I am insatiably curious. I am in love with how dance opens me, humanizes me, and wakes up my otherwise dormant retaliatory nature. I am most deeply satisfied and fed by the process of learning new ways of moving. Though I have never fit in a crowd dance takes me as I am, with all of my hunger.
I am an infiltrator. I am here to corrupt the current status quo of the dance world. I want to redistribute access to broader populations. I have come to help connect the people back to dance again, as our birthright. I am here to remind us all that it's in our DNA to move. I am here to offer dance back to the ones who really need it, like I needed it.
I am an activist. I dance for empathy, compassion, alliance amongst humanity and with the natural world. I dance to reclaim the physical intelligence that Neo-Platonism has condemned. I dance as a mode of self inquiry and process in a time of mass consumerism. I dance to defy tangible product based living, and to interrogate our assumptions about culture and difference.
I am an educator. I believe knowledge is a human right and a necessity for our reclamation of empathy and sustainability as a species. I believe that inclusive, decolonized education is our greatest hope for change and that art is the greatest platform for radical personal and collective transformation.
I am an artist. I make art to ask questions. How does movement shape our world? How does our humanity redeem us? How does our physicality humanize us and restore our dignity? I am interested in immediate personal experience and the impact it has on our capacity for empathy and our sense of interdependence. I am interested in the proliferation of dialogue and the interrogation of assumptions and how that can evolve human beings and the cultures they create. I am a provocateur. Dance allows me to push at the faulty foundations of American cultural assumptions. Dance knows that the axis of everything is a spiral: a constant spin and dive, and she allows me to live off kilter. It is from here that I aim to destabilize the Western Europeanist aesthetic hierarchy. It is from this wobbling axis that I seek to find postcolonial practices to match our globalizing world.
Choreography: I am interested in the sensual enjoyment, delicious defiance, and voracious thrill of movement. I am interested in athleticism, movement multi-lingualism (dancers with an appetite for a multitude of physical languages), and subtlety in equal measure. I am interested in the intersection between the patient and quiet, and explosive and fresh. I have an appetite for moody soundscapes, driving rhythm, and the surreal qualities of forms like popping, waving, and belly dancing that prioritize the body’s aptitude for illusions in space. I became a fusionista by chance as I followed my teachers and my honest cravings. I explore my physical hybridity in all of its problems and possibilities through choreography and collaboration. I am most excited when reimagining convention in unusual, indulgent, percussive, and texture based projects. I am interested in choreography in collision with movement research.
Research: I am interested in decolonizing our movement practices by opening up the landscape of cross training and somatics to include modalities that address non Eurocentric uses of the body. Similarly, I am interested in researching dance and its role in social justice education and outreach. For me this is intimately tied to a postcolonial understanding of dance history, and my research on vernacular and traditional dances. Finally, I am curious about transnationalism and it's complicated relationship to decolonization and appropriation. I am fascinated by movers like Tom Weksler who use a toolbox of movement approaches and modalities from practices around the world with respect, thoughtfulness, and dignity as a form of inquiry and movement based research. This physical embodiment of research is the most palatable and inspiring to me. My personal research is interested in the intersection of art, research, and activism. I am committed to lecture performance, “scholartivism,” and choreo-demonstration as mediums for sharing my work.
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