‘INTER9’

PART 1: INTER9

Forever Changing: SAOKO

In ‘Forever Changing: SAOKO’, Kailah Doles invites audiences to explore the liberating journey of self-discovery and individuality through a captivating blend of movement and music. In the work, Doles hopes to take the viewer on a journey that is intriguing and inspiring with its celebration of fluid identities, showcasing the joy of collective connection, and the vibrant rhythms that unite us all. Expect an experience that transcends traditional boundaries, leaving you reflecting on the beauty of our shared humanity.

rushing for a wait, waiting for a rush

‘rushing for a wait, waiting for a rush’ utilizes dance as a dynamic medium to explore their experiences with the vast spectrum and intensity of emotions felt due to their borderline personality disorder (BPD) and Bipolar 1 disorder. Mars Dunston incorporates Frank Ocean’s second studio album Endless whose themes of repetition and unfinished cycles mirror the nonlinear nature of their emotional experience and the music’s structure. With a cast of eight (8) dancers, the piece examines the unpredictable nature of these conditions, how they impact relationships, and the hardships that arise in navigating how to set healthy boundaries.

enough is enough…right?

In ‘enough is enough…right?’, Armony Santos explores the importance of putting your best self forward, even when external toxic factors or people try to interfere with your happiness. With a cast of eight dancers, Armony crafts a work that explores the dilemma of deciding between maintaining self-preservation and continuously tolerating toxic people who cause harm to your inner peace… which will it be?

Ye Shall Know the Truth, and the Truth Shall Make You Free

Emma Wynkoop’s work, ‘Ye Shall Know the Truth, and the Truth Shall Make You Free’, reflects her personal journey finding her voice. This creative work explores various research methodologies for unblocking energy in the throat chakra, the fifth chakra, associated with communication and speaking one’s truth. Wynkoop questions how vibrations from humming and singing are deeply intertwined with this transformation process. She investigates how through nurturing and connecting with the voice through sound and movement, the freedom of speaking one’s truth can be uncovered.

In the Company Of…

In the work, ‘In the Company of…’, Eliza Seaton utilizes visual art and abstract movement to explore the idea of solitude. Here, Seaton aims to demonstrate that solitude is not merely a state of seclusion but an intentional practice of inner tranquility and self-sufficiency, vital for those who cherish moments of introspection. Using dance and art as vehicles for exploration, Seaton peeps into tranquil moments of solitude to illuminate how individuals can delve deeper into their innermost thoughts to construct a personal haven amidst the cacophony of life’s demands.

End of the Hall, Straight Ahead

In this work, Olivia Gwinner explores feelings of mental and emotional paralysis, which acts as

the catalyst for a multitude of challenges one faces in various aspects of life. Here, Gwinner uses dance and music to convey how this state of being can manifest in a variety of forms within diverse communities. Through this creative process, Gwinner attempts to illustrate hope beyond states of despondency.

Inner Rhythms

Imani Abney’s, ‘Inner Rhythms’, investigates the inner workings of the dance world that

the audience rarely, if ever sees. Here, Abney and her cast explore the multiplicity of energies underlying the dance arts and the resilience needed to build a career in an arena that is equally competitive as it is alluring. In Inner Rhythms, she uses her own experiences as the foundation to metaphorically “open the portals of understanding” to find/forge healthier a way forward fueled by resilience and self-acceptance.

PART 2: INTER9

C4N U D1G 1T?!?!?

In this work, ‘C4N U D1G 1T?!?!?’, Amaya Weston explores how Afro-Futurism* informs

different styles of music, fashion, visual art and dance, and how in performance it can be a tool of radical resistance against systems of oppression.

*The definition of Afro-Futurism as it relates to this project is “… a literary and cultural aesthetic that incorporates science fiction and fantasy, magical realism, and non-Western cosmology, … in creative works that challenge the racial homogeneity of conventional genre[s] … that explore questions of Black identity and subjectivity in futuristic contexts* – Mark Dery.

to discard, to repair

For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. – Ephesians 6:12 (KJV) In this work, ‘to discard, to repair’, Chynia Harris creates a heuristic visual representation of how music can heal internal trauma and how that concept is perceived through her own experiences. Paired with selections from Kendrick Lamar Duckworth’s discography, Harris aims to emphasize how hip-hop music has served her as a vital therapeutic tool to process grief and other internal struggles. The piece’s framework invites the audience to glimpse into Harris’ mind overcoming physical and psychological mental blocks through an immersive multimedia performance space.

Photographed by Anthony Johnson