Dance and marital arts equally inform Brandon’s movement practice. As a mover and choreographer, he is captivated by how opposites are contained within each other. Within marital arts, the tai chi symbol represents the harmony of yin and yang, and that within the core of yin is yang, and vice versa. Doris Humphrey’s fall and recovery system of movement likewise uses gravity to go up and conceives of suspension as going both up and down at once. Brandon’s approach to choreography and movement is characterized by this dynamic of seeking the mutual inherence of soft-hard, fast-slow, fierce-tender.
Partnering is the primary focus of Brandon’s practice. Drawing equally from martial arts training—including tai chi, preying mantis kung fu, and aikido—as well as from contact improvisation and ballet, he has developed several tools that facilitate partnering that is innovative, powerful, and safe.
Humphrey-Limón technique and Bartenieff-based contemporary techniques are central to Brandon’s approach to dance. His own practical research has investigated the role of the arms in Humphrey-Limón technique, which led him to develop his own style that utilizes slashes and use of the arms as counterbalances. Through slashes and minimalizing friction through turning on the tip of the heel, Brandon has developed a technique that resembles ice skating.
Various somatic approaches, including qi gong, Anatomy Trains, and Klein technique, directed Brandon toward attention to the back line and the heel-pelvis connection.
To find out more about Brandon’s choreography, visit www.cleavedancetheatre.com.