“I Am”, electronic, acrylic, 2024 (Inspired by singer/songwriter Katie Hemming)

Artist Statement

I am inspired when a dancer exudes authenticity in gesture and flow, which I try to capture on paper. I pick up a pencil when I cannot dance myself, or when words are not sufficient.

Dance improvisation, with its unprepared gestures and subtle shifts, fascinates me. These moments of authenticity are what I strive to depict. It’s not the fancy turns, tricks, or jumps, but an individual’s vulnerability exposed in movement that I find alluring – postures within poses, unscripted.

“Impact”, charcoal, graphite, 2024 (Inspired by choreographer Rosie Trump’s dance company With or Without Dance, featuring dancers Melissa Ennis and Heather Rodriguez).

My process is unpredictable and continuously evolving. I mainly use charcoal, graphite, and acrylic, but I also explore electronic paintings and enjoy painting on various objects.

I often draw people I know, capturing their essence in raw moments as a way to stay connected to them. Usually they have affected me deeply. I hope to inspire others to keep moving, as even the smallest movements are sacred.

“Birds”, Charcoal and Graphite, 2024 (Inspired by “Murmuration” choreographed by Corinne Undercoffer and Melissa Ennis, Reno Dance Fest 2024)

~~

Erica Wilson explores the meaning and need for movement through improvisation, video, music, photography, writing, and drawing. She started Mövgram Dance in Reno, NV, which led to the creation of the annual Reno Dance Festival. Erica is a certified NCPC Pilates instructor, has attended Cornish College in Seattle, and is continuing her education in movement therapy and kinesiology.  She recently taught movement in Germany but is now living in Albuquerque, NM, and is working on her books, Not Words and Keep Moving; A Book on Space. Erica’s creations can be found on Instagram @erica_movgram, on YouTube as Movgram Dance: Not Words, and on Facebook as Mövgram Dance. 

“Ozora”, electronic Airbrush, 2024, (Inspired by Choreographer Rosie Trump’s dance Company With or Without Dance, featuring dancer Ozora Cheek.)

The post Capturing Raw Moments appeared first on Stance on Dance.

Move in Joy and Power, 9×12, mixed media on paper, 2022

~~ 

Artist Statement

In addition to art-making in the two dimensional drawing and painting format, dance has always been a huge passion and creative outlet for me since a very young age. Appreciating and experiencing nature has always been a source of healing and expression for me as well. Although these passions are cornerstones of who I am and I’m sure dance and experiences I’ve had in nature have informed my artistic practice on a subconscious level, consciously combining them in my artistic practice is a recent development inspired by my experiences and my fellow dancers’ experiences dancing in outdoor settings. In 2020, my dance class started dancing outdoors in different locations throughout the Capital Region of New York State to continue to dance safely as a group and we have been doing this ever since. At first it was a challenge but after some time we have learned to embrace it and it has had a profound effect on me and my artistic practice.

I utilize mixed media and print-making techniques to create a visual space where dance, creative movement, nature, and art-making intersect to evoke the feeling of moving as one with the elements of the outdoors. The imagery depicted is inspired by photographic references, video references, and recounted memories of adventures exploring movement in outdoor settings.

Dance Memories, 9×12, mixed media on paper, 2022

~~

Rebecca Zeh is an interdisciplinary artist who grew up in Saratoga Springs, NY. In 2012, she received her BFA with a concentration in drawing from Pratt Institute. She has had a passion for the arts and art-making her whole life and has exhibited her work in several art galleries and businesses throughout New York State, including The Art Center of the Capital Region, Saratoga Arts, LARAC, Albany Center Gallery, The Hallway Gallery at Second Street Studios, 344 Storefront, The Blooming Artist Gallery, Spring Street Gallery, Paul Nigra Center for Creative Arts, North Country Arts Council, among others. Her work has been published in Barzakh Magazine and The Crit Zine by Symmetry Art Space and she has been featured in The Daily Gazette and 518 Profiles Magazine. In 2023 she was the recipient of an Honorary Mention Award at the Annual Expressions Juried Art Show at North Country Arts Council in Glens Falls, NY.

