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This powerful piece embodies raw anger and intensity.  A unique movement vocabulary depicts pure primal hostility and confronts the audience with its emotional power. Not depicting quasi-animal movements, but the embodiment of charisma, it’s essence, the physicality of non-verbal charm, the manifestation of this elusive, intense quality in bodily gesture.  Unique in being almost entirely composed of “oor work,” it pushes the choreographic limits of both never standing yet, limbs extend, never sitting on the oor, but being curled and contracted.  Its primitive movements have been seen as animal like, but are in fact the linear, visceral expression of intensity. The primal hostility so evident at first becomes rened and retooled into something seething, more repressed, with a sensual undertone, a beckoning to the audience, drawing them in, inviting them to look on, to come closer.  Crawl Xipe Totec was awarded the People's Choice award at the 2012 Rocky Mountain Choreography Festival.

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PART I  “Surveillance” A quartet, investigating society’s reactions to, and perceptions of surveillance, both visual and physical.  From the seemingly benign, ever-present camera to the increasingly invasive security checkpoint “pat-down”, this work questions the constant watchfulness of “big brother” and presents possible physical and emotional responses to being watched.  Exploring various emotional qualities and their expression through movement, the work questions:  do we react to being surveyed with fear, oblivion, panic, ight or does the surveillance transform us into exhibitionists? PART II    “PANOP” This duet further develops the idea of the visual and physical invasion of our lives.  Delving into theory behind the Panopticon and its psychological effects on its inmates/occupants. Where the observed is often also the observer, and the occupants will never know if they are being constantly watched, or not.

Photo by Laura Jane Williamson

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Photo by Tim Agler


“SOLACE” This solo, set to music by Puccini, manifests the deeply profound experience of self-solace.  Inspired by Sefton's close experience with an Alzheimer patinet, this piece expresses both loss and self-comfort.  The work mourns the loss of the living dead, in which the spirit is still with us, but the intellectual self is dead, while the physical body deteriorates into a bleak hollow shell. The movements of this work are the embodiment of soothing a deep emotional loss.

“TERMINAL”  This solo, delves into the depths of terminal illness.  The medical treatment often utilized to stave off the inevitable, the physical side effects of one’s demise and emotional journey of the break down of the body.

“BYE” This solo depicts the journey out of Life. The departure of the body and spirit from the physical realm, leaving behind all things tangible, physical, material and emotional. Letting go and accepting.

Out of Life

This work continues Ms. Sefton's examination privacy and security, but in reference to the human body, in and of itself. Isolated without human contact, alone and unprotected, we perform procedures on it, take things out of it and we feel a loss when something is physically removed from our bodies.  How do feelings of modesty and instinctual protectiveness manifest themselves in our actions and gestures?  What emotional stress does it put on us to have to try and protect ourselves, yet keep our bodies in proper functioning order with the ministrations that are sometimes brutal and violating to our sense of keeping our physical living carcass safe and unharmed? Yet there is also humor in this subject.  We cannot take our bodies to seriously as their parts do inspire amusement. This new work contains a virtuosic style of movement performed by three women and two men. Thematic gestures of the arms, hands and torso are paramount to the movement.  A rich tapestry of arm gestures whirling, unfolding, holding and flailing combine with locomotion both on the floor and across the floor, embellishments of torso movement and facial expressions shall grace the dancer’s forms to express these complex themes and emotions.  Floor patterns taken from the body’s internal systems and hands gestures will combine to produce a visually complex lavish textural creation.  Excerpts from Obviam Somes were presented at the Rocky Mountain Choreography Festival in 2012 where it was awared the Grand Prize.

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Obviam Somes

Photo by Laura Williamson

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Crawl Xipe Totec

Photo by Laura Williamson

8019 Final PS

Photo by Erich Koyama

The relationship of bully to victim is never a simple one, its definition never easy. Is the bully born – or created? Does he choose his identity or is it thrust upon him? This new work, with an original, multi-layered score by Mark Hadley, examines the complex contradiction of our deeply-felt need to belong to a peer group and our desire to be unique. Often the bully is one of our own, with many emotional similarities to us, and far from acting alone, his gang plays a crucial role in selecting his victims. We may think we know the power of the bully, but do we truly understand the despair of his identity and the lasting effects his actions have on both his victim and himself?

Photo by Laura Williamson

This Facility is Being Monitored for Your Protection and Security/Surveillance



I-5, Windmills

I-5, Windmills relates to the experience of driving on the interstate 5 between Sant Francisco and Los Angeles.  "Windmills" is evocative of not only the beginning of a journey, but a feeling of place, time, movement and our relationship to the environment.  Driving on the I-5 is an experience where we can observe the landscape in its natural state and how mankind has affected it.  We see and feel the changes wrought on the environment, man's desperate need to extract resources i.e. windmills and his invasion and control of the landscape-the road itself.

Photo by Denise Leitner

More Please

Werk Work


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More Please delves into our desire to do and be everything at once, to ourselves, and to others.  Life is a constant juggle full of balance and shifting relationships, values and priorities-constant questioning and pushing.  Time moves to quickly and as a woman in today's society expectations are high.  We must fulfill may roles and strive to have everything at once, to achieve our personal and professional goals and often be relied upon to be to the emotional rock for many others.  What about our dreams, needs, disappointments?  "More Please" bring to life the constant inundation that women often experience in their struggle to have it all-relationships, work, art a full and fulfilling life.  "More Please" was created with the support of William Kevin Anderson.

Werk Work is a site-adaptive work created for the sleek, marble lobby at One Sansome in San Francisco.  It is a witty commentary o the daily hustle and meet-and-greet of the business world.  Utilizing the existing structure, performers interact with both their envinonment and the audience:  running on the walls, entering the space by either escalator or staircase. "Werk Work" was commissioned by the Sefton Family Law Group.

Photo by Denise Leitner

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Memory Lapse


Memory Lapse is a work about memory with an emotional score by composer Bryan Curt Kostors.  Memory is physical, emotional, physiological, practical and necessary.  We need our memory for daily life, for practical tasks as well as to keep us functioning and independent.  Laurie examines this topic from several points of view:  short-term memory loss; trying to remember; Alzheimers; remembering one's past self.  This piece is both a journey and a glimpse of our memory.  Memories can be vestiges of our reality, like a lingering impression of a scent or trying to recall the exact color of the sky in October, the mere feeling of trying to remember.  Alternatively, it can be a definable concrete absence, a hole in the fabric of ones mind.  "Memory Lapse" was created with the support of Mark Rogers Johnson.

desiccated earth/California


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Photo by Denise Leitner

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Photo by Denise Leitner

With an original score created by Mark Hadley, desiccated earth/California takcles issues related to climate change and reflects our purlieu and our impact upon it. Personal and tactile, this work explores how our environment makes us feel when we immerse ourselves in it and how it becomes part of our physicality.  Given recent environmental changes such as climate disasters, we seem to limit our response to our immediate environment in our simple unsophisticated myopic way.  We should be panicked.