As a person, dance is something hard for me to relate to: In my daily life I rarely raise my leg above a ladder-climbing height, interpreting stories and song lyrics feels more natural to me than decoding a choreographer's intent, and I need a drink or two before letting loose on a bar's dance floor. Yet as a dancer, I see movement as the perfect metaphor for just about anything: a new relationship is a budding collaborative duet, having a post-performance discussion with fellow audience members is my night-cap of choice, and a traditional dance class is the most fitting place for self help and personal improvement I could possibly think of.
Placing myself In these two opposing camps of "person" and "dancer," I love playing devil's advocate: making choices and constantly saying "no" to arising ideas to whittle down my preferences and guide a project. Taking from both sides, I view dance as sometimes art, sometimes activity, and sometimes connection. It is a wonderful feeling to negotiate these experiences by looking at them critically to loyally align myself with my favorite attributes of dance and performance for further investigation. Whether it is dance-making or dance-viewing, I am interested in bringing the world off-stage onto the marlee, and dance in the studio into cafes, bars, parks, and beyond.
I consider my work to be a shifting combination of dance, theater, and performance art. I believe that dance is an inherently collaborative art form and an amazingly imprecise vehicle for communication. Dance makes up a free-flowing realm that refuses establishment and promotes communication. Crafting bodies in space is a cathartic practice, and I hope to involve myself in the frenzy for years and years to come, indulging in little opportunities and testing new ideas on myself and with others.
Dance like no one likes you.
Sean Thomas Boyt's collection of choreographic, artistic, and collaborative work.
Photos by JJ Tiziou Photography, How Philly Moves