Repertory for Students
Semester-Long Processes and Guest Artist Residencies
Virtual, In-Person, and/or Hybrid
I make dances from scratch with the people in the room, I re-stage existing work, I work in-person, on Zoom, and in hybrid formats. I cultivate inclusive spaces in which I value each students' lived experiences, dance proclivities, and creative contributions. By establishing a language of trust and collaboration, students actively participate in their own growth, have a voice in the dance-making process, and develop a commitment to the work as if it is their own... a piece of them lives in the work and they can feel it.
Osmium Dreaming (2026)
Osmium Dreaming takes its name from osmium—the densest naturally occurring element—imagining the body as both weight and data, matter and signal. Moving between digital precision and animal impulse, the work builds a shared rhythmic field where densely layered group movement pulses, accumulates, and disperses, tracing the friction and entanglement between human bodies and the digital spaces they are compelled to inhabit.
(beginning/intermediate large ensemble)
Music: Michael Wall
West Chester University
Sweet Fire IV (2026)
SUNY Brockport, West Chester University, Bryn Mawr College
Sweet Fire has been performed by six different casts over the last decade. Each dancer contributes their own movement to aspects of the work, which means that, with every re-staging, fragments of the work’s past remain. Through this long-term iterative process, Sweet Fire has transformed alongside my own life over the years. To honor the past and the cyclical nature of return, traces of every dancer who has performed the work live within each iteration. (intermediate-advanced level, quartet)
Music: Dark Wood and Bell Orchestra
Desert Flower (2024)
Drexel University, Dance Department
Desert Flower is a percussive piece performed in sneakers; it begins in silence, and concludes in a heart-pounding rhythm. The movement aesthetic proposes virtuosity in the mundane and complexity in the everyday with complicated walking patterns, varied and layered movement rhythms in the absence of a musical meter, co-existing happenings on stage, body percussion, spoken counting, movement that brings dancers in and out of the floor and partnering, all culminating in a fleeting moment of synchronicity. I consider this dance an ultimate learning tool of post-modern dance aesthetics all the while providing dance students the satisfaction of contemporary athletic movement. The physical and mental rigor of the piece requires students to tap into their own means of survival due to the endurance demands of the movement and unconventional counting patterns.
Are You My Mother (2019)
SUNY Brockport, (Loyola Marymount University canceled due to Covid)
This work references the popular children's book with a playful relationship to time and sound, as well with a child-like sense of delight and surprise. Where the imagined becomes real, a bricolage narrative portrays a dream-like chronology. This requires great commitment from the dancers-- the ability to tap into an improvisational presence to make the imagined real, as well as an ability to embody the changing rhythms of the movement.
(advanced level, quartet)
Music: Dave Brubeck and Paul Lansky
We'll Keep On (2022)
Bryn Mawr College
"We'll Keep On," is a group work performed to Queen's Somebody To Love that captures perpetual motion as a form of resilience and persistence in movement and in metaphor. The motivation of the sound drives dancers to keep on, and speaks to the human necessity for hope, love, and connection.
(intermediate level, large ensemble)
Music: Queen
Nowhereland (2018)
SUNY Brockport
A fractured sense of ensemble among the simultaneity of multiple, mini-worlds... This dance exists neither here nor there, and has a strange-ness in it's sense of place. The work was created out of the assumption that every student in the room brings something valuable, interesting, and beautiful. I aimed to feature every student equitably throughout the piece, hear from each student throughout the process, and invite everyone in to the creative conversation.
(intermediate level, large ensemble)
Music: Adam Crawley (djplie.com) and Andy Hasenpflug