Re-entering “Coda”
In fall 2020, I collaborated with my students on an ensemble work, “Eight Ways In.” By the time that process
ChorEOgrapher. Scholar. Teacher.
My practices as a dancer, an artist-scholar, and a professor, are continuous with one another.
I make dances in western Massachusetts. I work with lineage, formalism, research, imagination, and companionship to create movement-based practices and performances. My pedagogy is informed by my training, residencies, and research – and especially by my students. I am devoted to the sensual, fleeting, perplexing nature of choreography.
Barbie has redefined rigor for me. In her class, it is not only defined by physical difficulty, she also pushes you to move with intention from within. In class she encourages her students to be deeply engaged in what works for them, telling us to “take only what you need.” The mental presence her class requires has challenged me to be curious and ask more of myself.
Barbie’s classes are structured so that each phrase builds on the one before it with a clear, traceable intention, and have helped me to develop technical proficiency in tandem with my autonomy. The expectation of effort in both thought and action is verbalized throughout the class, and over time has stimulated a habit of mindfulness in my practice. I wouldn’t be the creator and mover that I am today without her consistent presence.
I came to study with Barbie to explore all the different sensations and aesthetics I experienced while watching her choreography, but I truly stuck with her because she made my practice feel like home and yet she challenged me both physically and philosophically. Her classes allowed me room to explore what most interested me.
In fall 2020, I collaborated with my students on an ensemble work, “Eight Ways In.” By the time that process
What might happen to a dance after the final iteration? “Unfinishing” is an evolving improvised performance practice that reflects upon
