My career as a performer, teacher, choreographer, and collaborator has been diverse, spanning several continents, cultures, and artistic styles. In 2008 I completed my MFA at the University of Utah. I began my professional career with Ririe/Woodbury Dance Company in Salt Lake City, where my artistic skills were developed. My performing career has also included work with Beth Corning Dancers, RawMoves, My Turkey Sandwich, and RDT in addition to specific projects with David Dorfman, Stephen Koester, Clay Taliefero, Stephen Koplowitz, Keith Johnson, Kathy Casey and Lynn Wimmer.
I have taught all ages and abilities in both residencies and long term contracts with ArtsBridge, Western Washington University, Utah Valley University, Utah Artists in Education, University of Utah, Tanner Dance, ECE of American Samoa, American Samoan Council for the Arts, American Samoan Department of Education, Beverly Taylor Sorenson Arts Learning Program, and presently Salt Lake Arts Academy. I have also participated in curriculum design for several of these organizations.
I enjoy collaborating with artists in other media, including neon light sculpture, photography, film, and music. I also have an interest in site specific work.
I continue to seek new opportunities for growth, and refinement of my skills in all areas with particular interest in unique performance and creative opportunites. I promote the potent impact creative engagement in dance has for all populations. I also endeavor to challenge social and political paradigms through my work in ways that are thought provoking and transformative.
Under Your Skin 2017
I felt satisfied to have seen such a varied collection of physical studies exploring skin. I saw skin as a barrier, as a means of connecting, as a betrayer, a protector, a record of the past, and as ever-evolving. The studies were woven together like episodes whose characters return to where they started out but in a new skin, both changed and still actively changing. Emma Wilson loveDANCEmore.
These poses were delivered in rapid fire, the dancers going from lying down to standing upright in milliseconds, reflecting shifting roles within one person in relation to other people.
“Line up” exploded into a combative quartet, moving around the room, building in intensity through momentous spinning lifts and phrases that sped up with each repetition.