A Physical Experiment on Breath, Power, and Rhythm

"Kinetic Potentials" originates from the choreographer’s visceral memories of her training in specialized athletic programs growing up. It explores how the body releases energy within the interplay of structure, technique, and breath. The choreographer posits that athletic training is not merely about raw power: it is built upon precise methods, structures, and techniques. Whether it is the forward shift of gravity during a sprint, the final lean at the finish line, or the split-second judgment of angles and timing in pole vaulting, these experiences teach the body how to release energy effectively at the opportune moment.

As the choreographer transitioned into dance training, the body encountered a different state. Her movements now must instead constantly adapt to music, rhythm, and texture. This production reclaims the physical mindset of athletic training, seeking to establish a method in dance that does not rely on brute force. It redefines explosive power not as outward, grand gestures, but as an internal expansion fueled by breath regulation, gravitational alignment, and the accumulation of knowledge in the sense of self.

The choreographer also revisits the heightened self-awareness inherent in
athletic training. During high-intensity exertions, athletes must regulate their
breathing patterns to maintain the body at a sustainable tipping point. In this work, the creative process starts from the breath, allowing it to actively influence the performance state. This breaks the usual habit of movement-led breathing, enabling dancers to remain acutely aware of their physical state while in motion.

This idea extends into the partnering relationship within the production. Two bodies, like athletes from different disciplines, intersect through their variations in speed and endurance. They must sense each other’s gravity and distance in real-time as their bodies switch between closeness and separation to maintain flow and equilibrium.

In regard to the performance format, the work embraces the intervention of improvisational sounds. Rather than acting as a cue for movement, the sounds serve as an element that responds to the state of the body and breath. This allows the piece to maintain its organic nature, extending and generating new rhythms live within its established structure.