In addition to supporting her own artistic practice, she is passionate about curating and installing art exhibitions and helping to facilitate exhibition opportunities for other artists in her area. She is currently working at Arlene’s Artist Materials/The R Gallery as an Assistant Curator, Custom Framing Specialist, and Sales Associate in Albany, NY.

Rebecca is also a lifelong dancer. She has been taking improvisational dance classes with the same dance teacher, Lili Loveday, since she was six years old and continues to dance to this day. Her unique experiences dancing outdoors with her dance class strongly inform her artistic practice and she strives to share these experiences with others through her mixed media drawings.

She loves to travel with her husband, and visits art museums and galleries as much as possible! Her home, which is also her studio, is located in Ballston Lake, NY.

Shadow Play II, 6×11, mixed media on paper, 2022

~~

The post Appreciating and Experiencing Nature appeared first on Stance on Dance.

Car wheels rolling on the 110 North

Good Year Blimp is hung above blue-eyed

Skyscrapers, wretched horns, dirt and windshield

Fluid-

One

Two

Drops on your windshield

It is raining for the 5^th day in a row as the mouth

Of the sky opens in-between the Hollywood Mountains

You shove your car next to a barb wire fence and there.

You are in your body again

Your car is no longer holding you

We take off our clothes inside the ballet studio

To my rain-soaked boats, hair-ends,

Brown collared jacket, bare-arms

Up around my neck, a hand on my chest

“Up here, imagine there is a string attached at the top of your head”

Raise those legs, talking, sensing, 2^nd no 3^rd position,

Hot chocolate down the street, downpouring,

Red colored hands and a nose

The next morning windshield looks even worse

Cars can’t stay in their lanes

The studio is empty except for four of us

There is a leak from the roof panels

A wet spot we all avoid from our socks and bare toes

A month earlier, on the east side of Los Angeles

Sundown, leaving cloud lights carrying hemispheric tones

Of air bubbles all on a singular point in the sky

Car door shut, dad tennis shoes from Austin

A knitted sweater from Santa Cruz, eyebrow piercing,

Undershirt, Bat airy sleeved shirt, champion sweats

Hung loosely about my thighs

Pushed into the black floor

Moving from our pelvic bones

Twisting spines among our hands

Drum pedal machines on the surround sound

Use less, feel a shake within your gut, your car, Ana says,

Shake it all out, move about the floor, look at others in the room,

Run in place and about our explosive legs,

Turn and bounce in random directions

Know where you are in the room

Find where you are in the room

Pull your gut along the bed of your stoney legs

Groan, moan, mull yourself into a shape

Reform it, allow it to create and disappear

Learn from those around you, feel their sweat and their shoulders

Hold your hands out, offer something to the person next to you,

As though it is the weight of feathers, golden, brown,

Hoover, softly, tightly, loop yourself among your arm tendons,

Hurl into your face, smile, laugh, push your knees up and down,

A roadhouse of permanent records boxed in a house

A hill as large as a single-family home

Brown Acid, Zipper Cover-Sticky Fingers

Emily Yacina, Gracie Gray tuning guitars, beer caps,

Cigarette butts, lighter fluid, campfire stench,

A friend at my side, talking about exes and Washington state

Eastern turnpikes.

Easing your hoofy shoulders,

Loping about your ribs,

Feeling, fitting them into place,

Keyboard switches and an electronic device

In your feet

Shuffling about the sunken, checkered floor

The rain, heaving on your front mat,

Grasping at El Sereno caked roads

Laughing hysterically

Singing across your dashboard

We all breathe together

We sink deep into our core

We lurch a heavy hand on the ground in front

As though creaking-floorboards

Easing into our necks

Rotating, airy thighs

Moving about the pelted window

Draining, raincoats, warm heat

A few bodies and thank you for comings

~~

Benjie Salazar is an aspiring writer and dancer currently residing in Los Angeles. In their own words, “I grew up in North, Texas, as a Mexican-American. I am young, I drive across the southwest too often, I fall in love easily, I love oak trees, I love watching people walking by in cities I can disappear into. I write about ecology, bodies in close spaces, live music, and becoming a person. I write on different ways of loving and the spaces we occupy and revel in.”

