A museum centered on Art + Education + Social Justice through the lens of Africa + the diaspora

Bandung Residency 2024

The Museum of Contemporary African Diasporan Arts and Asian American Arts Alliance announce the 2024 cohort of New York-based artists for the 3rd annual Bandung Residency, each selected for their ambitions to foster allyship between Asian American Pacific Islander and Black communities. This year’s residency will support 11 participants.


Meet the 11 NYC-based artists, educators, change-makers, and organizers who will be exploring and developing projects throughout the summer residency.


Breaking and Wing Tsun are two of my main practices from which I draw inspiration for my movement as a dancer and choreographer. I incorporate concepts from each of these practices and implement them into the foundations to create new pathways and styles. The direct assertion of attacks in Wing Tsun has greatly informed my precision in Breaking. The musicality and soul in Breaking helped me develop my inner rhythm while sparring in Wing Tsun.

This project aims to research, engage in conversations, document findings, and ignite imagination around the connection between Chinese Martial Arts and Hip Hop, examining their relationship across past, present, and future timelines.

Hip Hop culture emerged from the creativity of Black and Latino communities, while Chinese Martial Arts were developed by the Chinese diaspora. Both cultures have since spread globally and continue to evolve through diverse influences. In the circles I navigate, particularly in Brooklyn, there’s a significant presence of both Asian and Black individuals within both communities. Recognizing and celebrating this cultural exchange fosters collective progress without exploitation or hierarchy.

IG: @hsiangru.yu


My project aspires to honor the shared interwoven histories of three Black-South Asian trans-border solidarity movements, and how these often invisi-bilized sites of collective liberation can inform organizing efforts today in confronting anti-blackness in the South Asian American diaspora. The three movements I would like to study and amplify are: (1) The anti-colonial Ghadar party in Berkeley, California and the Black Panther Party in Oakland, California; (2) The Dalit Panther Party in Mumbai, India and the Black Panther Party in Oakland, California; and (3) The role of the South Asian community in the African National Congress (ANC) anti-apartheid movement in South Africa in the 1960s and its connection to the role of the South Asian community in the Black Lives Matter Movement across the U.S. in 2020.

IG: @sonyasoni8


My project will consist of curatorial interventions set across Kicopi, the Korean owned convenience store franchise – Mr. Kiwi, Mr. Coco, Mr. Piña, Mr. Melon, Mr. Lime, Mr. Berry, Mr. Mango, Mr. Lemon, Mr. Plum, and Mr. Avo – located throughout the Brooklyn borough. In collaboration with the store owners, the project will explore the convenience stores as sites of artistic exploration and curatorial inquiry in order to investigate the complicated historical conflict between Korean and Black communities in Brooklyn (and New York at large), question the historical narrative that pins the two communities against one another, and nurture allyship between these two communities. I will also research the history of Korean-owned convenience stores in New York and across the country, which has been a common project amongst Korean immigrants, like my grandparents, beginning in the mid- to late twentieth century. The Brooklyn-based convenience stores Kicopi house a diverse assortment of fruits, vegetables, and products that includes Asian pears, frozen tteok-bokki, cactus, Dominican yams, and Turtle Chips, cross-cultural groceries that are enjoyed by local New York communities. The stores represent spaces beloved by neighborhood residents that nurture cross-community allyship and are directly in service to a global majority.

IG: @dylanskim


I plan to create a city-wide interactive map based around sites of unity and conflict, providing context for these historical experiences around issues such as schools, housing, labor, and culture. Storefronts, subway stops, and street corners will be among the ‘landmarks’ that will reveal these site-specific events through oral histories, archival media, music and sound accessed through peoples’ phones via Augmented Reality. Members of these communities will see and hear their stories and those of their neighbors come to life by pointing their phone at the familiar places where they shop, travel, work, and socialize. I hope that they will reflect upon and explore the ways in which the realities of the present day are informed by the past, and that this understanding has great potential toward shaping a community’s future.

IG: @artjones3000


My project proposal explores the cultural, economical, and aesthetic histories of indigo dyeing amongst Black and Asian communities as a potential to create mutual respect, build solidarity and heal both communities through reconnection to ancient cultural practices. I will specifically focus on indigo’s prevalence across key Black and Asian societies ,specifically those local to Java,Indonesia; Kano, Nigeria; Tokushima, Japan; South Carolina, USA; and the southern regions of the India peninsula. This project will encompass research, interaction, output/exhibition: The intention is for the culmination of one year of data gathering, discussion, and planning to result in a printed book or exhibition, and a single textile piece that incorporates collaboration with workshops from the Black and Asian communities listed above.

