In the Twin Cities art scene this weekend, performance artists present experimental works at the Pillsbury House and Theatre, while Indigenous visual artists celebrate the power of dance and powwow traditions at All My Relations Arts. At Soo Visual Arts Center, one artist reimagines Islamic faith through a series of prayer rugs and another celebrates the contributions of women in Islamic history through large-scale art installations.

Naked Stages: a space for performance artists to experiment

At the Pillsbury House and Theatre, the performing arts goes beyond the final performance; it is rooted in the process of creation itself. The theater’s Naked Stages program offers early-career artists a space to experiment and develop their work over seven months, free from the pressure of technical perfection. Under the direction of Masanari Kawahara, a Japanese theater artist and former recipient of the program, this year’s cohort will present performances exploring grief, identity and ancestry.

“The program is about nurturing an idea, a seed, and allowing it to grow,” Kawahara said. “Each artist starts with just a spark of an idea, and over the course of seven months, they develop it into a fully realized performance. The work they present is raw, personal and specific to their experience.”

With a production budget of $1,000 and a 30 to 35 minute time slot, four artists have pushed the boundaries of their practice to create innovative works.

Sarah M. Greer’s “Heap Cull Gather Sow” explores the process of grief through ritual and improvised song. The piece blends music and spiritual elements across multiple “rooms” on stage. In one scene, Greer is alone at a dinner party, speaking to an absent loved one with deep care. In another, she reads aloud newspaper articles that address societal injustices, such as police brutality and environmental degradation. “It’s like an incantation on how we go through grief while taking care of ourselves and others,” Kawahara said. 

Atim Opoka’s “This body Is a Gift: Messages from the Ancestors,” uses movement and sound to embody the spirits of their ancestors and reflect on their own identity. “At one point, Atim stands in front of a mirror and asks, ‘Who are you?’ Then, through movement, they channel the energy of their ancestors, bringing them to life in the present moment,” Kawahara said. 

In “Trans Man Gay Club Disco Fantasy,” hal sansone explores queer and trans liberation through dance and disco culture. Skye Reddy’s “The Field of Three Horizons,” draws from Bengali culture, telling ghost stories passed down through generations. 

“It’s rare to be able to spend seven months on one show,” Kawahara said. “Time is both a luxury and a necessity. So, we want artists to use this time to take risks and experiment.”

Indigenous artists celebrate powwow culture 

All My Relations Arts, in collaboration with the Emerging Curators Institute and the Native American Community Development Institute, presents “Niimiwin: Bijiinag igo ingii-azhegiiwe gaa-niimi’iding,” an exhibit featuring six Indigenous artists exploring their personal connections to dance and powwow traditions.

The title, which translates from Anishinaabemowin as “Everyone Dance: I Recently Returned Home from a Powwow,” invites both artists and audiences to examine how powwows function as ceremonial gatherings where dancers, drummers and singers unite to honor Indigenous heritage.

Curated by Emerging Curators Fellow Josie Hoffman, the exhibit brings together a group of Minnesota-based Indigenous artists, including ceramicist Chanelle Gallagher, Lakota wildlife photographer Michael Kurtz, the Stonebridge Singers drum group, multidisciplinary artists and filmmakers Courtney Cochran and Courtney M. Leonard, and Adrienne M. Benjamin, who creates Anishinaabe-inspired jingle dresses. 

Artists revisit Islamic history through prayer rugs and geometric art

The Soo Visual Arts Center is hosting two exhibits exploring Muslim faith, spirituality and women’s roles in Islamic history.

Pakistani American artist Fawzia Khan’s “Transformed” features a series of loom-woven jainamaaz (prayer rugs) that reimagine her Muslim upbringing. Drawing inspiration from ancient poetry and contemporary writings, Khan reinterprets these sacred objects to reflect her evolving spirituality, shifting away from religious frameworks. Her work addresses the search for individual autonomy and shared human experiences, moving beyond a single belief system.

Arab American artist Hend Al-Mansour’s “Contain Me,” pays tribute to two important women in early Islamic history: Khadijah and Hafsah, wives of the Prophet Mohammed. Through large-scale geometric art installations, Al-Mansour celebrates the influential roles these women played in shaping Islam — Khadijah’s unwavering support as the prophet’s first wife, and Hafsah’s essential work in preserving and compiling the Quran.