Sarah Groth is an interdisciplinary performer, choreographer, teacher, poet, and mixed medium visual artist. After achieving a degree in Contemporary Dance and Intercultural Communications from the University of New Mexico, Sarah set out as an independent artist and traveler. She has had the privilege of moving, creating, and performing with renowned international artists across the world. Sarah has been published in the Albuquerque Journal, Blue Mesa Review, Daily Lobo, Stance on Dance, and Forty South. Sarah is committed to addressing the complexities of humanness in conjunction with self and community — aiming to bring the intensely intimate forward, creating openness within juxtaposition and identity.

The post Gaga & Permanent Records Roadhouse appeared first on Stance on Dance.

air as it leaves the lungs

throat mouth lips

mouthpiece tubing bell

air as it goes through the horns

air that goes inside ears lips

mouth throat lungs

then

blood legs hips hands

air that rings and pleads and

cajoles that rigid core

air just like all the other air

air with brass and booze and spit and sweat

air in accord with dancing skin and slick crowd

~~

Tara King is a poet and choreographer who explores the space between bodies and language. Tara has published work in DASH Literary Journal, Avatar Review, and Jersey Devil Press. Their collection of poetry documented summer 2017 in real time. Tara also co-founded the award-winning, Minneapolis-based, dance-making collective Mad King Thomas in 2005. Tara has danced for Julyen Hamilton, Emily Johnson/Catalyst, Anna Shogren, HIJACK, Judith Howard, and Skewed Visions.  Tara lives in Albuquerque and is working on her first novel.

Sarah Groth is an interdisciplinary performer, choreographer, teacher, poet, and mixed medium visual artist. After achieving a degree in Contemporary Dance and Intercultural Communications from the University of New Mexico, Sarah set out as an independent artist and traveler. She has had the privilege of moving, creating, and performing with renowned international artists across the world. Sarah has been published in the Albuquerque Journal, Blue Mesa Review, Daily Lobo, Stance on Dance, and Forty South. Sarah is committed to addressing the complexities of humanness in conjunction with self and community — aiming to bring the intensely intimate forward, creating openness within juxtaposition and identity.

The post New Orleans appeared first on Stance on Dance.

I.

this shapelessness
expends
energy
a form of nothing
but piercing
into black

the fingernail finds
the node of entrance
into
disparity
an air where the breath
only comes in

II.

this shapelessness                                         omit narration of the dance
expends                                                           insert timestamp
energy                                                              omit presence of effort
a form of nothing
but piercing
into black                                                        omit languid fade

the fingernail finds                                       omit fingernail, insert wrist
the node of entrance
into disparity                                                 insert broad fissure
an air where the                                            omit balancing act
breath
only comes in                                                 omit deliberate inhale

III.

shapelessness
a form of nothing
but piercing
the node of entrance
into
breath

IV.

shapelessness                                                omit edges
a form of nothing                                         insert slippery sphere
but piercing
the node of entrance                                   omit precision, insert cloudiness
into                                                                 insert introspection
breath                                                             insert unbroken in-breath

V.

a form
but piercing
the entrance

~~

strikethrough #1 was part of a larger project creating choreographic scores using erasure poetry technique and culminated in the creation of the site www.strikethrough-score.org.

Maxine Flasher-Düzgüneş is a poet, dancer, and filmmaker from Northern California, a former US-UK Fulbright Finalist and alumna of the Djerassi Resident Artist Program. She is the First Place recipient of the Rubin Prize for Poetry (2020) from NYU and the author of heart-shaped box, a poetry chapbook from Ghost City Press (2022). 

