From time to time, I find myself intrigued by a snail’s tentacles wiggling, a coral reef’s hyperbolic structure, a slime mold’s porous and morphing presence, and a diatom finding habitat on plastisphere; and fascinated with indigenous folk culture and nonhuman world where co-presence, response-ability, and intra-active agency are embodied in their dailiness of being and living. How can dance afford us to attune to a subtle yet wondrous scale inclusive of different beings and things alongside us, participating in their shimmering, wiggling, and murmuring?

Experimenting at the intersection of dance, ecology, and technology, I am exploring dance-making as a way of noticing, re-imagining, breathing into, and enlivening those space and pace that fall outside of, in-between, or at the fringe of our society’s normatively circumscribed orientations and temporalities. I seek to create visceral and vulnerable encounters, where different bodies, materials, and technology co-compose emerging and evolving mesh of relationships, where one relates to another in one’s own various and varying states of embodiment, moving-moved, and touching-touched by another in the dailiness as well as in moments of instability, disorientation, and fragmentation. 

Somatic methods are integral to my process. Via foregrounding sensing, relating, and tuning, I want to explore somatic scores that create conditions for tactile attention and deep listening, to notice and move with the minor pacings, unmooring sentiments, and feral perceptions, at the speed of curiosity, care, and trust. I also want to delve into indigenous worldviews and more-than-human ways of being and knowing which hints at interdependent relationships, odd kinships, and alternative modes of being and moving together.