NEVE

is creating Access-Centered Musical Dance Theatre

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Tip your dancer!
$1
per month

You get what everyone else gets, you get a lifetime with me.


Which includes:


My deep light dancing


An access-centered, earth-centered, queer, Black ethos


Cultural Criticism


Developing Dance and Critical Theory


Early access to Articles, Plays, Poetry, or Fiction in Progress


Rehearsal videos


Performance Footage


Sweet works from the vault


and maybe even more!

Tip your dancer!
$2
per month

You get what everyone else gets, you get a lifetime with me.


Which includes:


My deep light dancing


An access-centered, earth-centered, queer, Black ethos


Cultural Criticism


Developing Dance and Critical Theory


Early access to Articles, Plays, Poetry, or Fiction in Progress


Rehearsal videos


Performance Footage


Sweet works from the vault


And maybe even more!

Tip your dancer!
$3
per month

You get what everyone else gets, you get a lifetime with me.


Which includes:   


My deep light dancing   


An access-centered, earth-centered, queer, Black ethos   


Cultural Criticism   


Developing Dance and Critical Theory   


Early access to Articles, Plays, Poetry, or Fiction in Progress   


Rehearsal videos   


Performance Footage   


Sweet works from the vault  


and maybe even more!

27

patrons

$225

per month

About

Cover image is a shot by Misako Akimoto of AXIS company dancers as the cast of NEVE's piece "The Girl Who Drew Cats", wearing jewel tones and extending naked limbs. Profile image is of NEVE making duck lips, wearing a white and black polka dot hair bow, large plastic glasses, and a green blazer.

I am a multidisciplinary access-centered choreographer
because I believe how we relate to our bodies and each others'
bodies determines how we treat space, the earth, and the possibilities of our future.
I believe that bodies are a mixed medium.
Dance is the perfect venue to show what they can do.

Dancers are a mixed medium.
The desire of the choreographer is to inspire these mediums
to blend or hold each other up or shine shine shine
in mysterious compelling heart mind and game changing ways.

What we have to work with is more than words.
More than white supremacy, heteropatriarchy,
misogyny, settler colonialist values,
luck, privilege, and even money.

Human bodies are a mixed medium.
The calling of the choreographer today is to show the world
that dance was never meant to be a privatized,
status privileged affair.
Some dance, maybe, but even it,
could and should be allowed to be loved enough
to be changed by its dancers and its audiences
and its descendants.
Dance deserves more than to have its complexity erased.

So do we.
Our bodies are for us, always.
Our bodies are for the world,
when we want to and how we want to share them.
We affect the world with our bodies.
Our bodies are affected by the world.

We should make art with them.
We should treat them as if they are as valuable
and precious as the artwork they are featured in.
We should remember that if we are that precious and valuable,
so is somebody else, no matter what kinda body they got.
Somebodies move and look and sound and smell
and feel and think and don't move in a lot of different ways.

We shouldn't dance with injustice,
we should dance against it.
Conflict is not the same as injustice.
Healing is not the same as injustice.
But like injustice, they are messy.
But we are brave, we can dance with those!

That is why my dance centers bodies which have experienced
marginalization, garnered confusion or derision, whether internal or external,
held and incubated and expressed and flung out trauma however we knew how.
That is why the dance I make is more than one kind of body fluent,
but its first language is me.

I consider my brain to be a part of my body,
my heart and skin and sexuality and gender
my desire and fancy and needs and dreams.
The scared parts. The joyful parts.
The delirious parts. The hopeful parts.
The Bad Parts.
The parts that don't do what they're supposed to do
and the parts that don't do at all.

Am I wrong?
Isn't that biology?

That is why the dance I make is more than dance,
or rather, I believe in what dance is.
Dance is as expansive and life giving and diverse
as the bodies it's made with.
Dance is as mixed genre and discipline as the stories it needs to tell.

My story is Black, disabled,
queer, femme, Indigenous Sudanese and first gen American,
deep wet pastel
& fiery gem toned, ocean tuned
sex positive body positive disability positive
liberated future seeking
Classical, punk, avant-garde, bohemian, pop glitz
Animal loving, earth grounded,
Star gazing, river worshiping

Access-centered time-bending
medium boundary defying logic.

I'm not asking if this makes sense.

It makes sense.

I'm not asking for permission anymore.

But I am asking for your support!

Your hand, foot, hair, fingernail, whatever you got to give. I want to redefine the expertise of a choreographer, I want to make clear that how we treat each other, space, and each in space will change the world, and maybe save it too.

What's that worth to you?
For me it's everything.

Oh, and from some of my multifestos it might seem like I'm very serious but if you've ever received a performance from me or talked to me or witnessed me cooing to a corgi you will know that I am actually ridiculous and very funny and approachable. And a Sagittarius. So fun.

Got a question? Write to me with queries* about dance, theatre, film, performance in general, disability justice, sexuality, love, and relationships, sci fi/fantasy/horror/fairy tales of any medium, virtual reality, bugs, animals, space, dirt, flowers, MYSTERIES, and anything else you can think of. Including saying hi and requests or reaffirmations of friendship.

Message me on here (so I know if you're a patron) or email me at [email protected]!

Follow me on Instagram, Twitter, and Facebook: @nevebebad

* I will totally let you know if I think it's more of a consulting type question which I might need to be paid more for because I am learning to have boundaries!

[profile photo by Anthony Ricardi and cover photo by Ron Rogers]
Goals
$225 of $2,000 per month
When I reach $2,000 per month, I will feel comfortable going off Supplemental Security Income, and I will be able to mostly afford the cost of living in Seattle! I will also be able to consider renting a studio space, with the combined income of teaching and performing! This would make my work so much more accessible and sustainable for me to do, and would also make my work more accessible to others.
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