Sarah Groth is an interdisciplinary performer, choreographer, teacher, poet, and mixed medium visual artist. After achieving a degree in Contemporary Dance and Intercultural Communications from the University of New Mexico, Sarah set out as an independent artist and traveler. She has had the privilege of moving, creating, and performing with renowned international artists across the world. Sarah has been published in the Albuquerque Journal, Blue Mesa Review, Daily Lobo, Stance on Dance, and Forty South. Sarah is committed to addressing the complexities of humanness in conjunction with self and community — aiming to bring the intensely intimate forward, creating openness within juxtaposition and identity.

The post strikethrough #1 appeared first on Stance on Dance.

Note: These poems were first published in Stance on Dance’s spring/summer 2024 print issue. To learn more, visit stanceondance.com/print-publication.

P O S I T I O N

What is a chair

Take away earth it cannot be sat

On

It looks dependable

But as we sit

We fold back opposite

Of standing walking running leaping

For an angular sitting begets

Crouching crawling slithering;

We fold into right angles

To slouch into slumps

Smashing our asses

Splaying our flesh.

A chair is logical

We know how it works.

Children don’t.

They “sit” tipped

Their feet free and their head sideways

Tilted, arms dangling

Or underneath.

It is not obvious to them

Right angles are

Our cities, grids.

But trees grow

Circular

And look what we do with its limbs.

A Chair is

A thin illusion from

Halfway

Falling.

A chair certainly looks like a chair

But it was once a tree

Its legs following

The logic of the grid-math

Perpendicularly.

We are how we move

And as we crease our joints

We cease our thought

Acquiescing to stillness.

The chair is only as reliable

As gravity is provable

Which is not at all.

What if we were once trees

Still and without joints?

Now our joints make

Ninety degrees.

It is settling and habitual

Function and reliability

And the deadening of ideas.

The end of movement.

As seats become cozier

Pleasurable

But not wholly ergonomic

(Not all the way functional).

Unless ninety is split and flipped

And flipped again

Might we circle around

And see the other side

Flip around over

Underside,

But

Minds and eyes transfix on screens

Bodies become sinkable

Like roots turned soft with water running

Still

Through them

Our veins and cells will slide off

The Chair

Circling around to the ground

We will decompose

Like all the rest.

If effort has made us stand upright

Surely the Chair is antithetical

To us.

My advice:

Next time you sit down

Sit differently.

Still from video by Kevin Andy Stamps

~~

W E I G H T

She said,

“Your feet are in your hands.”

The start of it sounds like

Slow sliding high

Lilting

A muffled shade of a teal maybe

Gray

Washed across the room, seamless…

It runs into the legs of a double stag

I could have jumped

Only I tripped twice rolling back

And stumbling again

Till riding atop

Like rolling lumber logs

Lumbar loll

Down an apathetic hill

Till there is nowhere left

Down to go

Merely slightly slanted

Made of nonplussed soft grass

Dull moss and damp dirt –

They are not the floor

But soft spots as one should land –

Then a sneaking tapping

Like a persistent poke

An anxious thought

On the mind

It picks up pace

An incline

It feeds your state

Rolling uncontrolled

(What level stages no longer do.

If stages were inclined like the past

I might roll into the audience’s lap).

I am becoming my intended state:

An emotion

Unrehearsed

Caught off-guard

The body goes where it must

Not choreographed or practiced

But alert

Movements may be remembered

And the rest

Improv.

The hill stays noncommittal.

I am

Round log

Tumbling

Mounds

From the ground

A door here

A no there

An injury

A surgery

Steps

One

In front of

The other.

Ten years till I step into a Studio

Till either end tumbles differently

One higher another lower

Suspending then thudding alternately

My either ends of body opposite

Up to down

Thudding like what feels like

An increasing self-imposed momentum.

I’ve stopped calling it dance.

The journey to extremes is fast

The climb back is slow.

Relevè.

Stay.

Exhale

Slow down the seesaw

Between high and low

Slackline spine on a tilted floor

A back and forth mind

No decision.

