Hello all!

I realized I’m still getting hits on this site, and I’m not quite ready to deactivate or transition it in this limbo state. I do have a NEW WEBSITE here:


I’ve launched  a KICKSTARTER CAMPAIGN for my newest piece “White.” And wow, your support is appreciated beyond measure!

The work it takes to make a dance is no joke. I am very grateful for this opportunity to learn and also share something with the world, as scary and daunting as it is at times! Please feel free to give and share this campaign, and we’d LOVE to see you at the show!

Danspace Project
New York, NY
April 23-25, 2015

white hair




New Website

It has finally arrived…a new website at!

The above site is more focused on my dance work, and there will eventually be another for more comprehensive BodyTalk information.

Thanks for visiting.

What to Expect from Regular BodyTalk

One of the biggest benefits from getting regular BodyTalk sessions is the increased connection to your body’s innate wisdom. This is the part of you that governs all of your body’s healing functions, e.g. when you cut youself, your body’s innate wisdom knows exactly what to do to heal the wound. Essentially, your innate wisdom oversees all of your body’s physiological functions, and when that’s all working optimally, you are left with more freedom to live a creative and inspired life.

Further, as healing and growth become the norm, you will actually move towards and attract what is best for your health and highest potential. Perspectives can shift, and you may find yourself making different choices or supportive changes in your life, not because anyone told you but because you’ve been “training” that connection with your innate wisdom.

Lastly, growth and change are not without moments that may feel chaotic, uncomfortable, or turbulent. Initiating change upsets your current homeostasis. It literally makes the molecules in your body vibrate differently. For some people, this can feel exciting. Others may just want to crawl into bed. The key is your commitment to yourself, and once you keep strengthening your connection to your innate wisdom, you’ll know exactly what to do to continue to support YOU.

“Something we were withholding made us weak, until we found it was ourselves.”
-Robert Frost

New website…on its way!

There is a new website in the making so please revisit in a short while!

In the meantime, here are some photos by Ted Roeder from a piece I made called White, shown at ‘Come Together: Surviving Sandy’, a show curated by Danspace Project and supported by the Dedalus Foundation, Brooklyn Rail,  Jamestown Charitable Foundation with Industry City Associates in Brooklyn.

Also, a repost of my most popular post from last year “I’m turning myself ON”

L to R: Michelle Boulé, Lauren Bakst, Lindsay Clark
white hair

Lauren and Lindsay exitimg_0630

Lauren Bakst
LB radiate

Lindsay Clark
LWC listen

Michelle Boulé
white fly

And here’s one final photo by Ted Roeder for the solo performance I did at The Poetry Project’s 40th Anniversary New Years Day Marathon.  What an honor to be there!


This year of making dances has taught me so much.  There will have to be another blog post about that.  In the meantime, I want to list the artists I’ve been collaborating with on White, the latest piece I’ve been making.  These artists have been a huge part of all of that learning, and I feel grateful.

Lauren Grace Bakst makes dances and organizes conversations. She believes in feminism, failure, ghosts, and the dancing body. Her work has been performed throughout New York in spaces such as Abrons Arts Center, Movement Research at the Judson Church, Draftwork at Danspace Project, CPR, and The Drawing Center. Recently, Lauren shared an evening exploring the intersection of dance and text with Claudia La Rocco and Aynsley Vandenbroucke at Counterpath Press in Denver, Colorado. Lauren’s writing can be found in BOMB where she is also the Online Performance Editor. She curates Knowing Dance More, a series of lectures, artist-talks, and discussions at the University of the Arts in Philadelphia. In addition to making her own work, Lauren is currently performing with Mariana Valencia, Jen McGinn, and Michelle Boulé. She holds a BA/BFA in Dance & Gender Studies from Hollins University.

Lindsay Clark grew up in California and North Carolina. She has recently performed with Pontus Lidberg, Yasuko Yokoshi and John Jasperse, and has previously had the pleasure of working with Shen Wei Dance Arts, Faye Driscoll, Jennie Mary Tai Liu, Yve Laris Cohen, Miguel Gutierrez and the Powerful People, Vanessa Anspaugh, Jack Ferver, and Michelle Boulé. This year she was on faculty at the University of the Arts in Philadelphia teaching modern technique and composition and curated several group shows for the Center for Performance Research in Brooklyn. She has been a Fresh Tracks Artist in Residence at Dance Theater Workshop and has performed her own work at several New York and international venues. She is currently a 2013/14 Sponsored Artist at Makehouse. Clark attended High School at the North Carolina School of the Arts, holds a BFA from SUNY Purchase and an MFA from Hollins University.

