Mikaela Elson is a Los Angeles-based artist, composer, and teacher specializing in dynamism of the voice. She has worked with artists such as KNOWER, and companies ranging from The Industry, Long Beach Opera, Leaving Records, as well as Minaret Records. Mikaela performed with The Industry in Star Choir, written by Malik Gaines and Librettist Alexandro Segade and staged at Mount Wilson Observatory. As a recipient of the 2024 Pasadena Arts Grant, Mikaela premiered the first extended rendition of , “H e r e” – a new music experimental opera she began composing during her time as an MFA student at California Institute of the Arts, studying Vocal Arts in 2023.

Tylana Renga Enomoto is an LA-based, Grammy Award-winning violinist, composer, arranger, and vocalist with creative influences that range from J.S. Bach to J Dilla, Nina Simone to Kazuo Ohno, and Amara Toure to Bjork. Tylana’s approach to her craft is rooted in a deep desire to explore and appreciate the human condition through art. Over the years, she’s had the honor of working with artists including Kamasi Washington, Kendrick Lamar, Arthur Verocai, Ariana Grande, Lupe Fiasco, FKA Twigs, Ana Tijoux, David Hidalgo, Vardan Ovsepian, Sly5thAve, Adrian Younge, Mocky, The Sa-Ra Creative Partners, Knower, Ethiocali, Bonobo, Mark de Clive-Lowe, and Quetzal.

Allakoi “Mic Holden” Peete is an emcee/percussionist committed to advancing the art forms of jazz, hip hop, world music, and R&B. An Inglewood native, he studied Jazz Performance at UCI with mentor James Newton while doubling as an emcee/producer with his crew BlackWhole, an independent hip hop group that quickly advanced on the west coast during the late 90s. Over the past 30 years, he has played with or produced for RZA, EXO, Snoh Aalegra, Kamasi Washington, Terrace Martin, Koffee, Brian Jackson, Theo Croker, Josef Leimberg, Jamire Williams, Miguel Atwood-Ferguson, Thundercat, Fergie, Blu and Shafiq Husayn.

Born in Hyogo, Japan, Yusuke Yamamoto plays vibraphone, percussion, drums, keyboard and flute. He has performed, toured and recorded with a wide variety of musicians in the US, Japan, Europe, Canada and Mexico. His performances and recordings include the Broadway musical FELA!, special appearances with The Blue Man Group, Disney & Tim Burton’s movie Frankenweenie, soundtrack pieces for SONY PlayStation’s Gran Turismo 6 and Gran Turismo Sport, and music for TV commercials. Based in New York, Yusuke continues to produce music as channel U and Golden Monkeys, and collaborates with musicians from around the globe.

Guillermo E. Brown’s program consists of a triptych, whose parts unfold in the style of a roulette wheel, re-ordered by the artist for each performance.

As Brown recently said, “I don’t have any expectations for how this is supposed to go. It’s going to change every night. I guess it’s much more like a band that has opera singers.”

One piece, The Instrument, features a 30-inch projection surface that is used as both a screen and a drum: a percussion instrument as a living installation producing audio and visuals in reaction to human gesture. According to the artist, it functions as an interdisciplinary system within a musical framework, focused on performative complexities and aesthetic considerations of jazz. (The Instrument is also a project of Doris Duke Foundation Performing Arts technology LAB.)

A second work, titled Romance, is inspired by Harlem Renaissance author Claude McKay’s posthumous novel Romance in Marseilles, which was published for the first time in 2020, 87 years after it was written. The postcolonial, Jazz Age tale focuses on the story of Lafala: a fabulous dancer and West African stowaway who loses his legs while sequestered on a ship, for which he sues the shipping company, allowing him to return to Marseilles replete with riches.

According to Brown, his project revolves around the distortion and cutting through of time.

“I’m in a long line of musical thinkers playing with time…,” he says. “I want to see if I can stop it. And if I can, however fleeting, then the prototype will have worked.” 

The final piece, the percussion-driven Bee Boy, continues this manipulation of time by drawing comparisons across historical lines. The piece touches upon the European honey bee, which was imported to the colonial United States in order to pollinate our food supply. 

“They’re part of the farming industrial complex,” Brown observes. “I began to see parallels between how bees are treated and how Black folks are treated.’”

