Creative acts rooted in collaborative exchange.


 photo: Erika Katrina Barbosa

photo: Erika Katrina Barbosa

Pacific Standard Time Festival: Live Art LA/LA

Encounter #43 and #44

Encounters are durational, improvised, action/time/space-based performances inhabiting private studios, art venues, and public spaces across the city. For this festival, Los Angeles artists were joined by international guests from Latin America and Europe for two durational performances: one indoors, and one outdoors.  

John Burtle, Mariel Carranza, Rochelle Fabb, Douglas Green, Rebeca Hernandez, Benjamin Jarrett, Carol McDowell, Lala Nomada, Paul Outlaw, Graciela Ovejero Postigo, Crystal Sepúlveda, Cecilia Stelini, Rossen Ventislavov, Allison Wyper

These Encounters were supported by Human Resources Los Angeles, and a Foundation for Contemporary Arts Emergency Grant.

birthing a nation


A participatory performance ritual for an age of police violence. Found sound of real U.S. officers, NRA members,  politicians, and gun enthusiasts, activated by touch sensors, are embedded in the wombs of the performers: Our Ladies of Peace, vessels of the patriarchy, police brutality madonnas for the 21st century. This collaboration combines performance artist Allison Wyper's work with vulnerability and participation, with media artist Erika Katrina Barbosa's interrogation of police violence through the objects officers carry.

(Formerly titled: "this is what I call the light of god": a direct quote from a police officer describing his weapon.)

More info...

 photo by Nguyen Nguyen

photo by Nguyen Nguyen

In the Current

a collaboration with Erika Barbosa, for HomeLA // Frogtown

In the stream, we transmit and receive thoughts, opinions, feelings, and provocations. An emotional feedback loop connects us, as we compulsively recognize the other. This is "women's work" as I've learned it, in my family.


Sibling Rivers

A transnational performance project exploring social histories via our rivers

Sibling Rivers is a live intermedia performance installation that bridges three sites–Perth, Western Australia; Los Angeles, California; and Calgary, Alberta–through a dialogical exploration of the rivers that run through the heart of each city, carrying the social histories of each site.  These embedded/embodied histories evoke colonialism, cultural erasure, and economic conflict.

More info...


A live CEll phone-guided performance for one person

ECHO is a performance for one (and only one) person. The single participant will be guided in a real-time exploration of Echo Park, near downtown Los Angeles, via a live cell phone call with the artist. The participant and artist will experience an intimate connection, in public and without seeing each other’s faces. In the privacy of her ear, the participant will encounter “echoes” of the complicated social histories of the historic Echo Park Lake and surrounding neighborhood, interwoven with the artist’s subjective/biographical narrative. 

Commissioned by Mountain Standard Time Festival's Spring Run-Off 2015.


Tracing Mother Ditch

(in development)

A performance, pilgrimage/peregrinación, and walking tour that traces La Zanja Madre, the original aqueduct around which the Puebla of Los Angeles was built, and which remains today a memory of the original heart line of the city, from the east end of Los Angeles State Historic Park to Olvera Street.

Carrying an aluminum washing tub reminiscent of those used for laundry when La Zanja was an open-air ditch, I will perform bathing/washing “rituals” at various points along our journey.  Bathing my body, my clothes, the feet of my audience of “pilgrims”, and/or historically evocative artifacts (such as photos of the dead from the 1871 Chinese Massacre), we will bear witness to the histories embedded and embodied in La Zanja. These bathing actions will gesture toward a cleansing or purification, redressing particularly painful aspects of Los Angeles’ social histories with regard to racial segregation, violence, and land annexation.

More info...


 photo: Monika Sobczak

photo: Monika Sobczak

The Dancer-Citizen Live 2018: MOVING THE MAP


May-June 2018 @ Pieter, Los Angeles

Theatre and dance artists, playwrights, performance artists, musicians, and short film makers: show up to 10-minutes of new material each week, and get feedback from the group. 

Collectively, we support one another to make the best work possible, while at the same time engaging in dialogue across discipline and aesthetic.

More info...

2016 Shared Practice artists: Elisabeth Nails, Carol McDowell, Christy Roberts Berkowitz, Alexx Shilling, Josh Berkowitz, Mariel Carranza, Phillip T. Nails, Marcos Najera, Justin Morrison, and Paul Outlaw. Curated by Allison Wyper, produced by January Parkos Arnall.

Shared Practice

In November 2016, Rhizomatic Studio convened an interdisciplinary group of leading Los Angeles performance makers, who will engage collectively in two days of "Shared Practice" at the Hammer Museum. Invited artists (including dancers, performance artists, actors, and spoken word artists) led workshops, improvisations, and performance experiments on (and spilling over) the stage. Museum attendees were invited to witness and participate in our practice.



try out new ideas and ways of working


Participants take turns leading structures for generating new material and playing with old, new, or undeveloped ideas, in a safe, supportive, interdisciplinary cohort of peers. 

Participants can come from any performance-based discipline, and should be curious about trying out other ways of working. Each participant will be invited to facilitate (or co-facilitate) a session.

More info...

Remote Collaboration:

exchange and co-authorship across distance and discipline


For artists interested in working across distances and borders both literal and conceptual; artists collaborating across discipline or cultural affiliation; online border-crossers who envision new creative uses for the transnational highways of the “world wide web” that prioritize dialogue, encounter, and embodiment. 

This workshop presents one collaboration structure to explore how we might apply open source principles to collaborative interdisciplinary performance, so that we maintain an equitable balance of authorship as we co-create, present and distribute content. In the spirit of the commons, we will experiment with offering up our existing material, archive, or repertoire for elaboration, (de-/re-)construction, and germination of new works by others.

Suitable for artists working in and across the mediums of performance/live art, theater, dance, music, street art, installation, photography, film, video and new media.



performance for one


In this workshop we play with the relationship between performer and audience (witness, participant, co-performer, guest...), and experiment with creating space, through live encounter, for empathy and intimacy (whatever that means to you).  

Individually and in collaboration, students will practice making participatory interdisciplinary work in intimate settings, and create spaces for intimacy within public settings. At the end of each day, we will discuss and practice exercises for energetic restoration and repair ("sealing" or closing the day), to help support a healthy and sustainable long-term practice.

If you are exploring vulnerability or participation in your work; if you're working in public or private spaces, or performing for very small audiences; if open-ended scores that rely on the viewer to complete them tickle your fancy; or if you want to learn about one-to-one performance as a genre, this is the workshop for you.

 photo by Nico Kozak

photo by Nico Kozak

Performing the Witness(ed):

Controlling the Gaze

This workshop explores the politics of "witnessing" in intimate, participatory performances, wth an emphasis on ethics and agency in the performer-spectator dynamic. We will investigate and experiment with one-on-one performance in which the viewer is configured as witness or accomplice. 

Working in pairs, we experiment with opening and closing the "social aperture" of seeing and being seen (the extreme limits of which might be surveillance vs. lap dances).

This workshop asks:

  • How do we configure micro-audiences in relation to performing bodies? 
  • What do we ask of the viewer? 
  • How do we elicit participation while negotiating social contracts of mutual dependence?