Screen Dance

Screen Dance is another form of choreography that I feel drawn to. Screen Dance transcends mere performance. It becomes a visual symphony, where bodies tell stories shaped by framing dancers in a way that allows the viewer only see what you want. At the heart of my dance films is a commitment to tenderness. Rather than relying on grand gestures or spectacle, I often focus on the quiet, delicate moments that reveal the true depth of human interaction. A soft touch, a glance, a gesture that communicates intimacy. My choreography for film embraces these nuances, allowing the dancers to express emotion in a way that feels immediate and real. Every movement is imbued with meaning, whether it's the gentle brush of a hand across the skin or the weight of a body leaning into another, seeking comfort or reassurance. I hope that my dance films are more than just visual representations of choreography; they are meditations on life, explorations of how we move through the world and how we relate to each other. Through my work, I hope to invite viewers to step into a space where emotion is tangible, where tenderness is both a language and a healing force, and where the human condition is understood not just through thought but through the movement of the body and angles of the camera.

CHOREOGRAPHY

My choreography is deeply rooted in research, stemming from a seed of exploration that seeks to understand the connections between time, place, community, and origin. With a background in anthropology, I approach movement and creation as a way to investigate the complex relational structures that shape our identities, cultures, and experiences. Every piece I create is an investigation—an inquiry into how we relate to each other, to the environment, and to the past and present.

In each rehearsal process, my primary focus is to forge a genuine connection with the dancers in the space. I strive to cultivate a collaborative atmosphere where their ideas, interpretations, and personal perspectives are integral to the work. I believe that choreography is a dialogue—not a directive—so I work closely with the dancers to shape and redefine movement phrases, adapting them in real-time to the unique energy of the group. This collaboration is not only about physical movement but also about a shared investigation into the meaning of the piece, its emotional depth, and its narrative framework.

Gesture plays a significant role in my process, as I am drawn to the subtlety and power of movement. I manipulate phrases and explore variations in their execution, constantly investigating the nuances of how a gesture can carry meaning and emotion. The interplay of proximity and distance in relation to the audience is also an essential component of my work, influencing the experience of the performance. I consider how physical closeness or distance can create tension, intimacy, or alienation, and how this dynamic can shape the relationship between the dancers and the audience.

Nature and geography provide rich sources of imagery in my choreography. I often draw inspiration from the natural world—its patterns, rhythms, textures, and landscapes—allowing these elements to inform both the aesthetic and conceptual layers of the work. The shapes and forms found in nature, whether in the curvature of a tree branch, the texture of a stone, or the flow of water, deeply influence how I approach movement and composition. This exploration of organic and structural forms provides a sense of grounding, but also a fluidity that allows for ongoing transformation and adaptation throughout the creative process.

Ultimately, my choreography is an ongoing conversation between research, collaboration, and the discovery of new ways to connect, communicate, and understand. Through gesture, shape, and imagery, I seek to create work that is not only a reflection of the dancers’ bodies, but also a reflection of the intricate, ever-evolving relationships between people, places, and histories.