TEACHING AND PRODUCTION
Photo: Paul B Goode
My approach to contemporary dance technique offers a meld of improvisational forms aimed at releasing restricted notions of bodily form and connecting to a deeper sense of self and world - in other words, immersing being in worldly sensibility. My class aims to disrupt sensory hierarchies and expand capacities for feeling. Drawing largely from the Kinetica movement language, critical race theory, and theories of materiality, students will tune into kinetic energy as a means of engaging spacetime and being in sense. Classes will begin with improvisational warm-ups opening to deep internal listening and unfettered imagination to be (with) self, other, and environment.
Reproducing the Foreclosed White Body: Racial Performativity of White Womanhood in Competition Dance
Following Sarah Ahmed's "Phenomenology of Whiteness", this talk discusses the racialization and gendering in (studio) competition dance through Travis Wall's "Strange Fruit" on So You Think You Can Dance. Implicating dance forms requiring militantly regulated spatiotemporal precision, I consider the ways in which this choreographed practice (re)produces a form of embodiment appealing to white heteropatriarchy in racialized capitalism. As dancers aim for visual and expressive legibility, they orient their sensory hierarchies toward hegemonic power and systems of control, kinesthetically reproducing the social order for mass consumption onstage.
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