“I come into a theater, okay, great. I know exactly what it is I’m supposed to do as an audience member, and I’m kind of like, how can we push against those scripts? And if we can start transgressing the scripts given to us in the theater, then how can we get comfortable enough with the discomfort of that to do that outside of the theater, too?”
“… Being Māori, I did not, when I was younger, even connect that with my practice. It’s become more and more important, but it was something that I grew up feeling not positive about. So, to feel like I can embrace that now has been a really beautiful process for me.”
“I’m working with whatever is in the room. I’m working with the day. I’m working with what I’m moving through personally. And what it feels like is going on in the world at the time.”
“I was like, I don’t just want to perform, I don’t just want to compose, and I was getting into improvisation. I just got introduced to the underground experimental music scene in Seoul and I discovered there are so many cool people who think outside the box and music practices out there that I never thought about and that school never taught.”
“Making work and creating spaces to share it matters. The act of sharing is just as important as the content. We need to honor interiority, connect in ways that go beyond words, and keep responding to the world as it is.”
“When you play an instrument, your body almost becomes part of that instrument. You co-resonate with that instrument in a way where you’re working together in this very physical partnership, like a dance.”