Craft is the production of culture through the manipulation of bodies and is what connects us to the earth. This project will center craft as a radical act that can establish contemporary histories to inspire unity amongst Black and Asian communities in our struggles against the persistence of cultural erasure from western Neo-imperialism.

IG: @studiosenjeh


In the past two decades, the police and other law enforcement agencies have racially profiled, over-policed, harassed, fined, arrested, detained, and deported massage and sex workers in the U.S. and Canada—particularly BIPOC, migrant, LGBTQ and diabled—all in the name of “rescue” rationalized by American slogans to end sex trafficking. Sex work spaces are considered homes, theaters, storefronts, confinements, and battlefronts towards decriminalization. In these urban cul-de-sacs, sex workers stretch and diminish social and spatial forms to create room for their lives, navigating issues of commercialism and fetishization, domestic violence and survival.

Our project, “Freedom Is A Place,” is an archive documenting public art events by New York City abolitionist groups that opens space to engage in a collective reflection on the entangled praxis of placemaking as liberation. Spotlighting the pressing intersectional issues that communities face now,

this project is envisioned as a toolkit. Drawing upon decades of organizing within the interplay of violence and abundance in these spaces, this archive is not a container for nostalgia but rather a future-making instrument to those rehearsing in solidarity.

Encompassing public demonstrations, collective vigils, documentaries and exhibitions, our work has used the medium of space to bring the voices of often anonymous, vulnerable, and disjointed communities in the broader sex industry closer. We consider this work as rehearsals because they are not organized for solutions rather for cultivating infrastructures of longevity amongst our base memberships. Therefore, the work of co-creating spaces and relationships are non-urgent actions that seed and strengthen our network of solidarity, generating momentum and resources necessary for addressing crises that require urgent action.

IG: @audreytsengfisch + @verycolorfulbeads


When slavery was abolished in 1865, the British decided that instead of paying previously enslaved Africans in the Caribbean fair wages, they would instead bring over indentured servants from India to do cheaper labor for them. When ships of Indians began arriving in the Caribbean, the Africans who had already been there felt they were being denied their livelihoods by the Indians. The British solidified their role as divider and conqueror, and sowed seeds of discord between Africans and Indians that would fester and grow for decades to come.

During the Residency, I will create a series of workshops for Indo- and Afro-Caribbean survivors of gender-based violence in NYC to share their survivor stories, heal in community, make art, and vision into new ways of being in solidarity as we build a world where gender-based violence no longer exists. The programming will culminate in a published zine filled with stories, art, and interviews from participants.

IG: @priya.florence


My platform as a playwright chronicles the sociology of the African Diaspora. Part of that Diaspora is the rarely discussed obscure history of African Indians, also known as Siddis, descended from various East African and Asian populations, who have lived in India for over a thousand years.

“Two opposing empires seek control of a thriving seaport, in late medieval India. But when a polarizing royal edict is issued, tensions escalate, threatening to further divide the diverse populous. Unsettling truths are unearthed, as citizens are faced with questions of their origins and the decision to either submit to the clamor of conquest or commit to community-on their terms.”

As my current synopsis reflects, this play, examines how Africa and India’s complex cultural diffusion, reveals relationships dating not just to medieval times, but digs deeper to antiquity. At its center, this project ponders what an epic interracial queer love story, between multi-ethnic African and Indian lead characters, in a classical play creolizing historical facts with historical fiction, and absent of queer coding, looks like, as political machinations of the era unfold. I’m curious how this sword and sandal tale, a genre our communities have been historically whitewashed from, feels like when told organically, in our bodies, with us steering the ship, as co-captains, in the medium of theater, our oldest art form.

IG: @phillipgburke


During the Residency, our collective would like to explore the history of nail extensions in relation to Asian and African diasporic movement. We aim to outline the chronology of nail art history: Moving from past to present and, more specifically, from its ancestral origins to the streets of New York. In our work, we aim to highlight the importance of the nail extension as a primary creative bridge between Asian and African diasporic communities–therefore pointing to the nail extension as a way to dive deeper into the shared struggles and solidarity amongst the two cultures (i.e. anti-capitalism and decolonization). We will then move from ideologies around the shared historical and cultural significance of nail art into theory as we explore queer phenomenology. Transness and the production of gender are vital to topics around non-Eurocentric beauty and will be of focus as we explore the ways in which nail art extends the body. We hope that our final presentation illustrates how extending the body via nail art is not only a shared interest artistically, but also a shared radical act against post-colonial gender oppression; we hope that our final presentation will highlight how extensions of the body produce gender and different perceptions of the world through cultural lenses.

