I make dances to collaborate and move interdependently with other human beings; to undermine the notion of “imperfect” bodies that impoverishes our world; to explore the embodied aspects of human relationships; to investigate the ways bodies, histories, spaces and places interact in the service of communication and expression.
I make dances as a practice of how we live in our bodies. What bodies get to dance, what bodies do we see on stage? I make work for a range of dancer bodies to reveal the vitality of any body.
I make dances that respond to our world as it is, at this moment, pursuing dance as an ever-evolving art form of the body and of culture.
I make dances from places of vulnerability, crafting work that does not deny or transcend our humanness.
My choreographic practice always begins with the small gesture. I have spent my career listening to what the flick of a wrist or roll of a shoulder wants to say; how gesture rubs up against the limits of verbal language. By attending to gesture, I invite my audiences to witness movement speak, to practice listening with the senses, dissolving templates for finding meaning. I choreograph to explore what movement can reveal about the human condition that language often obscures.
I move between the small gesture and broader geographies of knowledge. The rural Northeast where I grew up, over 3 decades in the Bay Area; and a practice that includes research and performances across the USA, Europe, and in India, have influenced my entire career, teaching me to recognize and break down movement hierarchies. These geographies live in my body, encouraging me to examine the artifice, authenticity, and objectivity in and of the body. I create forms to locate and excavate a physical archaeology, drawing landscapes into the body and out again. I engage with geography as movement information to construct a body capable of expressing ideas about place, space, and relationships.