(Photos: Mei Ratz)
Danielle Ross is a Portland-based choreographer. She received her BFA in Dance and Performance Studies from University of California, Berkeley, where she was also the recipient of the Sara Huntsman Sturgess Memorial Prize for Outstanding Artistic Accomplishment in Theater, Dance, and Performance Studies. Since moving back to Portland, Ross has created her own dance and performance-based work. Most notably, she presented Make The Air Thick at Launch Pad Gallery in July, 2010 and Home/Body at Appendix Projects Space in December, 2010. Her work has been shown at the Richard Foreman Festival, No. Fest, and the 1Festival. In March, 2011, she curated the twelfth installment of Performance Works Northwest’s Alembic Series. Her work, To Remember Is To Jump Around There, was presented in January, 2012 at the Headwaters Theatre, and her collaboration with Composer Christi Denton, The Loveliest Landscape, was selected to be a part of Conduit Dance’s Dance+ Series in July, 2012. Aside from creating her own work, Ross has worked with Linda Austin and Zoe/Juniper in the Time Based Arts Festival. She is also one of the founding members of FRONT, a newspaper dedicated to contemporary dance and performance and on the board of the Creative Music Guild, a non-profit dedicated to experimental sound and performance. In Spring, 2013, Ross was selected as one of four Artists-in-Residence at Studio 2 in Portland. There, she began her latest work Togetherness, which is a collaboration with poet Stacey Tran and will premiere November 7-9, 2014 at Bodyvox Dance. Along with Tran, she curates the series Pure Surface at Valentines.
I am a dance maker. My dances revolve around our collective social choreography. I am interested in moments that allow awkwardness, vulnerability, the self-aware, and quirk to rise to the surface, and I am drawn to what we often don’t say. My dances play in this space of the unsaid (you may hear me calling this “the space between”). My process aims at getting to the texture or the thickness of these relatable moments from a new route. I like to think that my dances take parallel or maybe perpendicular paths to things we understand. They are related and therefore evocative, but they are not the same as the moments that make my dances feel familiar. Often, I am more interested in the strategies we use to get at something than that something itself.