I approach dance making as an act of synthesizing ideas. The process may take one (or multiple) of many paths depending on variables such as amount of dancers, amount
of resources, type of idea, intention of product, or type of audience. Or I may say to hell with it and not worry about any of these.
No matter the route, the process always acts as a funneling device for the ideas – many are put in at the top, spun around through choreographic research, and drop out the bottom as distilled, refined and concentrated solutions. Sometimes it is more like a tornado, where the funnel cloud picks up what is in the atmosphere, and then touches down to earth with a dramatic arrival.
I subscribe to the principle that simplicity reveals interlaying complexity, and vice versa. I find myself paring away, streamlining, and removing the frivolous and superfluous.
The resulting experience is a clearly designed space full of sensuous materials: bodies meeting light, sound, objects and other bodies.
The human body, or a body of human bodies, is the acting agent for the process and the product. The tissues, organs, and spirit of the body move through different methods to analyze, connect, and transform ideas into dances that simultaneously reach out to the viewer while the viewer reaches in. At this point, bodies are meeting bodies via the dance, and new ideas are born.