Expect the throw

To an opposite way

Rebound

Balance

Balancé

Still from video by Kevin Andy Stamps

~~

S O U N D

A simple bass grounds an endless arpeggio

Triples and sixes inside of eights

Circling around the room –

A spinning top –

The ears dizzy and aligned

In repeating revolution

Major notes place the floor underneath

But small “minor” influences tilt

You

Your head pitched

Slightly off-balance.

There isn’t a beginning

It merely gets louder

There isn’t a middle

There isn’t an end

Just digression

Deconstruction

Till something else –

Distraction –

Hello Thursday work

Day before Friday

Before weekend:

Drive to work, eat, lunch, nap in car

Work more, drive home.

The melody returns sometimes

To bones of vertebrae

Notes to ears,

Fingers running along fence

With no ground

Texturally pressed, moving together

Down mechanical seconds

Of material postures

Poised by water in hollow tubes

And slightly beyond

Below, in front, behind

A literal actual clock –

Timing

But in round

Downbeat unfound.

Sometimes the radio moves the hips again,

Without essay

(This is unnerving as most things require effort)

The bass now descends low

Slightly ahead of the present

Then dragging slightly below seconds

Beyond soft

Then sometimes louder

Then together

With everything else –

Not certain if it was louder

Or softer

Or just attention

And inattention

Faster

Or longer.

Did the ride end when the song stopped

Or did the song end the thought?

Do we notice when we dance

Or just regurgitate steps?

A kind of melody flitting above it all

Like a bird circling jaggedly overhead

Then it is gone again.

Did you capture its picture?

If not, was it real?

Do you write it down?

If not, did it happen?

Rhythms bounce off fascia

Like rain drops like mallets off glass lids

Not so precise but unceasing

Carrying you through a night’s sleep

Not sleeping

Tempo quickening

Then decreasing.

You’re not there but your body

Is

You wake up moving again;

Begin again

A thought’s incessant pressing

Rain against pane

Wave against grain

Mist against leaf
Part primal, part man-made

Nanotech evolved

DNA is math but breathing is unconscious

Attack – suspend – release

Hello – Hug – goodbye.

Sit – Stand – Walk –

Sit – Lie down – Breathe.

Listening again:
The vibration of it rides into me;

Wind through a tunnel,

It’s important and nostalgic

Yet I have never heard it before

Like remembering,

Continuing to roll around me

Cells that never stop splitting

Suns that never stop conducting

Earths that never stop revolving.

The end of it also its beginning

Music like this takes us nowhere,

Here, everywhere,

To lift off and drop in

Circling time around your limbs

We arrange sound

As we arrange our bodies.

I remember how to lift my hand

As if I had reason to.

~~

The Beginning.

Still from video by Shaila Emerson

~~

Poems from Keep Moving; A Book on Space by Erica Pisarchuk Wilson

Erica started her company Mövgram Dance in Reno which led to the creation of the annual Reno Dance Festival. Erica is a certified NCPC Pilates Instructor, has attended Cornish College in Seattle, and is continuing her education in Movement Therapy and Kinesiology.  She teaches in Germany and is working on her first books, Not Words and Keep Moving; A Book on Space. Erica’s creations can be found on Instagram @erica_movgram, on YouTube as Mövgram Dance: Not Words, and on Facebook as Mövgram Dance. 

The post Three Thoughts on Moving appeared first on Stance on Dance.

The way a body moves conveys its soul-

Its hidden power to soothe, present, delight

Full knowingly bemused and in control

Each finger paints the space like form and light

A subtle tilt of cheek, the turnéd face

Craft salsa and romantic ballet’s flair

The port de bras is curved in soft embrace

And toes unclenched just touch the ankle there

Through every newborn day, grant space to twirl

In qualities of vital blue and pearl

Inversions spiral round as limbs unfurl

Loose from French-twisted hair a rogue, wild curl

Now chance to ask, “What may this movement mean?”

The path, which to its fate, each soul might wind

Is drawn out on the stage of life, now lean…

With grace, and fall; In dancing, love we find!

Why Dance?

I dance for myself, dance for cows, bees, and flowers

Dance for friends, and ones too whom I haven’t yet met.

