The Live in America Yearbook is our online record of some of the artists and ideas that we’d like to commemorate in greater, more personal detail.

Facilitators Ty Defoe (Giizhig, Oneida/Ojibwe Nations) and Jamelyn Ebelacker (Santa Clara Pueblo) discuss what it means to welcome one another in space, the Native lands represented in the festival, and practices of knowledge sharing.

New Orleans facilitators Gypsi Lewis and Jay Pennington discuss the energy, life, and spirit of NOLA and how they imagine sharing this spirit with others.

The local Northwest Arkansas team–Amber Perrodin, Octavio Logo, and Danny Baskin–discuss what it means to host and to be hosted, including the many reasons we’re excited to host such an amazing group of artists in the Northwest Arkansas region next year.

Detroit facilitator Leyya Mona Tawil and artist Ben Hall discuss the rich landscape of the Detroit art scene and how generational collaboration is the future. 

Collaboration: A short guide

November 8, 2020

by Cynthia Post Hunt: Daily Poach Eggs On Toast

Danny Baskin, Amber Perrodin, Octavio Logo, Cynthia Post Hunt, NWA local team.

Choose your partner. 

In choosing a collaborator, considerations can include skill sets, resources, temperaments – but most importantly, find someone who is willing to dive into the unknown. You’ll want to find someone who is willing to share, grow, and inspire with you. 

Begin on an equal playing field.

This is often impossible. So if you can’t begin here, find a way to get here. Maybe this is with transparency and trust. Maybe this is agreeing to terms. This can be as simple or as complex as a contract. 

Question everything.

Consider the aim or intent of what you’re doing. Ask why. Consider the structure. Ask why. Consider the process. Ask why. You get the picture…If something is status quo, ask why. If something is implied, ask why. An important follow up may be how.


Communication is key. 50% of communication is listening. It is as important to speak as it is to listen, if not more so. There is so much to learn through listening. Listening can also include watching, sitting with, and considering. Listening is a sign of respect for your partner. Listening is an acknowledgement that you don’t know everything. Listening is an opportunity.


Take the pressure off. Jump up and down, shake it out. Great ideas don’t come from fear. They come from play. A what if state of mind. In order to truly play, one has to feel safe. Remember, if you haven’t created a space of trust, you won’t be able to play. 

Don’t be afraid to erase, cross out, rehash, or start over.

The best idea is rarely the first idea. Part of the process is being wrong, not quite getting it, fine tuning, etc. 

A few thoughts on collaboration…

From a young age, I learned the value of collaboration. I learned to see the richness that comes from togetherness, the strength of a vision when it includes more than your own. Collaboration is not always easy, but it is rewarding when done right. What constitutes ‘right’ can be slippery, and oftentimes we get it wrong. 

Live in America is a collaboration years in the making. The beauty is, so is the Momentary, and so is Northwest Arkansas. You can really make the case that collaboration is our throughline, our bloodline. 

Live in America is made up of a multitude of minds, ideas, conversations, decisions, lives, spirits, and practices, converging in a festival. The Momentary as both a structure and as an organization runs on the collective efforts of departments, relationships and mediums practicing its very ethos as an interdisciplinary site. Northwest Arkansas in its continued expansion inspires methods of shared resources, knowledge, and histories while catapulting itself into the future. These separate entities are in themselves made up of mini and many collaborations. Together they move in circular relations between site, region, people, power, and vision. They are in constant flux…expanding and contracting….In October 2021 we’ll see these collaborations take shape in physical and energetic ways. My hope is that the fuse of the festival will not die out. I want to see it pour into the cracks and crevices of this region, this site, these people…that the stories, lessons we experience here and now will live on for generations to come…teaching us a better way of being…together.

El Puente/The Bridge

November 8, 2020

by Edgar Picazo Merino: Can survive on bean burritos

The life experiences of those who live on border regions are significantly affected by the ramifications that come with national boundaries. These dynamics appear to be exacerbated in the Ciudad Juárez and El Paso region: a metropolitan area with a population of over two million that has been a point of continuous tension on the sociopolitical landscapes of both México and the United States. A desert split by a river. A community divided by a wall. 

However, human nature is always finding ways to not only survive, but thrive. The same way we adjust to the extreme weather of our desert region, we adjust to the political climate that constantly and permanently throws curveballs at us. In the face of separation and exclusion, we build bridges.

These bridges, both physical and metaphorical, serve as the framework upon which our narrative is weaved. How do we, as a border community, fight for our humanity in our daily lives? What connections do we make between the varied and contrasting experiences of our region? What limits do we encounter and how do we deal with them? The answers to these questions are difficult to pinpoint and are not static. Nevertheless, the search of them is what sets the stage to the different artistic practices that are born on the border. 

Inspired by these premises, we developed the multidisciplinary, multigenerational, and multicultural performance “El Puente” (“The Bridge”). We invited a diverse group of experienced and admired performers from the region to come together and use their practices to explore the connection and separation that occurs in our community. Each performer draws from their personal and professional experience to create a dialogue—between themselves, their culture, and the audience—and to intimately tell their border story.

The performance is build around a sound piece inspired by the natural, mechanical, and human sounds of our border, which serves as both a background and connector for the spoken word, dance, musical, and acting pieces that are part of “El Puente.”

“El Puente” is produced by Amalia Mondragón and Edgar Picazo. The sound design is by David Delgado and Julio Mena, and the performers are Nancy Green, Telón de Arena, James Magee, Tereso Contreras, Jennifer Burton, and Cassandro el Exótico.

by Lia Uribe: Disrupting the status-quo with sound

“Sound is the Passage: After Octavio Paz”
Lia Uribe (2020)
(Sound engineer: Fernando Valencia, Fayetteville, AR
Production assistant: Talvin Southern, Fayetteville, AR)

“Sun was everywhere. In the air there was a scent of green, hot growth, thirsty. Not a tree, not a leaf stirred. A few clouds rested heavily, anchored in a blue, waveless gulf… The sound of water is worth more than all the poets’ words.”

