As a movement artist, she moves as the dancing body,
with a curiosity for genealogy beyond nation state borders,
a construct she seeks to first understand and transcend.
Thus, she outlines her movement history based on geography;
having spent her youth with the underground dance community in Manila,
then travelling through professional performance work and studies in
London, Senegal, New York, and Singapore – where the artist is based today.
Through this transnationality, she has found a sense of home
with what she terms as ‘percussive pulse’ found within
the undulations of the spine, in dialogue with the drum
that produces sound echoing womb.
Together, dancing and drumming create an earthly resonance.
A tangible manifestation of ‘home’ found
within this dialogue of dancing and drumming
is sought through a piece titled “talking third circle”,
a name inspired by indigenous practices of addressing conflict.