Artistic Statement

My artistic method experiments with the unique balance between grace and strength. While uncovering the unexpected in movement sequencing, I direct professional demeanors in my dancers. I aim to create an inviting space for dancers to allow confident exploration. My work uncovers unique movement qualities, including controlled flow, unique precision, and stimulating emotions. While these emotions may contrast each other, I believe they allow accurate storytelling to take place. Life is not a plateau of emotions but a collage of many different sensations. In this way, I aim to connect to each audience member through the relatability of life experiences.

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Martha Graham inspires my emotional purpose within my choreographic innovations. Her movement style demonstrates the complicated connection to a human’s innermost thoughts and the recognition of the difficult process of expressing those emotions (Foster, 2008). Most of her movements experiment with oppositional qualities that produce a visual representation of the tension of life experiences. Life often forces humans to wrestle between their innermost thoughts and outside reality. Throughout my choreographic works, my goal is to create a sense of resonation and understanding, a sense of discovery and growth. This is in hopes of developing a connection between individuals, whether that be between the performer and audience member or culture to culture. Similarly, to Martha Graham, I thoroughly interpret the meaning behind each movement and how each movement portrays the given story and emotions (Foster, 2008). The pure experience of movement creates passion for human connection and thankfulness for the creation of movement expression.

 

Throughout my career, I strive to expand choreographic experiences and develop new and innovative choreographic methods. This begins with asking my dancers crucial questions to uncover the mental and personified connection to their movement (Carter, 2020). Successful performances take place when the dancer embodies the movement sequence and develops their movements into a personal expression of oneself. Therefore, mental health takes precedence in my choreographic process. When mind and body are disconnected, so is the audience to the performance.

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I find the deepest connection to human experience through creation in ballet and contemporary choreography, but I also excel at experimenting with jazz and musical theatre. Classically, I best demonstrate cohesive storylines on eight to twelve dancers. Guiding dancers in character embodiment and unique precision create musically inspired works that transport the audience into a dreamy reality. Contrasting this process, my contemporary movement uncovers the deep emotional aspect of my choreographic process. On four to eight dancers, I delve into formations that reveal unwanted thoughts and transform them into vividly developing emotions. Creating stimulating and unexpected movements creates space for dynamic freedom.

In my future work, I aim to create exciting movement scores that engage the audience to the point of feeling one within the storyline. I believe a movement score achieves success when the audience loses the knowledge between the story and life itself. Stories move the inner workings of the human soul and enable mysterious expressions to come to life. When humans surrender to a narrative, they expose buried sensations. Performers and audience members may uncover healing and thought-provoking development. Storytelling is the gateway to unearthing passions and human connections.

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Sources: 

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Carter, Celina. "Dance and Choreography as a Method of Inquiry." Forum : Qualitative Social Research, vol. 21, no. 3, 2020. ProQuest, https://lopes.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/dance-choreography-as-method-inquiry/docview/2537970898/se-2, doi:https://doi.org/10.17169/fqs-21.3.3448.

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Foster, Susan Leigh. Reading Dancing: Bodies and Subjects in Contemporary American Dance. University of California Press, 2008.