I am fascinated most by what makes people laugh, cry and continue. I am interested in the states in-between: the extreme, the mundane, the fake and the 'real'
There is no way I can separate my life as an artist, activist and healer. My art has developed in tandem around the issues I feel passionately connected to.
As a descendant of Japanese-American farmers who were forced into Internment Camps during WWII, I grew up with stories that formed a deep sense of justice and a love of land. I have had wonderful opportunities to teach and to develop strategies of health and wellness in many community settings: living on a farm and working the land, teaching yoga to youth in prison and homeless centers, working to re-define activism through a healing justice framework with LGBTQ people of color.
Some of these experiences have left me with a sense of who I am, and am not. Some have also left me with a sense of separation, emptiness and longing. It is art making that has allowed me to expand my identity beyond the bounds of what the world sees: to play with perception and who I am in each moment, to rediscover and redefine what my capabilities are, to coax those watching me to do the same.
Every piece I have ever made has included you, the audience, in some way. While I cringe at the term 'audience participation' it is, in fact, what I do. My work speaks to you and whether or not you speak back is up to you, but chances are you, or the person next to you will have to get up out of your seat. It is not a challenge, and yet it is a call to you. An invitation for you to engage, to ask, to question, whether in interest or skepticism.
The Trajectory, The Influences
I studied at the Experimental Theatre Wing at NYU with innovators from the Judson era.
In New York, I have presented work at BAX, Dixon Place, Movement Research at Judson Memorial Church, CATCH and Dance New Amsterdam (as the former Dance Space Center). As a curator, my love of farming, movement and wellness culminated in the co-curation of Movement Research's Spring Festival: fallow time.
In San Francisco, I was strongly influenced by the work of Keith Hennessy and Meg Stuart. I have gratitude to that art community for their (our) sense of dedication and enthusiasm for taking risks. I expanded my experience with creating work in non-traditional settings. I curated events, created an evening length piece "when i die i will be dead" and co-produced The Ms. Tang Tang show, a live talk show/ performance art series.
I was Choreographic Assistant to Faye Driscoll for the production You're Me. This journey continued to deepen my questions around identity and perception, but also gave me new respect for structure, timing and movement-based phrasework. I am currently a collaborating and performing member in the Thank You for Coming series.
I am honored to have performed in Andrea Geyer's film project Three Chants Modern at the Museum of Modern Art, choreographed by niv Acosta and with Sally Silvers, The Body Cartography Project, Sondra Loring, Laura Arrington, RoseAnne Spradlin and others.
I have also made a choice to stop making work, for now. To focus on the infrastructure of my life, the elements needed to write a Brooklyn-based artist's bio. I have not yet returned to making, but it is in me, seething below the surface.
Stay tuned for more to be made. It will.
Follow me in performance here. Follow me in writing here. Follow me in healing here.