Upcoming

Native Tongue - November 17-18 2017
CounterPulse
San Fransisco, CA

Native Tongue is an evening length dance work premiering at CounterPulse in November of 2017. We learn our native tongue through being spoken to, it is a language born of necessity that then informs how we come to understand ourselves and our environment. In this work I am renegotiating my bodily and linguistic point of origin through descending into the preverbal and instinctive landscape of the unconscious. This is a solo performance that is informed by contemporary dance, authentic movement and spoken word poetry.

 

Past

Hard To Watch - August 25, 2017
Alonzo King's LINES Ballet - Studio Performance
San Fransisco, CA

Hard to Watch is a performance of private encounter. What are we willing to see? How are we willing to be seen? Through the use of Authentic Movement this performance creates a game of hide and seek with shadow and beauty, with shame and essence. This work takes the threshold between the intimate and the private as a starting point, and then moves to cultivate a space of seeing that can hold an encounter with both the self and other.

The Dematerialization of The Performative Body in Long Duration Performance Art - June 11, 2017
Artist Talk - Performance Studies International Conference
Hamburg, Germany

Anger in a Blank Space - November 17, 2016 - Novemeber 30, 2016
Solo Show - Gallatin Gallery
Manhattan, US

Anger in a Blank Space is a performance series comprised of nine durational performances. The first six performances are entitled “Anger in a Blank Space, parts 1 – 6.” The remaining three performances are entitled “Greyscale,” “1,000 Ways to Fall Apart,” and “The Third White Dress.”

A blank space is void of meaning and context; it offers no clearly defined containment. Placing this blankness in the center of the work is a way for me to externalize my own experience of alienation, particularly bodily alienation. I want to know if anger can be a force of reconciliation, a way to negotiate the space between embodiment and blankness.

I’m working with duration because time is an embodied reality; it is because we are bodily beings that we experience ourselves as existing in time. This project is a part of a larger project in which I compare the body in long duration performance work with the body in somatic dance, particularly in Authentic Movement. The somatic body is an internally focused, perceptive body. Somatic dance is reliant on this internal perception. I’m using time because I want to know if a new experience of time can be created for both the audience and myself that is both perceptive and performative.

Lastly, I want to know what it means to create a working performative space. These performances are the result of somatic research in which I have been coming to understand how to embody the traumatized body and overcome feelings of alienation. I’m taking this work and placing it in front of an audience and I want to know how this changes the experience of blankness that the work is being created from.

“Anger in a Blank Space Parts 1-6” are solo dance pieces. “Greyscale” addresses gravity, force, and consent through the use of weights. “1,000 Ways to Fall Apart” involves falling down and standing back up again 1,000 times. For “The Third White Dress,” I will lay in stillness for six hours while a stream of water drips on my torso. Each of these pieces are externalizing questions about consent in dance and movement because they require the body to integrate the force of the external as it acts upon the body.

 

My Father Was A Painter In Another Life - June 11, 2016
LEIMAY Fellows Showcase - SOAK Festival
Brooklyn, US

"My Father Was A Painter In Another Life" is a work about the forms that emerge via fragmentation. It moves, like memory, between structure and chaos. Memory holds both crystal clear images and subtle fragments of history and past selves. I'm taking the balance between structure/chaos/flow and applying it to movement. I created a sound piece for this work based on the line "my father was a painter in another life, though this isn't something he will ever know". The line repeats and fragments and the masculine structure of the movement is broken down until there is only an echo that remains. From this place the raw sound becomes a song and the movement emerges as a dance.  

Because I am 1000 Grains of Sand - December 8, 2015
Site Specific
UT, US

"Because I am 1,000 Grains of Sand" is a long duration movement piece that took place in the desert of Southern Utah. It is because of our bodily being that we experience ourselves as existing within time. In this project I wanted to explore the tension between the embodied present and the imagined past through movement. I chose the desert because of the physical extremity it represents, and because of the sense of stillness it maintains within this extremity. The landscape felt like a mirror for my relationship with my own physicality.

For this project I danced for three and half hours. I did Authentic Movement, which is a somatic improvised dance form that is based on principals of Jungian Active Imagination. Authentic Movement is about the place where the body and the imagined meet—it is rooted in the idea that through movement it is possible to give the imagined an embodied reality.

It was 28 degrees when I began moving, I had no shoes and only thin clothing, the landscape brought my own physical vulnerability to the center of the work. My interest in understanding the lines between remembering and present embodied reality have to do with my own sense of physical vulnerability and with the capacity of movement to heal both personal and cultural trauma. My lineage is connected to the Southern Utah desert and I wanted to feel the extreme conditions of this lineage brought into my body, and into the present, through movement. In an interview with Sondra Fraleigh she said that “dance can give us the somatic means to explore the nature-culture continuum of our human bodily being”. This informed the work in that it helped me to see the experience as both a cultural act and as a personal dialogue between myself, the landscape and my own history.


Somatic Audience Movement Study October 2015
Movement Research WIP Showing
Brooklyn, US

This is a movement project aimed at understanding how the performative body of a singular dancer can be transformed into a collective somatic body.

If time is a truth, it’s a truth of the body. How does this shape the relationship between memory and movement? Through somatic inquiry I've been approaching these questions as a way to dismantle bodily memory. This movement study is about the boundaries that exist between the somatic and the performative. The work crosses the threshold of this performative duality and aims to create a space where the somatic is given to the audience in a way that transforms the performative body into a collective somatic body.

Consent Movement Study - April 25, 2015
Chez Bushwick WIP Showing
Brooklyn, US

This movement study was created in an effort to understand the relationship between consent and intentionality in movement. I have been investigating the role of consent in improvisational movement. Through Authentic Movement the body is allowed to be moved via unconscious images and impulse, this requires consent on the part of the mover. There is an inherent tension in improvisational work between consent and intentionality, this tension is magnified when the boundaries between the somatic and the performative are blurred. In this movement study I am taking this tension that is usually present only as a subtext and instead utilizing it as a creative container for movement work.

Witness Movement Study - February 28, 2015
Chez Bushwick WIP Showing
Brooklyn, US

This movement study was an initial exploration in how the themes present in Authentic Movement can be used to create performative movement work. The role of the witness is crucial in Authentic Movement because it is through both being witnessed, and the state of witnessing, that psychological and somatic transformation occurs. In this movement study I took the intimate gesture of witnessing and being witnessed and applied it to the performative space.