors, sun light, and easy access. They offer affordable subsidized rentals and many performance opportunities.

I cannot tell you how many times Chris Ferris & Dancers has taken part in performances at Green Space such as Take Root, Fertile Ground, and Green Space Blooms. I thank Green Space for the many performance opportunities where one is fully produced. These dwindling opportunities, in the dance world at large, are offered to the whole dance community expressing a wide of variety of aesthetic. I applaud Green Space for supporting new as well as experienced independent choreographers and companies.

While I was on the Artist Advisory Board Green Space began the D.I.G. Artist in Residency for which I was a moderator. It offers a cohort of choreographers the chance to meet, show, and discuss their work in progress culminating in a fully produced performance. I really enjoyed working with these groups and learning much from their discussion while sharing my thoughts from making dances for over 50 years. When needed I act as a Fertile Ground discussion moderator; again I learn so much from hearing people talk with real interest about their individual perceptions. The valuable thing about Green Space is that all of our very different voices and approaches to dance get created and expressed. Not everything is going to meet everyone’s tastes but it will be interesting. You may also find or make something you didn’t think possible. Thank you to Valerie Green for running an incredible organization and with all of the endurance and skill it takes.

Information about Chris Ferris & Dancers at www.chrisferrisdance.com

What We Carry by Valerie Green

I recently returned to Weapons of Time, a repertory installation work originally premiered in 2005. We had the pleasure of sharing this unique durational performance with an invitation from Arts Transforms to present it at Queens College, Rosenthal Library, Environmental Justice Exhibit on May 8. The work was originally inspirited by a visit to Turkey and experiencing the whirling dervishes. It is loosely held by an excerpt from Gwendolyn Brooks’ “Weaponed Women” (1963)—a woman moving through a baffling world, fighting “according to her lights.”

At the same time, I had a vision of handcrafted costumes from metal, and cloth with dancers on three-foot platforms, turning slowly. I built each figures costume on the original dancers and myself many years ago. The work was born from these inspirations and unfolded into include three objects: a stone, a lantern, and a book. They are simple. Archetypal. Timeless. And yet, they carry weight.

The Stone — Protection

The stone is the oldest of the three. It holds something ancient, something that predates language. Stones have always been tools—used to build, to defend, to survive. They’ve been shaped into weapons, into shelter, into fire. They are both grounding and unyielding. There is something about holding a stone that immediately connects the body to time, to history, to something beyond the personal. But protection is not neutral. The same object that builds can also destroy. Stones have been used to fortify civilizations—and to end lives. There is a collective anonymity in violence when it becomes shared, dispersed. No single hand, and yet harm is done.

The Lantern — Light

The lantern introduces light—not just as illumination, but as exposure. Light allows us to see. It reveals what is hidden, what is obscured, what we might not be ready to face. There is a comfort in light, but also a vulnerability. To be seen is not always easy. Light carries a long symbolic lineage—truth, goodness, clarity. It is often positioned against darkness, as if one cancels out the other. But I’m less interested in that binary and more interested in the tension between them. Light doesn’t just reveal the world—it reveals us to ourselves. And sometimes that is the harder task.

The Book — Knowledge

The book is perhaps the most complicated of the three. Knowledge is often framed as power—and it is. But power is never singular in its direction Knowledge can liberate, but it can also control. It can open, and it can close. It can be shared with intention, or wielded without care.

Weapons of Time is not about weapons in the literal sense. It’s about what we carry—consciously or unconsciously—as we move through the world. Protection. Light. Knowledge. Each can serve. Each can harm. Each shifts, depending on context, intention, and awareness. The work doesn’t try to resolve that. It sits inside it. The work invites viewers to contemplate these figures, objects, and ideas and what they stand for. And perhaps even reflect them in relationship to ourselves…..What are the tools we’ve inherited? What are we choosing to use? And what are they doing—to us, and through us—over time?

- Valerie Green

Green Space, where Creativity, Imagination, and the Arts Grow by Emily Bunning, Treehouse Shakers

Green Space is the BEST! Treehouse Shakers, a dance-theater company specializing in imaginative performances for young audiences, has been rehearsing and performing in the space since it opened over 20 years ago in 2005.  It honestly feels like my second home. As a company, we’ve had endless laughs, a thousand ideas, and created over 14 shows in the space. We feel so lucky to have such a gorgeous and affordable place to spend hours working on new ideas. It is a luxury to actually have the time and welcoming place to develop work.

I am also truly impressed with all of the programming that also happens in the space. Green Space provides so many opportunities for artists throughout all phases of their careers to create and present their work. I can’t think of another space that has the flexibility and vulnerably that is encouraged here. It is such an asset to the dance community.

We’d like to thank Valerie Green for making a beautiful, open, and light filled space for creativity, imagination, and the arts to grow. 

Skimming the Surface®: Updates and Events

The keynote speaker of the retreat, Dr. Barbara Bethea, created this poem, “On Shame and Fear,” during the workshop.

Skimming the Surface®: Movement Healing Workshops help participants release blocked and repressed energy through movement.

