Talking about Choreography

I have an interview up with VoyageMIA talking about choreography. It’s one of the “Hidden Gems” on their website.

Book on the Way

I am so excited to share that I am publishing a book with Routledge on consent-forward, trauma-informed, psychologically safe movement pedagogy! This book is designed for dance teachers, as well as those who teach movement actors and stage combat in higher education settings.

I am well into the process of writing and am excited to share it with you- hopefully in early 2026. Stay tuned for updates.

Meet the Dance Makers Interview

During peak pandemic times, a colleague, Ali Duffy, at Texas Tech University had one of her undergrad classes interview dance makers with specific missions in their work. I was honored to be one, and to have that interview now published in an Open Educational Resource text available from Raider Press. Check it out!

Power and Consent in Dance Writings from DanceGeist ezine

Sadly, DanceGeist ezine will be going away soon. DG was a great alternative to competition, commercial-based dance publications, with its focus on Somatics, disruption, and community. Unfortunately, that also means it was hard to sustain. But, I have been given access to all of my pieces from DG! I have link the power and consent series here, and the rest of the articles are all over on the Dance page, if you scroll to the bottom. Enjoy and share!

Accountability is Not Punishment

I’ve written before about accountability both here (as relates to local theatre) and here (as relates to being persons in community).

The following is an excerpt from the conclusion of my thesis, which holds that collaborative work requires accountability measures.

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2022 in Review

2022 was a big year of work for me. Here’s my year in review!

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The Relationship of Consent and Power

Consent cannot exist if someone is under manipulation, influence, or coercion. Therefore, consent cannot exist when power dynamics are at play. Because power dynamics, whether social-structural or embodied, influence how we chose, behave, and speak.

Which is why consent does not exist for performers or students.

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Pt. 2 of Power Dynamics in Dance

Last month we defined how Power Dynamics show up in dance classes and dance rehearsals. This month, I offer some ways dance teachers and choreographers might mitigate those power dynamics to help create consent-based dance spaces!

Find it in the DanceGeist ezine!

The article will link to Part 1.

The full series is linked on the Consulting page, as this is a resource given all my clients.

Interview with Sunshine Arts

It is my honor to be part of the inaugural issue of Sunshine Arts, a newsletter by Amy Mahon, of South Florida artists and events!

I was interviewed about my dance teaching at the University of Miami in the time of COVID. I focus specifically on using technology in modern and jazz dance classes.

Check it out for free here.

Power Dynamics in Dance

I am thrilled to be writing a 3-part series for DanceGeist Magazine about Power Dynamics in Dance.

The first part was released earlier this week in the February issue. Read it here. Catch part 2 about disrupting and divesting from harmful patters in March. Part 3 in April will look at consent-based practices.

The ezine is free, but does require a subscription. Get yours here.

I talk. A lot. Sometimes people let me talk on their shows.

And this is one of those times!

Jimmy Chrismon, an intimacy direction colleague, hosts ThedTalks, a theatre education podcast. He interviewed me about intimacy direction and Momentum Stage. Check it out here: https://thedtalks.com/podcast/

I have a few more podcast appearances coming up. Stay tuned!

Creating a Pedagogy and Ethics of Teaching With(out) Touch

Momentum Stage has just launched a new course I wrote combining my training in intimacy choreography, the Laban/Bartenieff Movement System and my years as both an educator and creator of movement.

This is to offer teaching options for those who are either encouraged or mandated to not touch in teaching. This is not a class about touching student. It is a class to consider IF touch is necessary, HOW do we teach without it (or very little of it), and WHEN/IF it is necessary, to make very specific choices in our type of touch in order to be as effective as possible with that touch.

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Consent Isn't About Sex.

Consent isn’t about sex. It isn’t about touching, or feelings, or legal liability. 

Consent is about seeing the other person in the conversation with you as a full person, with boundaries, agency, opinions, and rights.

In the performing arts, saying “yes”, whether we really mean it or not, has been reinforced over and over again. Especially for those on the performing end.  We need to see “yes”, “no” and “I need more information” as equally valid answers.

Theatres are starting to incorporate consent work into scenes of an intimate nature. The work of Intimacy Directors International and Theatrical Intimacy Education has been to establish these practices. But what about other moments where consent should be requested? 

  • Auditions

Theatres who hold auditions without disclosing the productions to be staged, and/or the characters available in those productions. I get that sometimes you are waiting for your rights, and you really need to have auditions. However, consistently holding auditions without telling performers what they are auditioning for is telling performers that their time, preferences, boundaries, and ability to ask questions that matter to them are of no importance to you. That you, as the producing entity, have the right to know what you are looking for, but they don’t. This continues traditional power structures and removes personal agency from your actors.  This may not be what you’ve intended, but it is what happens; and it’s dehumanizing.

  • Teaching/Directing

A lot of choreographers and dance teachers especially, instruct with corrective touch. It’s a time honored tradition. However, with 1 in 6 women having been a victim of sexual assault, and approximately 60,000 children assaulted each year, touch from a stranger or authority figure may not be one of the best ways to teach groups any longer. Yoga is doing a better job with trauma-informed practice, and dance and theatre would do well to consider some of their solutions. At the very least, teachers/directors/choreographers should be asking before we touch anyone on any given day. 

Somatic movement pioneer Irmgard Barteniefff said “Tension masks sensation.” If you see a student tensing before you correct them, is your touch even going to be useful? Could your corrections actually be more applicable to more people, if given with evocative language, rather than personal touch? 

Check out this free resource about teaching with a trauma-/touch-informed lens. Purchase Touch card templates here. 

  • Being an Audience

Does the audience know what they have agreed to when they enter your space? If your show is “immersive” or contains content that may offend someone, is your audience aware of that before they buy tickets? As they buy tickets? Enter your space? Or only after it has happened? And are they clear on whether or not they can interact with the performers, and the consequences of violating expectations? You may assume your audience has consented, simply by being in your space. But consent requires specific and clear information, and if that hasn’t been given, neither has consent. 

How are you (or is your organization) approaching consent in artistic work? Leave a comment!

Creating a Class or Cast Contract

I have found this practice to be incredibly useful in alleviating behavior issues within classes or casts.

Why have a class or cast contract? 

  • Decentralizes Power

    • This is a big one for me, especially when it comes to dealing with young people in the arts. They are dealing with a dual power structure of director or choreographer/actor and adult/youth. Young people often feel they cannot say “no” or ask questions because of this. By creating a contract, the power shifts to the group as a whole shaping the expectations they have of each other, not just what the person in charge wants to see.

  • Promotes Buy-in and Accountability

  • Clarity of Expectations

    • Safety

    • Participation

    • Attitude

    • Attire

  • Success is Built in

Recommendations for creating a class or cast contract:

  • Use a posterboard that can hang in your room or a corner of the board that can remain dedicated to this, or post in Classroom or Group Page.

  • Stay Small. 5-7 points should be sufficient. Draw connections whenever possible to an existing point. 

  • Include:

    • Consequences of Contract violation

    • Chain of Communication if the director/choreographer/teacher violates the contract

    • Any Departmental or umbrella organization expectations/requirements. 

  • End with “Have fun!”, “Have a good show!” or similar. This should be just as much an expectation as respect or wearing appropriate footwear. 

  • If a hard copy, have every member of the class or cast sign it.

Do you have questions regarding creating or maintaining a class or cast contract? Nicole Perry has experience in using these documents with students as young as kindergarten to adult professionals. Set up your Creative Practice Consultation now.