NYIAN dance group (New Caledonia)
Karl Anderson (Brooklyn)
Eloy Barragan (Mexico City/Iowa)
Glenna Batson (Chapel Hill, North Carolina)
Armstrong/Bergeron Dance Company (Texas)
Katharine Birdsall (Charlottesville, Virginia)
Wendy Carcano (Irvine, California)
El Grupo de Danza Contemporanea Quinto Elemento (Mexico)
Shani Nwando Ikerioha Collins (New York)
Lisa del Rosario (Texas)
Desideratum Danza (Mexico)
Kent De Spain(Texas)
Susan Douglas Roberts (Texas)
David Cruz de la Foer (Mexico)
Olase Freeman (Philadelphia)
Sarah Gamblin (Texas)
Cristina Goletti (Ireland)
Jane Hawley/Amanda Hamp (Iowa)
KOSMODANZA:
Laura Silva & David Ventura (Mexico)
Sandra Lacy (Baltimore)
Kathleen Legault (Richmond, Virginia)
Emma Lindgren (Sweden)
Heather Maloney (Miami, Florida)
Nadine Martinez (Puerto Rico)
Luis Javier Santiago Sierra (Puerto Rico)
Alicia Marvan (Mexico/New York)
Montzerrat Contreras (Mexico/New York)
Rob Petres (Richmond, Virginia)
Antonio Quiles (Spain/Mexico)
Alejandra Ramirez (Mexico)
Nicolas Real (Panama)
Julia Ritter (New Jersey)
Rodanza Contemporary Dance (Mexico)
Julie Rothschild (Athens, Georgia)
Alicia Sanchez y Compania (ASYC)/El Teatro de Movimiento (Mexico)
Colectivo Independiente de Arte de Accion Senorita Kometa (Mexico)
Andee Scott (Austin, Texas)
LeAnne Stedman (Texas)
Lou Sturm (Germany/Mexico)
Lori Teague (Atlanta, Georgia)
Melissa Teodoro (Pennsylvania)
Universidad Veracruzana / Gregorio Trejo (Mexico)
VIA Dance Collaborative (New York)
Allison M. Waddell (New York)
Sally Wallace (Indiana)
Jane Weiner (Houston, Texas)
Mary Williford-Shade (Texas)
Matthew Young (Austin, Texas)
Mark "Moti" Zemelman (Massachusetts)
Ballet Folklorico Internacional Citlalli Cholollan de la Casa de Cultura de San Pedro Cholula (Mexico)

• The experience was better than I had expected. I felt in very good company among fellow teachers and performers, as well as a wonderfully attentive student body. I was able to see old colleagues, and meet many who are new to me. The quality of work was much higher than I expected. At the same time there was a feeling of egalitarianism that was quite lovely.


• I loved taking class, and performing, and watching others perform, I loved meeting other people and I loved how ego free the environment really was. Really, all of it - one of the best trips I've ever had!


• I took away many original, different ways to create dance works with a lot of alternative techniques and methodologies of performing. I found a true and an authentic way to communicate diverse messages to the community, using dance as a universal language and an artistic form of expression.


• I took home the light in the students, the comfort of being surrounded by so many truly engaged and wonderful folks and artists and I'm hoping some will come perform with us. How I wish people would just wander off the streets into performances here- wouldn't that be nice to take home?


• It was a wonderful experience on both a personal and professional level and I really enjoyed the diversity of faculty and students. Because we gave our time and energy as faculty, I believe it made a political statement on how many dance professionals are willing to give their time and money for educational projects. It brings hope into a field that sometimes feels as if it is dying from lack of a generosity of giving.


• I enjoyed being exposed to such a wide variety of dance artists from Mexico and beyond. It was wonderful to see how aesthetic ideas form and converge in other places and how the dialogic nature of art evolves internationally and historically. I sincerely hope that this will help contribute to a long relationship of exchange between Mexican and American dance artists.


• I had an extraordinary experience that has benefited me as an artist, human being, and teacher. The experience allowed for an intercultural exchange that is valuable to the freelance artist and community, bringing different worlds together wherein a dialogue of the artist's role on a global scale is shared and addressed.


• As U.S. citizens, we are rich in ways we barely recognize, and poor in ways we are just learning to see. These cultural work-spaces help to put this and us into relationship.


• We were impressed by the care that went into scheduling an array of diverse classes and performances. The community of thoughtful, creative movement artists created an atmosphere of congeniality and inspiration. It was a first visit to Mexico for each of us. Puebla and Cholula warmed our hearts. It meant a lot to be so welcomed by the local community and to see a genuine glimpse of the culture. We appreciated being there with a goal of sharing, learning, and experiencing new and broad aspects of the international dance scene.


• Our children...our adults...our world needs more positive experiences like Performática.


• You worked wonders on a shoestring, with mixed and varied performances each night, with neat, exciting experimental work events going on each day, with packed classes of students hungry to learn and absorb the vast array of information you brought from all over the world. Again, I am so glad to have been a part, and will say, it was one of the highlights of my dance career.


• It was exciting to have many forms and styles of contemporary dance represented at the festival. All participants had the opportunity to experience the variety of forms physically in the abundance of classes, as well as sparking intellectual and cultural dialogues with both teachers and students between class-times. The way that performances and showings were offered gave thoughtful balance to witnessing student work next to professional work, folkloric dance beside modern dance, Mexican dancers along with visiting international dancers from at least six other countries. An appreciation was nurtured in this way for the diversity as well as our similarities.