MAGENTA: A MOVEMENT
My favorite color is magenta. Magenta is not quite red, but not quite purple or pink either. In that way, it can be seen as struggling. Yet, magenta is unabashedly a blazing color, full of passion and impulse. In this way, I hope my work to be something like magenta, hovering in a space unknown, undefined, and brimming with intensity.
I choreograph because it is the way I speak to the world, and it is a way that I can push others to speak as well. One of my biggest joys in choreography is the opportunity to transform a dancer into someone different than who she or he thinks they can be. I absolutely delight in pushing, prodding, bumping, and throwing my dancers through space, until they reach a place where they previously were not. Watching dancers grow through a creation of a piece is almost as great a joy as the piece itself.
I seek movement that is not always pretty; it may be uncomfortable, odd even. I urge my dancers to create from a weighted pelvis, from a place of impulse and enlivenment, and from there we discover what pieces will fit when and where, which motifs to expand and which to throw away.
Every project I have done has its roots in text. Whether the text came first or the idea came first has rotated, but nonetheless, using text as a form for movement generation has remained constant. I research quotations with key words in them, and amass a hefty collection to present to my dancers to generate movement. This way, although they may choose different quotes, they are all connected by key words or ideas, therefore connecting everyone to the main theme. My favorite thing about my work is the process and collaboration. I feed off of the ideas of others, and I love that choreography is a genre that allows me to do that unapologetically.
In my work, I often like to use a point person and then supplement them with a supporting group. Subconsciously, I often think of that person as myself, and therefore, every dance has a very personal part of me in it. My choreography reflects my experiences as a Jewish young woman in America, my time spent in Israel, and the clash of cultures. My work is also influenced largely by my childhood experiences, as a child of divorce living in two worlds. Perhaps most importantly, my work is reflective of how I see the world, and sometimes, how I wish the world could be. Now you see what I mean about magenta; how it is a delightfully vivid color, yet still trying to discover exactly where it stands.
AND YOU ARE?
And You Are? explores the intricate complexities of family dynamics. In distinct couplings, each dancer navigates through intense repetition, frustration, freedom, and collapse, as they discover who is standing in front of them. With the sounds of thunder and rain reverberating during the first half of the work, the audience is tasked with discovering the relationship between each pairing, hearing the dancers breath, slide, and run together. The second half is set to the heart-pounding music of Explosions in the Sky, allowing the audience and dancers to sense their adrenaline, and question whether timeworn patterns can indeed be changed.
Created in collaboration with Shaelyn Casey, Jennifer Coviello, Michaela Feinberg, Olivia Garcia, Tim Janovsky, Catherine Ward, and Abigail Dodds
ALL AT ONCE REWIND
Created in collaboration with Emily Ancona, Shaelyn Casey, Janine Clark, Jennifer Coviello, Kyra Kramer, Megan Lawrence, Madeline Ricca, Lindsey Woytowich, and Emma Whittum
Created in collaboration with Janine Clark, Michaela Feinberg, Ellie Gorham, Megan Lawrence, Winfield Maben, Madeline Ricca, Kaileigh Underwood, and Lindsey Woytowich