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ERIN
DRUMMOND
interdisciplinary animist art

Flood of Grace (2024)
In Flood of Grace, I worked with dancers to create movements that "prove yourself," movements that "trace your life geography," movements that "conjure a desired future state."
Originally a quartet including musician and dancer woolen lover, who unfortunately injured their back and had to withdraw, the piece became a trio featuring Abigail Donkers, Mawatta Dukuly, and Catherine McBride.
Through the setting of a rock concert for a fake band, which is really a dance concert in a small town, and then an empty stage cleared with mops, we explored dream logics and identity: the public self, the private self, the imagined self, the collective.
How do we witness each other, and ourselves? How does this inform how we show up in the world, and what the world is?
Originally a quartet including musician and dancer woolen lover, who unfortunately injured their back and had to withdraw, the piece became a trio featuring Abigail Donkers, Mawatta Dukuly, and Catherine McBride.
Through the setting of a rock concert for a fake band, which is really a dance concert in a small town, and then an empty stage cleared with mops, we explored dream logics and identity: the public self, the private self, the imagined self, the collective.
How do we witness each other, and ourselves? How does this inform how we show up in the world, and what the world is?

Club scene at the end of time (2023)
Let reality blur and don't forget your sequins!
What will you plant in the wake of dissolution?
photo of dancer Ana Boucek, who, in the midst of the club at the end of time, passes out, and while dreaming is visited by two animal spirits. Upon waking, she and the remaining cast- Yousef Al-Abad, Tiki Ellis, Colette Hyman, Rachel Knox, Claire Ostroot, Usa Stiller, and Ken Tham- plant seeds for a radical, compassionate, and vibrant new future.

red strings (2023)
Choreographed by: Erin Drummond
Costumes: Tracy Van Voorst
Lighting Design: Peggy Sannerud
Technical Design: Isaac Sawle
Dancers: Kelsey Anderson, Abigail Donkers, Payton Hernandez, Catherine McBride, Jillian Pino
Projection Dancer: Katelyn Princl
Featuring music by the stunning Halla Steinunn Stefánsdóttir. The Icelandic word "strengur" means string, as in an instrument or twisted thread, or "an even and persistent wind that runs along objects and geographic elements, such as mountains and buildings."
Five women follow these conduits through a thousand years of cyclic labor into an inevitable rite of passage: one of them must step into another world, through the red strings.
Presented at Winona State University
Costumes: Tracy Van Voorst
Lighting Design: Peggy Sannerud
Technical Design: Isaac Sawle
Dancers: Kelsey Anderson, Abigail Donkers, Payton Hernandez, Catherine McBride, Jillian Pino
Projection Dancer: Katelyn Princl
Featuring music by the stunning Halla Steinunn Stefánsdóttir. The Icelandic word "strengur" means string, as in an instrument or twisted thread, or "an even and persistent wind that runs along objects and geographic elements, such as mountains and buildings."
Five women follow these conduits through a thousand years of cyclic labor into an inevitable rite of passage: one of them must step into another world, through the red strings.
Presented at Winona State University

Water Study, Part II (2021)
Improvised and Performed by: Erin Drummond
Music: Liz Pearse
Visual Art: Anne Labowitz
Presented at Minnesota Marine Art Museum First Look Preview Party, curated by Scott Pollock
Music: Liz Pearse
Visual Art: Anne Labowitz
Presented at Minnesota Marine Art Museum First Look Preview Party, curated by Scott Pollock

Water Study, Part I (2021)
Choreographed by: Erin Drummond
Performed by Winona State University students
Commissioned in collaboration with The Joy Labs by the MN Humanities Center to create a public choreography at Prairie Island in conjunction with the traveling “We Are Water” exhibit
Performed by Winona State University students
Commissioned in collaboration with The Joy Labs by the MN Humanities Center to create a public choreography at Prairie Island in conjunction with the traveling “We Are Water” exhibit

SHIFT~ performance salon presents:
migration
SHIFT~ performance salons curated by Sharon Manaus
migration
by Erin Drummond & Mai'a Williams
August 13, 2021
An evening of movement and words that physicalized questions about migration, belonging & flight.
Shared at Dine Out Downtown, a Winona Main Street event in front of ORNO Gift + Home.
migration
by Erin Drummond & Mai'a Williams
August 13, 2021
An evening of movement and words that physicalized questions about migration, belonging & flight.
Shared at Dine Out Downtown, a Winona Main Street event in front of ORNO Gift + Home.

Fragments unknown (2022)

Metamorphosis, 2020
paintings and drawings from Truth or Consequences, NM
While painting this one, I was reading Kafka, and I kid you not: a cockroach showed up in the bathtub the day I finished the book. This guy feels connected.
While painting this one, I was reading Kafka, and I kid you not: a cockroach showed up in the bathtub the day I finished the book. This guy feels connected.

Blue girl, 2020
Pandemic series, created while living in Truth or Consequences, NM.

Experiments in Wind (2019-2024)
After a strange medical experience in which a vein became trapped between two bones, and one needed to be cut out of my body, I became obsessed with rivers. The Mississippi flooded that spring. Froze and then flooded. "I want to run along the river," I said, coming up from anasthesia.
This became a symbol for following the truth of my soul's purpose, with guidance from ancestors.
The iron river drew me to dance along the veins of American highways, mostly seen only by wind.

Pandemic series, 2020
paintings and drawings from Truth or Consequences, NM

Buddha, 2020
Created while working as Retreat Manager at Dhamma Dena Meditation Center, Joshua Tree, CA

sví series, 2019
the Sanskrit word for emptiness, शून्यता, comes from the root śvi, meaning “hollow.” In my Buddhist studies, I'm curious about this etymology: “hollow” feels more presenced to me than “empty.” Hollow reminds me of a flute or passage: an opening through which presence can flow. This understanding of a through-space helps me resonate with emptiness as a form of interbeing.

