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Twenty-five years ago, in a single year, I experienced two births — the birth of my son Adam Jason Noya and that of Prometheus Dance. It was not unusual for me to fold life and art into one creative process. For me it was the merging of the two that brought me forward in life, discovering the importance and meaning of balance and improvisation. It was always in my nature to care about the human condition but it was this child that caused me to pay more attention. At that time I was married to Francisco Noya, a Venezuelan-born conductor, also young and trying to find the balance between art and life with a family. We began a life of pass the kid, pass the keys, here is the car. I felt supported by my family. In fact, in the beginning they were the crew: set builders, videographers, sound technicians, sitters, audience members, and donors. I was also very fortunate to have family, close friends, and collaborators who composed original music, all of us seeking exposure and experience. Together, we created the entity of Prometheus Dance in concerts in Boston twice a year. At that time I was still a member of Accion Collectiva in Caracas, Venezuela and traveled back and forth from Boston to Caracas and sometimes New York, small child in tow, to teach, choreograph, and perform. There I had a Venezuelan family creating costumes, composing music, and helping with this small child. Thank God for family and I am thankful for the invention of umbrella strollers making it possible to navigate cities, busy streets, buses, and subways. I didn’t think that creating a company was possible or impossible. But I was compelled to create. My choices about the content of the work were marked by my naïveté, the innocence of youth, and discovery of a great world inhabited by not such great things. I cried for the world then. My thought was if that if I could find aesthetic beauty in ugliness, if I could make something beautiful from something disturbing, if I could bring redemption out of destruction, I could capture the essence of the human condition and, perhaps, through this investigation and journey, expose some truth that would serve as evidence for the public. I wanted to change things, be a canary in the coalmine, and make a difference. I was driven by idealism (though in looking at these dances some would not see any idealism straight on).

Art changes things in small ways and great ways. When we experience anything, we are different. We cannot go back and undo an experience, though sometimes we would like to. The art of Prometheus changes individuals not only because it is, after all, an “experience,” but a targeted one. This is dance that is created by artists who believe that perspective and understanding can come about one person at a time, beginning with ourselves. We are lucky to be educators extending the line of creativity and dance intelligence to other young artists. I have a responsibility to many children in addition to my son. Sometimes I still cry out loud, even wail. I can’t ignore but I have learned to accept and understand and give.

We will present to you the full timeline of Prometheus Dance and as much of the first three seasons as we could put together. There are many small performances that have been left out and you will see only sections of work. Still, we hope that you enjoy this Virtual Performance of the past 25 years of Prometheus Dance and the work of the many incredible artists responsible. Thank you!

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