UNIVERSITY TEACHING
I passionately teach dance, movement research, choreography, design, scenic design, costume design, directing, and technical theatre. I teach in the university system and I offer independent workshops and regular open, drop-in classes. Some descriptions are below.
I am always available for PRIVATE AND SMALL GROUP SESSIONS - by appointment ([email protected])
All upcoming events and classes are listed on the CALENDAR.
All upcoming events and classes are listed on the CALENDAR.
CHOREOGRAPHY & DESIGN
Developing a new work is a process of love that is endlessly rewarding to me. I am enchanted by visceral and fierce kinetic expressions, by spaces that offer transformation, and by materials that resonate within the characters and the story. I love for the space/set design to leave room for the players, so that intricately interwoven relationships and strong personalities can develop and merge with the environment, the lighting, the sound and the costumes to something intimately connected and meaningful. As dancers/choreographers we have an impact on our society and I emphasize the importance that our work bears, not only on individual and private lives, but on our society. Dance is an influential tool as it facilitates a platform for intelligent, emotional and critical exchange and learning, as well as the development of complex social networks. I am a detail-oriented, investigative and philosophical director, basing my work on a search for uncovering layers of the subconscious. Intellect and instinct are at work in equal measure, an ongoing exchange between creativity and analysis. Exploring the precipices of human emotion, I am drawn to friction, confrontation and vulnerability. I do not fear beauty. I avoid illustration. I crave a deep look into the soul of a work and I need absolute honesty within each work. With that, art can change our hearts.
I am interested in visceral and kinetic voices that trace the changeable electricity of thought and sensation that underlies human interaction and interpersonal relationships. My work is athletic and detail oriented and so are my classes. I teach choreography as a complex arrangement of options which are identified as located somewhere in between the visual arrangement of energetic lines created by bodies in space and the underlying motivations/expression, hence: the psychology of movement. We study body language and interpretation skills. My emphasis lies on the exploration of honest, real expression and interaction.
Developing a new work is a process of love that is endlessly rewarding to me. I am enchanted by visceral and fierce kinetic expressions, by spaces that offer transformation, and by materials that resonate within the characters and the story. I love for the space/set design to leave room for the players, so that intricately interwoven relationships and strong personalities can develop and merge with the environment, the lighting, the sound and the costumes to something intimately connected and meaningful. As dancers/choreographers we have an impact on our society and I emphasize the importance that our work bears, not only on individual and private lives, but on our society. Dance is an influential tool as it facilitates a platform for intelligent, emotional and critical exchange and learning, as well as the development of complex social networks. I am a detail-oriented, investigative and philosophical director, basing my work on a search for uncovering layers of the subconscious. Intellect and instinct are at work in equal measure, an ongoing exchange between creativity and analysis. Exploring the precipices of human emotion, I am drawn to friction, confrontation and vulnerability. I do not fear beauty. I avoid illustration. I crave a deep look into the soul of a work and I need absolute honesty within each work. With that, art can change our hearts.
I am interested in visceral and kinetic voices that trace the changeable electricity of thought and sensation that underlies human interaction and interpersonal relationships. My work is athletic and detail oriented and so are my classes. I teach choreography as a complex arrangement of options which are identified as located somewhere in between the visual arrangement of energetic lines created by bodies in space and the underlying motivations/expression, hence: the psychology of movement. We study body language and interpretation skills. My emphasis lies on the exploration of honest, real expression and interaction.
