As both a historian and a choreographer, I approach my work through a dual lens shaped by research, embodiment, and narrative. For more than a decade, I have moved between these disciplines, navigating the tensions and unexpected resonances between scholarly inquiry and creative practice. What once felt divided has become deeply interconnected: my historical training now fundamentally informs the way I build choreography, investigate movement, and construct meaning onstage.

My creative process begins with research. Whether inspired by a historical figure, archival fragment, piece of music, or cultural phenomenon, I immerse myself in the social and emotional worlds surrounding the work. I approach choreography much like historical investigation: asking questions, tracing lineages, uncovering hidden relationships, and remaining attentive to what the body can reveal that language alone cannot. Rehearsal becomes a site of inquiry where movement operates as both interpretation and intervention.

Through this process, I create work that places historical consciousness in conversation with contemporary physical expression. Drawing from classical theater and jazz dance lineages alongside contemporary movement practices, my choreography inhabits the space between tradition and experimentation. I am interested in how performance can recover obscured histories, challenge inherited narratives, and make the past viscerally present.

The convergence of history and dance has shaped not only my artistic voice, but also my understanding of performance as a mode of knowledge production. My work seeks to offer audiences layered experiences that are intellectually rigorous, emotionally resonant, and physically immediate — works that invite viewers to think critically while remaining deeply connected to sensation, memory, and embodiment.