Pictured above: Hope Mohr and Christian Burns
Contemporary Technique
In this class, we practice fundamental movement pathways with a value on research, sensation, and specificity. Influences include training and performance in white modern and post-modern lineages (Trisha Brown, Lucinda Childs, Merce Cunningham) and decades facilitating improvisational practice and creating cross-disciplinary performance. I have taught at PARTS (Brussels), The Place (London), Trisha Brown Dance Studio, ODC, Stanford University, Lines Ballet BFA Program, American Conservatory Theater MFA program, Peabody Conservatory, UCLA, and Shawl-Anderson, among others.
The Embodied Mark
A cross-disciplinary practice combining movement research, markmaking, and improvisation. Participants navigate between movement and markmaking through a series of prompts and investigations into sensation, intuition, and response to specific visual arts materials (charcoal, pencil, ink) and a variety of unusual markmaking tools. This class in informed by my own visual art practice and my many collaborations with visual artists including Tracy Taylor Grubbs, Ranu Mukherjee, Matthew Ritchie, and Liam Everett.
At left: Pen and ink drawing by Hope Mohr.
Creative Movement
Tailored for specific communities, these creative movement workshops are a gentle, accessible, healing way for all kinds of people to access the joy of movement. I have taught creative movement in many different contexts, including with military veterans (in partnership with Palo Alto Veterans Affairs); breast cancer patients (in partnership with Breast Cancer Connections and California Cancer Care); immigrants and refugees (in partnerships with ARTogether and 18th Street Arts Center); and professional actors (on faculty at the American Conservatory Theater’s MFA program).
At left: Dancer Belinda He in creative process. Used with artist permission.