All quotes from Dalanie Harris, “The Industry LAB 2026 is Cracking Opera Open and Inviting New Voices In,” I Care if You Listen, February 17, 2026

1. Static Gold

V1

If i’d a hope i would i go there

quiet as a rose

pinned to the inside of a cardboard box

tattered pages of the last time we were here

not living in fear

hope to rejoice somewhere else

V2

momma told me there be days like this

If pain is the point

keeps us all online with the divide

A crowning achievement

as rough as the stardust

strewn across the sky

BRIDGE:

woozy from the fight

you know they’ve got a point

feels like going back in time

as if it was the monster’s work to change minds

stepping on us

you’ve got to know your purpose

greater purpose in the world not this

Chorus:

World gone crazy

Clock gone cold

with the voices lifting

like an element,

doesn’t change

STATIC GOLD

OUTRO:

(Can’t turn it back anymore)

2. Awake

Intro:

song of the free

like a disease (like a trapeze)

get none of the peace

get all of the feels

Verse 2:

I’ll jump higher just to show the world

I can fly

feels like all the while they’ve conspired to watch me try

like stepping thru the marshmallow layer before you die

only to curry favor with y’all it’s what I desire

Chorus:

Are ya’ll awake?

I’d like to know

it dawned on me

you might be sleep

Verse 2:

I’ll float by

glide past all the trials

i wanna hide

while deftly using style to laugh instead of crying

you saw me in the street you thought i was shy

that’s just the shock casting a mask across your eyes

Bridge:

is it God or Profits?

let me speak my mind dammit

don’t wanna lose

Chorus:

Are ya’ll awake?

I’d like to know

it dawned on me

you might be sleep

3. A Repudiation of Optimization (From Bee Boy)

Haunted by these ghosts on the wall

They Dropped interplanetary tears into the frame

Unbeknownst to themselves

We/They captured images

Against the ghastly demise

And replayed the dramas

frame by frame

So far from home

From inside the deep expanse,

Beyond

Nina laughs again

As if to say I warned you

With her cackly grin

Comatose

Alone

Eventually never to be grasped

I sing now to disintegrate the isolation

And take the chance

to describe the scene, once more,

from inside the dance

An icy floor

An exhaustive summer

Trapped in an n inescapable grasp

One step too far from her gaze

But not for the lash

I’ll invoke the scene again

Watch the drama awful unfold

Lifted off the ground

We went and put our head inside of the piano’s hood

Sucked the exhaust from an Interceptor

As if to breathe life into the frame

Another still

we play til dusk

But as we lost the light we lost ourselves

And they lost our grins

Even though we were just kids

She permutes our age

To ring in new guns

Like a private nuke would do

Inside of a mother’s heart

4. MOVING SLOWLY (from Bee Boy)

Even if you’re just moving slowly

That’s how it is

5. At Night (from Romance)

When all my daze begin with fire

Who will wait for us?

Go off into the night

Unfolding as a surgeon at glass

Is this life oh so cold?

It always hits me like a brick

The scars begin to show the wrath

(And we sing)

Ah Ah

You’re right that it begins with me

When not one of us can turn to love

I stand to ref a furious fight

We/you burrow deep beneath the sand

Tonight, Tonight

The things we choose to do at night

Only at night (cough)

When things subsist beyond control

Yes all the simple things awry

Those plans

Those plans aghast

Oh so aghast

The light beyond the flames desire

And lo from what you find

The hurt’s solar radiates with light

The things we dare to do at night

And sing out

Ah Ah

To dance a dance as if to say

the failed designs

The things we choose to do at night

Only at night

The things we choose to do at night

Only at night

6. Hard Life (from Romance)

It’s a hard life

With an almost total disregard for us

Cuts like a knife

With an almost total disregard for our love

7. SUN’D (from Romance)

I just want to let you know

What’s mine is mine

I plan to keep it that way

While I consume

More and more to please the pain

Like an open sore

In an earthquake

Lacking basic needs

A tendency to break

Without true form

A frequency informed

via vapors and waves

Lacking a true form

A code that I’m never meant to break

Consuming

More and more

just to please the pain

Chorus:

a cold cold puff puff

Woof woof pass pass

gold rough

Skim thin tough tough

Skin skin enough’s enough

Justin Asher is a sound artist, recording engineer, and mixer working across experimental music and interdisciplinary performance. His practice spans field recording, spatial sound design, and electronic composition, with a focus on texture, atmosphere, and immersive listening environments. Collaborating with artists in live and filmed contexts, Asher develops sonic architectures that emphasize presence, dimensionality, and the physicality of sound.

