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…and demands upper-body strength, it is also dance-based, and many dancers already have acrobatic tendencies. Current company member Sonsherée Giles, for instance, is one of them. Experience has taught Kreiter…

…of movement possibilities. Can it also cultivate a questioning of the cultures we inhabit? In wcciJAM 2017’s Statement on Inclusivity and Assumptions, teachers and organizers created a statement acknowledging that…

…I’m not as curious about those things. I wasn’t concerned with the through-line; I didn’t really care. I cared about an energetic arc. Parts of it were much more imagistic…

…mind to fuck with it. To cultivate the best body-mind relationship I can, I engage in a rather extensive and somewhat unwieldy self-care regimen, which includes: Feldenkrais with Mary Armentrout;…

…DANCE WORK? (cuz some-times it doesn’t) I’ve been teaching Theater Appreciation at Sonoma State for eight years, bringing students to shows in San Francisco. I’ve been touched and fascinated by…

…that what I was doing felt accessible and honest (even to a self admitted curmudgeon like himself) and he wasn’t going to let me throw it away. So he held…

…culture? Early in the process of making a new work I bring to rehearsal movement material that provides taking off points. Developing the material is a collaborative process, so I…

…their values, not mine. ‘A real good arabesque’; no, actually the arabesque I want is low–and they don’t believe that! Their culture reinterprets it and reflects on it and realizes…

…bodies and the people who work in them are organizations and people who care about the arts. In working on dissolving my ‘us and them’ attitude I am reminded of…