Recently, Skimming the Surface® was held at Art Transform’s ”Relax, Refresh, Renew” Women’s Retreat on March 7th.

“This workshop brought about connection via sisterhood.” - Participant

“I feel empowered to do the hard work.” - Participant

“This workshop was impactful and much needed and appreciated.” - Participant

Valerie with the Relax, Refresh, Renew: Women’s Retreat participants at Thomas Berry Place in Jamaica, Queens.

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We’re very excited to announce that we have officially registered Skimming the Surface® as a trademark!

Skimming the Surface® at Maspeth Town Hall was canceled due to the snowstorm in February, but has been rescheduled to May 11th, 2026. Updated details to come!

Looking Back: 20 Years of Green Space by Valerie Green

Green Space has been a cultural front-runner in Long Island City, Queens and among the greater NYC dance community since 2005. I founded Green Space in 2005 as an alternative to Manhattan’s high rates and crowded schedules – and to provide a permanent home for my own company, Valerie Green/Dance Entropy. Located in the historic Scalamandre Silks Factory Building, Green Space provides an affordable, welcoming environment for rehearsals, classes, and performance opportunities. The spacious 1,800 square-foot studio and performance venue is an incubator: a place for dancers, choreographers, teachers, and community members alike to gather and experience dance where it’s created. Over the past 20 years, renters have spent a whopping 77,000 hours rehearsing and honing their craft at Green Space; more than 1,500 emerging and established choreographers have presented new work in Green Space’s performance programs, including Fertile Ground, Take Root & Digging in Group (DIG).

Within the walls of Green Space, countless teachers have offered classes in styles ranging from the experimental and modern to the culturally traditional; and my resident company Dance Entropy has created and rehearsed its critically acclaimed repertoire, to be performed around the globe. The Emerald Gala: Celebrating 20 Years of Green Space is a milestone event in honor of many years of hard work, dedication, community and artistry.

On a personal note, I am amazed at how time has passed and how I have seen Long Island City change over the years. I took a chance to grow dance in Queens, with the belief that if I build it, they will come, and indeed so many have.  I feel the passing of time, and the unstoppable resiliency of the dance community through the years, and I also feel pride. I have watched so many choreographers and dancers pass through over the years, and for many, Green Space programs have provided artists their first opportunity to show work or be produced. I have been intent to create a space where everyone can belong of all backgrounds and dance genres to take risks, create, perform, learn, and connect with others. I have worked tirelessly investing in the growth of arts in Queens for all and am grateful to be a part of the cultural fabric of New York City’s most diverse borough. Dance is Expression, Dance is Freedom, Dance is having a Voice, Dance is Healing, and so I hope we can all continue to Dance On, through all that comes along our path, that has been my motto, and it has kept me going. I invite you to celebrate our accomplishments together as Green Space, is a true gem for the community. I look forward to seeing you at Emerald Gala on March 5th from 6-9:30pm at Green Space!  - Valerie Green

For our Green Space 20th Anniversary Gala, we are honoring three cardinal Queens leaders who have been empowering the cultural, civic, and business communities in our borough for many years.

• Council Member Julie Won, 26th Council District of Western Queens

• Dirk McCall de Palomá, Executive Director of Sunnyside Shines Business Improvement District

• Roslyn Nieves, TV Host, Producer, Director & Community Development Manager, QPTV

You can learn more, purchase tickets, sponsorship or donate here: https://www.danceentropy.org/emerald-gala

Duo Motus: An Evening of Emerging Works at Green Space

With the new year came new work from TYF Dance Company and Prints Dance Company. January 17th marked the premiere of Duo Motus: An Evening of Emerging Works, in which the two companies collaborated to curate a night of fresh, explorational dance. The show was comprised of two original works: “Boha Jalac” by Prints’ Lihi Dor and “Ready or Not” by TYF’s Kylie Solomon. “Boha Jalac” explores themes of renewal, connection, and collective identity, while “Ready or Not” delves into the unpredictable rhythms of everyday life. Together, these pieces highlighted the dynamic artistry, resilience, and curiosity that define each choreographer’s voice. 

The entire weekend was full of creativity, dedication, and community, as we brought together a team of stunning dancers and skilled technicians to execute the vision of artistic directors Dor and Solomon. The program also featured an original score by Avinoam Ettun and Fingerscrxssed, as well as costumes crafted by Emily Heckman. It was such a rewarding experience to connect with all of these artists and create something together from scratch, made all the better by getting to share the work with full, engaged audiences. We are grateful that Green Space offered a comfortable, welcoming environment for us to debut this show. It provided an intimacy perfect for the dance we wanted to share. A studio like Green Space that is accessible to independent artists is a gift. 

We have been so thankful and excited about the support that this show has received. You can follow @tyfdanceco and @printsdancecompany on Instagram to see more about the show and to stay tuned for when these companies perform next. Thanks again to Green Space for the support throughout this process. You offer a great space and we loved getting to perform in it!

Lily Cox, Production & Administrative Manager, Prints Dance Company

Rock, Paper, Scissors by the Vice Versa Collective

Photo by Joanna “Asia” Mielszko

This performance took place on May 25th, 2025.

