My writing practice is intricately connected to my choreographic practice. Language, especially spoken language, is woven into much of my performance work. This is often scripted, and always planned and structured as an integral part of the “dance”. In my process, language also plays a critical role in developing scores, ideas and performance practices.
I also create writing that exists independent of my dance work, though it is still deeply informed by it. I am interested in blurring the boundaries between fiction and non-fiction, between theory and practice, and between linear and nonlinear narratives and constructions. I am interested in using language to point out the obvious or perhaps the unseen, to call out and make visible the things that we tend to marginalize, and to think of language as an extension of the body – to consider its corporeality.
Much of my writing finds itself in my work but I have also written about the dance field in general. Additionally, I was one of the founding co-editors of Critical Correspondence, for over four years, and have written several pieces for art and academic-centered publications.