Time Track Productions
Exploring the relationship between our humanity and its projections.
Upcoming
An ode to the metaphorical mysteries of time and the mundanity of everyday life.
Everything And Nothing...
... is a three-part series of dance performances, each 20 minutes in length that will be performed at the Southern Theater Minneapolis, Minnesota. All three parts will be performed as an evening-length work in September 17th-19th 2026.
The overriding focus of the work I've created throughout my 45-year career has been the dynamic tension between the individual and the social/cultural constructs necessary for our well-being. Split nearly evenly by the watershed of the 21st century, my work has grown from immersion in the worlds of a Kent State Commune and NYC's Lower East Side art scene in the '70s and '80s, to the virtual metaverse and social media of the '10s and '20s. Within that framework, my understanding of the individuals' responsibilities and needs for the greater good continue to grow. Questions of identity and obligation shift and flow, as perspectives on happiness and survival evolve. For me, the work is always a catalyst for dialogue, a provocative, persistent vision that emerges from the lived experience of the artists involved.
Nothing (part one)
Two Individuals standing, the third on a palette of green slightly behind. The Three meet, connect, and converse. Their individual vocabularies are shared. Their conversations broaden, deepen and grow as they share the language born of their individual journeys. Their experiences, passions and fears are revealed. Their connection grows as their movements inform, expand and expound on each other. They move together, unique in their elements, united in their direction.
A trio: performed by myself, Leila Awadallah and Roxane Wallace. We question interrogate our understandings of our realities through movement. Building a focused movement vocabulary since November 2023, we are intent on shifting the structure of the movement and its qualities, hoping to convey that assumed constructs of our perceptions might not be truth. Imagery projected onto our bodies at the end of this section will contrast speed, timing and content. The meaning of those images and their relationship
between the movement and the piece will amplify and articulate our physical vocabulary. Our movement/physical vocabularies will reflect our formative perspectives and perceptions -- the realities we grew into. The streams of our connection and understanding begin here.
And (part two)
The Individual spins in the reflective light of projections. In pools of memory, shimmers and floods of emotion, the Individual glimpses the vocabulary that she began. She sees the chemical reactions borne of shared experience, and the resulting compounds that bring life and disillusion. As these projections rise and fade, she is left with the images of reflection, memories echoing back on each other in the refractions and caustics of the medium of time.
A solo performed among moving images of memories, spanning 46 years. Fleeting, sometimes ghostly images, set against the backdrop of personal, social and cultural change. The Individual performer journeys through a labyrinth of images in motion, utilizing the movement vocabulary of Nothing, (part one) and Everything, (part three). The movement vocabulary will be drawn from the historical and archival footage used in the projections, reflecting on the recordings and the ephemeral nature of "documentation".
Everything (part three)
The three expand to a larger community. The vocabulary of their initial time together ripples through others who add to and expound on their experience. They in turn add others to their conversations. The initial, smaller groups connect into larger groups, then pairing and splintering as factions grow and divisions widen. Occasional waves of unity wash through the groups, moving them in a common direction, then breaking as they reach seemingly solid ground.
For a cast of eight dancers. Direction will come from myself and leader's Ms. Wallace and Ms. Awadallah who will be teaching and developing movement from Nothing (part one).
Each director was a key performer in my previous work, "Toward Utopia" (2022). Ms. Awadallah has performed in my work since "Invisible", (2018) and Ms. Wallace since "Here & After", (2012). The performers begin in two lines, facing each other on stage right and left. The overall effect creates an immersive "bubble", in which projected media can amplify, enhance, reflect and refract the dynamics of individuals and the groups on stage. The movement and merging of the two groups can provoke chaos and order by doubling the live performers within the collective imagery.
What movement means to me: Through the act of moving (dancing) I can access the inner-most part of myself. This has come through years of training, practice and observation of my practice. My innate movement hangs in a balance between what is expressed and what is withheld, a voluntary dialog between narrative and abstraction. I feel physical intensity (desire) a forceful drive that comes out through my movement, transferring abstract concepts into emotions, It's an attempt to reconcile my observation of the world with my own inner terrain, the story beneath the story. It's a hope to unearth the daily hidden and often difficult thoughts, dreams and desires of experience, and bring them clearly into the light of day.
On projected imagery:
Though I have been using projected media images since the 1990's, I still marvel at its complexity and power. Over time I've gained appreciation for the power of simplicity, and the need for restraint. Clarifying intention sharpens the communicative power of the combination. Clear and specific images, representational and abstract, can supply a wealth of insight, content, and context. These images open a door allowing access for audiences unfamiliar with dance to experience content and meaning. In my work, projected imagery can shift energy and space or add context functioning as backdrop (I Love Tomorrow 2009, Rules Of The Crowd 2015) texture, character, light source, and augmented reality when projected onto sets and moving bodies (Invisible 2018). The challenges, both artistically and technically, continue to draw me in.
