dramaturgy

When given the opportunity, I will follow a creative process. When following a creative process in the role traditionally executed by dramaturges, I insist on being employed as a dancer, whether or not the labour I engage in is credited as dramaturgy. I come into this work with the capacities I’ve developed dancing and studying dancing.

I specialise in following research-based creative processes and creative processes that are either ongoing or else in those uncomfortable stages of development associated with uncertainty, and doubt. 

I specialise in working with bodily practices that are not yet codified, structured, or obviously valuable. I specialise in holding the space for the process so that value can be recognised by all involved beyond the frameworks of stereotype or that which is easily recognised as valuable. I specialise in moderating the space and time of/for communication, and aim at creating the conditions needed for all involved in the creative process to develop capacities necessary to recognise the depth of their own work, and then language (verb) their experience. I specialise in moderating the space for listening.

My aim is to see the communication between the performing artist and choreographer and director and rehearsal director complexify, diversify, and become more detailed. More specific. More successful. More affirmative of specific knowledges and subtle expertise. My aim is to see the relationship between performer artist and choreographer and director and rehearsal director become more consciously collaborative.

My work consists of witnessing, reporting, thinking with, and talking to; of engaging in conversation with the community, of engaging in conversations with individuals; of documenting (photography, drawing, poetic and analytical writing); of moderating, and/or messengering. My work changes with the specific needs of the group I am working with, and the conditions I am working under.