Sometimes, the sight of something takes over one's body. When I look at the ocean, I feel my face and shoulders relax, my breathing deepens, I notice more scents, there's more discernment in my hearing. Sometimes, choreography is meant more for one's body than one's eyes. This choreography puts one into a flow state, where one doesn't have to force their focus onto the choreography but just glides along engulfed the experience. Pairing this approach to choreography with music gives one a sense of feeling the music. The music doesn't only come into the listener through their ears but also through their body.

After a last-minute switch of lighting cues, I was informed by Steven of the plan to have Cara Diaz Certosimo and me backlit through much of "Love That Hurts" and of his desire for slow and smooth movement. Previously, the lighting was higher energy with many moments of darkness, so my initial choreography was more racing and rhythmic. But the new lighting presented the opportunity for the choreography to create silhouette scenes fluidly passing from one to the other. The song "Love That Hurts" has this beautiful throughline of smooth, even soft, jazzy tones that slide through and wash over the listener as it plays. The final "Love That Hurts" choreography is a feeling of being inside of those tones. One watches Cara and me in our bright red vessels experiencing the thoughts from the lyrics while seemingly floating in this soft, smooth, jazzy atmosphere.

Client: ZHU
Producer: Production Club 
Project: ZHU ‘Dune Tour’
Creative Director: Miguel Risueño
Choreographer: Lara Marcin