Movement Class
This movement class will develop from simple skeletal mobility sequences to full-out movement forms. Emphasis will be placed on the joints, examining how their range of motion relates to alignment, support, weight, pathway and qualitative detail in the course of movement. We will consider the inherent lines in the body's anatomy as the basis for movement material in a full range, from neutral to provocative.

An Eco-poetic Approach to Dance Improvisation and Performance
This is a movement workshop that focuses on the development of our poetic sensibilities in conjunction with our capacities to attune to the nested ecological worlds we live in. My approach is based upon the interweaving of technical training with perceptual training and aesthetic research. I view composition and performance as ecologically rooted acts. Movement, culture, politics, stories, images and gestures are imbedded in the relationships that are evolving all around us. Come ready to dance, perceive, perform and imagine.

Queer Choreographies: Whatever the F?ck That Means. A decomposition workshop
There's a resurgence of performance that identifies as "queer." What does it actually mean? What are the contexts that invite artists to use this word again, which stands in for otherness, anti-nuclear family aspirations, failure vs. capitalism, an aesthetic, inclusion and radical politics, and the foregrounding of sexuality or gender identity issues? These definitions as well as ideas from queer theorists such as J. Halberstam, Jose MuÃħoz and Lee Edelman will frame our explorations.

Your Dance - Your Technique
Each session will be organized around a point or points of technical research. These explorations range from functional anatomy ("How is the spine centered in the body and how does this create release, direction and support for movement?") to observations about states of awareness ("How does our inner eye direct and work with our perceptions outward?").We will use shared hands-on information, exploratory exercises, and improvisation to develop personal relationships to our research. Individuals will be encouraged to apply these technical discoveries to their own deep, passionate, physical movement, and to enrich and expand their personal vocabularies through them.

Horizons
Learn a warm-up choreography designed to enhance visual focus, hand-eye coordination, articulation of hands and feet, freedom of the spine, and the dancer's own phrasing. In addition this sequence can be used as a physical and mental and physical preparation for performance.

before we know: Approaches to Creative Practice, Choreography and Performance
This is a laboratory for cultivating a daily creative practice that can support our questions as potential proposals for action. Accepting not-knowing as a generative state, we'll hone our responsiveness to materials as they emerge. We'll fluidly develop strategies for immersion in and reflection of the structures inherent to these materials by moving, writing, drawing, scoring, directing, watching, showing, sharing, discussing and listening. We'll generate then reconsider, translate then reinterpret: action, image, content and context through daily performance. At the core, our work is the willingness to think/move/imagine in unanticipated directions.

Movement Practice
The class will begin with an anatomy-focused warm-up drawn from both traditional and recent techniques, aiming to align and re-pattern the energy flow in the body in order to find support from the floor and our connection into space. We will begin with simple movements, improvisation scores, exercises and sequences gradually building in complexity. We will learn movement material, some from Jasperse's work and some created for these explorations. Our goal will be to integrate energetic patterning explored in the first portion of class and to play with different manners of experiencing and embodying the choreographic material.

Moving From Touch
In these classes, we will look at the body and movement, drawing on principles from mindful physical practices such as the Alexander Technique, Ideokinesis, and Anatomical Release Technique. Slow sensory investigations, utilizing observation, directed touch and imagery, will allow each participant to clarify their understanding of their unique physical structure and patterns of moving. This will lead into full-bodied dancing where new embodied awareness and insight can be applied within improvisational tasks. Our aim will be to contact an integrated openness and buoyant suppleness that generates fluid and easeful dancing.

Doing It
What is your first impulse? Can you trust it? What happens when the judge falls asleep? Can sight be a handicap? Can you know too much? This is a workshop about Composition.