I believe that the process of transformation is the process of becoming more fully ourselves. As we practice dance, perform, and make performances for audiences, we encounter, come to know, and form who we are. Engaging in creative process, therefore, provides insight into who we are, and opportunity to make choices about who we are becoming.

Working Philosophy

My working philosophy of the body, dance, and movement regards the study of ourselves – becoming knowledgeable about and familiar with ourselves – as a strategy or pathway to relate more consciously and conscientiously with the number of systems of which we’re a part. The capacities of perception, awareness, and responsiveness that are learned and practiced in dance, also serve the practitioner in other studies, daily life, and engagement with the larger world. I value the body, as an academic subject, for its creative and intellectual dimensions, its capacities for reflection, discovery, and knowledge.

I am engaged in questions, methods, and modes of research and presentation that integrate the creative and scholarly. For me, these strands overlap, intertwine with, and inter-inform one another. My scholarship centers on experiential aesthetics, investigating how dance artists employ imagery, and cultivate states-of-being, to yield particular socio-political and aesthetic outcomes. My creative work focuses on the exchange among performer, performance, and audience. It aims to discover and generate what experiences, meanings, associations, inspirations, reminders, and possibilities can flow between audience and performer, through the vehicle of performance. The performances I make reflect upon how we live and relate with one another, and pose possibilities for how we might.