Research Catalogue

Initiated by Christopher Kelly, interwoven: ADHD and the Creative Mind explores one's coming to terns with being diagnosed with ADHD in adulthood by means of crocheting, and dancing.

My working hypothesis for the history project (working title) states that "the standard narrative timeline" is a work of fiction which–it being historically inaccurate–requires effort to maintain. "The standard narrative timeline" is what I call that version of dance history that all professionals trained in dance in the West will be somewhat familiar with. This version of dance history says that through selective criticism of existing standards modern dance developed "from" ballet, postmodern dance developed "from" modern dance, etc.

In the summer of 2022, I will be hosting one of the two IDOCDE residencies adjacent to the 10th IDOCDE symposium entitled The Rest of Art, A Manifesto. As I begun reading about walking and dreaming about walking, a desire emerged–to complement the practice by documenting the experience. Documenting–writing, photographing, note taking–the experience of documenting feels like dream-catching.

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TRÄD is an intra-active work continually re-created by Cristina Caprioli and collaborators. of all the work i've embodied, performed, TRÄD is the work I performed the most. coming back to TRÄD between FEB 23 and APR 15, 2022, is meaningful not only because this the first time I will take to "the stage" since the outbreak of the pandemic. coming back to TRÄD is meaningful because it includes a coming back.

these pictures and words document reflections on the placement of the gaze in dancing. the writing and the photographing is ongoing.

this poem is written in or with licence plates.

“anti-anticipatory aesthetic” names the experimental creative strategy that functions according to a principle similar to “act first, deduct later,” which–in itself–is an homage-of-sorts to Deborah Hay’s choreographic strategy “shoot, then aim.” the aim of “anti-anticipatory aesthetic” is to put observation at the centre of the creative process instead of anticipation.

My research revolves around the questions: what is the difference between theoretical knowledge and bodily knowledge and what is the physical consequence to knowing? My interest lies in articulating study as a quintessentially physical practice and asking in which way would the institution need to structurally reorganise to organise around the experience of study (Bonnie 1994), instead of study as defined by documented intellectual accomplishment? I have come to understand dancers' obedience as integral to the economy and the politic of dance study and dance making. I am looking at how obedience relates to silence, and why a dancer who can afford to learn how not to be silent myst be seen as a threat too the economic, political, and social alignment of neoliberal capitalism.