I am interested in make believe. I am not interested in glamour or fame. I am interested in dealing directly with life through my dance practice. And I love this practice because it subverts language. At the same time, dancing helps me to understand the world. Dance is thinking. For me, dance is thinking.

 

This work has most significantly been informed by early childhood experiences that occurred before I became aware of all the ways the world objectifies the female form. Embodied experiences of swimming in the ocean, swinging on swings, playing soccer, surfing, cross country skiing, climbing trees, and diving off of high rocks into large bodies of water; it is these memories of motion that continue to most strongly influence the development of my movement vocabulary. I am dedicated to the non hierarchical, non competitive healing power of expressive movement. Although invested thoroughly in the idea of technical training, dance for me has never been about precision, rather it is a continual exploration in the practice of freedom and the study of change.

 

How can we use dance as a meditative tool to experience physical abandon and creative flow? As a dancer, I am interested in the use of instinct, sensory perception, connection and emotions. As a choreographer, I am interested in wordlessness and nonlinear storytelling. Dance performances produce their own kind of knowledge. Often this knowledge exists outside the idea of “aboutness” yet it is still deeply real and can influence consciousness. 

 

As I try to link this work to social practice, I consider the act of creating in the context of empire. How can dance artists integrate knowledge of injustice into a practice that is inherently abstract? How do pervasive daily experiences of cultural hegemony influence our art making? What special tools do bodies in space employ to appeal to an audience's emotions? In what ways does allegory operate more effectively than fact in this form of protest?