Exit Wound, 2019
Self-portrait using oil paint and palette knife on paper.

Self-portrait, 2019
Oil on paper

we heard them speak these paths in air, 2019
Choreographed by: Erin Drummond
Costumes: Tracy Van Voorst
Dancers: Becca Braun, Matt Erickson, Janae Mann, Katie Mullenbach, Hannah Ose, Tatum Reitter, Taylor Storlie, Sydney Swanson
Presented at Winona State University
Costumes: Tracy Van Voorst
Dancers: Becca Braun, Matt Erickson, Janae Mann, Katie Mullenbach, Hannah Ose, Tatum Reitter, Taylor Storlie, Sydney Swanson
Presented at Winona State University

gowns and suits (2019)
Choreographed by: Erin Drummond
Costumes: Tracy Van Voorst
Lighting Design: Peggy Sannerud
Dancers: Becca Braun, Matt Erickson, Janae Mann, Katie Mullenbach, Hannah Ose, Tatum Reitter, Taylor Storlie, Sydney Swanson
Presented at Winona State University
Costumes: Tracy Van Voorst
Lighting Design: Peggy Sannerud
Dancers: Becca Braun, Matt Erickson, Janae Mann, Katie Mullenbach, Hannah Ose, Tatum Reitter, Taylor Storlie, Sydney Swanson
Presented at Winona State University

Shindig: an evening of groove and exchange (2018)
Curated and Directed by: Erin Drummond
Featuring live performances by: Leila Awadallah, Jean Luc Dicard, Erin Drummond, Sharon Picasso, Willow Waters, Judith Holo Shuǐ Xiān, and The Smokes
an evening of groove and exchange
7:30 doors
8pm begin
"Let's face it. We're undone by each other. And if we're not, we're missing something." ~ Judith Butler
come as you are
A-Mill Artist Lofts
315 SE Main St
Performance Hall (first floor)
buzz 511
In honor of Johnny Becker.
Featuring live performances by: Leila Awadallah, Jean Luc Dicard, Erin Drummond, Sharon Picasso, Willow Waters, Judith Holo Shuǐ Xiān, and The Smokes
an evening of groove and exchange
7:30 doors
8pm begin
"Let's face it. We're undone by each other. And if we're not, we're missing something." ~ Judith Butler
come as you are
A-Mill Artist Lofts
315 SE Main St
Performance Hall (first floor)
buzz 511
In honor of Johnny Becker.

How Small a Thought it Takes to Fill a Whole Life, 2018
Commission for Laird Norton Fundraiser, Winona, MN

Destroy// Minneapolis, a project by Levya Mona Tawil
Choreography/Music Score/Concept by
Rethinking Public Spaces Resident Artist Leyya Tawil
Performed by Twin Cities artists:
Milo Fine (percussion), Benjamin J Mansavage Klein (tuba), Cyrus Pireh (electric guitar) and dancers Leila Awadallah, Amelia Morris, Nicole Stumpf, Jenn Pray, Laura Levinson, Ben Swenson-Klatt, Non Edwards, Pedro Pablo Lander, Abby Taylor, Gabriel Mata, Rachel Horner, Halie Bahr, Erin Drummond, Tera Kilbride, H. Uyen Nguyen, Sarah Finley
The Soap Factory
Minneapolis-MN
26 August 2017
Video by Ben McGinley
Rethinking Public Spaces Resident Artist Leyya Tawil
Performed by Twin Cities artists:
Milo Fine (percussion), Benjamin J Mansavage Klein (tuba), Cyrus Pireh (electric guitar) and dancers Leila Awadallah, Amelia Morris, Nicole Stumpf, Jenn Pray, Laura Levinson, Ben Swenson-Klatt, Non Edwards, Pedro Pablo Lander, Abby Taylor, Gabriel Mata, Rachel Horner, Halie Bahr, Erin Drummond, Tera Kilbride, H. Uyen Nguyen, Sarah Finley
The Soap Factory
Minneapolis-MN
26 August 2017
Video by Ben McGinley

Xx, 2017

Xx, 2017



Dead Lizard Woman, 2016
I put my body down on the asphalt, next to the lizard, imagining my own death. I feel an immaculate sense of peace intermingling with the watery mirage on the highway and the vast desert air. Death somehow feels very present, as in: dying would not mean being astro-ported to another plane of existence, but rather it would mean intermingling with the immediacy of the air. Death, and its after-presence, would not be there, but here. I believe, in some way, I embody a prayer for the lizard. I consider staying in the desert: deserting grad school and all my jobs. I wonder how I will find water, and food. I could sleep in the 2002 black Ford Escape. I have my cat with me. I would have to feed and water her too. I feel this very strong pull to stay. I don’t know what I would find. Or what I would release. somehow it feels like I would be escaping capitalism, communing with the spirit of the desert. All that immediately matters is how I would eat and drink: the most basic needs to sustain this corporeal existence. I wonder if the nearness and ecstasy of death brought me closer to a basic idea of survival. Made it easier to consider letting go. The presence is really what made it feel possible, and appealing, to let go of so much else. I felt such fullness in the presence all around me. I didn’t need much else. Career, recognition, identity, money… these all seemed trivial and unnecessary burdens. Presence matters more than anything else. And place. So what is it to honor this dead lizard, the power of presence, the power of place, and the homelessness that I feel from a spiritual connection with the land?
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