Ron Athey is a Los Angeles–based performance artist whose work has shaped contemporary body and endurance art since the 1980s. Emerging from Southern California’s post-punk underground, his practice engages ritual, queer identity, and the politics of the HIV/AIDS crisis through highly embodied live performance. He gained international recognition with works such as The Torture Trilogy and continues to create solo and collaborative projects that position the body as a site of inscription, devotion, and transformation.

Maurício Chades is a Brazilian artist and filmmaker working across film, installation, sculpture, and performance. Born in Gilbués, Brazil, he holds degrees in Cinema Studies and Art and Technology from the University of Brasília and an MFA from the School of the Art Institute of Chicago. His work explores anticolonial, queer, and ecological imaginaries, often weaving speculative storytelling with environmental and multispecies concerns. His films and installations have been presented at international festivals and exhibitions including Queer Lisboa, Mostra de Cinema de Tiradentes, and Videobrasil, where his work Cemitério Verde received the e-flux Film Award.

Farrah Daoud is a Los Angeles-based artist that arrived to and remains in the US by way of education and asylum. She is an actor, stripper, and sensual mover, working at the intersection of embodiment, survival, and diasporic longing, centering pleasure, agency, and the reclamation of the body as a site of autonomy and power.

David Dove is a Houston-based trombonist, improviser, and presenter active in experimental and creative music communities for over three decades. A central figure in Houston’s avant-garde scene, he is co-founder and artistic director of Nameless Sound, an organization dedicated to presenting and supporting innovative music. Dove’s practice centers on spontaneous composition and collaborative inquiry, working across free improvisation, contemporary composition, and interdisciplinary performance contexts in the United States and internationally.

Filarmónica Maqueos Music is a Los Angeles–based Oaxacan wind ensemble dedicated to preserving and presenting the rich banda traditions of Oaxaca, Mexico. Rooted in community-based brass and percussion practices central to civic and religious life in Oaxacan towns, the ensemble performs traditional sones, jarabes, and regional repertoire alongside contemporary arrangements. Through intergenerational collaboration and public performance, Filarmónica Maqueos Music sustains the ceremonial, communal, and migratory dimensions of Oaxacan wind band culture within the diaspora.

Laura Gutierrez is a producer and curator based at the University of Texas at Austin, working across experimental performance and interdisciplinary practice. Her work focuses on creating the conditions for ambitious artistic visions to unfold with care and rigor. She is the Director of OUTsider Fest, an Austin-based festival dedicated to boundary-pushing performance, queer aesthetics, and interdisciplinary collaboration, supporting artists whose work expands the forms and politics of live art.

Astrid Hadad is a Mexican singer, actress, and performance artist known for her politically charged cabaret work. Trained in theater at the National Autonomous University of Mexico (UNAM), she emerged in the 1980s as a central figure in contemporary Mexican cabaret. Her performances combine music, satire, historical revision, and elaborate sculptural costumes to interrogate nationalism, gender, religion, and power. Through a hybrid language of ranchera, bolero, and popular song, Hadad transforms cabaret into a space of critical spectacle and cultural resistance.

Carole Kim is a Los Angeles–based interdisciplinary media artist whose work centers on video projection for multi-media installation, live and telematic performance, and photography. Her practice explores the intersections of technology, physical space, and the body, activating environments where analog and digital materials conjoin across experimental art, music, dance, and theater contexts. Kim holds an MFA in Integrated Media/Film/Video and has presented work through residencies, exhibitions, and performance series supported by organizations including REDCAT, Headlands Center for the Arts, and the National Endowment for the Arts.

Estanislao Maqueos is a musician and bandleader from Oaxaca, Mexico, and the founding director of Filarmónica Maqueos Music. Trained within the Oaxacan wind band tradition, he carries forward the pedagogical and communal structures central to banda culture, where music is learned collectively and performed in civic and ceremonial contexts. Based in Los Angeles, Maqueos leads the ensemble in sustaining traditional repertoire while expanding its presence within diasporic and contemporary performance settings.

