I am interested in removing the context of dance from the traditions that separate movement as an art form from the basic human instinct to move. When we bring our natural abilities as people who move all day long to our training, we get closer to the kind of dancing that kinaesthetically moves and inspires people. Our intention behind moving can get clouded by the diligent demonstration of dance movement. Why we move in the first place is a way of bringing clarity. Inspired by the post modern dance artists from the 1960’s, this philosophy is also still relevant as choreographic tools in contemporary dance.
In all areas of professional ballet and contemporary dance, versatility means greater opportunity. A wide range of artists demanding different sensibilities is working in both ballet and contemporary companies and communities. I try to access several perspectives from a range of techniques and systems and introduce ways to make kinetic connections between them.
The rigor of technical training can often ingrain a focus on codified positions and virtuosic sequences. This tradition inhibits the student¹s ability to work synergistically- finding ways to allow the bigger picture guide the connection between ideas. I design movement sequences that have an arch of phrasing or image so the dancers can integrate a larger idea into the movement- paying close attention to initiations and transitions. I often find that the mechanics of technique will fall into place when focusing ot the bigger idea.
My evaluation of students is heavily based on how they take ownership of the process and craft of dance -how they develop a practice. Artistic directors today select dancers not only for their raw talent, but also for what they bring to the process and how proactive they are in the studio. Self-direction and motivation needs to be integrated into the process of training.
Dancers need to be writing and talking about dance. Dance theory is still playing catch up with many disciplines that have a long history and established systems of articulating theory. Through the process of writing and discussing the nature of dance, dancers become more confident artists and better interpreters. Building dance theory also helps the public have a greater understanding and appreciation for the art form.