Screendance Artist. Choreographer. Collaborator. Teacher.
Photo Credit: Lizzie Baker
I am inspired by human relationships, human interaction, and how we connect. How is it possible to live in such a large world and constantly be reveled by the smallness? Does every action create a reaction and how does that relate to the pathway of one’s life? These are questions I constantly seek to investigate in my movement, while bridging the communication between the artist and the audience. I strive to create and project engaging, captivating, intellectual work. I find working with film, projections and multi-media, one more extension of dance that can reach an audience effectively.
I also believe that collaboration is a great tool in the creative process. I believe two minds are better than one, and ultimately can produce a more effective rapport between the choreographer, dancers, and creative team, leading to a better result in the performance.
My research at large is a multi-faceted trajectory of both dance accessibility through technology and social issues rooted in intersectional feminism. Both of these topics, for me, have operated in a cyclical approach. One element leads into the next, which informs the other.
On technology, some of my questions are: Where can screendance live? Can video dance be kept completely online and if so, does it become a question of proprietorship on the Internet? How is social media affecting every aspect of dance consumption? How is dance film sustainable?
In my practice, I focus specifically on three different ways to film movement: creating form from the bodies on the screen with no camera mobility, creating form in the edits, and creating form with camera mobility. To me, they each hold their own importance. Camera movement with a still body can be just as important as a still shot with moving bodies. The eye of the viewer is moving with the motion, regardless from the body or camera, so it’s important not to switch the direction of the motion drastically from clip to clip. Choreographically, each project is different. The choreography is generated and decided upon, based on the environment and location of the film. Additionally, exploration of movement through improvisation on site is a key factor in each project.
My current research and work has a lens on ecofeminism and the patriarchal mechanisms that assimilate women and nature. Both often devalued and exploited, seeking elevation and liberation, the relationship between them is a rhizome of interconnections. Radical ecofeminism celebrates the relationship between women and nature through the revival of ancient rituals, creating a source of inspiration and empowerment. For socialist ecofeminism, environmental problems are rooted in the rise of capitalist patriarchy and the ideology that the Earth and nature can be exploited for human process through technology. Using history and theory, combined with text and poetry, we collaboratively weave movements that explore ideas of womanhood, cyclical patterns of nature and violence, migration, resistance, and identities in bloom.
Ongoing research topics include gender data gap, how gender politics are affected, how the predominance of men affect the lives of women and other minorities, the erasure of trans women and BIPOC, the subconscious erasure of woman over a certain age, in addition to women everywhere succumbing to what is called the "default male”.
Over the next five years, I plan to continue the development of my research, while increasing the involvement of new technology throughout my work. Specifically, the goal is to increase my knowledge on projection mapping, reactionary, and interactive projections through performance in both traditional and non-traditional spaces. I am an artist who is not interested in only one ingredient of the work. I am trained to be the choreographer, the filmmaker, the director, the editor, and the producer. As such, I am constantly learning and growing in my field to do each element with intention and skill.