My choreographic praxis implements faux contemporary dance, eco-drag, improvisation and I am often giving my body what I need as I move.
I am currently busy honing a practice called EDGING.
It is an omnipresent and omnipotent choreographic score that extends and spills itself (like a Mobius Strip palimpsest) beyond the containers of a performance site. This practice reveals the hidden potency of the tongue and heart unified, where it is safe to speak one’s truth and feasible to unapologetically give oneself permission to __________.
This practice involves bodies moving, congregating, galvanizing, sweating, making love, and embodying cellular and social change. EDGING activates itself through the power of our desires and reveals what is possible when we stop apologizing for our existence.
Who taught you to hide your potency?
What happens when you acknowledge your shame and resistance with compassion?
There are no right or wrong answers here.
Whatever you say will open and close an infinite number of doors.
The presence and power of creativity lies in what gets transmitted from heart to heart, subtly, imperceptibly, at first.
What am I overlooking?
What do I need to acknowledge?
I thought that it would never be possible to love again and here I am, falling in love with something bigger than myself.
EDGING oscillates between opacity, transparency, and invisibility by creating vectors of desire that moves my body across geographies until I’m home again. I wait for the resonance of the FULL BODY YES and then become still again.
The practice of EDGING becomes circumscribed by other practices: WANDERING, ACCUMULATION, INHABITING PARADOX, PRESENCE-ING/VOICE-ING, BURROWING, SIMMERING that allow the choreographic scores that I orchestrate to become layered, like an archaeological excavation site except it is my body, our bodies, that become the mediums for transmutation.
This is how I engender choreographic constellations of care.
Because the future is now.
I am here to get to know the one who sees through me, my Spirit, an amalgamation of all that has come before and has yet to materialize. This is my primary collaborator.
Because the future is now.
No more hiding.
No more holding back.
Radical Softening. (x3)
Because the future is now.
The more subtle, the better.
I am a queer, AfroIndigenous choreographer, performance artist, healer, and Cosmic Energetic Orchestrator of an ecosystem called The Cosmic Angels / The School(s) of Tenderness. Infrastructurally, this vision implements a web of annual programming that includes: healing-based artist residencies, retreats, performative encuentrxs, 1:1 mentorship, grief rituals, somatic and erotic trainings. The vision will be international, intergenerational, and transdisciplinary in scope.
Each hub site will be its own architectural design project that will consist of a queer club, healing center, ritualistic performance venue, innovation incubator, and farm. This vision will borrow from the organizational structure of beehives and rhizomes, studying their organic composition to support me with designing regenerative and sustainable blueprints. The multiplicity and plasticity embedded within the vision’s architectural functionality seeks to reflect and honor the ways Black, Indigenous, Queer, Trans (BIQTPOC) folks are constantly in process, creating portals for manifesting a more equitable, Divinely Feminine, future.
My choreographic platform includes the creation of 25+ solo and collaborative performances (since 2010) and socially engaged projects, which has granted me the ability to devise this vision and weave together an intimate network of BIQTPOC collaborators, partners, and mentors between Europe, The Americas, and beyond.
question what is at stake
contemplate on how you are implicated
soften towards porosity whilst setting firm boundaries
tune into vibration to dissolve the frequencies that are no longer needed
demand accountability and justice for ALL
find ways to channel the anger and rage
inhabit paradox as methodology for creation
prayer as methodology for manifestation
speculate on the limitations and strengths of performance, performing, performativity
say YES to bodies as flesh, as cared for, as interdependent
decentralize yourself whilst remembering your sovereignty
flirt with discomfort
disrupt dichotomous thinking
Every action is a choreographic act and all things, material and immaterial, have a consciousness to them. We are all constituted of the same stardust-matter. Fires coalesce into gray ash, water erodes stones into molecular gems, wind aids with cross-pollination; everything is in a constant state of perpetual dissolution. Energy simply knows how, when, and where to pass through. These truths give me hope that choreographic kinetics are a valuable tool for reconfiguring our world and it is through playful rigor, paradoxical encounters, and alternative structures of intimacy that my work unfolds.
Imagine a world in which we all have we we need to thrive and express our full creative desires abundantly. I no longer wish to fall victim to the scarcity mentality that often permeates this field and instead invite cascading waterfalls to flow through me.
Ecology as relating to trauma, living archives, alternative economies, BIQTPOC-ness, phenomenology, sex-intimacy-pleasure, Spirit, ancestry, healing, positionalities, borders.
Choreographic Excavation that uses movement, duration, repetition, site-specificity, Tarot, boredom as generative state, wandering, cooking, alchemy, empathy, fecundity & fermentation, the underground, rhizomaticity & plasticity of memory, cartographies, simmering-ness, viscosity, amongst other tools, strategies, and gestures.
Socially Engaged Praxis as the bridge between the work that occurs in and outside of studio spaces and considers potential and alternative forms of transmission including: think-tanks, books, pop-up installations, secret performances no one gets to see, secret performances for someone who isn’t in the room, secret performances for one person only, porn short-films, lectures, workshops, platicas, parades y mucho mucho mas.