CHOREOGRAPHY I am a detail-oriented, investigative and philosophical choreographer, basing my classes on a search for uncovering layers of the subconscious to be assembled into works that satisfy the complexity of our human experience. Intellect and instinct are at work in equal measure, and an ongoing exchange between creativity and analysis takes place in a supportive and honest group or partner setting. We will pursue the creation of works from a starting point of authenticity, a concept we will discuss and critically investigate. We direct our focus onto the channeling of visceral and kinetic voices that trace the changeable electricity of thought and sensation that underlies human interaction and interpersonal relationships. We study body language and interpretation skills. We develop thinking methods for the aspiring choreographer to find a direct connection to his or her inner motivation and to channel fragmented ideas into a coherent form that is understood by the audience on multiple levels. We analyze and apply a number of choreographic tools, such as theme and variation, improvisation, sub texting, script/character analysis, story-boarding and many others to support each participants unique needs.. Location and times will be announced on the event calendar. Fee: free/by donation |
SCENIC AND COSTUME DESIGN Design classes consist of play analysis, concept development, discussing and experiencing collaborative strategies, building models to scale, drawing storybooks, making budgets, establishing scene change tables, setting each scene of the play within the model and taking photos to create storybooks and portfolios, creating multi-view drawings, and layouts for construction. Different genres are discussed and explored in hands-on projects. Education should consist of real-world projects with performances and audiences. I encourage cross-disciplinary hands-on experiences to support communication between the various on and off-stage fields that are involved in professional productions and often struggle to convey their visions or logistical possibilities to the other. Scene Design is another voice in a play/piece. It is an important and powerful tool. The scene sets the environment that the actors/dancers exist within, it is a work of art, a metaphor, a translation, a visual and haptic expression of the play's soul. The set is not an illustration, but a psychological rendering of a state of mind and part of the message that the choreographer/director seeks to convey. Lighting and costumes are important parts of this process. We spend a lot of time discussing the purpose and impact of each element. |
UNIVERSITY COURSES
As an artist scholar I offer classes in dance, design, technical theatre, and areas related to Performance Studies. Wherever possible I integrate embodied ways of knowing and researching with theory in my courses. Over the past 6 years, while a PhD student and candidate at UC Davis, CA, I have held teacher, teaching assistant, and reader positions in
As an artist scholar I offer classes in dance, design, technical theatre, and areas related to Performance Studies. Wherever possible I integrate embodied ways of knowing and researching with theory in my courses. Over the past 6 years, while a PhD student and candidate at UC Davis, CA, I have held teacher, teaching assistant, and reader positions in
- Theatre & Dance Department (DRA - Dance Technique, Movement Research, Choreography, technical Theatre, Costume Design, Woodshop),
- Design (DES - Intro to Design, Typography, Functional Apparel Design),
- Film and Media Studies (FMS - Film Theory, Media Subcultures),
- History (HIS - Travel & The Modern World),
- Communication (COMM - Travel & The Modern World),
- African American Studies (AAS - Afro Brasilian Dance & Culture),
- Techno-Cultural Studies (TCS - Intro to Documentary Film),
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LIST OF UNIVERSITY TEACHING EXPERIENCE 2014-current:
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At the high school, college and professional level I teach movement for actors.
We explore body language and find intersections of pedestrian actions and dance. We develop this from an inner process that reflects on the character development in acting and plays with finding original movement to express ourselves non-verbally.
We explore body language and find intersections of pedestrian actions and dance. We develop this from an inner process that reflects on the character development in acting and plays with finding original movement to express ourselves non-verbally.
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UNIVERSITY COURSES
Contemporary/Post Modern Dance (DRA 40A and DRA 40B at UC Davis) A BII approach |
Class begins with addressing neural conductivity and warming up the musculo skeleptal and fascial web through oscillating motion and gentle all-directional explorations. Receptors in the surface anatomy and in the muscles are stimulated by touch, breath and movement. Fascial adhesions are gently released, focusing on introducing mobility in all joints of the body by moving through moderate range of motion and multi-directional orientation as appropriate to each joint. The dancer gains increased kinetic awareness and speed of reaction.
The mechanics of entering and leaving the ground, energy efficiency and using the fascial web for propulsion and feedback, the generation, maintenance and transmission of kinetic energy, as well as individuality, performance quality and dancing in tandem with others are some of the key elements I address in any given dance class. I use both set exercises as well as improvisation in order to deepen the understanding of movement principles. With proper attention to detail we dissect phrases into their individual components analyzing the demands, challenges and opportunities for efficient and structurally sound use of the body's components, paving the way for athletic and fast work across, as well as in and out of the floor. Tuning our listening and response tools we explore phrases that are organic, spiraling, undulating, multi-directional, and fluid, using inversions and work with a partner. The movement language is specific and chronological, fluid and powerful, which is achieved by finding organic ways to generate kinetic energy and maintaining and channeling this energy through the body's natural pathways by maintaining the greatest structural support value in the participating articular structures. |
