My work stands at a special intersection: as situated at the margins of non-dominant culture, influenced by my personal experience of migration and displacement. This peripheral vantage point enables me to critically contemplative examine and question legitimacy of the framework and social norms.

My research investigate how choreographic structures, strategies, and processes may be obscured or revealed as modes of cultural production. Drawing insights feminist theory, corporal politics, and critical dance studies, I explore how collective action and embodied movements to intervene and reconfigure social normalcy. I am more tend to understand dance/performative art primarily as embodied practices fostering equality, diversity, awareness, and empathy. Central to my bodily exploration are the spontaneous generation from the body and the transition of movement. Within collaborative spaces, I pay meticulous attention to nuanced interactions — such as how "they" engage, initiate, support, navigate, transition, resist, reject and collaborate. These interactions transcend mere performative demonstrations, articulating relational dynamics and metaphorically representing broader social relationships.

 

In my artistic approach, I intentionally dismantle hierarchical dynamics, exploring alternative methods of connection to cultivate an ensemble environment. During this training, collaboration is reimagined not as individual “sacrifice” but rather understood as a rich asset of contributing collectively to community while preserving individual’s authenticity. This authenticity encompasses textures of movement, sensations, invention, intention, support, and creative inspiration, which naturally extends into sincere dialogue with audiences. 

 

Our bodies are born bearing the burdens of geography, history, climate, confusion, memory, trauma, intimacy, and alienation. Yet, we still choose to express ourselves openly, bare, and vulnerably. Within this embodied presentation, it lies dignity, beauty, and strength.