description
Obsessed with movement exploration at SNDO but wary of the normative and “natural” formulations often associated with somatic practices. Through a daily studio practice, influenced by Gonnie Heggen, Frans Poelstra, and years of working one-on-one with the artist and irreverent dance witch Yvonne Meyer in my living room at Chez Bushwick—a live-work dance loft in Brooklyn I began to develop a process called Articulating Disorientation: a deconstructive approach to somatic forms like Ideokinesis, Skinner Releasing, and Authentic Movement.
The term Authentic Movement is difficult for me. I prefer Dancing with Your Eyes Closed. Authenticity is no good for queers, but it’s great for handbags!
Articulating Disorientation places a queer perspective on sites of normalization and “productivity enhancement” by using the virtuosic and transformative capacities of somatic practices to render queer agency through the simultaneous surrender to and command of impulse via body scanning. AD systematically navigates “all available means” to surrender control of the physical, emotional, and normative behavioral body, while scanning, directing, and deconstructing experience through the hyper-specificity of impulse/response.
It is a practice of letting impulses, images, sensations, and anatomic frames (real or not) move the body. Simply put, the practice assists dancers in finding their dance—according to their own bodies, and on their own terms. No essentialism required.
The term Authentic Movement is difficult for me. I prefer Dancing with Your Eyes Closed. Authenticity is no good for queers, but it’s great for handbags!
Articulating Disorientation places a queer perspective on sites of normalization and “productivity enhancement” by using the virtuosic and transformative capacities of somatic practices to render queer agency through the simultaneous surrender to and command of impulse via body scanning. AD systematically navigates “all available means” to surrender control of the physical, emotional, and normative behavioral body, while scanning, directing, and deconstructing experience through the hyper-specificity of impulse/response.
It is a practice of letting impulses, images, sensations, and anatomic frames (real or not) move the body. Simply put, the practice assists dancers in finding their dance—according to their own bodies, and on their own terms. No essentialism required.