HOMEPAGE X&S
XIMENA GARNICA + SHIGE MORIYA
Ximena Garnica (Colombian-born) and Shige Moriya (Japanese-born) are an artist duo who have worked together for over two decades as multidisciplinary artists, choreographers, co-artistic-directors, and artistic instigators at their live-work art space, CAVE, in the area currently known as Williamsburg, Brooklyn in New York City. Ximena and Shige lead the LEIMAY Ensemble, a group of national and international dancers who create body-centered works around the principle of LUDUS, a practice that explores methods to physically condition the body and develop a sensitivity to the “in-between space.”
Ximena and Shige are immigrant artists. Ximena grew up as an actor and holds a degree in theater direction/dance. Shige grew up in a family of visual artists and attended architecture school. Ximena and Shige worked together to found LEIMAY (incorporated in 2003) as young undocumented immigrants who were passionate about creating a space for art to exist amongst the barriers and challenges they felt as new residents of NYC.
Their collaborative works include performance, sculptural, video, mixed-media, and light installations as well as photography, training projects, stage performances and publications.
LEIMAY’s works have been presented at venues such as BAM Fisher, The Brooklyn Museum, Japan Society, Watermill Center, and Asian Museum of San Francisco, as well as internationally in Japan, Spain, France, the Netherlands, Mexico and Colombia. LEIMAY has received continued support from NEA, NYSCA and DCLA, among other private foundations. They’ve maintained collaborations with renowned artists (Robert Wilson and Ko Murobushi) and were nominated for Alpert and US Artists Awards. LEIMAY’s work has been reviewed in The New York Times, Theater Drama Review (TDR), The New Yorker, and Hyperallergic, among others. Ximena received the Van Lier Fellowship for extraordinary stage directors, and was recently a Distinguished Visiting Professor at the University of California Riverside.
The word LEIMAY is a Japanese term symbolizing the changing moment between darkness and the light of dawn, or the transition between one era and another.
ART-OBJECTS
DANCES
THEATER WORKS
OPERAS
ART INSTALLATIONS
INSTALLATION-PERFORMANCES
FILMS
VIDEOS
VINYLS

PHOTOGRAPHIES
BOOKS
PUBLICATIONS
WEARABLE
SCULPTURES
USABLE ART
MATERIALS AND SPACES
EMBODY PRACTICE
LUDUS
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ENTANGLEMENT PRACTICE
LIVE-WORK
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CIRCULATION
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COLLABORATION
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POTENTIALITIES OF BEING
Our work is rooted in questions of being, perception, interdependency and coexistence. We look to expose the multiplicity of spatial and temporal intervals that exist within the body, and between materials and environments. We are curious about what emerges when the stability of habits, affirmation of binaries, expectations of social norms, and the crystallization of identity dissolve and expose the potentialities of being. In our practice, we cultivate an ambiguous body and in-between-space — the force which surfaces when our Colombian and Japanese cultural identities collide with each other, dismantling our notions of self and belonging, dissolving social norms and systems of belief, and compelling us to connect to the fragmented self.
The fragmented self we refer to is not a broken or erased self. It is a being stretched out of its social identity, questioning itself and searching for its potentiality. Living in NYC, being in an interracial life and work partnership, communicating in a second language learned in adulthood, being away from our families, and existing in a state of cultural suspension have all contributed to the ways that we inhabit the fragmented self and stay curious to the in-between.
Through our works, we dwell in the unseen in-between
“With its decidedly non-narrative engagement with its theme and high degree of experimentalist abstraction, Beauty will most directly appeal to aficionados of avant-garde dance or movement theater.“ – Leah Richards & John Ziegler, Culture Catch (2017) for Frantic Beauty
“Frantic Beauty is both alarming and compelling in the performers’ ability to bring opposing energies seamlessly together into one performance— they propel themselves in a continuous state of manic, almost violent energy, and then suddenly slow to a calm and pensive state. In one section, the dancers are crouched and…
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“It leaves the audience questioning their place in the world, and the landscape they should inhabit.“ – Marcina Zaccaria, The Theatre Times (2017) for Frantic Beauty
“Frantic Beauty is a thoughtful piece of dance, but without Ximena Garnica and Shige Moriya’s careful visual design, it would be incomplete. The lighting is such a vital part of the work that it feels like a sixth dancer.“ – Carrie Lee O’Dell, The Reviews Hub (2017), for Frantic Beauty
“One could describe this incomparable event as an exploration of dance; however, the 75-minute performance engages the viewer in unique ways, activating all the visual, aural, olfactory, and touch sensibilities.“ – Jane Chin Davidson, HYPERALLERGIC (2019), for Frantic Beauty
“LEIMAY’s Frantic Beauty, which received its premiere at Brooklyn Academy of Music’s Fisher, exposes the cathartic and ethereal possibilities of the grotesque.“ – Erin Bomboy, Dance Enthusiast (2017) for Frantic Beauty
“Together they have been developing LUDUS, an ongoing practice that combines the ensemble’s physical conditioning, visual art craft, aesthetics, and philosophies while providing another point of access to their creations and process.” – Ivan Talijancic, Howlround (2017) Interview for Frantic Beauty
“The Greek myth of Antigone is rendered in Butoh Dance to illustrate the experience of absence, among families and friends, of los Desaparecidos, the “disappeared ones” of Colombia’s political upheavals.“ -Jonathan Slaff, NewsBlaze (2008) for Antigones
“It’s very reassuring to see that interesting work is still being done, and that the style is becoming more established in the United States as well.“ -Henry Baumgartner, New York Theater Wire for A Timeless Kaidan
LEIMAY presented Frantic Beauty in Winter 2019 as part of a three-week residency with the UCR Dance Department, leading master classes and transmitting excerpts from Ensemble repertory pieces to UCR dance students. Ximena Garnica was a Visiting Assistant Professor for Fall 2018-Winter 2019.
Ximena Garnica and Shige Moriya participated in the 2021-2022 MIT Performing Series, exhibiting a performance installation of Correspondences: During the fall 2021 semester, MIT Lecturer Daniel Safer collaborated with LEIMAY to develop a new layer of the work via a constellation of lectures and performances by MIT faculty, students, and…
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Ximena Garnica created a Performance Project with Sarah Lawrence College students, based on Becoming-Corpus. Ximena also taught the class Butoh Through LEIMAY Ludus at the undergraduate and graduate levels of the Dance Department in Spring 2024.
Ximena Garnica taught TDM 144BU Playful Bodies: Transforming Materiality through LUDUS & Butoh as a Visiting Lecture in Harvard University’s Theater, Dance & Media department in Spring 2025.
In this program, I am hoping to accomplish two things – one is to keep working on my latest work, While is Motion, and other is to create brand new work. What does incubation mean to you? Process that is full of discovery, learning, challenges, playfulness, joy, and connection with…
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My work is centered around the many varied layers we encounter in our lives, specifically the layers of gender and societal roles, and where I, as a non-binary gender non-conforming human, fit in. Breaking these layers down to get to the origin, I then use that origin to find different…
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I will be doing a deep dive into a past solo with the hopes of a newer emergence. I will be conducting new research within disciplines in conjunction to movement. Additionally, I will be calling on Annie Heath for assistance, consultation, and collaboration. What does incubation mean to you? Presently,…
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