t e a c h i n g
Dance is both a solitary and social pursuit. In class, we honor individual growth/discovery and the social dynamic that shapes us while we take risks and learn. I honor the individuality of students by not presuming to know them, but with practices for them to know themselves and to work from their immediate kinetic energy. I build movement content derived from sensational curiosities dictated by my own physicality, often based in an appetite for impact, turbulence, momentum and tension. As I teach, I design prompts based in sensations for dancers to investigate in their own body (e.g. direct this movement by a lengthening stretch on the inside of the right arm; pour weight from the pelvis towards the heels). The progression of this practice usually leads us between tightly constructed movements phrases I have built and open-score phrases where the dancers locate and draw out physical sensation interesting to them. Together we play within the critical experience of the dancer, using dance as a strategy to look at patterns of thought, sense and perception.
I value airtime, athletic physicality and resilience motored by an appetite to stabilize and destabilize movements powered by effort, power and strength. At times we take this energy into flight - jumping and diving through the room. Other times I ask that we submerge it deeply within ourselves, to rumble, buzz and refuel our bones. When I teach, I call this “electric anatomy” – imaging the energy of tbe body restoring and lighting up our insides like a fluorescent bulb. We dance together to learn what it takes to risk perceptions of ourselves and maintain the endurance to move into unknown capacities. I am interested in building practices that can sustain over time and build personal performance. As a dancer, I depend on the community of the class to foster and expand energy within myself; in my classes I work to facilitate that atmosphere for my students.
Over the course of a class I introduce a large landscape of movement, conceptually and literally – across the floor, into the base of a pelvis, up to the walls, along the coastlines of the skin. In dances I make I work to evoke a shape shifting sense of spatiality that is constantly in motion, uncaring of the walls in the given space. In class, we work to redefine the space we are in by shifting orientation between each other, landmarks within the space, imagined landmarks outside the space. I demand that we attend to many things at once and the rigor of the class becomes the simultaneous practices of personal sensation, poetic association and communal ethos. I believe this is where dance has the most unique work to do, to continually practice new means of sharing experience, producing knowledge and working together.