Choreography

Choreographic Research

My choreographic work has examined the combination of Contemporary Jazz-based movement vocabularies with Minimalist choreographic methodologies. I have endeavored to examine the role of a person in relationship, in community, and alone in the world. This has been done in an effort to source for emotional access points in abstract pieces of choreography. I have found this choreographic pairing of Minimalism and Jazz-based Contemporary dance to be successful in the creation of work that is simultaneously predicated on Minimalist structure and the projection of humanity inside the execution of the work. In my career, I have created 25+ works that have been presented for Dance Companies, Universities, and for my own choreographic projects.

Choreographic Samples

because i was falling…

Shenandoah University - 2018
17 dancers and 25 singers
Performers: Shenandoah University dance majors and Conservatory Choir
Music: Chen Yi, Ezio Bosso

This 12-minute work was created in 2018 at Shenandoah University. The piece utilizes a contemporary vocabulary that is manipulated with minimalist choreographic methodologies. The work examines the role of the individual in a community and explores the idea that a community cannot be successful if the individuals inside of it are not also singularly successful. This work was a collaboration between Assistant Professor Matt Pardo and Grammy award-winning choir director and assistant professor Matt Oltman.

I Insist - Excerpt

Kelly-Strayhorn Theater, Pittsburgh PA

Dancer: Justus Whitfield, formerly of Parsons Dance Company

Music: Cliff Martinez, Zoe Keating

This solo work was originally created in 2014 for the University at Buffalo and was expanded in 2016 for a performance featuring Justus Whitfield, formerly of Parsons Dance Company. This work utilizes a contemporary movement vocabulary with a reductive minimalist choreographic construct. The piece begins with a structured improvisation that utilizes a constricted movement vocabulary. This is done to allow individual movement choices to shape the character or nuance of the content. Compositionally, The second section begins to further constrict the movement score as the piece progresses and aims at accessing character development through score constriction.

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