Previous Festival

In May 2025, we asked: would people attend an experimental arts festival whose main subject is death? 


The answer was a resounding YES. 

Hundreds of us gathered at the historic Laurel Hill Cemeteries for four days of visionary performance, practical death education, and reflection.

More than 600 attendees saw:

5 original performances

16 Workshops, panel discussions, and ceremonies

2 festival sites

6 reflective spaces

X number of sold-out shows

1 incredible weekend

“This wasn’t a typical conference or academic gathering. It was something far more experimental and communal. The open-air installations, the care with which presenters and performers approached their work, and the intentional blending of art and advocacy made this feel like a true festival of life through death.”

Festival photography by

Five original performance pieces (including three world premieres) by interdisciplinary artists:

Performers

Performances

the CRONING (solo.duet)

Viewing Hours

deciphering the knots in the pine beams

A Body in Laurel Hill

Politics of Mourning IV

Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement-based, interdisciplinary artist. She worked for more than 40 years as Eiko & Koma creating numerous performance works. 

Eiko’s first solo project was A Body in a Station, a 12 hour performance at Philadelphia’s 30th Street in 2014. Since then she has performed A Body in Places, a series of site specific solo performances at over 80 sites, including a month-long Danspace Project PLATFORM (2016) and three full-day performances at the Metropolitan Museum of Art (2017). 

Collaboratively created with photographer and historian William Johnston, A Body in Fukushima (2014–) is a multifaceted project that records Eiko‘s solo performances in post-nuclear disaster Fukushima. It consists of photo and video exhibitions, mix-media performances, lectures, a book publication, and a feature-length film. 

Eiko is currently working on her 10-year project, I Invited Myself (2022–), a series of exhibitions and screenings of her media works. Its volume 3 was presented in Philadelphia in 2024 at Asian Arts Initiative and The Fabric Workshop and Museum.

Eiko has worked on the theme of death and dying for a long time, i.e. River (1995–1999), post-9/11 Offering (2002), Death Poem (2005) and Mourning (2007). More recently, in the historic Green-Wood Cemetery in Brooklyn, she has presented A Body in Cemetery (2020), Mother (2022), With the Dead (2022) and Stone (2023). She has also performed in Maplewood Cemetery in Durham, NC (2021) and Evergreen Cemetery in Colorado Springs, CO (2024).

www.eikootake.org

A Body in Laurel Hill

In 2014 Eiko started her site specific solo project A Body In Places--a site-specific series of solo performances--at more than 80 sites, including at 30th Street Station in Philadelphia, the Metropolitan Museum of Art, and Green-Wood Cemetery in Brooklyn. In a layered exploration of time, season, landscape, architecture and culture, A Body In Laurel Hill continues this series and Eiko's longtime work on the theme of death and dying. 

"In a cemetery, I think of the recent dead, and the dead from the past centuries, including many whose graves were never built. When I enter the cemetery, I try to leave my/our current upsets at the gate but make sure to pick those up on my way out." This site-specific work interrogates existence and non-existence: who, and what, is present or absent.

Shavon Norris is an Artist. Educator. Facilitator. She grew up in a Black Sci-Fi Christian home in the Bronx that sparked her curiosity about the magic, medicine, and meaning living within us. Shavon uses movement along with text, sound, and imagery to reveal the stories living in our bodies. Her work explores our relationship to our identities, our experiences, and to each other. An examination and celebration of what we feel, think, and believe. As an artist her work has been presented at venues in NYC and Philadelphia. As a performer, she has performed for Silvana Cardell, Leah Stein, Merian Soto, makini poe, and toured with Pig Iron Theatre Company. As a facilitator, she works with artistic, educational, and corporate institutions, offering learning on Creativity, Movement, Inclusivity, and Healing Centered/Trauma Informed Practices. Shavon’s artistic and educational philosophies are rooted in the desire to offer herself, learners, performers, and audiences, opportunities to deepen the understanding of self and the collective. She loves the living and working she gets to do in the world.

THE CRONING (solo.duet 48:25)

THE CRONING (solo.duet 48:25) is a solo movement and theater piece from creator and performer Shavon Norris with voice and sound textures from Elle.Morris. The piece considers the particularities, pleasures, and frustrations surrounding the experience of aging while Black. It considers Shavon’s bodily change of chemistry while moving through medical and cultural systems that do not prioritize the wellness and wholeness of Black women bodies. THE CRONING (solo.duet 48:25) invites performer and witnesses to consider what we have learned about aging, dying, and death. And it invites us to tap into existing and new references and rituals so we can expand our imaginations of what it can feel like/sound like/look like/be like, to age as a Black woman body.