Even more, I make moves to uncover life’s rules-

Those I fear once I’ve died, I am apt to forget.

For dancing is saying “Hello, here I am.”

And feeling my soft soul might wish to be known.

It’s like spoken gesture, ungrasped, coming true

Urging life into view when my spirit’s outgrown

All the old ways of hiding in patterns of pity;

Now with limbs strong, and heart filled with power to be,

I’ll stand grounded and call forth blood’s hymn:

Rich sung tones, through my bones,

Which for you grants wild hope to be free.

~~

Cleo Person is a former professional ballet and modern dancer and an amateur writer. She now teaches movement to children and adults from many training backgrounds. She works with her students to build a foundation for confidence and expressive articulation in any form they choose to take on.

Sarah Groth is an interdisciplinary performer, choreographer, teacher, poet, and mixed medium visual artist. After achieving a degree in Contemporary Dance and Intercultural Communications from the University of New Mexico, Sarah set out as an independent artist and traveler. She has had the privilege of moving, creating, and performing with renowned international artists across the world. Sarah has been published in the Albuquerque Journal, Blue Mesa Review, Daily Lobo, Stance on Dance, and Forty South. Sarah is committed to addressing the complexities of humanness in conjunction with self and community — aiming to bring the intensely intimate forward, creating openness within juxtaposition and identity.

The post Emily appeared first on Stance on Dance.

In doorways and canyons and empty rooms,

on the edges of cities and in the middle of traffic

or a thunderstorm

At the ocean, by a lake, near the road and under bridges.

(Our) feet land on terra firma

with minds like antennae scanning the atmosphere

Seeking out the substance of space and time and a way to make it matter

With a sort of open eyed listening,

seeking the meaning of energy,

force, propulsion, rhythm and effort

with a lightness that is more divining than exacting.

This is a certain way to live in the world.

Walking around with open channels

receiving the nuanced broadcasts of shared realities . . .

The ones that float in the ether and arrive all at once at many places

Some of us look for these places, and name them like children.

We share a dream of a common language

which cannot actually ever be spoken

(and this makes all the difference)

As we live our lives absorbing chemistry, electricity, matter and emptiness (space)

Returning and departing

as often as we can.

~~

Aura Fischbeck-Wise is a San Francisco based choreographer/performer, improviser, movement educator and writer, a Philadelphia native, a first generation American of German descent, and a second-generation dance artist. Her work investigates the complexity of her lived experience through practices that invite noticing the interplay between perception, proprioception and presence. She moves towards the constancy of change as a way to locate herself as one who is committed to a life in motion. She orients towards the phenomenological world as moving towards more and more understanding of multiple realities unfolding simultaneously. She holds an MFA in dance from the University of the Arts in Philadelphia (2022) and a BA in dance and poetry from Naropa University. Aura Fischbeck Dance is fiscally sponsored by Dancers’ Group. www.aurafischbeckdance.org

Sarah Groth is an interdisciplinary performer, choreographer, teacher, poet, and mixed medium visual artist. After achieving a degree in Contemporary Dance and Intercultural Communications from the University of New Mexico, Sarah set out as an independent artist and traveler. She has had the privilege of moving, creating, and performing with renowned international artists across the world. Sarah has been published in the Albuquerque Journal, Blue Mesa Review, Daily Lobo, Stance on Dance, and Forty South. Sarah is committed to addressing the complexities of humanness in conjunction with self and community — aiming to bring the intensely intimate forward, creating openness within juxtaposition and identity.

The post dancer’s litany appeared first on Stance on Dance.

It feels wrong to dance

when there are people out there

who prioritize weapons over the welfare

of their children,

Who choke on power and greed

while the rest of us struggle to breathe.

It feels wrong to dance

on the graves of the thousands of people

who die daily

from war,

from hate,

from fear gone viral.

It feels wrong to dance

when respect for ourselves,

our neighbors,

our country

has been reduced to a sad, tattered rag

flapping in the wind.

