Art builds our capacity for imagination.
Our capacity for imagination changes the world.
I am interested in creating work that stretches people’s ability to imagine and dream. In that space the performer and witness move toward a personal and collective liberation -- liberation from external and internal oppressions.
Let's bring people into implausible, improbable, even absurd experiences that expectations, breaking way to possibilities.
A Folk Choreographer.
Relational. Birthed from everyone and everything present in the room. All presenters and witnesses are precisely needed for the manifestation of the work at hand -- creating such grand collusion that roles are blurred and possibilities opened.
Self-Referential. Like a self portrait. Reflecting a particular moment in time, a particular group convened -- rooting in the unique historical and cultural context in which the work is conceived, shared and explored.
Collaged. Drawing on a multitude of disciplines -- dance, ecology, film, music, yoga, paper arts, theater, farming, education, community building, writing, facilitation -- juxtaposing and intertwining them with one another to convey the quality of a subject as much, if not more than, its story. The story is non-linear, fractured, from multiple voices, from multiple perspectives, overlapping, at times conflicting. The work is cut, spliced and woven together.
Drawing on folk art traditions
Land Home is an investigation into making home. It is a reflection on a personal journey of building home, and a proposal that perhaps we are all building home from bits and fragments and memories and connections and people and places that we gather along the way.
In the way in which our lives are a collage of experiences, Land Home is a collage of artistic forms, including dance, theater, film and live music.
AND WHAT IF I RAN?
AND WHAT IF I RAN?
The creative process with the dancers began as an exploration of ‘relocation,’ which grew into an exploration of running, repetition, the mundaneness of cycles, the desire to break from routine and the relationships formed in the process.
The work was crafted by guiding the dancers through a variety of creative tasks; the resulting movement material served as the primary source material for the piece. Each dancers’ individual experience of the themes and exercises was essential to the creative process and is reflective in the ‘difference’ visible in their performance.