Spring brought with it Vice Versa’s inaugural performance at Green Space. Many artists in the show met for the first time on the morning of May 24th just outside the front door. The unique creative dialogue between 2 visual artists, 2 dancers (including Valerie), and 3 musicians materialized into a performance that equally highlighted each artistic medium. Before the 24th, the performers had little conception of their concert based on the theme “Rock, Paper, Scissors,” but two full days of brainstorming, experimentation, and editing was rewarded with an exciting show.

Photo by Joanna “Asia” Mielszko

In preparation for the weekend, each artist was instructed to bring moldable and promising materials associated with their medium of expertise. Artists arrived with a handful of composed artifacts including graphic scores, sketches, motions, words, musical motifs, and even a sewing machine. Too firm and solid an end product from any one artist might be isolating to others, but even the simplest seed of an idea could quickly blossom through the guiding “yes, and” of the artistic echo chamber.

Our brainstorming session was electrifying. I could feel the eager energy the artists exhibited while offering input to each other. Dancers critiqued visual artists, musicians molded material around nascent choreography, and visual artists created games for all to play. I find it difficult to even describe what exactly happened over those 48 hours, but I remember how rewarding the whirlwind felt.

Photo by Joanna “Asia” Mielszko

I have been planning and executing interdisciplinary performances for years to bring artists into an intimate and complicated dialogue. I often ask myself two questions: “how can artists of varying mediums find common compositional territory?” and “how do artists improvise with differing creative practices?” Answering these questions requires conscious experimentation and vulnerability. Spaces to house this experimentation and vulnerability are unfortunately limited.

Green Space carries a deep history and unique atmosphere. After meeting Valerie at a social dance event, I’ve experienced multiple performances and movement workshops within the cocoon of deep purple drapes. It felt only natural to host Vice Versa’s inaugural performance within the mirrored walls and jagged backdrop of the city skyline. I can only hope that our experience energetically passes on to others who seek creative refuge in Green Space’s walls.

- Daniel Townsend, Vice Versa Collective

https://www.viceversacollective.com/

My Dancers Call Me Ma! by Valerie Green

Hello VG/DE Blog Readers as I report on my latest overseas dance adventure to Nigeria, West Africa!

This trip featured one of my most favorite projects of all time.  Traveling overseas teaching Contemporary Dance Technique alongside Choreography culminating into a completely new and original work on local dancers in two cities.

The first stop was in Abuja, Nigeria as part of the Abuja International Theater Festival.  The residency kicked off with a Lecture Demonstration at the University of Abuja with dance and theater students. Then segued into a 9-day intensive with 14 local dancers from across the city. The dancers mainly trained in traditional West African and street styles found technique class very new and challenging. Ultimately extremely helpful in building strength, alignment and understanding how bones and muscles can support movement, and the use of the center.  The choreography class shared new tools to create movement that was outside of our habits and received with enthusiasm. 

Inserting Fun Tidbit- The dancers in Nigeria called me Ma.  Short for ma’am, “Ma” is used as a term of respect for elder women, and it felt very sweet to me.

Continuing on...The festival’s theme was Innovidlusion, which ultimately became the name of the new dance, which is a combination of the words, Identity, Innovation, and Inclusion.  The intensive process centered around exploring these themes.  The exciting new 32-minute work also included live drawing on stage, humming, and an original poem by one of the dancers based on this theme recited by the group. 

The Abuja segment was interspersed with exciting visits with multiple local traditional dance companies where I not only watched but got to jump into dancing alongside. A visit to the famous Nike Art gallery, which included a personal reception, fashion show, dress up, dancing and more. It was a true highlight of the trip.  And of course, adventures in food - ever try to eat soup with your fingers?!

The second segment was in Lagos, as a part of the Lagos International Theater Festival, very different from the first with exciting VIP dinners, red carpet openings, closings, and more.  This segment also included a master class, Unmasking Culture Through Dance at Terre Kulture with hundreds of local theater students.

This project’s 11 dancers came out of mainly street style traditions and felt the same challenges with technique and excitement with choreography.  This dance experienced a very different process to work with these talented movers’ physical strength and boundless energy. The 28-minute work called Pipa Itan, which in Yoruba culture means storytelling. We performed on an outdoor stage as the sun was setting.

Interesting Hot Fact – Dancing in almost 100 degrees, is well, hot!

What was most impactful to me about this trip was the connection with the dancers. We built a profound bond in a short amount of time that left us all teary eyed in each instance to say good-bye. The intensive left a huge mark on the participants impacting their future creation processes, understanding of their bodies and teaching.  As well as sharing their movement ideas and creativity and culture with me.  This project is a true example of Dance Entropy’s mission of creating multicultural understanding through movement.

While there are many differences, challenges and adventure in working with African nations, the result is something beautiful and unforgettable for both sides!

Please visit the Dance Entropy Instagram to see more photos and video clips.