Yulissa Maqueos is a Los Angeles–based musician and member of Filarmónica Maqueos Music. Trained within the Oaxacan wind band tradition, her practice is rooted in the communal brass and percussion structures central to civic and ceremonial life in Oaxaca. Performing across traditional repertoire and contemporary collaborations, she sustains intergenerational banda practices within diasporic contexts, contributing to the ensemble’s ongoing presence in Los Angeles and beyond.

Joe McPhee is an American multi-instrumentalist and improviser, primarily known for his work on saxophone and trumpet. Emerging from the free jazz movement of the late 1960s, he gained early recognition with his 1969 recording Nation Time. McPhee has since developed an expansive practice rooted in spontaneous composition, political consciousness, and deep listening, collaborating widely across experimental and improvised music communities in the United States and Europe. His work bridges jazz, free improvisation, and sound exploration, sustaining a decades-long commitment to collective musical inquiry.

Oguri is a Japanese-born, Los Angeles–based dancer and choreographer associated with the Butoh tradition. He began his training in Japan and later became a long-time collaborator of Butoh founder Hijikata Tatsumi’s lineage, eventually establishing a sustained practice in the United States. Since the 1980s, Oguri has developed an improvisation-based performance language rooted in stillness, transformation, and the body’s relationship to land and atmosphere. His work spans solo and ensemble pieces presented internationally, positioning dance as a durational inquiry into perception, gravity, and interior states.

Molly Pease is a Grammy-winning, versatile, experimental, and collaborative vocal artist and composer. She is a member and assistant director of HEX, regularly sings with LA Master Chorale, Tonality, and LA Choral Lab, and has worked with Overtone Industries, theatre dybbuk, and The Industry. Her film and TV credits include vocals on Avatar: Fire and Ash, The Legend of Ochi (2025), Hulu’s Castle Rock (2019), and CBS’s Strange Angel (2019). She has performed with Björk, Tune-Yards, Sigur Rós, Dirty Projectors, Gerald Clayton, and Kronos Quartet, among others. Her most recent musical release is called “Inner Astronomy” and her Opera America Discovery Grant-awarded opera-in-progress HYSTERIA will be workshopped in May 2026 with Synchromy.

Alex Perez is a production coordinator supporting complex, artist-led projects from concept through execution. He brings logistical intelligence, technical savvy, and clear communication to every phase of production.

Erik Sanchez is an Indigenous artist, filmmaker, and performer whose practice engages voice, movement, and embodied storytelling. His work draws from lived experience and Indigenous knowledge to explore presence and the transmission of memory through the body.

Jaime Scholnick is a Los Angeles–based artist and costume designer working at the intersection of sculpture, garment construction, and performance. Her practice centers on the body as structure and surface, creating sculptural forms that extend, armor, or transform the performer in live contexts. Collaborating across experimental theater, dance, and interdisciplinary performance, Scholnick develops wearable works that function simultaneously as material object, architecture, and expressive skin.

OUR VOICES ARE NOT AT THE END OF ANYTHING

An Opera of Voice Becoming

By Carmina Escobar

Opera’s core material, its essence, is the voice. 

This work returns to that material at its most elemental level. Voice is not language, though it carries it. It is not only pleasure through song, though it can flood and move us. It is vibration under pressure, air set in motion by the body. A physical event that exists only through contact.

Yet voice is not reducible to its physics. Vibration is measurable, but what it sets into motion exceeds measurement. Voice alters interior states. It shifts perception. It gathers memory and projection into the present tense of sound. What begins as breath becomes presence.

Voice leaves the body and enters space. It strikes surfaces, is absorbed, reflected, altered. It measures distance and proximity. It reveals relation. In this sense, voice is not expression added onto identity. It is being in contact. It is ontological, existence occurring through relation.

Because voice moves through matter, it is changed by what it encounters. No sound returns unchanged. Each vocal act carries the imprint of the space it travels through, the bodies it touches, the histories it resonates against. But voice also exceeds what it touches. It produces interior reverberations that cannot be fully named. It opens psychic and collective dimensions that are not visible but are felt.

The body produces sound, and the world reshapes it in return. Between these exchanges something more than acoustics occurs. Voice is never singular. It is always between, both ours and not ours, personal and shared at once. It exists at once as physical vibration and as existential event.

The opera takes this condition as structure. It unfolds as a spiral rather than a line. Instead of progressing toward resolution, it returns to the voice under shifting pressures. Breath, tone, silence, density recur, each time reorganized by relation and by an ontological question: what is voice, here, now?