IG: @alexand3r.me  +  IG: @myx_lee


The Bandung Residency is an opportunity designed to uplift the work of organizers, artists, educators, and way-makers whose practice is intended to foster solidarity between Asian American/Pacific Islander (AAPI) and Black communities.

Inspired by recent events that have deeply impacted these communities, as well as the Stop Asian Hate and Black Lives Matter movements, this program takes cue from the first large-scale Asian–African or Afro–Asian Conference, also known as the Bandung Conference, which took place in 1955 in Bandung, West Java, Indonesia. The groundbreaking summit, which hosted leaders from 29 newly independent Asian and African states emerging from colonial rule (representing a total population of 1.5 billion people, 54% of the world’s population at the time), signaled a pivotal juncture between these communities to discuss peace, equality, and mutual respect for sovereignty, political self-determination, cultural cooperation, human rights, the role of the Global South (then known as the Third World), economic development, and decolonization. Building upon the Five Principles of Peaceful Coexistence as identified the previous year by leaders from China and India, the primary objectives of the Bandung Conference ‘55 cohort were “a call for an end to racial discrimination wherever it occurred, and a reiteration of the importance of peaceful coexistence…and collaboration.”

Similarly, The Bandung Residency aims to cultivate a dynamic safe space for a diverse cohort of changemakers interested in engaging in social justice discourse, restorative healing, cultural placemaking, expanding the narrative between communities, and cross-community allyship, whether participating in the program for their personal transformation, in service to the communities identified, or both.

Learn more about how you can apply  HERE.

Learn more about the Inaugural Cohort HERE and Cohort 2 HERE.


Mark your calendars! Here’s our list of upcoming Bandung Residency special event dates that are open to the public.

July 15, 2024 @ 6:30 8:30 PM EST  | The Bandung Book Release Party |  In Person

July 18, 2024 @ 6:30 7:30 PM EST  | Bandung Community Conversation: The Black School, On Design Justice|  Zoom

August 15, 2024 @ 6:30 8:30 PM EST  |  Bandung Community Presentation: Engaging Community Beyond the Echo Chamber |  Zoom

September 19, 2024 @ 6:30 8:30 PM EST  | Bandung Community Presentation: Coalition Building  |  Zoom

October 24, 2024 @ 6:30 8:30 PM EST  | Community Conversation: Building to Scale + Sustaining your Practice  |  Zoom


As part of the Bandung Residency, A4 and MoCADA present a series of discussions with community leaders who offered insights into their practice as makers, organizers, activists and educators.



The Asian American Arts Alliance (A4) is a nonprofit organization dedicated to ensuring greater representation, equity, and opportunities for Asian American artists and cultural organizations through resource sharing, promotion, and community building. Since 1983, A4 has sought to unify, promote, and represent the artistic and cultural producers of one of New York City’s fastest-growing populations. We are a diverse alliance of artists, organizations, and arts supporters who believe that working together as a pan-ethnic, multidisciplinary community is essential to nurturing the development of artists and arts groups. A4 serves as a thoughtful convener of the Asian American cultural workforce around issues of race, identity, and artmaking and provides a critical voice for this community. We are the only service organization in the country dedicated to the professional development of Asian American and Pacific Islander artists in all disciplines.


The Museum of Contemporary African Diasporan Art (MoCADA) was born from the graduate thesis of our founder Laurie Cumbo on the feasibility of an African art museum contributing to the revitalization of its neighboring Black communities. Twenty years later, our mission has grown through three programmatic arms – Exhibitions, Education, and Community – that use art as a vehicle for social change via the celebration of Africa and the diaspora. Through artistic presentations, community conversations, creative expression, interactive learning, and cultural preservation, we amplify “voices” that are central to the upliftment of Black lives, and advocate for equity and access on every level. We reach beyond the walls of our physical museum space to deliver dynamic arts, educational, and social justice programs, including 60+ exhibitions, 500+ public programs, conversations, community gatherings, healing circles, learning opportunities and more in the gallery, the street, parks, schools, public housing and beyond. “More than a museum”, MoCADA has become a critical tool for welcoming those who are systematically left out, and a safe space for engaging with people across social divides.

This residency is made possible thanks to generous gifts from the New York City Council’s AAPI Community Support Initiative, the Ford Foundation, the New York City Department of Cultural Affairs, Apicha Community Health Center, and the Department of Youth and Community Development.

Share via
Copy link