Creeps For A Cause: The Illuminaughty Burlesque at Green Space

The Illuminaughty Burlesque began as the pipe dream of myself and my freshman-roommate-turned-best-friend, Grace, during our senior year studying theatre at The University of Michigan. We wanted to create variety shows, themed to match a charitable cause, where audiences could do good, and feel good doing it. A bit of a tongue-and-cheek foil to the idea of “important” theatre being the only means of enlightening audiences and changing minds; a philosophy we’d been immersed in for four years while working towards our degrees. Through a little luck and happenstance, The Illuminaughty Burlesque debuted the summer after our graduation, in a small town a few hours away from campus. The cast was made up of a handful of friends and classmates, and despite its ragtag and under-rehearsed nature (and a last minute loss of a performer due to a rock climbing injury), we managed to put an hour-long show together celebrating Pride Month. Little did we know that seven years would pass before we would put on another show…until last Saturday night, when The Illuminaughty Burlesque rose again! 

There were many hurdles that kept us from putting on a show in the intervening years. Myself and Grace’s separation by distance (she moved to Baltimore, and I moved to New York), struggles with finding post-graduate work, and a global pandemic to name a few. But there were also many important lessons we had to learn in the meantime before the stars aligned for our revival. And align they did, first and foremost, when I began working at Green Space last September. After working a season of performances, and getting familiar with the space, I decided to take the plunge to book it for myself. Myself and Grace’s mutual love for all things Halloween (and the company’s inherent mysterious and cultish aesthetic) made settling on a spooky-themed show a no-brainer. And somehow, we managed to raise enough money to cover the cost of the venue, and found eleven other performers, a stage manager and a lighting designer willing to do the show for free. Our lineup featured drag kings, drag queens, burlesque performers, live music and even a modern dance piece - hosted by Grace as her historical parody persona, Edgar Allen Hoe.

Our re-debut shared many similarities with our first performance back in 2018; a cast made up of good friends and former classmates, a frenetic, fly-by-the-seat-of-our-pants energy. But in many ways, I’m proud to say The Illuminaughty Burlesque has evolved since its first iteration. CREEP SHOW was longer, the acts more varied, more polished and creative. I made my debut as a drag king, and collaborated on choreographing the opening number (a ritual to bring Edgar Allen Hoe back from the dead). And unlike our first fundraiser (which garnered very little in the way of donations), this time around, we were able to donate all of the $650 in profits from ticket sales to our non-profit of choice, Trans Lifeline. I’m so grateful to have been able to do this show, with these people, for the audience we had - and in such a unique, intimate, beautifully-New-York space. Forgive the cliche, but if you’re looking for a sign to take a risk, and do the show you’ve been dreaming about, this is it. 

The Illuminaughty Burlesque is a queer-centric, body-positive, drag-burlesque-comedy-performance collective. We aim to bring queer joy and artistry to audiences, where profits from ticket sales are donated directly to a charitable cause. Our motto is Secretum, Securum, Spectatum – which means Secret, Safe, Spectacular. This speaks to our mission of creating a unique and exciting performance environment where audiences and performers alike can feel safe and ready to have an absolutely fabulous time. https://theilluminaughtyburlesque.com/

Lily Cole (they/them) serves as Programs Manager at Green Space. Originally from the Bay Area, they graduated from the University of Michigan with a BFA in Theater Performance (Directing) and a minor in Women’s Studies (LGBTQ+ and Sexuality). Lily is passionate about making the arts more accessible for artists and audiences alike. In their free time, Lily performs with parade dance team The TailShakers, and enjoys learning ASL, playing Dungeons & Dragons, and spoiling their two cats, Rooster & Ginger. They made their drag king debut at CREEP SHOW as “Captain Slammer.”

And You, Who Do You Bring? / ¿Y tú a quién traes?

Photo Credit: Steven Pisano

This month, Alicia Soto, Director of the Alicia Soto-Hojarasca company, came to Green Space to develop the performance-laboratory piece Who Do You Bring? | ¿Y tú a quién traes? with an ensemble of community performers. The piece was built in collaboration between Alicia Soto and the performers, with support from Valerie Green. The intense 10-day rehearsal process culminated in two performances at Green Space on September 19th and 20th, 2025.

“I am blessed to travel around the world offering intensive workshop/performance offerings to local dancers, and know the rewards and deep impact it makes on those artists having access to successful international artists. I wanted to bring this experience back home to local NYC performers.  It was a truly rewarding experience for all, and appreciative for Alicia's bringing her artistry,  commitment and strong direction to local artists.” - Valerie Green

Photo Credit: Steven Pisano

“Who Do You Bring? | ¿Y tú a quién traes? is a community-based project that explores identity and memory through the personal contributions of the participants, who respond to the questions: Who do you bring? or What do you bring? Both the creative process—which included a workshop and rehearsals—and the performances were deeply rewarding and enriching experiences. It is important to highlight the excellent work and support received from the Green Space team and its director, from the organization of the open call to select participants, to their continuous support during the rehearsals and performances. The entire process was carried out with great care and dedication. For this project, I chose to work exclusively with women, forming a multicultural and multigenerational group, which added great richness to the piece. Theatre and dance intertwined to portray the contemporary woman from multiple perspectives: her vulnerability, her fears, her strength, and the solidarity among women. I had the privilege of working with a group of enthusiastic, committed, and highly talented female artists. A truly special group that allowed the final piece presented to the public to be poetic, intimate, and empowering. Thank you all for this wonderful experience, which allowed me to delve into the intimate worlds of each of you, and to plant a seed for your continued growth as artists.” - Alicia Soto

