Choreographic Labs

An opportunity for choreographers to set/reset a work on participants who volunteer on the first day of the Assembly. The work or work-in-progress is rehearsed daily and will be presented on the final days of the Conference & Festival in a site-specific location.

More information to come soon…

The Community Body/in Place

Chicken Bank Collective

In this choreolab, Chicken Bank Collective (CBC) will co-create a frame that encourages risk taking in a space we inhabit fully with the sum of our parts. As a community body, we can make movement anywhere. We will work with what is at hand, utilizing the aspects of each participant and their relationship to the space, to create grit. Context. To explore together what stories need to be told in this juncture: by our environment, ourselves, our connections and in the minds/memories of the audience, as they experience the dance.

Leading exercises that will spark ideas, partnership, and creation, we will search for abstractions while simultaneously following narrative leads, using the body as our touchstone. How does this space enter into our senses and transmute our movement? How can we capture the information present around us and cultivate it within our internal ecosystem? What is the kinetic energy of place expressed in the structures of our community body?

We will decode our different approaches into a group constructed vocabulary, using movement to cross through the borders of culture, country and physicality to ignite essential expression. Techniques of performance, choice making and dedication to the moment will build the anatomy of our collaboration. Be prepared to dedicate yourself to the quick process with fierce vulnerability and radical presence, embracing the body you are living inside this very instant.

Somos un colectivo internacional de arte interdisciplinario que está comprometido con la comunidad y constantemente generando espacios para la co – creación y la investigación de los puntos de intersección y las posibilidades expansivas de nuestras disciplinas. CBC lo conformamos seis mujeres: bailarinas, docentes, coreógrafas, músicas, artistas plásticas y videoastas. Convergemosdesde distintas ciudades de México y Estados Unidos para trabajar con lo que está a nuestro alcance: nuestras historias, las del cuerpo y las de los lugares a los que vamos y de los que venimos. Nuestra misión es tejer comunidades entre fronteras a través del arte del movimiento.

Julie Rothschild is the Director of FloorSpace Movement Studio in Boulder, CO, Independent Dance Artist and Educator, Alexander Technique Teacher, and Nordic Ski Instructor. Her passion for movement and performance began at a young age, and continues to lead her in unpredictable and wondrous directions. She has collaborated, choreographed, performed, taught and apprenticed with a wide and wonderful assortment of dance companies and artists throughout the world.

Cinthia Pérez Navarro is a Mexican dancer, teacher and independent stage creator. Her interest is focused on improvisational, somatic and movement practices. Her work is sustained by a stronger sense of community and generating a creative, free and integrated space in the performing arts. Dance Degree at UDLAP, Cholula, Mexico. She has participated in international festivals such as Performática (2007 – 2016), American Dance Festival NC (2010, 2018), International Festival of Improvisation of Contact Uruguay (2011), SOMA Fest CA (2012), Festival of Dance On-Site / In- Sight NC (2016 – 2017) and 1st – 2nd National Encounter of Contact Improvisation Mexico (2016 – 2017). Currently Cinthia lives in Puebla and ventures as a Somatic Movement Educator, a choreographer in Proyecto Segundo Piso, performer in XIPE Colectivo Escénico and she coordinates the Puebla Contact Improvisation community. Since 2014 she is a member of Chicken Bank Collective, collaborating in the creation, management and production of artistic residences.

zap:::mcconnell > an investigator of dance/theater/movement/performance. I am a visual artist, director, teacher, performer, environmental activist, beginning filmmaker and odd job wrangler; animated by passionate beliefs and visions that flower out of my fierce love of the natural world. For over 2 decades, I have experimented with cross pollination of arts, fusing that in installation site specific work, featuring dance. I make things. I travel a lot. I am dedicated to paying for my carbon footprint in co-creating community projects, as I continue to broaden my awareness of different ecosystems, cultures and communities. Luckily this requires full participation. I am usually fueled by music. Currently I am a candidate for an MFA in Dance at Hollins University, a co-creator of Chicken Bank Collective- an international interdisciplinary all girl group, and reside at my art studio: CABIN.

