The Geography of Memory began with instructing dancers to learn specific gestures in a set sequence. These movements are simple and pedestrian, accessible to all skill levels, and include actions such as slowly lifting one's arms, looking backward, walking in a specific pattern, or arranging one's arms into various shapes. I invited ten dancers to individually interpret these phrases in ways that felt physically natural to them. Our meetings took place in venues ranging from environments familiar to the dancers to spaces that intrigued me—some in their homes, others in a dance studio, and one in an olive grove, with additional filming in my own residence.

I captured footage of these movers, letting their decisions and interpretations guide my own directions and camera movements. I enjoy getting close to the movers, immersing myself as if I am part of the dance. Our filming sessions usually last several hours, during which we communicate minimally, only signaling to start or stop. This approach has proven beneficial; it helps the movers become aware of the camera and use it as a tool for further expression and interpretation. They are conscious of the camera's position, and together, we craft compositions and movements within the frame that enhance and evolve their emotions, often surprising both parties. 

I have edited these recorded sessions, and while they percolated in my mind, helping me shape the presentation for an audience, I was struck by the idea to incorporate Stravinsky's music from 'The Rite of Spring' as a background score.

Each time I listen to "The Rite of Spring," its power resonates through my body, reawakening dormant physical and mental energies. In an era where aging is often seen as a decline, integrating this music into the films of the dancers I collaborate with injects a sense of renewal, potential, and growth.

"The Rite of Spring" encompasses a vast spectrum of sounds, along with extreme rhythms and volumes. The piece simultaneously evokes feelings of sorrow and joy, fear and obscurity. Even after numerous listenings, the journey it invites us on retains its mysterious allure.

I will delve deeper into the relationship between these films and The Rite of Spring. Spring typically connotes renewal and growth, concepts which emerge from what resembles a metaphorical death. Spring sprouts from the soil, displaying its vibrancy and fragility in a stark contrast to the barrenness surrounding it. Growth is inherently challenging, requiring a push through the hard crust of the earth and overcoming our inherent pessimism.

As a dancer, the transformation of your body can sometimes feel like a betrayal. The aches, stiffness, and increased fragility introduce a pause, a mourning period for a time when the fear of injury was minimal. What replaces your former agility when you can no longer move with the same ease?

The choreography that emerges in collaboration with dancers, and the manner in which it's interpreted, introduces new perspectives and a fresh vocabulary to dance. This evolution symbolizes a renewal, a revival of past capabilities but also demonstrates how such renewal can persist and evolve, adapting to bodily and mental changes.

Memory is a complex and elusive concept often perceived as a relic of the past, yet it also informs our understanding of the future. It is both malleable and unpredictable, capable of transforming into fantastical forms or becoming buried under the weight of internalized shame. The performers I collaborate with delve into their personal histories and memories, enriching their movements with a depth that resonates on both personal and universal levels. Observers might witness a woman frantically moving her arms around her head, eyes closed, her movements accelerating until her arms appear to stretch independently, and she exits the scene as though drawn out of the frame.

Such moments allow viewers to project their own emotions onto the performance. The movements performed suggest the contours of memories and distant sounds, enabling audiences to interpret and connect with the work through their own experiences.