The spiral is a refusal of linear teleology, the idea that time advances toward progress, climax, or inevitable end. It interrupts the colonial structure of time that frames history as a straight path toward domination or extinction. Spiral time does not erase rupture. It repositions it. What appears as ending becomes re-entry from another angle.

The work inhabits an in-between condition, what Gloria Anzaldúa names Nepantla, where identity forms through tension and crossing. It draws from Indigenous relational ontologies in which being is constituted through contact rather than isolated essence. The piece does not offer conclusions. It stages conditions in which irreducible presence presses against symbolic form.

From this friction, what I call ecstatic realities emerge. They are not facts and not fictions. They surge from the collision of symbol and irreducible presence, brief intensities that make contradictions felt. Structures of power and singular bodies meet. Representation and excess collide. These moments do not resolve into truth. They open thresholds. They ask us to perceive otherwise.

Because opera is organized around the voice, the work treats opera not only as genre but as research structure. Rather than rejecting convention, it expands it from within. Staging shifts between framed spectacle and shared proximity, testing how voice operates under different social and perceptual conditions, as display, as vibration, as collective duration.

We live in a moment marked by genocide, ecological devastation, racialized violence, and extractive systems that narrate collapse as destiny. Against this, the opera proposes continuity not as optimism, but as persistence, an anti-colonial insistence that relation survives.

The spiral does not promise salvation. It refuses extinction as narrative.

The voice does not conclude. It recirculates. We are not at the end. We are inside the turn.

The Spiral: Origin and Turns

Origin Point: Cutting in Time

Cutting in Time establishes rupture as origin. Time is not introduced; it is broken open. 

The work begins not with narrative, but with excess. From the void, a voice appears in the raw fire of beginning, at the threshold where noise and silence undo language. Here, articulation has not yet settled. Meaning has not yet formed. Voice exists as force before structure. It destabilizes continuity. It exposes vulnerability and power at once.

Performer: Carmina Escobar 

Spatial Sound: Vishani 

Costume/Set: Carmina Escobar 

Lighting Design: Chu-Hsuan Chang

Transition Visuals: Carole Kim

Turn I: What Is a Voice, If Not the Body Remembering Itself into Presence?

Turn I shifts the scale to the human. Spectacle recedes. The distance between stage and audience dissolves. Voice returns to the body not as projection, but as recall.

Placed in direct relation to another body, resonance travels through skeleton and interior space. Vibration is encountered before articulation. Sound moves through proximity, consent, touch, and shared breath.

Voice is treated as the first field that holds us, the first vibration felt before language, before separation. It moves affect through contact, pressure against pressure. Presence is not declared; it is co-created. What begins as singular presence thickens into collective vibration, attempting to form a living spiral.

Performers: Carmina Escobar, Audience

Costume/Set: Carmina Escobar 

Lighting Design: Chu-Hsuan Chang

Transition Visuals: Carole Kim

Turn II: What is a voice made of, when it is not heard but held?

Turn II withdraws audibility. Silence governs the space. Voice does not arrive as acoustic sound; it exists as structure within the body.

This turn grows from witnessing ASL practitioners translate experimental, non-linguistic sound into embodied form, rendering sound as physical architecture rather than linguistic equivalence. Here, voice is not reduced to speech. It shifts state.

If voice at its essence is vibration, then movement is vibration. The body in motion is one condition of voice. Tension, velocity, timing, and muscular articulation become its medium. Voice is carried in form rather than emitted as sound. In this state, voice is no longer dependent on audibility to exist. It persists even when silenced.

The audience does not listen for acoustics. It witnesses how voice remains present when sound is removed.

Performers: Carmina Escobar, Carole Kim

Costume/Set: Carmina Escobar 

Lighting Design: Carmina Escobar, Chu-Hsuan Chang

Transition Visuals: Carole Kim

Turn III: What is a voice when it exceeds the self?

TURN III is conceived as a short film created on site at the Amargosa Opera House. 

The Amargosa Opera House stands as a body of devotion. It persisted as an extension of Marta Becket, a dancer and painter who discovered the abandoned theater in 1967 after her car broke down near Death Valley Junction. She chose to remain. In a town nearly emptied of spectators, she painted audiences onto the interior walls, imagined figures bearing witness. In a room without guaranteed presence, she created eyes. Art exceeds isolation. It reaches toward relation.