Schmidt, Michael, translator. “Robert Frost: Visit to a Poet.” On Poets and Others, by Octavio Paz, Arcade Publishing, 2014, pp. 13–19.

In 1945, Mexican poet Octavio Paz published a recount of his visit with American poet Robert Frost in the Argentine literary journal “Sur.”

His line “El sonido del agua vale más que todas las palabras del poeta” (the sound of water is worth more than all the poets’ words) informs my piece. It is a communal work, a conversation between all, your emotions and her memories, their images and your thoughts, my smells, textures, dreams, ideas. All collaborators are the water and the poets, the elm, the clouds and the sky. And sound is the passage to our worlds. 

by Mikayla Whitmore: hold the mayo, thank you

Las Vegas is changing. Again. Our treasured links and what should be historical sites are left unprotected to be bought, dismantled, and bulldozed down without any warning or farewell extended to those residing here. It’s hard to be nostalgic when home is always reinventing itself, but over time a slight comfort and resiliency from those who stay prevails.

Even though I have called Las Vegas my home for thirty-two years, my relationship and physicality have been vastly different in the past eleven months than all the years prior. I do not wander about as much and shy away from large social gatherings. The access to being around and close to strangers, places, and things suddenly rescinded, in part by choice and circumstance.

A classic lunch special built from memory using modeling clay. Shrimp cocktail, crackers, lemon wedge, cocktail sauce, Keno ticket.

This photo essay is comprised of found moments and a few intricately built sets featuring some of the classic food staples in Las Vegas. Despite the city’s steady change, one thing always remained a constant within the 24/7 workday; there was always breakfast, lunch, and dinner. Whether eating together as a family or working a graveyard shift, a sense of stability and comfort came in the morning from ordering ham and eggs. 

Having only known Las Vegas as my home, I have never experienced it as a vacation. It’s the mid-nineties, my grandparent’s packed six kids into their station wagon leading a caravan of family high-tailing to Laughlin for the weekend. I remember sitting in a neon-lit cafe, a powder blue painted sky illuminates the ceiling. My grandfather passes me an open coffee creamer, I shoot it like a shot. I eat some eggs and randomly pick some numbers on a pink sheet of paper with my grandma guiding me. One of my aunts with a deep raspy chainsmoking voice adds the ticket to her pile, Keno numbers call throughout the cafe. Maybe we will win, either way, I get some rock candy on the way out. I was enthralled by the crystalized sugar in the hotel room that evening as my family left us to be babysat by our oldest cousin while they took to the town. 

Outside a digital canopy spanning four blocks displays a fake sky with the saying Cover Your Mouth to tourists below.

Recently walking around Downtown Las Vegas, a powder blue digital sky is flooding into my retinas with the words Cover Your Mouth stretched over a 4 block widescreen. A little bit away from there, they’ve changed out the thirteen-year-old rose print carpet at the El Cortez with something more trendy, and a new monolith of a casino is erected in the skyline five blocks away.

Despite the dated advertising slogan “What Happens in Vegas, Stays in Vegas” everything is live-streamed. Even though a pandemic, the fabricated glamour and attempt at illusion persist. I forgo the rock candy instead I hiked a steep mountain trail revered by locals, the distant skyline of the city is mesmerizing. This is home. This is the place where so many I love have lived and live.

“Tone Poem for St. Claude”

September 25, 2020

by Quintron: Organist / inventor from New Orleans.

The title of this piece refers to the street where I have lived for 30 years and most all of the sounds were recorded within 1 mile of where I am sitting right now. The opening is the sound of the 9th Ward Marching Band, performing under an overpass in the neighborhood (behind the Mardi Gras Zone grocery), just a few days before Fat Tuesday. The volume of the group happened to set off a car alarm, which the horn players brilliantly imitated as they marched by. Mixed in, we also hear the voice of neighborhood character, “Twister” – pitted against / aligned with, the Ursulines nuns reciting the Holy Rosary. Catholicism and street prophets inform every aspect of life in the city of New Orleans, ESPECIALLY Mardi Gras! These nuns speak the rosary every week on a powerful AM radio station here.

The mid-section of this tone-poem represents our long summer – the slow crawl of humidity, heat, and froggy swamps that creep into the city by night. The droning instrument you hear is called “Weather Warlock”, invented in New Orleans. This electronic instrument takes cues from wind, rain, sun, temperature, and barometric pressure to make music. Weather Warlock broadcasts live, from St. Claude Avenue at 24 hours per day, all year round.

At 2:28 we hear a homemade, glass-bottle-instrument, called the “Tullamarimba”, pay melodic tribute to New Orleans’ strong Vietnamese community. Many the greatest chefs and bakers in New Orleans are of Vietnamese descent.

The final minute of the piece features a snippet of a song called “Tire Shop”, featuring King Lee – a musical employee of the St. Claude Tire Shop. The lyrics are mostly a listing of his friends and loved ones, as well as other employees at the shop. The drum beat for this was constructed entirely from recorded samples of various tire shop tools. The St. Claude Tire Shop was the only business on this street that never closed during Hurricane Katrina. At the very end of the song, the Ursulines nuns make their return, to join King Lee in a closing prayer – a reflection of how our streets have always mixed with ancient tradition, to make something new.

Like many famous “cultural” cities, New Orleans is sold on a cliché that does not really exist. The true heart of this place is so much more diverse, interesting, and beautiful than any tourism-commercial could ever express. New Orleans is a city of neighborhoods and this is my letter to the one that I know and love so well.