"In 2001 I hit a wall with the language of my ‘classical’ background—Cunningham, ballet, Graham—and how it shaped my way of moving. I sought out techniques like Release, Klein/Mahler, and Kinetic Awareness, and explored different improvisation styles. My current style is an amalgamation of all of these, which makes a larger and freer vocabulary of movement possible. It enables me to more distinctly express my artistic vision, and offers the dancers clear choices in their way of moving by considering origin, intent, direction and dynamic."

Classes are structured to access greater movement potential and to increase spatial awareness, based on a combination of classical/modern vocabulary with impetus from release and improvisation techniques. The intent is to expand the body from the inside out, through focusing on breathing, oppositional stretching and specific exploration of the 'fields' around you: front, back, left, right, above, and below.

Mondays 4-6pm
Construction Company
10 E 18th Street, #3 (btw. B’way & 5th Av)
$10

Exploring the physical principles behind the movement material and space and how we perceive and affect it around ourselves are very important factors in the work. I often talk about space being palpable, and pay attention to expanding the internal awareness to the ‘all-around’ one. An improvisational task here could be: blending the matter of your body (or just your left side) with the one of the space around you.
Looking at things like intent, spacing, how much tension/muscularity is needed, and which quality of movements makes the phrases most successful in the context of the work.

In repertoire workshops we look at the phrases that construct the dances, before recreating the actual choreography. We examine their origination and go back to their initial form. Looking at things like intent, spacing, how much tension/muscularity is needed, and which quality of movements makes the phrases most successful in the context of the work. This un-layering and layering helps establish a thorough understanding of the required physicality as well as the subtext of each piece.

"Your spine moves inside your body, inside your ribcage, like your body moves through space."