Artistic Statement

My technique is a fusion of all the technique styles and movement principles I have learned and performed while dancing with various companies and choreographers in NYC.

In the modern dance technique I teach, I seek and explore a grounded sense of weight like tree roots reaching down into the earth. This in turn becomes the energy that allows my movement to have a close relationship to the ground, almost as if partnering with the pull of gravity. In my dance technique I seek movement as an organic reaction to an initial (real or imaginary) action, so that dancing is not merely a series of actions, but instead as continuous rhythmical, physical, visual reactions. I would simply call it Reaction Technique. I like to have dancers reflect on this concept and find the initial action within their given movement. Thus the body moves as a response to the move/step/gesture/action that preceded it. Although it may be a subtle difference, the outcome is a more powerful execution of even the most ordinary or simplest of movement. I also seek this approach from more technical steps to help the performer bring out the artistry and intellect within oneself, and not only the external, one-dimension physicality so often the main focus of one’s dance training.

My choreography has evolved throughout the years, reflecting the cultures and styles that have surrounded me and influenced me through the process of creating my work. Though coming from a Western dance training with Classical ballet and American classical modern dance technique of Jose Limon, Merce Cunningham, Martha Graham, Lester Horton, yet having mainly performed with Asian American choreographers, I was inevitably drawn to the cultural blend of Eastern and Western movement sensibility that these choreographers have shown within their choreography. While performing works with H. T. Chen & Dancers, Asian American Dance Theater, Hikari Baba Dancers, Ilkyu Park and Ruby Shang, I discovered a different and unique way of moving my body . This lead me not only to investigate, explore and identify the works of Asian Americans in modern dance, but it has also inspired me to create works that acknowledges my multicultural influences and artistic experiences. I enjoy mixing Western athleticism, boldness and expansive movements, as well as the intensity that Eastern theatrical subtlety, minimalism, presence, focus and enduring energy. Recently with my ventures learning Salsa dancing, I am intrigued by the improvisational aspect that exists within a set rhythm of the music that drives this evolving Latin dance. I am also exploring the beautiful connection that one can create with a dance partner while social dancing Zouk Lambada, which is very similar to Contact-improvisation and the modern dance use of torso fluidity along with the wave-like hip isolation of lambada dancing form Brazil and catchy zouk rhythms of the Caribbean. Most recently I have been exploring the self-empowerment and self-expression that pole dancing brings to women, and the sensual articulation and rhythms of the pelvis with belly dancing. Each dance contributes to enrich my dancing as an artist and educator.