| dc.description.abstract | In this anecdotal reflection, I reflect upon and analyze my journey as a choreographer through four lenses: what led me to be a choreographer, my choreographic influences, an analysis of past trends in my work, and how I predict my choreographic identity will evolve moving forward. Though I did not grow up as a competition dancer, my high school and early college training provided an excellent base upon which my choreographic journey could grow. After a key opportunity presented itself in my third year of college, my career as a choreographer truly took off. Several choreographers, whose styles can be described by Laban Movement Analysis, have shaped me as the choreographer I am. Matt Steffanina and the Royal Family have both served as key influences in my hip-hop choreography due to their sharpness, isolations, and cohesiveness on stage. During my time at TCU, theatre professors Merrill West and Kelsey Milbourn have served as key influences on my tap in spite of their contrasting styles. Upon reflection of my past work, my use of stage stands out as a central defining factor; especially in large group numbers, I gravitate towards utilizing the majority of the stage to tell a story. I also heavily appreciate complexity within a piece. In tap, this manifests itself in terms of several sounds compressed into a short period of time whereas in hip-hop, this manifests itself in terms of several isolations compressed into a short period of time. Looking beyond graduation, I can continue to grow as an artist through continued education in Laban Movement Analysis and Alba Emoting. Additionally, by training as an assistant choreographer or dance captain under established Dallas-Fort Worth choreographers, I can both strengthen my working vocabulary of weaker dance styles and choreograph deeper, more meaningful stories. I am very pleased with the growth of my choreographic identity thus far and strongly look forward to strengthening it in the future. | |