She performed there for decades, well into later life. The theater is not symbolic devotion but devotion enacted architecturally. Persistence here is survival. What exceeds the self is this insistence, the pressure to continue, to make form, to call and be called even without reply. 

Death Valley establishes the surrounding condition. It is materially severe: heat, scale, distance. It demands intention and endurance. It does not sustain fantasy. Nothing responds. Nothing confirms. To remain requires decision beyond comfort. 

Everything here is a body under pressure: land, wall, skin. The film remains close to these surfaces. Desert stone holds geological time. Painted plaster carries accumulated gesture. Skin registers endurance in real time. These proximities are not aesthetic but contact surfaces where history becomes visible and force is felt.

Between architecture that persists and landscape that exposes, voice shifts. It is no longer expression but pressure carried through time. Calling is not preference or inspiration. It continues regardless of recognition. 

The artists in TURN III are not characters or metaphors. They are present because they have remained inside their practices without retreat. Each has given flesh, time, and endurance to the work.

Ron Athey enters from a practice forged at the threshold of extremity, where the body has long served as site, witness, and irrevocable inscription.

Oguri enters through decades of disciplined transformation, a practice rooted in land and body, where stillness carries weight and movement alters atmosphere.

Astrid Hadad enters bearing cabaret as architecture and armor, sculptural and political, where ornament sharpens critique and endurance becomes radiance.

TURN III is structured as an action score establishing shared conditions of site, duration, and exposure. Within this field, each artist composes their own actions. Co creation names the reciprocal shaping between individual practice and the structure that holds it.

FILM CREDITS

Director / Action Score / Production: Carmina Escobar

Director of Photography / Camera / Editing: Mauricio Chades

Sound Recording / Editing / Mixing (5.1): Justin Asher

Performers / Co-Creators: Ron Athey, Oguri, Astrid Hadad, Carmina Escobar

Director of Photography Assistant: Erik Sanchez

Assistant Director / Production Assistant / Set Assistant: Alex Perez

Executive Producer to Carmina Escobar: Laura Gutierrez

Manager / Line Producer: Sarah Wass

Assistant / Manager to Astrid Hadad: Michelle Deferne

Site: Amargosa Opera House, Death Valley Junction, California

Costumes: Ron Athey for Ron Athey, Oguri for Oguri, Astrid Hadad for Astrid Hadad, Jaime Scholnick for Carmina Escobar

Transition Visuals: Carole Kim
 

Turn IV: What is the voice of the future, when voice only exists in relation?

Voice returns as collective force. Breath, the material of voice, passes through metal as shared labor. Air becomes communal material. Mourning and celebration coexist without hierarchy.

The bodies on this stage are not neutral matter. They carry history, struggle, devotion, contradiction. Cross border traditions shaped through mestizaje move alongside practices formed in civil rights movements, migration, exile, and survival. Some bodies are marked by gender variance, displacement, racialization, and ongoing hostility toward multiplicity. These presences are not illustrative. They are continuities under pressure.

Voice survives because it is carried through bodies that practice together. It endures through repetition, through breath exchanged across mouths and instruments, through labor sustained in common.

Resistance sounds like continuation. It refuses disappearance by remaining audible. It does not dramatize survival; it builds futures. Hope here is action. Joy is strategy. To sound together is to assert that life exceeds the structures that attempt to narrow it.

Voice persists across borders and generations because breath cannot be owned. It moves from body to body. It is taught, borrowed, altered, and returned.

The future here is not linear. It spirals. What gathers now contains what has been and what will come. Those who wage destruction fail to see that relation binds what they attempt to divide. No body stands outside the field.

To continue together when stopping is not an option is not optimism. It is structure in motion. It is collective survival practiced in relation. Voice does not belong to one body. It circulates. It gathers. It multiplies. It refuses containment. The spiral does not close; it continues. In that turning, new worlds are voiced into being. 

Performers: MAQUEOS MUSIC Oaxacan Brass Band, Yulissa Maqueos, Joe McPhee, Farrah Daoudlab, David Dove, Carmina Escobar

Costume/Set: Carmina Escobar

Sculptural Coat: Jaime Scholnick

Brass Band Arrangement of “EYES ON THE PRIZE”: Mauro José Hernández

Lighting Design: Chu-Hsuan Chang

Transition Visuals: Carole Kim