My approach to movement draws upon my background in modern (Graham, Horton, Limon, Dunham) and postmodern techniques, but is most informed by organic improvisation, ethnographic-inspired performance experiments and African American vernacular practice. In particular Chicago house’s undulating spine, mobile torso, syncopated rhythm structures and a loose but weighted lower body and engaged pelvis are mainstays of my movement vocabulary.
My approach to dance composition combines working with elements of movement (time, space, energy, weight), rhythmic play with body and vocals, improvisation, writing (poetry, journal/fieldnotes) as well as more conventional tools based on music composition (augmentation, diminution, motif/development, theme/variation, repetition, canon, accumulation, etc.).
While I use the body in all of my work, I position my creative projects under the rubric of performance rather than solely dance. My works are typically collaborative and community-centered. Ethnography, dialogue and deep listening are tools I use to build a sense of trust. I enlist writing strategies – from poetry to journalling to the making of personal and group narratives – as a means to create a deeper investment in the creative process and as ways to make human-focused and relationship-centered performance. My aim is to cultivate an ethos of mutual care during the creative process and then manifest this power on the performance stage.