Because You Move Me was created with SDSU students in 2022/23. That Spring, just as the structure of the dance was emerging, our building closed down for remediation because Legionnaire’s Disease was found in a laboratory. We worked in tiny studios in the basement of the Music building and sometimes outside on the grass. This performance
Portal is a transborder dance experiment born on Zoom during the pandemic, continuing IRL on both sides of the US-Mexico border. It’s a study of paradox through the embodiment of crossfades—a spacetime where dancing bodies serve as the only sites/processes dynamic enough to host both binaries and continua as part of the same unfolding. The
“So many influences, so little time.” —Melinda Buckwalter This is a series of dances with Hazel Bee Humphrey and me. Emergent and evolving, techniques seem to include the kinds of timing, touch, and togetherness we’ve learned from LIVE practice, contact improvisation, and dramas, both everyday ones and those that drive the epic performances of our
I brought SDSU’s University Dance Company through some of the dancemaking processes Eric and I worked with for Feeling. We savored, expressed, and sometimes exaggerated the feeling states induced by different sources like drama (in many forms), camp, and epic songs, dances, and performances. This dance is my favorite of all the dances I’ve made
Directed and performed by Jess Humphrey and Eric Geiger with Chloë Freeman, Zack King, Nhu Nguyen, and Dimitrius Paganos Koukakis. Feeling was born of research on the embodied nature of emotions and now feeds on music and dramas, both durational and enduring. Concept and contributions by Toni James. Click here for Feeling sources which include drama, divas, affective neuroscience, camp, soul,
We (me, Leslie Seiters, and Eric Geiger) each wrote abstracts (below) on shaking, touching, and queering, respectively, and applied to present them in a themed formal session at the Arts Practice Research: Scholarship, Pedagogy, and the Creative Process presented by Texas Tech University College of Visual and Performing Arts, the TTU School of Music and
Behold, follow, leave, or find any dancer or dance you wish throughout this site-sensitive performance. Like in everyday life, you can’t see it all. Leslie Seiters and I mentored four student researchers, supported by San Diego State University’s Summer Undergraduate Research Program. We remained in close communication about our shared research in dancemaking while Leslie
The unison section in Bigmouth Strikes Again is not logical. It isn’t really “feel good” dancing. What comes next was not often what our bodies wanted to do, and we played with that in many ways. lush is the rebound from that dancing. It’s also: because I want to learn more about the kind of dancing
Below is a short video of excerpts from our premiere in November 2013. And this is from our first rehearsal…still the heart of the piece for me. The score was just “mouth”. Mouth began as an embodied exploration of the functional and figurative possibilities of human mouths. Through improvisation, set material, and performance, we have
Here is the unedited list of ideas and questions* that inspired each of us to engage in this endeavor. It comes from the original email I sent to the cast: 1. exploration of “expression” through Laban, postmodern dance, and Somatics lenses in an attempt to continue the evolution of what that word means in the performing arts. 2. release
Entering Now (2007) was my thesis concert at the University of Utah. It was a shared evening with Shannon Mockli. A few ideas I was working with at the time: Scores and set material within the same work to learn more about how ways of being in performance changed as dancers shifted between the minds
