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In my process as a choreographer, usually the image comes first: a spinning white plate, an underwater queen, a weeping bounce house, spaghetti hair. When constructing and deconstructing that image in the studio, I practice a sort of radical presence encompassing my body, my spirit, and the image. I aim at breaking open the symbolism in a way that might reveal something about the human condition. That research recycles back into my body and distills into a kernel of physical information that I use as a psychic barometer to navigate a more lengthy research period. The more time I have in this state, the more I am able to articulate tasks that I feel will guide the dancers toward surrender.
The photographs and notes shown here document this process through three works: Tropical Depression, a work in progress set to premiere in May 2019 at Miami Dade Live Arts; Carne Viva, first shown at the American Dance Festival (ADF) in 2016; and Make Believe, first shown at ADF in 2018.
Although the aspects of my work people often remember most are the images, the presence and sensitivity of the bodies onstage remain the most potent sources of information about what is happening. As a dancer I am inherently surrealist, in a constant state of releasing the creative potential of my unconscious mind / body. I am interested in the limitless expressive potential of every part of my body, and the clarity that comes from subtle prompting. Your knees are weeping. Your feet are laughing. Apologize for your hair.