Artist Statement
My process always begins with four ingredients with which I become fixated, in no particular order: a piece of music or soundscape, intelligent dancers who capture my imagination in unexpected ways, an unanswerable question or two, and a hard deadline. The combination of these factors frames the work that will come through both the dancers and me. My ever-evolving creative research explores how our highly individualized embodied knowledge informs choices in crafting our own moving architecture. In realizing our preferred ways of moving, as well as exploring our differing inclinations, I then invite the dancers to investigate their habits from a place of authenticity, often working through concepts or movement directives that may feel uncomfortable.
In process at Joffrey Colorado, creating one
It is within this vulnerability that we collectively discover movement beyond two-dimensional shapes, but more as a vocabulary that authentically illuminates facets of the human experience. As movement choices evolve into sequences, I then utilize various choreographic structures to shape the information into a body of work. This collaborative process invites introspection, cultivates conversation, and ultimately, if we’re lucky, generates a new question or answer for those who experience the work.
Creating Suspended Baroque in Kyoto, Japan
However, not all projects offer the same luxury of a slower-moving process. A bulk of my creative research has occurred within my contracts with various Joffrey programs, in which I primarily work with dancers ages 9-17. In these instances, there are usually severe constraints imposed upon the choreographic process: time, and a large group of dancers within a spectrum of age, talent, and experience. By nature, these works feature an abridged in-studio investigation, and most usually the intent is to create an exciting piece that is well-rehearsed, age-appropriate, and plays to the strengths of the dancers - sometimes within just four days of choreographic process before the performance date. A significant percentage of my preparation involves research outside of the studio; I speak to dancers about their values and experiences, seeking various answers, and from there I begin to craft a piece that expresses their collective discourse. I often incorporate moments of improvisation into the work so the dancers can also move within their preferred vocabulary.
Choreographing 1st Act of The Nutcracker, Black Hills Dance Theatre, SD
In discussion with the cast for the piece all in good time, Joffrey South summer intensive 2019
To choreograph is to learn, and it should leave a positive impact both upon the dancers and the choreographer. Throughout both processes, I strive to create an atmosphere where the dancers can be their most authentic selves. I want every dancer to feel confident that their point of view matters in the studio, that the work matters, and that they learned something from the process, whether it be a new skill, and/or an aspect of themselves that had been previously unexplored.