Photo Credit: Steven Pisano

“The most rewarding part was collaborating with such a thoughtful and generous group of artists. I felt inspired by how each person responded to the prompt, and how our individual ideas came together into something greater than any of us could have created on our own. The process felt truly collaborative and celebratory, which is rare and deeply meaningful.” - Allison Costa

Impressions of The Fringe

Photo by Simon Kaye

Valerie Green/Dance Entropy was pleased to present RITE at the Edinburgh Fringe Festival in Scotland this month for a two-week run. It was an experience of a lifetime for us all. Together we are taking a moment to integrate and offer our reflections.

Johnny Mathews III: "Being in Edinburgh with Dance Entropy was such a wonderful experience. I was able to see so many amazing shows and artists, get inspired by new ideas, and learn what it takes to perform every night for two weeks. Performing “Rite” for a new audience every night was very exciting: seeing them lean in and be so enthralled by the performance was such a pleasure. It was powerful to see the effect the work can have."

Tsubasa Nishioka: "First of all, thank you for taking me on such a great trip! I am really, really grateful. This tour changed my life in a big way. With every show I felt I could learn something new, react to the audience, and try different things. I think we were able to bring a fresh and real performance each time, not just the same quality."

Photo by Simon Kaye

Richard J. Scandola: “These days, performing every day for a longer period of time is not necessarily something that a dancer can have the chance to experiment with.  Between the flyering and advertising for the show, getting ready for it and the performance itself, it was amazing but also incredibly tiring. Amazing to be able to dance the same piece night after night and being able to go deeper, looking for new things, scratch deeper under the surface of the movement, the emotions. But also, to be able to touch and inspire the audience who came to see us every night. The Fringe is a also an incredible chance to see a lot of different shows, artists performing their art, to meet with them and speak about it, making new contacts and friendships."

Lawson Pinder: "The Edinburgh Fringe festival tour was definitely a different experience. The energy was on a whole other level. Meeting artists and seeing shows from around the world, across so many different disciplines, was incredibly gratifying. I'm truly grateful for the opportunity and the experience."

Aidan Feldman: "This was my first time at the Edinburgh Fringe, and it was a fantastic experience. I’ve never done a run that long, so that was an interesting physical and mental challenge. I tried to maximize my time by seeing as many shows as possible - it was so inspiring to see so many different kinds of work from performers around the world. It was a pleasure to get to share our work with that global audience and hear from people that were moved."

Richard Sayama: "The Fringe Festival beautifully exposed me to an international array of arts that significantly cultivated my artistry. Hearing how our performance impacted, and in some cases, changed people’s lives, brought fulfillment and value to the power of dance. Reciprocally, my perspective on dance as an art form has begun to evolve and grow as a result from engaging with other Fringe performances from around the world. I have immense gratitude to the artists of Valerie Green/Dance Entropy for an inspiration filled journey at the 2025 Edinburgh Fringe Festival."

Valerie Green: “While I have many performance and touring experiences under my belt, this Fringe marathon was like no other. I cherished bringing this particular work that means so much to me to an international audience. It warmed my heart that its impact was felt so widely by so many diverse audience members. It confirms the power of art as a mechanism of healing. I am grateful for the privilege to take part in such a renowned event and to share in this experience together with the dancers, it will stay with us for a lifetime.”

Photo by Simon Kaye

Kimchi Adventure by Valerie Green

Taking a moment to reflect on my recent travels to Korea, I was fortunate to take part in the Arts In Tank dance festival in Seoul. The week-long festival included daily master classes of various sorts. Two shows a night, that mixed Korean talent with international artists from countries including Japan, China, Canada, Mexico, Australia, and a handful of us from the US.

I witnessed a range of Korean talent and experience levels among the mix of global artists. I enjoyed being in community with artists from around the world sharing time together in class, at performances, associated events and even finding our way together on metro, buses, and cab rides!

I found myself pulled to dance again to take part in this international opportunity, the work I shared was an old solo more Butoh in nature then dance-y, called Womb inspired by amniotic fetal movements, that was complemented by video projections filmed in three planes, originally premiered in 2015. I also participated in a community dance performance called Sewoulee that featured close to 50 performers of all ages. This was a highlight of the festival for me, and a special treat to rehearse and perform together with such a large intergenerational and multi-cultural cast. The dance was based in large circular patterns, all performers danced with small globes of light, signifying the moon, this was presented at the impressive Seongnam Theater. Dancer by day and night and tourist by morning, I saw and experienced as much of the city of Seoul as I could before moving on to the second week of my trip, which was actually a vacation. Why go so far and not take time to experience Korea!? 

I would like to share here all the sites I experienced, a travel log of sorts to remember the remarkable places I visited as well as with their proper Korean names. This is likely more for me than for you :) But if you find yourself in Korea, here is a great itinerary, and in the mix of it all, taste and try all the food you can, it was one of the best parts of this adventure! 

