Kamilla Kinnard and Catalina Cabal in Fountain at Figure One Gallery, Champaign, IL. Photo by Armando
Fountain (2013): choreographed in collaboration with the performers, Catalina Cabal and Kamilla Kinard.
This dance pays homage to the effect two bodies have on one another in shared spaces. When I witness a person move, I am pulled and pushed around by the force of it. The initial image that started this duet came from watching children play in a water fountain park. In the spray that filled a small concrete circle, social rules shifted and changed. Sensuality and somatic experimentation reigned. The original image is not visible but nested inside the dance. Mostly, we have been accumulating an energetic vocabulary for moving together, asking if choreography can be a forum for continual renegotiation of choices and authorship.
Videography: Rhea Speights
This dance pays homage to the effect two bodies have on one another in shared spaces. When I witness a person move, I am pulled and pushed around by the force of it. The initial image that started this duet came from watching children play in a water fountain park. In the spray that filled a small concrete circle, social rules shifted and changed. Sensuality and somatic experimentation reigned. The original image is not visible but nested inside the dance. Mostly, we have been accumulating an energetic vocabulary for moving together, asking if choreography can be a forum for continual renegotiation of choices and authorship.
Videography: Rhea Speights
Untitled Duet (2014): Choreographed and performed with Angie Pittman at Figure One Gallery, Champaign, IL, in May, 2014.
This is a danced conversation with experimental film, namely Stan Brakhage. As choreographers, how do we layer images, switch our focus, evoke background, foreground, and play with visual rhythms that film editing can produce? Oh yeah, and, dance is not flat. It’s visual and kinesthetic and complicated. We have jumped in and are following a stream.
This is a danced conversation with experimental film, namely Stan Brakhage. As choreographers, how do we layer images, switch our focus, evoke background, foreground, and play with visual rhythms that film editing can produce? Oh yeah, and, dance is not flat. It’s visual and kinesthetic and complicated. We have jumped in and are following a stream.
Show Man (2013). This solo began from an image-memory of being a teenage girl watching hard-core male musicians in the 90’s. This opened up an alternative physicality that I don’t identify as “mine”—although it is definitely part of a personal and idiosyncratic fantasy. Working through this “me and not me” body yielded results that I would like to pull apart and develop further.