Dani Berman

A Note From the Artist

I am an energetic choreographer and dancer based in NYC, who values community and relationships above all else.

My choreography is interested in human sexuality, and the power dynamics at play which affect one’s personal relationship with their sexual identity. Being a young, queer, cisgender, white woman, my relationship with my own sexuality inspires choreographic explorations of social and political injustices, abuses of power, capitalism, and feminism and their intersections. My choreography adds to an ongoing dialogue of these topics through dances that speak to those who are rejected by a "normalized" society.

My work interrogates the idea that a body is inherently sexual. I frequently play with the role of femininity within this framework asking questions like “why are there no consequences for violating the female body?” and “how can I disrupt gender-based oppression and its central place in capitalism?” A commonly stated belief in showbiz is that “sex sells,” but I believe this sentiment upholds a male-centric system in our field. My work pushes sexuality past the act of sex itself and attempts to dismantle the idea that a sexual idealization of the female body is profitable.

In my choreographic practice, I rely on Tina Landau and Ann Bogart’s Nine Viewpoints as methods for creating work. The Viewpoints are physically and mentally exhaustive, which is central in my work. I am curious about authentic and emotive responses from performers. My work can at times look violent, fast, and precise, while still consisting of lighter, theatrical moments. Often, performers in my work spend time engaging with one idea for an extended amount of time – this can involve working with props, connecting with a piece of architecture, or lengthy floorwork phrases.

My main goal as a choreographer is to cause feelings of discomfort or even disgust from the audience due to the exaggerated presentations of my explorations. I want my work to exist as a reflection point for audiences to affirm or shift their beliefs on gender-based violence and sexual identity. Ideally, my work causes audiences to advocate for the downfall of the overwhelmingly cis, straight, rich, white, male system which we manage today.

My work looks all the ideas above and uses them to explore emotional distress and how to cope with it. In creative processes, I utilize floorwork and trance like stares to depict moments of panic or depression. Additionally, I have a background in percussive dance and playing instruments which inspire my movement phrases. I also like to combat these elements with the idea of strength, inner peace and acceptance depicted by lighter feeling jumps, human contact, or a peaceful smile.

I have questions about how to implement the endless aspects of human existence into movement. I want to discover new ways to abstract these ideas in movement. I tend to create linear tales through my work, something that is easy for an audience to follow, and it often physicalizes an event in my life. However, I want to expand my reach and learn how to make work from the same starting point and then deviate into an experimental space. I want to work with dissonant sound, multiple mediums in one work, vocal elements, and ultimately more conceptual ways to move.

Music is the main source of turning my ideas into movement, it is my drive and momentum to create. If the dance is not connected to sound, I am not satisfied. I like to utilize different accents in the body, to compliment or intentionally clash with my chosen sound score. These movements can consist of tensing up and locking out limbs, fast floorwork, small ticks and sudden level changes.

My work exists on the basis of disagreement. This is a disagreement of personalities, concepts, countries and anything else where there is a strong opposition. Without disagreement, I would not have the opportunity to feel all of the uncomfortable feelings that inform my identity. I am a firm believer that we learn the most about ourselves when we are struggling. This idea is embedded in our lives as we are pushed to never stop doing; presently, I seem to always be in disagreement or struggle which I think is necessary to begin grounding myself in who I am as a dancer, choreographer, and person.