Seoul, Capitol of South Korea  

• Dongdaemun Design Plaza: A multi-cultural complex that showcases design, fashion, art and technology in a futuristic building by the late Zaha Hadid.  

• Gyeongbokgung Palace: Built in 1395, is the first and largest of the royal palaces built during the Joseon Dynasty. 

• Insadong: A cultural neighborhood with tea shops, galleries, shopping, food and more.

• Bukchon Hanok Village: An historic neighborhood known for its well-preserved traditional Korean houses, called hanoks.  

• Myeongdong: Korea's famous shopping and fashion district with many local and international brands, skin care, street food and more.  

• Gwangjang Market: A centuries-old market in the center of Seoul, food stalls to tempt your taste buds, and anything else you can possibly need.

• Gyeongju: Known as the "museum without walls," is rich in historical sites and cultural heritage. (I stayed in a traditional hanok house, a must do!) 

• Bulguksa Temple: A UNESCO World Heritage site, Buddhist temple dating back to the 8th century. 

• Seokguram Grotto: Another UNESCO site, features a stunning stone Buddha statue.  

• Anapji Royal Pond & Palace: Served as a royal garden in 674 AD during the reign of King Munseong of the Silla Dynasty 

• Tumuli Park: Home to ancient burial mounds of Silla kings and nobles.  

• Cheomseongdae Observatory: One of the oldest astronomical observatories in East Asia. 

• Yangdong Folk Village: Another UNESCO World Heritage site - A traditional village that showcases Korean rural life and architecture.

Busan, South Korea's second most populous city after Seoul 

• Haeundae Beach: The most famous urban beach, white sand, skyscrapers, and amazing sunsets 

• Beomeosa Temple: An historic Buddhist temple located on the slopes of Geumjeongsan Mountain with breathtaking views  

• Jagalchi Fish Market: The largest seafood market in Korea, pick your fish out of the tank and have it cooked upstairs and served to you. Nampo-dong, street vendors, zig-zagging markets and more.

• Gamcheon Culture Village: A hillside community with narrow alleys and scenic views  

• Gwangalli Beach: The 2nd best beach, another sunset, fireworks and light show on the Gwangan Bridge. 

JeJu Island, AKA Korea's Hawaii - just A short flight off the coast of S. Korea

• Tropical Hallim Park: Volcanic caves, gardens, exotic birds, SHADE, and more. 

• Hyeopjae Beach: Refreshing swim, and the best sunset ever :)  

• Hallasan National Park: I didn't hike the mountain, did the easy version by tour bus! 

• Daepo Jusangjeolli Cliff: Lava cliff was formed between 250,000 years ago when lava from Hallasan Mountain erupted into the Jungmun sea.

• Cheonjeyeon Falls: Three tiered waterfalls - according to Korean legend, seven nymphs would descend from the heavens at night and bathe in the waterfall's pond. 

• Seogwipo: 2nd largest city on JeJu Island, with beaches, green tea fields, and black pig BBQ (yum!) 

• Gyoki Beach: Beautiful, no need to say more.

• Dongmun Market: A street market, night market, traditional market, seafood market all in one. Tangerine central!

• Seongsan Ilchulbong: UNESCO World Heritage site, non-active volcano. I climbed to the summit, panoramic views!  

• Jimjilbang: Topped the trip off with a traditional Korean bath house, very relaxing! 

If you made it to the bottom of this list, Gamsahamnida, Thank You! 

Happenstance Awakening by Samantha Morgan

I found Valerie mostly by accident. I'd been invited to a performance at the Green Space and while mingling afterwards, I caught a glimpse of a flier offering somatic therapy. Coincidentally, I’d been thinking if I started therapy again I would want it to be with a somatic practitioner—though I didn’t know where to begin looking. I’d reached a plateau with regular talk therapy, realizing something was perpetually missing—the rest of my body. 

I reached out later that week and my life has been wholly altered ever since. We meet mostly in person in her bright, open space. Movement, voice, and play all come together making for a session that is at once spontaneous and co-creative. After just one visit, I knew we had touched a place within that's at once childlike and deeply ancient. After all, as we move through time, our youngest parts are also our oldest. To me, this suggests that reaching our fullest selves requires both playfulness and something deeper than words. Our time together has been a deep kind of witnessing--an opening for self expression that holds both my pains and joys. It welcomes my whole being, not just my "mind". 

My entire body is along for the ride now and while, admittedly, the terrain can still get bumpy, I now have better practices for grounding into and relating with my body. And I don’t believe there is anything more revolutionary than learning how to make our bodies a home we can feel safe being in. I am so grateful to have found Valerie and can’t recommend working with her enough! 

Learn more about One on One Core Energetics HERE

Learn more about Somatic Healing Group HERE

Eight Artists Dig In & Take Root

This May, we were excited to present a special edition of TAKE ROOT at Green Space featuring work from our eight D.I.G. Residency Artists! What began as the first ideas and segments of movement in September 2025 came together through months of work and feedback to create two exciting programs of work!

