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Aura/Glitter Baby


Split Bill Performances at Cannonball Festival 2023

Icebox Project Space

Wednesday, 9/20, 6:45pm

Sunday, 9/24, 8pm



CHOREOGRAPHY |  Britt Whitmoyer Fishel, in collaboration with dancers 

PERFORMANCE | Teigha Beth Bailey, Erica Densmore, Lydia Patselas

MUSIC | Demdike Stare

PROJECTION DESIGN | Britt Whitmoyer Fishel 

COSTUME DESIGN | Britt Whitmoyer Fishel

Aura examines the electromagnetic energy fields that surround living beings, including humans, animals, and plants, known as an aura. Through digital dance projections and live performance, the work explores health, self, community growth and wellbeing, as related to the bioenergetic field. The concept of an aura can be seen as a tool for self-exploration and personal growth. By delving into the aura and its various layers or colors, Aura examines emotional patterns, thought processes, and spiritual development through movement modalities and multi-media performance. Serving as a guide for self-reflection, introspection, and the pursuit of personal transformation, Aura Theory suggests that there is more to individuals than their physical form. The embodiment of these ideas are transformed in multi-faceted ways to encourage connection, foster empathy, celebrate individuality, and honor the richness of the human experience. For more, visit

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Glitter Baby

CHOREOGRAPHY |  Tammy Carrasco, in collaboration with dancers 

PERFORMANCE | Tammy Carrasco, Kuankuan Hu, Chloe Marie, Piper Rolfes, Kate Seethaler


SOUND CITATIONS | Cristobal Tapia De Veer, Kitka, Michael Wall, Nature Sounds Explorer, Tanxugueiras, Wind Chimes, found sounds  


COSTUME DESIGN | Emma Scholl, in collaboration with Tammy Carrasco; based on original design by Rebecca Kanach

TEXT | Tammy Carrasco, Kuankuan Hu, Chloe Marie

Glitter Baby is a microcosm in which meandering dreamscapes, queer motherhood, and subtle spectacle collide and collapse into one another. This work explores the profound wisdom and meaning-making of our subconscious, where motherhood is posited as a cradling of our own inner child. This maternal holding is framed by unbridled curiosity, queer paradigms, and collaged meaning. From within a metaphysical realm of dreamed abstraction and non-sequiturs, Glitter Baby roots us in the Now through the immediacy and excitement of the physical body. Athleticism and spontaneity bring viewers into the present while queering meaning-making with a quilt of text and movement, all in the presence of a glistening disco ball.

There is spoken text in this work, which reads:

TAMMY: I was walking down a long hallway. When I got to the end, I opened a door and walked through. My feet landed on lush, green grass. I was in a tree-less Meadow. I could hear the wind, but I could not feel it. I could hear water, but I could not see it. There were hundreds of squirrels on the ground digging for food. They were baby squirrels. They were so small. We saw a Hawk overhead. The squirrels ran for cover but there was no shelter to be found, so I lifted the edges of my dress and the squirrels ran underneath. I waited there for hours, upon days, upon weeks, until the Hawk left. Then, I lifted the edges of my dress, and all of the squirrels were gone, except one. 



Au bout du corridor, c'est une porte.

Maybe I opened the door, ou peut-être je n'ai pas.


c'est une rizière, très verte

the sky was all white, and big drops of rain砸落下来

一对男女stood in the middle of the rice field,



the girl sacrificed in the Rite of Spring by Pina Bausch.




I dreamed of an old apartment building,

At the end of the corridor, it’s a door.

Maybe I opened it, or maybe I didn’t,

But I know what’s outside the door.

It’s a green rice field.

The sky was all white, and big raindrops fell down.

A pair of young man of woman stood in the middle of the rice field.

The woman is in cerise.

Far away, someone was dancing,

The girl sacrificed in the Rite of Spring by Pina Bausch.

And Madam Xiang, a character from Cloud Gates dance company.

CHLOE:found a dozen kittens. I decided the dozen kittens, all orange tabbies, were going to be mine. They were so small. They were in an egg carton. I took them to the vet. The vet’s office was the in middle of the mall. The office was round and the windows were big and clear. And you could see right into the office. We were all waiting in line. When I got the window the woman at the desk took half of my kittens. She said the other ones were OK. I waited. I was waiting too long. I began to yell at the woman, demanding to know where my kittens were. She kept saying she didn’t know. I walked around and let myself into the office. I saw cookies, a few different kinds of snacks. It was messy. I think the snacks were on top of the purple printer. I asked the woman again where my kittens were. She said my kittens were turned into eggs. She said I could keep this Glitter Baby. I cried, took the baby, and took some cookies.

There is sound and music in this work.The soundscape is mostly natural and found sounds, including wind, water dripping off a pipe, creaking arctic ice, geese flying, and wind chimes. There are instances in which women's voice sing together calmly and harmoniously.

This work was made possible in part by support from Bryn Mawr College, and several friends and family who contrubuted to our GoFundMe, which remains open in support of the artists involved in this project.

About the Choreographers


BRITT WHITMOYER FISHEL is an award-winning choreographer/screendance maker/educator/author/scholar. As Artistic Director of BF & Artists, her work examines relationships between the ephemeral nature of live performance and the permanence of dance in the digital sphere. BF & Artists has a research focus across feminism, gender gap, access, and community. In addition to BF & Artists, Fishel is the curator of Opine Dance Film Festival, an annual, international Screendance festival. She has led company tours and screened dance films throughout the US, UK, and Europe. In 2021, she received the “Lorenzo il Magnifico” International Award for Performance with Britt Fishel & Artists and in 2022 authored The Screendance Practitioner's Workbook. She holds a BFA in Dance Performance from East Carolina University and an MFA in Dance from the University of Michigan. She currently resides in Philadelphia where she is on faculty at Drexel University, Bryn Mawr College, and Ursinus College.

TAMMY CARRASCO is a dance artist/educator/mother. She is both a nomad and avid nester, and has lived, created, and taught in Durham, NC, NYC, Columbus, OH, Rochester, NY, St. Pete, FL, and Philly. She is a recipient of DanceForce’s Western New York Choreography Initiative Award (NY Council on the Arts), Drescher Diversity and Inclusion Award, and Columbus Dances Fellowship. Choreography credits include Boston Contemporary Dance Festival, Dumbo Dance, Jennifer Mueller/The Works, Triskelion Arts, Movement Research at Judson Church, among others. Tammy has performed in her own work and with Heidi Brewer, Robbie Cook, Cara Hagan, Dana Katz, and Helen Simoneau. She has an MFA from The Ohio State University, BFA from University of North Carolina School of the Arts, is a Walnut Hill School alum, and is working towards her 500 hr in yoga therapy. Tammy is Visiting Assistant Professor and Interim Director of the Dance Program at Bryn Mawr College. 

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