Presented in conjunction with Skeleton Architecture’s appearance at the ICA, these three community workshops  “provide a communing to explore embodied archive, communal selfhood, and the divine everyday.” The collective writes, “Inspired by Dr. Kariamu Welsh Asante’s description of Africanist memory as ‘a conscious and subconscious calling upon the ancestors, gods, mind to permit the flow of energy,’ we will move, sit, talk, write, draw, conjure, and vision, through both private and public practices.”

Saturday, July 22

Skeleton Architecture has organized these workshops “as a safer space for Black bodies to collect and center ourselves in particular solidarity. The workshops are all-gender inclusive, gender-presentation inclusive, age inclusive, and body positive; all body types and levels of experience are welcome.”

This workshop with Maria Bauman creates the time and context to slow down and experience restoration within a capitalist climate that is depleting all of us. Drawing upon Maria’s background in partnered stretching and in designing and implementing movement experiences for people of all ages and levels of comfort in their bodies, she is offering safe tools for muscle ease and lengthening and greater breath awareness. We will relieve tension, increase flexibility, release energy stashed in the body, and take in the caring energy of the group – leaning on one another literally and figuratively for greater release than is possible alone.

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Embodied Listening is a guided workshop facilitated by Grace Osborne and Shea Rose that emphasizes vocal toning, listening, and medicine melodies. Space is created for all participants to sing improvised phrases, be immersed in healing drones, and listen in new ways.

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Sunday, July 23

The Sunday workshop is open to everyone and is all-gender inclusive, gender-presentation inclusive, age inclusive, and body positive; people of all body types, backgrounds, and levels of experience are welcome.

Dance for Social Justice is a process-based workshop with Marsha Parrilla that delves into the universal language of movement to generate conversations and create art around social justice issues in our communities. Participants exercise solidarity through group work, the exchange of ideas, and engaging in intentional discussions. Through a facilitated dance composition process, participants explore basic elements of dance composition to create dance pieces with their groups. An informal showing and a feedback/Q&A session brings closure to the workshop.

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Maria Bauman is a Black and queer dance artist and community organizer from Jacksonville, FL. She is now based in Brooklyn, NY. Her MBDance choreography is based on her sense of physical and emotional power, insistence on equity, and fascination with intimacy. Bauman brings the same tenets to organizing to undo racism in the arts and beyond with ACRE (Artists Co-creating Real Equity), the grassroots organizing body she co-founded. Her work is at the same time a poem, a manifesto, a beckon, a softening. In Infinite Body, Eva Yaa Asantewaa wrote, “As a choreographer Bauman expresses humanistic insight with the blend of strength, suppleness, and flow that her training in capoeira has given her.” In particular, Maria’s dances center the nonlinear stories and bodies of queer people of color onstage. Maria is currently Community Action Artist in Residence at Gibney Dance Center (NY) and was recently awarded a creative residency at Brooklyn Arts Exchange.

Grace Osborne is a musician, sound artist, and practitioner of a variety of healing arts from Los Angeles, California. She graduated Summa Cum Laude from Mills College with a B.A. in Music History and Theory. Her artistic practice is grounded in the practices of improvisation, deep listening, spirituality, and intuitive knowledge. Her work often features themes of space, deconstructing the embodied sensorium, dreaming, imagining, listening and healing. Currently, Grace is working toward completing her PhD at New York University, writing her dissertation on vibrational healing modalities, spaces, and practitioners.

Shea Rose is a singer-songwriter and performance artist. She graduated from Berklee College of Music and has been featured on two Grammy award-winning jazz albums by Terri Lyne Carrington. Rose was chosen as a speaker for TEDx Beacon Street in the fall of 2014, where she gave a talk entitled “Somebody Stole My Voice Again” describing her experience following vocal surgery to remove a polyp. In the summer of 2016, Rose released a cover of Sinéad O’Connor’s “Black Boys On Mopeds”. Though the lyrics reference England in the 1990s, Rose felt that the song served as a universal statement on the social and political climate of the world today. The song came to mind after the shooting and unrest in Ferguson. In 2017 Rose released a new EP entitled “D.T.M.A (Dance This Mess Around).” The EP’s lead single is a rendition of the B52’s new wave anthem “Dance This Mess Around.” Her version has been praised by B52’s guitarist Keith Strickland and music critics alike. Rose also curates the RISE Music Series at the Isabella Stewart Gardner Museum.

Award-winning choreographer Marsha Parrilla is the founding Artistic Director of Danza Orgánica. Born and raised in San Juan, Puerto Rico, she moved to NYC in 1998 and pursued a Master’s degree in Dance Education from New York University. Parrilla is a Luminary Artist at the Isabella Stewart Gardner Museum in Boston. She is a proud recipient of the Creative City Grant and the New England Dance Fund, awarded by the New England Foundation for the Arts, a Festivals Grant awarded by the Massachusetts Cultural Council, and a LAB grant awarded by the Boston Foundation. Most recently, Parrilla was awarded a Creative Development Residency at the prestigious Jacob’s Pillow, and she has been nominated for a Brother Fellowship Award by the Boston Foundation. Marsha has taught dance at New York and Boston public schools, Boston University, the State University of New York in Stony Brook, the Roxbury Community College, and Green Street Studios. She is the founder of the Dance Research Online Forum, a site dedicated to free and progressive dance education, and is an active member of the Boston Dance Alliance Board of Directors and the National Dance Education Association. Marsha’s production history includes several evening-length company concerts as well as the award-winning annual festival We Create! Celebrating Women in the Arts.


Skeleton Architecture is a vessel of Black womyn and gender-nonconforming artists rooted in the rigor and power of the collective in practice. We create, organize, advocate, gather, curate, perform, play, challenge, and teach through the deep of our ancestral knowledges toward the liberated future of our worlds.

Originally curated by writer Eva Yaa Asantewaa, Skeleton Architecture first came together to perform in the Lost & Found platform at Danspace Project on October 22, 2016, around the theme of dance as a healing force. The evening was inspired by an Audre Lorde essay called “Poetry is Not a Luxury.”