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  • I end with the beginning.  Doing the nuanced yet powerful movement in Wynn's work convinced me wholeheartedly that I am a dancer.
  • Emily Gastineau updated the Artwork 7. Mortar
    Free improvisation with a (real) brick.  Blake provided some verbal direction but gave me a lot of room to explore and change the performance throughout the run of the show.  That being said, I tried to stay within a "Blake" style of moving.  I always strive to fully honor the intent or qualities of the choreographer, along with bringing my own voice into the work.
  • Emily Gastineau updated the Artwork 6. Apex
    Control and abandon.  Accentuated pointe work.  Efficiency of movement through big shapes.  Unexpected levity and unexepcted collapse.  Nic and I have worked together on 11 separate projects (so far), and each has brought new depth and understanding to me as a dancer and a human being.
  • Rigorous musicality, playful desperation, and exactitude define this solo.
  • A serene, elegant ballet.  The second part with me soloing is loosely structered improvisation, and demonstrates delicate musicality.  Also, I believe I am a stronger solo dancer for all the partnering and group work I do.  Parterning is only succesful with strong individual dancers.  Thus, I include the opening duet.
  • Working with Leralee broke down unknown assumptions I held about dance and has since fueled many of my investigations in the artform.  The piece is highly structured improvisation, with special focus given to movement instigated by external and internal forces.  Two thirds of the 15 minute solo was performed with the mask on.  
  • Emily Gastineau updated the Artwork 2. Dusty Realms
    Graceful quirks and fluidity of quick movement define this piece for me.  A bit of improvisation 0:35-0:50 as well, resulting from a last minute casting change.
  • Fierce.  Precise.  Primal.  This piece demonstrates my modern roots with contracted and grounded movement.