My pedagogy
has been shaped by the teachings of Paulo Freire and Bell Hooks. I endeavor to create spaces that are free from judgement, open to experimentation, and where deeper examination is always invited to roost. As teaching is inherently political, we can neither offer nor receive information passively. We must engage in rigorous dialogue with our beliefs, desires, fears, thoughts, and actions. For If we are to believe in personal evolution then it must follow that who we are is in perpetual flux. Thus the maxim "know thyself" underlies my investigations as both artist and teacher as much as the pursuit of authentic communication and exchange.
My movement teachings are largely inspired by Butoh explorations and deep animal work. Together, these two complementary trainings speak to core issues I believe to be integral to the performative artist.
Butoh is a dance theater art form that emerged in Japan in the 1960s. Using the body as a field for corporal investigation and spiritual journey, Butoh practice can lead to deep, visceral, authentic expression. In letting the body "talk", we explore energy, presence, identity, time, space, and modes of authentic exchange. Through observance of nature, moving with the invisible, and harnessing the energy in words and images, we examine both material and immaterial world, test limits and borders, and reclaim the relationship between ourselves and the universal.
Both Butoh and animal work teach us how to transform physically and energetically, and to trust the body's unique sense of wisdom and means of expression. What results is a deep quality of presence, spontaneity, narrative, and exchange.
has been shaped by the teachings of Paulo Freire and Bell Hooks. I endeavor to create spaces that are free from judgement, open to experimentation, and where deeper examination is always invited to roost. As teaching is inherently political, we can neither offer nor receive information passively. We must engage in rigorous dialogue with our beliefs, desires, fears, thoughts, and actions. For If we are to believe in personal evolution then it must follow that who we are is in perpetual flux. Thus the maxim "know thyself" underlies my investigations as both artist and teacher as much as the pursuit of authentic communication and exchange.
My movement teachings are largely inspired by Butoh explorations and deep animal work. Together, these two complementary trainings speak to core issues I believe to be integral to the performative artist.
Butoh is a dance theater art form that emerged in Japan in the 1960s. Using the body as a field for corporal investigation and spiritual journey, Butoh practice can lead to deep, visceral, authentic expression. In letting the body "talk", we explore energy, presence, identity, time, space, and modes of authentic exchange. Through observance of nature, moving with the invisible, and harnessing the energy in words and images, we examine both material and immaterial world, test limits and borders, and reclaim the relationship between ourselves and the universal.
Both Butoh and animal work teach us how to transform physically and energetically, and to trust the body's unique sense of wisdom and means of expression. What results is a deep quality of presence, spontaneity, narrative, and exchange.
