Moriah Evans positions choreography as an expansive social process. Drawing on somatic choreographic practices and feminist critiques of dance and visual culture, her work expands dance beyond the visible, to explore different ways of sensing both ourselves and our relationships to one another. Evans develops movement from the unseen interior of the body, by activating the emotional, somatic, and sensory systems to question the default hierarchies between notions of flesh, body, self, and subject. For Evans, choreography is a social political project that means far more than arranging bodies and movement in space; it is a serious and wide-ranging exploration of ideological beliefs–including feminist, sociological, and anthropological considerations. In Evans’ practice, one work leads to the next, each project forming a chapter in her ongoing process to inspire transformation–both physically and psychosocially–through action. Evans creates site-specific performances, theater-based productions, gallery and museum-based participatory installations, symposiums, theoretical texts, and curatorial projects. Recent works include: HARBORing (Snug Harbor Cultural Center and Botanic Garden, NY, 2025); BANKing (Musikinstallationen, Nuremberg, Germany, 2025); The Wait (New York Choreographic Institute, New York City Ballet, NY, 2024) Remains Persist (MOCA LA, CA, 2023; Performance Space New York, NY, 2022); Out of and Into: PLOT (Museion, Bolzano/Bozen, Italy, 2023); Rehearsals for Rehearsal (Public Art Fund, NY, 2022); RESTOS (Espacio Odeón, Bogotá, Colombia, 2021); REPOSE (Beach Sessions, NY, 2021); Be my Muse (Art Encounters Biennial, Timisoara, Romania, 2025; Pace Live, NY, 2021; Hirshhorn Museum, Washington DC, 2018; Villa Empain, 2016); BASTARDS: We are all Illegitimate Children (NYU Skirball, NY, 2019); Configure (The Kitchen, NY 2018); Figuring (Sculpture Center, NY, 2018).

Corrie Befort is a dancer and intermedia artist whose work in performance, film and scenographic design has been presented and awarded internationally. Formerly based out of Seattle and Tokyo/Yokohama, she has lived in Eastern Washington since 2018 where she develops and teaches inclusive movement programming, creates experimental textile objects and environments, and works with dance-artist Michael Schumacher (Clarkston/Amsterdam) and sound-artist Jason E Anderson/LIMITS (PNW). Her ongoing project Unnamed Shapes intertwines dance research and sculptural design, and includes the Iris Dance form. Current commissions include her multigallery installation and performance series Loess through Moscow Contemporary and The Andy Warhol Foundation for the Visual Arts, and choreography for Jim Hodges’ monumental tree sculpture Unearthed through the Jordan Schnitzer Museum of Art, WSU.  Her work has been presented through Dance Ga Mitai, BankART, ODC, SF MoMA, The Northwest Film Forum., P.A.R.T.S., The Henry, The Seattle Art Museum, On the Boards and Risk/Reward, with scenography for Deborah Hay soloists, Mark Haim, Cherdonna/Jody Kuehner and Beth Graczyk (NYC). From 2008-2015 Corrie co-directed Seattle performance company Salt Horse with Graczyk and Angelina Baldoz. and she has danced for Scott/Powell Performance., Sheri Cohen and Natsuko Tezuka among others. More at: cBefort.com, LIMTS.com, and corriebefort.substack.com/

Kayla Hamilton is a choreographer, educator, and Bessie Award-winning dancer who knows that dance is serious business—but life doesn’t have to be. She is a Disability Futures Fellow and Leo Sun with Aquarius Rising and Moon, which means she’s both dramatic and stubborn, sometimes confusing people mid-sentence but always dreaming bigger than the room can hold. Her choreography has been presented at The Shed, Gibney, Gi Whitney Museum, BAAD!, and New York Live Arts.

Kayla’s work integrates ASL, audio description and open captions, treating access not as an afterthought but as a central choreographic vocabulary. She has performed with Kinetic Light, Gesel Mason, Sydnie L. Mosley, Paloma McGregor, and Maria Bauman, and she co-directs Angela’s Pulse Dancing While Black. She also co-facilitates How We Move, a summer dance intensive for multiply marginalized artists, and directs the Access.Movement.Play Residency at Movement Research.

Before becoming a full-time artist, Kayla spent twelve years as a special education teacher in NYC public schools. That explains her patience, her humor, and her side-eye. She has consulted with institutions such as the Mellon Foundation, New York Live Arts, The Shed, and Dance/NYC, and held residencies at Texas Woman’s University, University of Iowa, Houston Community College, and Bates Dance Festival.

But Kayla’s bio wouldn’t be complete without her quirks: her legs are her favorite body part and protein coffee is her ritual before rehearsal. She grew up in Texarkana, Texas, in a CME church. As the oldest child and only daughter, she carries the responsibility of her upbringing alongside her artistry.

Kayla loves the WNBA, cheers passionately for the New York Liberty, and keeps up with the Indiana Fever. She is single and open to dating partners who can match her energy and courtside enthusiasm. She is also on a journey of healing her inner child through therapy, stacks of self-help books, and TikTok advice videos.

Always speaking in draft, Kayla embraces contradiction: serious yet silly, rigorous yet playful. She believes that art and life are both built in process, and that laughter belongs alongside rigor. Whether she is on stage, in a rehearsal room, consulting with a cultural institution, or joking mid-conversation, Kayla Hamilton is exploring new ways of showing up in the world—fully herself, deeply invested in community, and always ready to explore her next idea.