What was exciting?

I was most excited by Mz. G's philosophies and the fast pace at which she moved. I appreciated her use of imagery to illicit strong movement.

What was challenging?

Though I found it most intriguing, I was challenged by the mixture of Western technique with Africanist traditions of movement. Constantly moving between places of stacked alignment and release called for a focus that I haven't had the most steady practice tapping into.

How would being in this project help me grow?

I think working with Mz. G would provide me with the physical rigor I have been craving. Just utilizing my body differently, expanding upon ideas I've only explored minorly. I also think this project would give me space to better understand the place of spiritual beliefs in dance practice. How the two become one, and how they carry one another.

What was exciting?

I was excited by the music used in Raul's audition as well as the fluidity of his movement. The phrase was very constant and well-connected. And ending the audition with jumps was a fun moment.

What was challenging?

The speed at which the audition material was taught was challenging, especially because there were many directional changes and weight shifts throughout the combination.

How would being in this project help me grow?

Being in this project would encourage me to tap into my theatrical side and find ways to maintain a strong technique while exploring that element of performance. Additionally, I enjoy working with artists who maintain a cultural connection to the work they create, I think there is a lot I could learn from Raul in that department.

What was exciting?

Hearing that Cue pulls from street styles and already has a narrative developed is exciting. I like the idea of this being a continuation of work, it encourages me to believe this will be a project built from a place of passion which is exciting.

What was challenging?

There being no formal audition is a bit challenging. It would be great to have an experience with Cue's movement vocabulary before possibly having his work set on me. But also, from the given description. I can imagine this piece will be very physically demanding.

How would being in this project help me grow?

This project would definitely push me physically. Also, being that I've dabbled in street styles before, being in this project would demand a certain immediate sensibility that I perhaps have not had in the past.

What was exciting?

The music was very beautiful and I love that the piece is pulling from a specific time in history and how its effects are lasting.

What was challenging?

The hip placement and flow of her combinations were a bit challenging for me.

How would being in this project help me grow?

I would love to learn something with such cultural significance and historical context, pulling directly from history for inspiration.

What was exciting?

I am very excited by this project pulling from jazz music. I also appreciated the grounded movement with moments of clear shaping.

What was challenging?

I felt my body being challenged by the quick switches from grounded undulations into stacked more leggy positions.

How would being in this project help me grow?

I love the historical context this project is pulling from and really appreciate its reframing of grief. I think being in this project would teach me more about dancing from a narrative that already exists and working hard to honor it.

What was exciting?

Seeing how well Presley and Cam work together was very exciting. It makes me confident that they will be able to meld their ideas together and present them to dancers in a cohesive way.

What was challenging?

The intricacy and speed of the movement were very challenging. It required an awareness of momentum and control of the body which proved to be difficult.

How would being in this project help me grow?

Being in this project would be dancing in a style that tends to intimidate me. Speed and intricacy are typical aspects of movement that don't come naturally to me, so this project would be a challenge in that way.

I've been having to sit back and understand how discomfort can turn into a boundary or what makes a boundary necessary. I struggle to set boundaries in artistic spaces, specifically when it comes to more seemingly minimal tasks. This piece is causing me to think more about why that is and how I can better articulate my needs.

It has been so wonderful to work in a piece with so much dedication to honoring culture. Each rehearsal is more than just learning steps. There's such an emphasis on understanding the lineage of the movement we're exploring and how it depicts an evolution of tradition.

From my choreographer, I'm learning about what it means to carry culture in your projects. Annie is pulling from so much tradition in a way that forces you to hold the things you're being taught as sacred. Watching her work, and being a part of her process encourages me to think about the care with which I share the movement traditions that reside within me.

Next for me in this process is finding the mental and physical stamina to run this show. Both pieces require a lot of awareness of the energy. Energy being exerted, energy being cultivated, and the energy that stays with me when the performance is over. I'm hoping to manage these responsibilities better as the process continues.

Then there's the emotional exhaustion. I am pretty sure there was only one show where I did not cry. And tears take a lot out of you. By the end of each night, all I wanted to do was crawl into a ball and wait for sleep to find me.

Lastly, performing in this show each night required a lot of mental strength. I felt a serious sense of dread each night, and I often didn't feel relieved until I finished each piece. This was a new feeling for me; I've never had such mixed feelings about performing.