Links to Site Specific work CBC was part of:
Part of: On Site/In Sight 2016
Part of: On Site/In Sight 2017
Teaser for CBC Site Specific Dance for Film
CBC Site Specific Dance for Film experiment


Jeanine McCain
Ursinus College, Associate Professor of Dance

My recent choreographic research involves using movement to explore personal histories, with particular attention to a sense of place and how we are shaped by our physical environments. I’m interested in how the ways we move, the ways we interact with each other as humans, and the ways we hold awareness about the deepest parts of ourselves are intrinsically connected to the landscapes in which we exist.

For Choreolab, I’d like to explore the duality of how our bodies are an inseparable part of our physical landscape, and yet a single body or group of bodies moving can act as a landscape of its own. What kind of story is told when we move together? What kind of story is told when individuals break apart? How does this change how we understand the landscape and our relationship to it?

I’m very interested in working with dancers who are interested in improvisation and contributing to a collaborative process. I plan to use flocking as an initial exploration of our bodies in coexistence with the landscape, and then see what arises as the flock breaks apart. Ideally, I will hold the vision for a tightly structured score based on our work together, but the dancers will also bring their own connections and movement inspirations, based in the site work, to the development of the piece.

Jeanine McCain is an interdisciplinary dance artist and educator based in Philadelphia. Her current performance research integrates dance and video technology to investigate personal histories that explore a sense of place. McCain’s work has recently been performed at the International Interdisciplinary Artist Consortium and Moving Arts Lab at Earthdance in Western Massachusetts, Sans Limites Performance Series in New York City, Philadelphia Fringe Festival, and Sans Souci Festival of Dance Cinema in Colorado. Her interdisciplinary performance research has been presented at the Association for Environmental Studies and Sciences, the Temple Critical Geography Conference, and the Hawaii International Conference on Arts and Humanities. McCain holds an MFA in Dance Performance and Choreography from the University of Colorado at Boulder and a BA in Dance and Theatre from the University of Montana. She is currently an Associate Professor of Dance at Ursinus College.

Distortion Variations

Martheya Nygaard
Co-creator, kNOwBOX dance

I am interested in creating a distorted immersive performance that will take place near a large architectural structure such as stairs, breezeways, or fountains where performers and I will create 4 variations of a solo phrase.

Variation one: Performers create a solo phrase inspired by the architecture.
Variation two: We apply distortion methods to re-imagine variation one.
Variation three: We re-imagine variation two where bodies are now in physical contact with the architectural structure.
Variation four: We re-imagine variation three not in physical contact with the architecture but with other bodies.

The variations of solo phrases explore how distort the performers’ relationship with the architectural structure. I define “distortion” as the act of altering something to become grotesque, complex, and ugly. The three methods of distortion for generating movement are: deconstructing the body, twisting the body, and challenging movement patterns. These three movement generation methods create an uncomfortable, unnatural, grotesque movement vocabulary that challenges the possibilities for what dance can look like. These three methods are also applicable when working with the performer’s relationship to the architecture. These movement generation methods are applicable for any performance outcome as they stimulate a process of generating unique movement phrases for any duration.

Martheya G. Nygaard is a dance artist who has cultivated the concept of “distortion” as an aesthetic philosophy, to challenge and expand notions of contemporary dance. Her work has been presented both nationally and internationally. She holds a BFA in Dance from Sam Houston State University and MFA in Dance from Texas Woman’s University. Currently Martheya is an adjunct professor for Tarrant County College and Eastfield College. Martheya dances professionally for Out On a Limb Dance Company and Jordan Fuchs Company. Recently Martheya and YeaJean Choi launched a social media based company, kNOwBOX dance, to connect interdisciplinary art, technology, and artists, to re-envision the process of art making and sharing. For more information visit |

Link to previous work: