• Rania’s moving image performance the Third World Ecology trilogy departs from the work of her grandmother, a women’s rights organizer in Egypt in the 1960s, linking histories of third world independence movements with environmental consciousness. This performance is designed for community gardens and non-traditional art/ performance spaces, and premiered in the US at MATATU, a black performance think tank based in Oakland, CA

  • Her work centers BIPOC community arts practice and anti-colonial ecology, for instance, asserting the important link between fossil fuel consumption and imperial war as a 2020 “Moving Towards Justice Fellow” at Gibney Dance, through an environmental justice course she designed for Arab and Muslim female youth in Bay Ridge, Brooklyn

  • Khalil’s frequent use of analog video and found-footage, sourced and salvaged images, asks the viewer to think materially about the political and poetic potential of recycling and conservation. An example can be seen in her recently published video-essay, “Sinai: Tourism, Colonialism, and Sea,” in the Journal of Embodied Research


Anthropocene & Posthumanism; Anti-Racism, Black Lives Matter & Racial Inequality; Climate Change; Empathy; Environmental Justice & Ecological Systems; Equality & Equity; Feminism; Multispecies Ethos & Animal/Nature Rights; Post-/Anti-Colonialism & Decolonization; Resilience, Wellness & Mental Health; SWANA & Palestinian Rights and Identities

Rania Lee Khalil makes performances and moving-image for live audiences. Her artworks reflect on the beauty and disappearance of indigenous plant, animal and human cultures.  Her embodied and research-based practice interweaves reflections on ecology, third world feminism, post coloniality and healing. Originally trained in dance, somatic movement, and Butoh—in her videos she explores lo-fi and analog systems of making. Her work has been featured at The Judson Church, La Mama Galleria, Martin Segal Theater, Utopia Station, and The Ontological-Hysteric Theater (New York); Aomori Art Museum (Japan); Al Ma’mal Contemporary Art Foundation (Palestine), Zawya Cinema (Egypt), Kiasma Museum for Contemporary Art (Finland), and the 56th Venice Biennale. She is completing her practice based doctorate at the University of Arts Helsinki, Theatre Academy and teaches in the MFA program at Parsons, The New School. Awards include NYFA (US), Kone Foundation (Finland), CIMO foundation (Finland), Erasmus Mundus (Europe), Fund for Women Artists (US), Zebra Poetry Film Festival (Germany). The daughter of Egyptian immigrants to the U.S., Khalil lived and worked in Cairo, Egypt between 2007 and 2016. She is the mother of one child. Khalil completed her BA at Hampshire College and received two MA degrees: one in social work and community organizing from Hunter College (New York) with postgraduate training in the Diversity program at Ackerman Institute for the Family; and another in International Performance as Research from the University of Warwick (England) followed by a practice based doctorate in performance.

Research is a practice and not a product, a way of listening at the limits of what we don’t know. In joining with artistic practice, “research” is liberated from its exclusively academic context, and becomes a question of how we better attune to the many ways individuals and communities are already thinking and enacting new relationships with the earth.

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