RESEARCH

My current research falls into three categories: Scholarly, Creative (choreography), and Creative (performance)

Photo by Brooklyn Draper
SCHOLARLY: KINESIOLOGY, ANATOMY, & DANCE SCIENCE
 

I have a huge passion for kinesiology, anatomy, and dance science for dancers. I find it critical for a dancer’s education, understanding, and physical practice to be informed through the lens of kinesiology. I do research that encourages dancers to make more conscientious decisions regarding their training and performance careers. My interest resides in filling gaps in dance academia that can be supported through the research of anatomy and kinesiology. Dance science has the potential to be utilized as a support and anchor for many approaches in dance and it is a goal of mine to continue to research how dance science can assist in the understanding of movement, safe practice, and the integrating science and creativity.

 

 

SCHOLARLY: COLLABORATION
 
Since pursuing my MFA at the University of Utah, I have been researching the concepts that revolve around finding a more democratic approach within the rehearsal process and collaborating with my dancers. Researching concepts of empathy, accountability, power, control, individuality within a group, and effective communication.
Photo by MotionVivid

CREATIVE: CHOREOGRAPHY

 

My current choreographic research investigates how logic can be formed out of randomness through utilizing randomness in the choreographic process. Perhaps the outcomes of the things that we see occurring around us are complex, but maybe the laws concealed under them are quite simple. I am interested in how abstract entities are essentially irrelevant, but it is when they are placed into patterns that relationships and relevance occur.

Photo by Chang Liu
Photo by MotionVivid

CREATIVE: PERFORMANCE

My physical practice, which is ultimately embodied in performance, has been one my most intimate areas of research. Embodying diverse concepts, dynamics, and physical milestones have been a crucial portion of my career as a dancer who has worked with many choreographers. This practice also influences my research in dance science, collaboration, pedagogy, and choreography. Within the last two years, I have implemented Laban/Bartenieff principles into my physical practice. These principles have brought about a personal research into how Body, Effort, Shape, and Space can assist the many diverse physical and performative qualities that have been asked of me on stage.