Studio Laboratory

The crux of my creative process hinges on the dual principles of connectivity and transformation, shaping a rich tapestry where experiences and perceptions encountered in the choreographic journey are shared and interwoven.  The process involves layering research methods, forming strands that intertwine and interact with various elements, both “human” and “non-human,” harmoniously co-existing in the environment.

This process is distinctly characterized by the depth of my personal experiences, evoking the imagery of a web where threads stretch out to touch upon novel discoveries.  As Ingold vividly puts it, “The thing, however, is not just one thread but a certain gathering together of the threads of life” (Ingold, 2008: 10).  Collaborating with fellow dancers in the studio opened up a realm of artistic research activities, where we united, bringing our histories, physiological attributes, and psychological backgrounds to the floor.  It was during this collaborative exploration that we transcended our individual selves, reaching a state of “intersubjectivity,” a term coined in the domain of phenomenology to describe the phenomenon where the self extends towards others and the wider world, forging deeper connections (Fraleigh, 2000: 56).

Central to this work is the employment of a body-centered approach in crafting choreography.  Opening up this process to others creates a fertile ground where meanings can germinate, presenting the resultant work with unparalleled depth and texture.  The essence of this approach lies in the participation and the lived experiences it offers, integrating knowledge with the conscious embodiment of dance and movement.  This approach unfurls a richness within the art form, accommodating diverse systems and revealing previously concealed rationales.

Embracing dance-based practices unveils avenues to tap into bodily knowledge that remains elusive otherwise, an insight Leavy echoes when she notes, “Dance-based practices can access bodily knowledge that is otherwise out of reach” (Leavy, 2015: 156).  My choreographic methodology is a testimony to this, characterized by a dynamic cycle of forming, arranging, crafting, and reshaping, a continuous journey in the landscape of discovery.