It feels wrong to dance

on the surface of a planet

that has done everything it can

to support and nurture us,

and that we have only deceived and decimated.

Who are we to dance?

When so many can’t walk

or run

or sleep

without being targeted.

Who are we to dance?

When so many can’t safely leave their homes,

and so many others don’t have homes to leave.

Who are we to feel the joy that comes

when movement meets music

and creates magic?

It feels so wrong to dance,

to float across the floor to a beautiful melody

when there is so much chaos, darkness

and ugliness in the world.

Maybe that’s the point.

Maybe dance is the antidote to this poison,

a light in the darkness.

When you dance, you can’t scream hateful rhetoric.

You can’t throw rocks or blame.

You can’t break windows or bones.

Your anger is channeled

and transformed into calm.

When we’re calm, we can hear each other.

When we’re calm, we can help each other.

So even though it feels wrong to dance,

perhaps we must.

Perhaps we must dance

because we need its magic.

The magic that happens when chaotic emotion is transformed

into powerful rhythm.

Perhaps we must dance

to reintroduce balance, flow,

beauty and peace

back into the world.

Perhaps we must dance to save ourselves

and to save each other.

So dance, my dear dancers,

but do it with purpose.

Dance here, now, so your light can shine.

Dance to listen.

Dance to understand.

Dance to empower and inspire good in this world.

Dance with trust, reason, and compassion.

Dance for others

and dance for yourself.

Remember:

We are the music makers,

    And we are the dreamers of dreams,

Wandering by lone sea-breakers,

    And sitting by desolate streams; —

World-losers and world-forsakers,

    On whom the pale moon gleams:

Yet we are the movers and shakers

    Of the world for ever, it seems.

-Ode by Arthur O’Shaughnessy

~~

Katie Flashner, a.k.a. The Girl with the Tree Tattoo, is a published author, blogger, and dancer based in mid-coast Maine. She loves exploring her creativity through nature, movement, and the written word, and revels in living in a place where there are more trees than people. You can catch her wandering through the woods on Instagram at @thegirlwiththetreetattoo.

Sarah Groth is an interdisciplinary performer, choreographer, teacher, poet, and mixed medium visual artist. After achieving a degree in Contemporary Dance and Intercultural Communications from the University of New Mexico, Sarah set out as an independent artist and traveler. She has had the privilege of moving, creating, and performing with renowned international artists across the world. Sarah has been published in the Albuquerque Journal, Blue Mesa Review, Daily Lobo, Stance on Dance, and Forty South. Sarah is committed to addressing the complexities of humanness in conjunction with self and community — aiming to bring the intensely intimate forward, creating openness within juxtaposition and identity.

The post It Feels Wrong to Dance appeared first on Stance on Dance.

It happened laying on my back

Under an aggression of stars

A realization

That I can be inspired and awestruck by the sky

Because I lay on the earth

And my earthy body gives me everything I need

To localize to a point

That can perceive

In the way that earth matter holds me

I can be wrecked divine

By what the stars can show me

~~

Tracy Broyles is an embodiment facilitator, dancer, energy worker, writer, artist, and storyteller. Tracy is invested in creating experiences that allow people to engage with her life-long research into how the unseen worlds of the psyche, emotions, energies, and ancestors braid into our tangible physical reality.  She has been based in the Pacific Northwest for more than 20 years. To contact her or learn more about her work visit tracybroyles.com.

Sarah Groth is an interdisciplinary performer, choreographer, teacher, poet, and mixed medium visual artist. After achieving a degree in Contemporary Dance and Intercultural Communications from the University of New Mexico, Sarah set out as an independent artist and traveler. She has had the privilege of moving, creating, and performing with renowned international artists across the world. Sarah has been published in the Albuquerque Journal, Blue Mesa Review, Daily Lobo, Stance on Dance, and Forty South. Sarah is committed to addressing the complexities of humanness in conjunction with self and community — aiming to bring the intensely intimate forward, creating openness within juxtaposition and identity.

The post EARTH BODY SKY MIND appeared first on Stance on Dance.