Mel Hsu (she/they) is a sonic painter of impossible worlds. As a multi-instrumentalist, Mel often ventures from her classical roots as a cellist into unexpected, cross-disciplinary collaborations. Rooted in Philadelphia, Mel’s restless spirit finds adventure across time zones and oceans as musical and administrative support for others who inspire them. Mel is a spreadsheet nerd, a slow reader, and a shameless instigator of kitchen dance parties.

deciphering the knots in the pine beams

on the eve of my departure to america, you asked me to spend some time to listen to your stereo with you.

my aunt’s words - translated, for my agong’s eulogy - break me open each time i read them. decades later, my sister and i, knee-deep in moving my parents out of our childhood home, unearth agong’s beloved record player and the more than 300 vinyls that he brought with him from taiwan when he, too, made the journey across the ocean.

you find me here, today, swimming in piles of alphabetized records, craving the world in which i had already fallen in love with music while he was still alive - the world in which we sit beside each other as each movement ebbs and flows, at long last experiencing awe in the same language.

anchored by ethereal cellos and haunting vocals, deciphering the knots in the pine beams is an atmospheric re-interpretation of the symphonies and vinyls he cherished. it is an unearthing, a re-sculpting, a reaching - for a world in which dignified goodbyes are not a luxury, for a world unburdened by time on the eve of departure. for a world in which i have forgiven myself for all the goodbyes i meant to say.

DonChristian Jones is a postdisciplinary artist and social sculptor whose practice blurs the boundaries between visual art, music, performance, and social intervention. Working across media and modes, his work engages architecture, community, and futurity—often emerging from spaces shaped by surveillance, abandonment, or resistance.

Raised in Philadelphia and based in New York, DonChristian’s early years painting inside Rikers Island and other carceral institutions ground his work in both aesthetic experimentation and civic urgency. His installations, soundworks, and performances have appeared at The Whitney Museum, MoMA PS1, The Shed, New Museum, and Brooklyn Museum, among others.

In 2020, he founded Public Assistants Inc.—a radical mutual aid network and community design studio that reimagines urban space as a site of liberation, care, and creative infrastructure.

Politics of Mourning IV

A continuation of site specific interventions on the subject of grief, POM first began in 2017 on the shores of Sicily, and trespassed temple ruins of Calabria. This iteration isa return to home, Philadelphia, and a cemetery steeped in familial history for the artist. 

Informed by Lissa Skitolksky, PhD essay The Politics of Mourning in the Neoliberal State, c. 2018

Referenced materials and writings from Frederick Douglas Jones II

Original soundscape by DonChristian

Musical samples and/or interpolations include: Anita Baker, Antonio Carlos Jobim, Sarah Vaughn

mayfield brooks improvises while black and is based in Lenapehoking, the unceded land of  the Lenape people, also known as New York City. brooks is a movement-based performance artist, vocalist, urban farmer, writer, and wanderer. brooks teaches and performs practices that arise from Improvising While Black (IWB), their interdisciplinary dance methodology which explores the decomposed matter of Black life and engages in dance improvisation, disorientation, dissent, and ancestral healing. brooks is the 2021 recipient of the biennial Merce Cunningham Award from the Foundation for Contemporary Arts, a 2021 Bessie/New York Dance and Performance Award nominee for their experimental dance film, Whale Fall and a 2022 Danspace Project Platform artist. They were a 2022-3 Hodder Fellow at Princeton University, the 2024 Alma Hawkins Visiting Chair at UCLA with the World Arts and Cultures/Dance program, and currently a Creative Time Research and Development Fellow. 

Viewing Hours

Through Viewing Hours I aim to challenge perceptions of death and decay—specifically the spectacle of black bodies dying, decaying, and grieving in plain sight—in order to transform people’s thinking around what becomes possible, inevitable, and necessary when systems break down. Viewing Hours challenges the currency and flippancy that makes black death and black grief profitable. We are now faced with the dissolution of sociopolitical systems touting blatant white supremacy and ecological systems altered by climate change, while human physiological systems become more vulnerable. Humans are facing unspeakable violence and greed. Shit is breaking down. As a black queer artist hustling to make ends meet, breaking down is the norm, so burying my body under compost functions as a trickster tactic of my ongoing life/art practice, Improvising While Black /IWB which is a practice of telling stories that cannot be told through movement and vocal improvisation. Viewing Hours challenges people to witness with great attention. Viewing Hours asks, Can I get a Witness or Does the world need to be destroyed first? 

Workshops and Panels

Fifteen workshops, panels, and rituals

“The festival itself helped me mold and re-mold my relationship to death. it gave me so many tangible practical facts and learnings that I know I would otherwise be too afraid to seek out to learn on my own.”

Reflection Spaces

Multiple reflection spaces like our participatory festival altar, mandala, dirt pool, outdoor living room, our death resources table, and The Thread installation offered opportunities to connect and reflect.

Periodically these spaces were activated by Threshold Choir, Friends of Green Burial PA, Ask a Hospice Nurse table, and a Grief coach on a grief couch. Deathworkers were on site to offer support and answer questions.

“The memorial reflection space where we could write note cards to/about those we’ve lost was so touching.”

Access was a core value to the festival weekend.

Designed and executed by Shannon Brooks, our access plan included sliding-scale tickets, free shuttles, ASL interpretation, sighted guides, mobility equipment, sensory resources, a printable and audio Know Before You Go guide, audio programs, two access resource tables, bug spray, sunscreen, menstrual products, blankets, ponchos, umbrellas, canes, wheelchairs, and more.

Access

Media about the festival

Full Gallery