Our D.I.G. Artists - DAY 1!

THE D.I.G. RESIDENCY provides choreographers an opportunity to develop and share new work together during work sessions moderated by members of the Green Space Artist Advisory board, including Valerie Green, Aviva Geismar, Selma Trevino, Nicole McClam, Chris Ferris, Jon Lehrer, and Hector Canonge.  The residency provides a space to deepen the creative process while building relationships with fellow New York City-based choreographers and dancers, and includes professional development opportunities.

Our Artists this season dove into an exploration of personal topics - from grief, idea of self, to the world around them. In these sessions, we were fortunate to witness the group taking risks and exploring ideas that were important to them, and see what was present in both their personal and artistic lives as part of the process.

 From our Artists:

“As a choreographer, sometimes you’re just so stuck in what you think it should look like that you don’t actually see what it looks like at all. So to have a consistent view of seven other people really helps to kind of bring in a sense of landing.” - Robert Mark Burke

“The D.I.G. program was a lovely support structure for going deep in my process without having to worry too much about the other aspects of producing a show. The structure, community, feedback, performances, and discounted rehearsal space really made it easier to take risks, take time, and enjoy the process.” - Caitlin Sikora

“Nothing like this exists in the city -- a space to grow your work in community with the opportunity to fully produce and perform your show over the weekend. The structure, the balanced selection of artists, the amazing mentors - all of this was so supportive of my process and the piece.” - Steph McIsaac

Photos by David Rauch

We are so proud of the work these Artists put together this season, thank you all for sharing your work with us at Green Space!

Keep an eye on our Opportunities page for the 2025-2026 D.I.G. Residency, applications open this Summer!

The Invitation Arts Collective's THE SEAGULLMACHINE

The Seagullmachine was an invitation to interrogate the value-systems that our society subscribes to, and the artistic and political machines that govern our lives and continue to yield severe consequences for everyone, but especially those who dissent. By disrupting the form, characters, and narrative of a well-known theatrical text (Anton Chehkov's The Seagull), The Seagullmachine asked the audience to let go of their previous ideas about theatrical  conventions, and to step into a new world of meaning-making with the cast. Along with the performances, TIAC held community events centered around mutual aid, independent art distribution, and holding conversations on what it means (and what it might look like) to effectively dismantle and destroy a system. 

Green Space helped us send this invitation in multiple ways. The space was a beautiful lab to hold design and choreography experiments in during the rehearsal process, and our audiences were excited to discover not only the work, but Green Space itself! The staff at Green Space was very supportive, from our first visit and meeting with Valerie, to our final performance and beyond. Any time we had questions, or had new elements come up in the rehearsal room, we felt empowered to ask questions and collaborate to find solutions that worked for both us and the Green Space team. It was such a privilege for us to collaborate with a venue and arts community that holds similar values and aspirations for what the performing arts are capable of, especially in a political climate where the government is stripping arts funding from organizations of all sizes

The Invitation Arts Collective (TIAC) is a multi-disciplinary arts collective that creates accessible work that centers activism and inspires direct action. Each piece that TIAC produces invites the audience to respond to the work in a way that generates momentum around the content and thesis of the piece.

Interested in renting Green Space for an independent production like this one?

Visit https://www.greenspacestudio.org/space for more information.

Move, Heal, Transform: A Retreat for Deep Emotional Release at Earthdance by Valerie Green

Have you ever felt like there’s something inside you—an emotion, a tension, an energy—that’s waiting to be released? I created the Skimming the Surface: Movement Healing Retreat as an invitation for you to step into that space, to move, feel, and heal. This 3-day retreat is for adults navigating stress, trauma, or simply the need to reconnect with themselves in a profound way. Through somatic-based expressive movement, we’ll work together to unlock and release what’s been held inside, allowing you to integrate movement, emotion, and transformation in a safe, supportive space.

A Journey into Movement Healing

Every movement journey in this retreat is intentionally crafted to support you in the way that feels right for you. As your guide, I will gently lead you into a space where you can open doors within yourself—doors that lead to a deeper understanding of your emotions, your energy, and your healing process.

Rather than relying on words, movement allows us to bypass the thinking mind and dive straight into the raw, unfiltered truth of our experiences. In this process, emotions and memories may rise to the surface, but you won’t be alone in facing them. My approach is compassionate and intuitive, ensuring that every participant is held in a space of care and non-judgment so that true transformation can unfold.

A Holistic Experience

This retreat isn’t just about movement—it’s about embracing a full-bodied, heart-centered healing experience. Throughout the weekend, we’ll weave together:

· Breathwork & Expanded Consciousness Practices (to center and open the body-mind connection)

· Guided Movement Improvisation with Intention (to awaken embodied awareness)

· Body Reading & Energy Healing (to tune into energetic patterns and shifts)

· Somatic Experiencing, Inner Child, & Parts Work (to access deeper emotional layers)

· Core Energetics & Emotional Release (to express and move through blockages)

· Shamanic Journeying & Visioning (to connect with deeper wisdom and guidance)

· Voice Activation & Expressive Writing, Drawing (to integrate through sound, words, and pictures)

· Intuitive Exploration & Self-Discovery (to synthesize and embody the experience)

Beyond the structured sessions, there will be space for quiet reflection, journaling, time in the sauna, and walks in nature—moments to breathe, integrate, and connect with a community of fellow seekers on this journey with you.