... is a three-part series of dance performances, each 20 minutes in length that will be performed at the Southern Theater Minneapolis, Minnesota. All three parts will be performed as an evening-length work in September 17th-19th 2026.
The overriding focus of the work I've created throughout my 45-year career has been the dynamic tension between the individual and the social/cultural constructs necessary for our well-being. Split nearly evenly by the watershed of the 21st century, my work has grown from immersion in the worlds of a Kent State Commune and NYC's Lower East Side art scene in the '70s and '80s, to the virtual metaverse and social media of the '10s and '20s. Within that framework, my understanding of the individuals' responsibilities and needs for the greater good continue to grow. Questions of identity and obligation shift and flow, as perspectives on happiness and survival evolve. For me, the work is always a catalyst for dialogue, a provocative, persistent vision that emerges from the lived experience of the artists involved.
Nothing (part one)
Two Individuals standing, the third on a palette of green slightly behind. The Three meet, connect, and converse. Their individual vocabularies are shared. Their conversations broaden, deepen and grow as they share the language born of their individual journeys. Their experiences, passions and fears are revealed. Their connection grows as their movements inform, expand and expound on each other. They move together, unique in their elements, united in their direction.
A trio: performed by myself, Leila Awadallah and Roxane Wallace. We question interrogate our understandings of our realities through movement. Building a focused movement vocabulary since November 2023, we are intent on shifting the structure of the movement and its qualities, hoping to convey that assumed constructs of our perceptions might not be truth. Imagery projected onto our bodies at the end of this section will contrast speed, timing and content. The meaning of those images and their relationship
between the movement and the piece will amplify and articulate our physical vocabulary. Our movement/physical vocabularies will reflect our formative perspectives and perceptions -- the realities we grew into. The streams of our connection and understanding begin here.
And (part two)
The Individual spins in the reflective light of projections. In pools of memory, shimmers and floods of emotion, the Individual glimpses the vocabulary that she began. She sees the chemical reactions borne of shared experience, and the resulting compounds that bring life and disillusion. As these projections rise and fade, she is left with the images of reflection, memories echoing back on each other in the refractions and caustics of the medium of time.
A solo performed among moving images of memories, spanning 46 years. Fleeting, sometimes ghostly images, set against the backdrop of personal, social and cultural change. The Individual performer journeys through a labyrinth of images in motion, utilizing the movement vocabulary of Nothing, (part one) and Everything, (part three). The movement vocabulary will be drawn from the historical and archival footage used in the projections, reflecting on the recordings and the ephemeral nature of "documentation".
Everything (part three)
The three expand to a larger community. The vocabulary of their initial time together ripples through others who add to and expound on their experience. They in turn add others to their conversations. The initial, smaller groups connect into larger groups, then pairing and splintering as factions grow and divisions widen. Occasional waves of unity wash through the groups, moving them in a common direction, then breaking as they reach seemingly solid ground.
For a cast of eight dancers. Direction will come from myself and leader's Ms. Wallace and Ms. Awadallah who will be teaching and developing movement from Nothing (part one).
Each director was a key performer in my previous work, "Toward Utopia" (2022). Ms. Awadallah has performed in my work since "Invisible", (2018) and Ms. Wallace since "Here & After", (2012). The performers begin in two lines, facing each other on stage right and left. The overall effect creates an immersive "bubble", in which projected media can amplify, enhance, reflect and refract the dynamics of individuals and the groups on stage. The movement and merging of the two groups can provoke chaos and order by doubling the live performers within the collective imagery.
What movement means to me: Through the act of moving (dancing) I can access the inner-most part of myself. This has come through years of training, practice and observation of my practice. My innate movement hangs in a balance between what is expressed and what is withheld, a voluntary dialog between narrative and abstraction. I feel physical intensity (desire) a forceful drive that comes out through my movement, transferring abstract concepts into emotions, It's an attempt to reconcile my observation of the world with my own inner terrain, the story beneath the story. It's a hope to unearth the daily hidden and often difficult thoughts, dreams and desires of experience, and bring them clearly into the light of day.
On projected imagery:
Though I have been using projected media images since the 1990's, I still marvel at its complexity and power. Over time I've gained appreciation for the power of simplicity, and the need for restraint. Clarifying intention sharpens the communicative power of the combination. Clear and specific images, representational and abstract, can supply a wealth of insight, content, and context. These images open a door allowing access for audiences unfamiliar with dance to experience content and meaning. In my work, projected imagery can shift energy and space or add context functioning as backdrop (I Love Tomorrow 2009, Rules Of The Crowd 2015) texture, character, light source, and augmented reality when projected onto sets and moving bodies (Invisible 2018). The challenges, both artistically and technically, continue to draw me in.
Past Performances
Toward Utopia
