My work walks the line between school based projects and the world of postmodern dance creation and performance. Although most of my experience is with students I have also made works with incarcerated adults, migrant farm workers and English Language Learners. In the future, I hope to continue making work with other “non traditional” dancers (realizing of course that phrase is, in itself, problematic).
As a facilitator I create movement experiences that require no prior dance training and emphasize discussion, movement potential, self acceptance and creativity.
How and when did imagination become a privilege? My goal is to engage in art making and somatic awareness in places where this is not usually nurtured- schools where arts time has been cut, prisons, industrial farms etc...
When I dance, I remember who I am and why I matter. I hope to offer this experience up to as many people as possible. My projects wholeheartedly abandon the idea of expertise and technical proficiency in order to focus instead on composing movement and sound to create meaning. Our process is often consensus based. So much of technical dance education is about changing people; I am interested, instead, in what is already there.
From Wikipedia: Social practice is an art medium that focuses on engagement through human interaction and social discourse. Since it is people and their relationships that form the medium of such works – rather than a particular process of production – social engagement is not only a part of a work’s organization, execution or continuation, but also an aesthetic in itself: of interaction and development. Socially engaged art aims to create social and/or political change through collaboration with individuals, communities, and institutions in the creation of participatory art. The discipline values the process of a work over any finished product or object. Artists working in social practice co-create their work with a specific audience or propose critical interventions within existing social systems that inspire debate or catalyze social exchange. The large overlap between social practice and pedagogy demonstrates the need for art education to embrace collaborative practice. Social practice work focuses on the interaction between the audience, social systems, and the artist through aesthetics, ethics, collaboration, methodology, antagonism, media strategies, and social activism. The social interaction component inspires, drives, or, in some instances, completes the project. Although projects may incorporate traditional studio media, they are realized in a variety of visual or social forms (depending on variable contexts and participant demographics) such as performance, social activism, or mobilizing communities towards a common goal.The diversity of approaches pose specific challenges for documenting social practice work, as the aesthetic of human interaction changes rapidly and involves many people simultaneously. Consequently, images frequently fail to do justice to the engagement and interactions that take place during a project.