Reid Bartelme began his professional life as a dancer.  He worked for Ballet companies throughout North America and Canada,  and later in his career worked for modern dance companies in New York including Shen Wei Dance Arts and the Lar Lubovitch Dance Company.  He went on to graduate from the fashion design program at the Fashion Institute of Technology and began working as a freelance costume designer.  Reid has designed costumes most notably for Christopher Wheeldon, Lar Lubovitch, Zvi Gotheiner,  John Jasperse,  Jack Ferver and the Parsons Dance Company.  In collaboration with designer Harriet Jung, Reid has designed costumes for the New York City Ballet, American Ballet Theater, Justin Peck, Marcelo Gomes, Andrea Miller, and Mauro Bigonzetti.

Carmine Covelli is a performer, musician and filmmaker living in
Brooklyn. He is a frequent performance collaborator with Adrienne
Truscott (‘depict him on his horse’, ‘they will use the highways’, ‘Genesis,
no!’, ‘HA: A Solo and Neal Medlyn’, ‘In The Air Tonight’, ‘Her’s A Queen’,
‘Brave New Girl’, ‘Wicked Clown Love’), and can be seen playing the
drums for Bridget Everett and The Tender Moments once a month at Joe’s
Pub. He is currently co-directing a documentary with Adam Horovitz
about New Yorker art critic Peter Schjeldahl and just released an album with his band The Julie Ruin.

A native of Korea, Okkyung Lee has been developing her own voice in a contemporary cello performance, improvisation and composition for more than a decade by blending her wide interests and influences.
Okkyung has released numerous albums both in the States and Europe: her second solo cello album Ghil on Editions Mego/Ideologic Organ; two albums as a leader, Nihm andNoisy Love Songs (for George Dyer), both on Tzadik; White Cable, Black Wires, a duo album with bassist John Edwards (FaTaKa); The Bleeding Edge with saxophonist Evan Parker and trumpeter Peter Evans on Psi; duo album Anicca with vocalist Phil Minton for Dancing Wayang; first solo cello album I Saw The Ghost Of An Unknown Soul And It Said… on Ecstatic Peace!; duo recording with turntablist Christian Marclay, Rubbings on My Cat Is An Alien (LP)/A Silnet Place (CD) and many others.
Since moving to New York in 2000, she has worked with numerous artists such as Laurie Anderson, David Behrman, John Butcher, Nels Cline, Chris Corsano, Douglas Gordon, Vijay Iyer, Mike Ladd, Thurston Moore, Ikue Mori, Lawrence D. “Butch” Morris, Marina Rosenfeld, Jim o’Rourke, John Tilbury, C Spencer Yeh and John Zorn just to name a few.
Okkyung has received a composer commission from New York State Council On The Arts in 2007 and prestigious Foundation For Contemporary Arts Grant in 2010 in Music/Sound.

Natalie Robin is a NYC-based lighting designer of theater, opera, dance, music and performance art. She is the associate producer and production manager of American Realness, a founding company member of Polybe + Seats and an Associate Artist of Target Margin Theater. She is also an adjunct faculty member at Brooklyn College and in NYU’s Tisch School of the Arts Department of Undergraduate Drama. Natalie is the winner of the Apollo Lighting 2011 Standing O Award and was chosen as a 2008 Young Designer to Watch by Live Design Magazine. Natalie is a contributing writer to   Live Design Magazine and Stage Directions.  Natalie also tours both domestically and internationally as a lighting supervisor and production manager, for artists including Miguel Gutierrez and the Powerful People. This spring, she designed Little Lord (a theater company)’s Pocahontas and/or America, the National Yiddish Theater-Folksbiene’s Di Megile Fun Itzik Manger and A Collection of Shiny Object’s production of queerSpawn.    BA: Columbia. MFA: NYU/Tisch

And I’ll throw in a few things I have learned…

  • Growth happens when we are witnessed and willing to be witnessed.
  • A work will dictate where it wants and needs to go.  We just have to let go of our attachments and listen.


Two things to look at:

This graduation speech by George Saunders posted on the New York Times


this video with Patti Smith.

These are both about ‘advice for the young’, but I want to take this advice for the rest of my life.

Performance and Grief – TBA Festival: Portland, OR

Emotion = Grief
Traditional Chinese Medicine function of Grief = Letting go

While preparing to perform “And Lose the Name of Action” last night with Miguel Gutierrez and the Powerful People, I realized how grief is such a big of part of our work. Letting go of what is other than ‘right now’ during a performance brought up a sense of loss. Grieving what might be, what isn’t now, my imagination and fantasy, and being left with only what is right in front of me or right inside of me. I did grieve for a moment–grief as the functional emotion for letting go. And then another door for possibility opened.

‘Relieve me from the bondage of self’