Thursday, March 19, 2026, 7:30 pm - 9:30 pm

8 pm (doors at 7:30)
at SomArt at The Hive

dance and sound performance featuring 3 duets + new solo work

New, old, ongoing, and emerging collaborations unfold through movement and live sonic landscapes.

Featuring duets by:
Hannah Rice + Casey Adams
Juliet Paramor + Ana Delgado
Miranda Lawson + Krista Lawson
And new work by Steffanie Paul.

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Hannah Rice & Casey Adams are a performance duo located in Columbus, OH, with roots in Seattle, Washington. Centered on the question, does sound move the body, or body move sound? – They use sound and choreography performance structures to create site-specific work that is grounded in environmental resonance and exploration. In performance, they believe that sound, space, and the presence of both audience and performer are part of an embodied participation in place- one that confronts ideas of presence/absence, silence/noise, and the eternal/external experiences of being. Merging their creative backgrounds, Hannah, as a dancer, and Casey, as a sound maker, combine their respective forms, playing in the liminal space between sound and body. This creative approach has led to performance opportunities that traverse music, dance, theater, and installation. Their work has most recently been shown at The University of Virginia in Wise, VA, The Jettie Baker Theater in Clintwood, VA, The Orange Light in Victoria, BC, and 8East in Vancouver, BC. Additionally, they have performed in Seattle spaces such as The Good Shepherd Center, The Cherry Pit, The Woodland Theater, Gallery 1412, 18th and Union as a part of Spring Shot 2024, and The Shed as part of the 2024 season of Being Mode.

For this upcoming series of shows, they will be performing an improvised drum and dance duet.

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Juliet (jules) Paramor is an experimental dance and performance artist based in Boston, MA, with deep ties to the Bay Area, CA, and the Pacific Northwest. She makes durational, state-based dance performances. She’s interested in how physical tasks and repetition engage the subconscious, alter perception, shape emotional and physical terrains, and reveal choreographic vocabularies. Her work is informed by her experience as a sex worker, lover, party girl, and daughter. She examines individual, communal, and cultural dimensions of grief, eros, sensuality, and the subconscious, exploring themes of primal belonging, nostalgia, femininity, power, and how desire and time impact the body. She draws on 10+ years of study in somatics, postmodern and release technique, club dance, contact improvisation, and is guided by a vast lineage of queer experimental dance artists. Her work has been presented by Movement Research at the Judson Church (NYC), the School for Contemporary Dance and Thought (Northampton, MA), CounterPulse, ROT Festival (San Francisco, CA), PLEX Arts Fest (Burlington, VT), and more. In addition to making work, she teaches classes, produces multi-disciplinary performance parties, and facilitates contact improvisation jams.

Ana Delgado began dancing at age four in San Juan, Puerto Rico, inspired by the storytelling of her creative movement teacher. Her early training led her from recreational dance to a ballet conservatory and later to Andanza, a contemporary arts school where she began developing her choreographic voice. Delgado went on to earn a BFA in Contemporary Dance from the Boston Conservatory at Berklee, where she studied Western contemporary forms alongside West African dance styles that continue to shape her movement language through polyrhythms, intricate footwork, and undulations. With this experience, she started to blend social dances and western dance forms made for concert stages to showcase the importance of community in a society that prioritizes individuality. She continues this journey as a choreographer, which includes Mujeres, an exploration of the complexities of sisterhood; DunDun, a community-driven work inspired by West African dance created for the Choreography Project Providence; and Turning Purple, developed during her Urbanity X Residency and inspired by Jacob Lawrence’s Migration Series, examining violence and migration affecting communities of color. She is currently developing new work researching intersectionality and belonging within the cultural landscape of the United States.
[email protected] | Anananas_p.r (Instagram and Facebook)

This is Juliet and Ana’s first time making and performing together. In this new work by Juliet, the two share a duet from an expansive, wandering improvisational process. They’ve been thinking about the pulsation of the heart, tidal tendencies, and tethers. The piece is set and unset, shaped by relational attention, space, duration, and rhythm.

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Miranda and Krista Lawson are a sister duet with extensive training across contemporary and street dance techniques. Each has been deeply influential in shaping the other’s individual artistic practice, creating a foundation of trust, curiosity, and shared rigor. Their collaborative work grows from both their overlapping knowledge and the discoveries they bring back to each other from their separate dance journeys. Together, they explore how contemporary and street forms meet, inform, challenge, and transform one another.

should’ve been a cowboy is an in-progress dance work that celebrates and reclaims the deep roots of Black contribution to country music while questioning how and why cultural spaces come to center whiteness despite being built from Black artistic innovation. Using movement, props, theatrical play, and intentional silliness, the choreography balances celebration with critique, inviting audiences into reflection through humor as much as rigor. The movement vocabulary lives in a hybrid space between contemporary dance and house dance, emerging as a third, in-between language that reflects cultural blending, resistance, and reinvention.

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Steffanie Paul is an experimental musician, a scientist, an immigrant, and a transsexual who aspires to communicate the intricacies of her multifaceted experience of the world through ambient soundscapes and intimate spoken word.
Her new work seeks to create a communal sonic space for grief, inspiration, and for the felt embodiment of history.

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This performance is made possible in part by the Grants for Creative Individuals from the Mass Cultural Council.