A Retreat for All

No prior experience with movement healing is needed. Whether you’re brand new to this work or already have a practice, you are welcome here. This is a space for all bodies and abilities—a space where you can show up exactly as you are and be received with warmth and acceptance.

If this speaks to you—if you’re feeling the pull to move, release, and rediscover yourself—I invite you to join me.

This weekend is a gift to yourself, a time to let go and lean into healing. I can’t wait to welcome you.

May 2nd - 4th, 2025 at Earthdance, 252 Prospect Street, Plainfield, MA 01070

TEASER VIDEO: https://youtu.be/4KYzUYhATQs?si=pfy87mcw_cnSAp3I

LEARN MORE AND REGISTER HERE

VG/DE Teaching Artist Spotlight on Kenneth Herrera!

I have been working for Dance Entropy for over three years, and I can confidentially say that I am continuously encouraged as a dancer & artist to explore and teach the styles that I am passionate about. Dance Entropy has given me the opportunity to teach dancehall, afrobeat, hip hop and salsa at many different high schools and older adult centers and I have loved every single residency. Teaching at The Scholars Academy in Queens has been particularly special for me because the students are always so engaged, enthusiastic, and passionate about learning all the styles, even if it's for the first time. I feel like I have built a relationship with a lot of students, because we created an environment that is open-minded, judgment free, and fruitful.

Kenneth Herrera was born and raised in Brooklyn, and pursued acting for three years at Bronx Academy of Letters. He fell in love with dance when he was introduced to break dancing in Honduras. After college, Kenneth devoted himself to years of training at Broadway Dance Center. Kenneth has danced with many dance crews such as Heart Break Crew, Vintage Quality, Hip-Hop Theory, Lakai Dance Company, WRT, DPA, and Cora. Kenneth intends to continue training but has found great passion in teaching all ages throughout New York.

“We just finished up our first two residency performances and everyone is RAVING about Kenn and Dance Entropy. We love Kenn and what he does for our students. They also love him and he has great rapport with them.” 

- Christina Quintana, Scholars Academy

Dance Entropy provides Artist in Residence partnerships tailored specifically to each venue and educational institution’s needs. The company provides ongoing teaching programs, master classes, open rehearsals as well as commissions of new or existing repertory works for performance.

Voices from CROSS POLLINATION

“It was dark, cold, and piercingly windy outside on January 25th, but Green Space Studios was warm, welcoming, and exploding with synergy. The CROSS POLLINATION Jam kicked off with “15 Minutes of Fame” at 7 pm. This minimalist salon presentation consisted of 15 one-minute dances by 15 different choreographers to 15 one-minute pieces. Yumi Suehiro provided live accompaniment with a toy piano.

THEN — Random creativity broke loose, as dancers, musicians, visual artists, models, and a few people with talent – and no inhibitions – improvised together or individually. A saxophone player hit some blue notes, while a percussionist kept a beat, along with the guitar and flutist. Green Space Artistic Director Valerie Green swayed around next to a dancer who sheepishly shuffled his feet. Many participants caught the scene on paper with crayons as they sat cross legged on the floor.

And on and on they went until about 10 pm, when it was time to brace the outside elements and head home.”

— Rob MacKay, Queens Economic Development Corporation

*Cross Pollination was an ongoing program from 2009-2012, resurrected for this collaborative event*

“What a lovely performance!  I truly thought this set of 15 came together quite beautifully and masterfully.  The variety and expertise of your artistry wove together perfectly for the each of the works. This was a great event to just hang out and "be".  It brought a warm feeling to the whole night, Green Space was a perfect venue for the event.

Yumi brought a lovely poetry to these 15 little pieces for Toy Piano.  On the music side we both know the trials and tribulations of getting the 15 composers and creating a set of 15.  And then to perform the live with other artists is another talent of accompaniment that isn't easily achieved. Thank you so much!”

— Rob Voisey, Vox Novous Founder and Director of Fifteen Minutes of Fame

“I just watched the video. Fantastic!!! I hadn't seen some of the dances. We all have such different styles! - Divergent points of view! The thought and work was evident. I love that each choreographer, musician, videographer put so much serious work into this. Rob as producer, Valerie as host...Could we have a better group? I think not.”

— Rachael Kosch, FOF Dance Director

“It was lovely seeing all, returning and newcomers alike. Lovely seeing everybody's dances on Yumi's incredible playing. The Jam party that followed was a lot of fun too. Thank you Valérie for hosting us in your great space. And thank you Rachael and Rob for this fun 15-minutes-of-fame initiative.”

— Virginie Mecene

“Thank you all so much for making Saturday’s show such a fun experience!  I really enjoyed seeing and hearing your wonderful talents (choreographic and musical and organizational and otherwise) - plus, what a truly collaborative spirit all-around.”

 — Kendall Rileigh

Local LIC artist Banks Clayton