Research Interests
On Biomechanics
As a researcher, Danielle is greatly interested in the intersection between somatic and dance training. Understanding the neuromuscular/psychosomatic connections that exist in the mind and body in order to develop sound anatomical alignment, longevity, and injury prevention techniques.
Continually training in various movement modalities such as Pilates, Gyrotonics, Alexander Technique, Yoga, and Coutertechnique she has become increasingly interested in the idea of vectors, spirals, and directionality as they relate to Boimechanics, making space for the joints to access mobility, becoming available for movement as opposed to restricted and fixed. She is captivated by the body's emotional response to trauma and human developmental patterns.
On Dance History
Erasure in the field of dance history has been perpetuated time and time again. Debunking ahistorical narratives is an important part of Danielle's work as a scholar as she continues to develop a deeper understanding of power structures and dynamics at play that help to frame accepted narratives in the field. Most recently, Danielle's Dance History class headed to Topaz, UT to learn more about the contributions Sahomi Tachibana had on the Utah's dance community, on Japanese dance in America, and on the larger impact that Japanese internment camps had in the region.
On Preservation & Documentation
As a scholar, Danielle is deeply passionate about continuing the legacy of choreographers both past and present. Because of the ephemeral nature of dance, she feels a drive to pursue an active research agenda in Dance Documentation and Preservation. She is struck by the notion that one cannot view a live dance performance as one views the Mona Lisa at the Louvre. When one records a dance there are technical and aesthetic issues that arise. When répétiteurs are no longer with us to teach the steps and the essence of a piece, the works’ very existence is threatened. These are but a few of the cumbersome issues that surface when we discuss how to document and preserve a dance today.
With masterworks under threat, Danielle sees it imperative to develop ways to document and preserve so that we do not loose historical and contemporary masterworks. She is fascinated by the many ways one can document and preserve their work and while she enjoys archival options she is also keenly interested in the re-staging of works so that they can be readily available to the public in performance.