Choreographed by Liz Mulkey with Local Maine Dance Artists and Cellist

Response to curation on shifting views and sense of reality, building blocks, and mystic mythology.

SPACE Gallery newspaper article reads by author Nick Fuller Googins and dance respones Choreographed by Liz Mulkey

Response to the article on the "rectangular" astroid suspected to be a possible extraterrestrial craft and the human great fear that we are floating alone

**Created and Performed by Liz Mulkey** This humorous, heart-forward dance-theater work blends stand-up comedy, embodied storytelling, and advocacy into a disarmingly honest exploration of mental and emotional health. The piece begins with levity. Liz establishes herself as a reliable narrator, making it clear the audience does not need to brace or carry heaviness on her behalf. Through laughter therapy games, self-aware awkwardness, and relatable stories of social anxiety, she creates a shared field of permission. The audience is invited to recognize themselves in her — in the overthinking, the masking, the performing of “fine.” She offers practical tools along the way: shifting mental narratives, choosing mantras over rumination, noticing the stories we rehearse internally and gently rewriting them. Humor becomes medicine. Participation becomes connection. Gradually, the tone deepens. Liz guides the audience into the value of not pushing away darker seasons — of investigating rather than avoiding. She touches on both “little” and “big” traumas, sharing glimpses of the pain her body carries and the ways she has masked that pain. With vulnerability and wit, she reveals the ongoing work of returning to herself — not as a fixed achievement, but as a continual process of reevaluation. What is needed now? What is this feeling asking for? She names the tantrums we throw when life shifts — the longing for things to go back to how they were. The frustration with the illusion of continuous productivity, endless energy, and the tyranny of “should.” She exposes the myth that healing is linear or permanent. In the final movement arc, Liz dances the cycles themselves: the oscillations between confusion and clarity, pain and resilience, collapse and renewal. The choreography embodies a circuitous rhythm — imperfect, spiraled, deeply human. The work closes with a quiet advocacy: it is natural to move in cycles. It is natural to mask and unmask. It is natural to grieve illusions. An imperfect, non-linear life journey is not a flaw — it is evidence of being alive.

First choreographed, then Edited and finally Scored. Meditative film about grief clinging to grief, finding your voice and release in the collective.

Description Part two in a dance film series of color abstracts, “Yellow” is an interplaying set-choreography and structured-improv piece. Femininity, like choreography and improv, is taught and then eventually formed and transformed into each person’s own version depending on internal drives. The dancers converse and unearth the multitude of identities they hold, make discoveries that surprise them and reflect back meaning for their attention to adjust. The human eye processes yellow first, and hence captures our attention more than any other color. For many cultures yellow represents happiness, sunshine, and warmth, not to mention optimism, enlightenment, creativity, and a sense of sisterhood. Still, yellow is a color of caution, cowardice, betrayal, egoism, and madness. The use of yellow here represents the multiverse that lives inside femininity, while also bringing attention to what we might need to clarify for ourselves as we weed through those imposed (and often patriarchal) values to define those born of our own authentic selves. Credits Structured Choreography: Lizzy Mulkey Director: Amelia Mulkey Dancers and Choreography: Lizzy Mulkey & Jhia Jackson Director of Photography: Jonathan Potter Composer: Eric Ares Details Reverse 3:53 to 7:02 in Conversations Original Live Performance Starting separate ending together on shoulder fall (opposes “blue ending and opening) Eye connection Joy Space description Feeling organized Balance Yellow is the most visible color of the spectrum. The human eye processes yellow first. This explains why it is used for cautionary signs and emergency rescue vehicles. Peripheral vision is 2.5 times higher for yellow than for red. Yellow has a high light reflectance value and therefore it acts as a secondary light source. Excessive use of bright yellow (such as on interior walls) can irritate the eyes. MUSIC INSPIRATIONS https://open.spotify.com/user/wgscouch/playlist/2NHkfNYIaK2OgVMZFxSIlm?si=xC5BudHOTJyAwK7egAsLYA Marinate from Free Music Creative Commons by Kronstudios How Are You? by Mounika.