I create performances of experience, dances made in, out of, and from life rather than about it. As a practice this allows the performers to confront the moments that cut through them, excavating their weight and significance in the body. Therefore, my dances are often autobiographical, a visceral response to being in the world and are driven by embodied knowledge, trusting the primacy and power of lived experiences to reveal and support my claims.
My current work is the result of a period of liminality and transition. Through creative research I am asking: how does dance making serve as a way of processing, receiving, and accepting crisis? In what ways does choreography serve as a ritual that allows the performer to transform an experience and transition to a new state of being? My research pushes the relationship between art and efficacy, searching for processes that facilitate personal transformation.
When working with others I consider how to create a process that allows the performers to fully commit to and internalize the issues at stake so that life, art, and the research inform and enrich each other. This process is about knowing and understanding in the body, integrating thoughts, bodily sensations, emotional reactions, and states of being with, through, and in movement.
I explore the ways in which writing and dancing can reveal and deepen our understanding of the work and its relationship to our lives. In rehearsals I often switch between movement and writing tasks in order to unearth unconscious inner landscapes and bring forth the unknown. In my writing I consider how to write from the work rather than about it.
In addition to my creative work, I am pursuing my Alexander Technique Teacher Training with Chesapeake Bay Alexander Studies.