© 2017 by FLEXICURVE.

I'm a paragraph. Click here to add your own text and edit me. It's easy.



Fast Track (1 dancer, 1 minute; 2008)
Fast Track, a solo of a red body-painted male soloist was originally created for the 60X60 festival, a one-hour event of 60 choreographic works performed to 60 original music scores. Discombobulated and frantic moves are intertwined with long acrobatic balances.

Mahlstrom (3 dancers, 1 minute; 2007)
Mahlstrom was originally created for the 60X60 festival, a one-hour event of 60 choreographic works performed to 60 original music scores. With its contorting swirls, spiffy partnering and crazy colorful costumes, this choreography has invigorated audiences since its premiere.

T1me m0ves 1n numb3rs (2 dancers, 8 minutes; 2007)
Dressed in oversized hats and performed to the popular music of Nearly God, two lovers try to connect the disconnect between.

PhOeNiX (1 dancer, 5 minutes; 2005)
A breath-taking solo inspired by the imagery of firebirds. The movement vocabulary, performed to the Japanese drums of Kodo, utilizes a wide variety of jumps and creature-like crawls to amplify the constriction caused by the 7’ by 7’ cage of light. The orange painted female soloist fights, screams, and pleads with vigilance until she burns her life force with anger only to be born again. PhOeNiX also can be seen as part of the full-evening performance MaSs.

flightless birds

kendra solo

 

eYe

redbluegreen

STATE
(8 dancers, 30 minutes, 2011)

The inspiration of the choreographic work “STATE” comes from the music of popular folk artist Sufjan Stevens. His songs celebrate the rich histories, nuances, and diversity of various regions of the United States. While addressing the people indigenous to these locations, he portrays their unique stories by painting pictures of emotional states defined by physical locations.
Adapting this representation, the work addresses a range of emotions, playing off the word “state” as a means of defining emotional states as well as physical states. In the end, the piece has a raw emotionality, is extremely physical, and hopefully accessible.
The choreography features eight performers of varied ethnicity. It manifests a range of emotions as amplified in the dancer’s physical presentation: at times they appear wearing vibrant colors, at others wearing somber achromatic, black & whites.

Set to the music of Tom Waits, choreographer Rekoert’s “Shadow Songs” uses seven dancers and two actors to reveal the complexity between aggression and accepted definitions of masculinity. Dressed in bare-skinned suit-inspired costumes and featured in one-sided lighting the performers compete and explore the nuances and dichotomies of manhood.

Shadow Songs
(7 dancers, 2 actors; 24 min.; 2009)

“MaSs” addresses religion’s relationship to war. The 19 dancers in this choreography are costumed in Zentai body suits and body paint. Each costume relates to an animal, bringing mankind back to more primal times. The five sections each distinct in costume and movement vocabulary are presented in the following order:
   Mass
   Destruction
   Lives
   Here
   No More
Separate distinct moments that come together as one, culminating in the message: “Mass Destruction Lives Here No More.”

MaSs
(19 dancers; 36 minutes; 2006)

In “Burger Nation" nine dancers use satire to question the underlying assumptions of fast-food culture. Extrapolating from human gesture and the physical vocabulary of modern dance, “Burger Nation” portrays real people caught in contradictions of our culture and magnifies the implicit irony of using a physical art to detail a lifestyle that is so physically destructive. “Burger Nation” consists out of 18 short MTV segments with music varying from Mozart to Kelis’ “Milkshake”. Burger Nation is performed in collaboration with Martha Williams/ The Movement Movement.

Burger Nation
(9 dancers, 77 minutes; 2004)

Active repertory

inActive repertory

STATE
(8 dancers, 30 minutes, 2011)

The inspiration of the choreographic work “STATE” comes from the music of popular folk artist Sufjan Stevens. His songs celebrate the rich histories, nuances, and diversity of various regions of the United States. While addressing the people indigenous to these locations, he portrays their unique stories by painting pictures of emotional states defined by physical locations.
Adapting this representation, the work addresses a range of emotions, playing off the word “state” as a means of defining emotional states as well as physical states. In the end, the piece has a raw emotionality, is extremely physical, and hopefully accessible.
The choreography features eight performers of varied ethnicity. It manifests a range of emotions as amplified in the dancer’s physical presentation: at times they appear wearing vibrant colors, at others wearing somber achromatic, black & whites.

STATE
(8 dancers, 30 minutes, 2011)

The inspiration of the choreographic work “STATE” comes from the music of popular folk artist Sufjan Stevens. His songs celebrate the rich histories, nuances, and diversity of various regions of the United States. While addressing the people indigenous to these locations, he portrays their unique stories by painting pictures of emotional states defined by physical locations.
Adapting this representation, the work addresses a range of emotions, playing off the word “state” as a means of defining emotional states as well as physical states. In the end, the piece has a raw emotionality, is extremely physical, and hopefully accessible.
The choreography features eight performers of varied ethnicity. It manifests a range of emotions as amplified in the dancer’s physical presentation: at times they appear wearing vibrant colors, at others wearing somber achromatic, black & whites.

  • Facebook Social Icon
  • Twitter Social Icon
  • YouTube Social  Icon
  • Vimeo Social Icon
  • Snapchat Social Icon
Greener Grasses
(2 dancers, 4 minutes, 2013)

The inspiration of the choreographic work “STATE” comes from the music of popular folk artist Sufjan Stevens. His songs celebrate the rich histories, nuances, and diversity of various regions of the United States. While addressing the people indigenous to these locations, he portrays their unique stories by painting pictures of emotional states defined by physical locations.
Adapting this representation, the work addresses a range of emotions, playing off the word “state” as a means of defining emotional states as well as physical states. In the end, the piece has a raw emotionality, is extremely physical, and hopefully accessible.
The choreography features eight performers of varied ethnicity. It manifests a range of emotions as amplified in the dancer’s physical presentation: at times they appear wearing vibrant colors, at others wearing somber achromatic, black & whites.

Arms Up/ Eyes Closed
(2 dancers, 4 minutes, 2014)
Abschied
(4 dancers, XXXXXX minutes, 20XXX)
phOeNiX
(1 dancer, 5 minutes, 20xxxx)
gOD
(1 dancer, 10 minutes, 20xxxx)
Clouds
(1 dancer, 6 minutes, 2016)
Earth Mother
(1 dancer, XXX minutes, 20XXX)
(((STREB Piece))))))
(5 dancers, 8 minutes, 2013)
Fast Track
(1 dancer, 1 minute, 2008)
Mahlstrom
(3 dancers, 1 minute, 2007)
T1me m0ves 1n numb3rs
(2 dancers, 8 minutes; 2007)
Flightless Birds
(xxxxx dancers, xxxxx minute, 20xxxx)
RedBlueGreen
(6 dancers, XXX minute, 20xxx)
Chair
(1 dancer, XXX minute, 20xxx)
Jump*t
(2 dancers, 1 minute, 20xxx)
Charles
(5 dancers, 8 minutes, 20xxx)