There is an existing ideology prevalent in our culture that radicalized, and gendered subjects are expected to endure copious amounts of pain when it pertains to their menstrual cycles. I call this into question and aim to explore alternative methods of alleviating dysmenorrhea beyond hormonal contraceptives and SSRIs. Focusing specifically on BIPOC menstruating populations, I have been the primary investigator of a study examining the effects of community dance and affinity spaces on menstrual pain management. Participants come into the dance studio weekly to engage in various open dance practices with others, in addition to journaling, guided massage, and discussion. The dance practices range from traditional Chinese practices like Qigong to local community dance practices like Dance Church. In addition to weekly sessions, I host quarterly BIPOC Jams open to the public, to share the knowledge with the wider community, cultivating a space for BIPOC to engage in freedom dreaming, community building, and collective healing. I will explore what a future of community healthcare would look like, moving away from Western models of healthcare that focuses solely on the individual. Drawing from practices like community acupuncture where the healing experience happens with others rather than in isolation, I am curious to investigate how having a shared dancing experience impacts and shifts the emotional and physical well-being of participants. I am exploring the care relationships that form in BIPOC affinity spaces and how dance as a language facilitates a different type of embodied healing. I will be presenting the structure that I have used for weekly sessions and the BIPOC Jams. I will also share excerpts of participant experiences and reflections from both spaces. I am drawing upon existing theories around care work, somatic abolition, and pain management to develop a practice of community care that builds upon existing discourse. 

This project focuses on developing an XR application to help guitar students transition from practicing alone to performing in front of an audience. Many students who play well privately struggle with nerves and distractions when performing live. Since replicating the experience of playing for an audience in a traditional educational setting is challenging, this application will provide a virtual environment where students can practice performing under realistic conditions, helping them gain confidence and refine their skills. Objectives and Approach: To support students in overcoming performance anxiety, we aim to create an XR application that allows guitarists to wear a headset and experience a simulated audience while still being able to see their instrument using pass-through technology. The application will feature two venues, different audience sizes, and behaviors. It features 3D-rendered venues and audiences and offers controller-free operation. This project builds upon existing XR applications designed to help with public speaking and stage fright. Some of these applications use 360-degree video, while others rely on 3D modeling—3D modeling will be utilized in this application. By integrating these techniques into a musical context, we aim to create a practical tool that helps guitar students develop confidence and adaptability when performing live. This application will be tested with selected students from the Bellevue College guitar program, particularly the beginner and intermediate classes.

While taking multiple general science courses and dance courses as a double-degree student, I have devised creative ways to balance my studying and dance training. One involved creating dance choreography to memorize organic chemistry reactions, which inspired me to choreograph a dance piece named after the motor cortex “Homunculus” for Aura Dance Company’s (RSO) annual spring show in 2023. This sparked my interest in organizing a project to teach this learning structure that may be useful to others. With help from Professor Hannah Wiley and MFA candidate Beth Twigs, I designed dance workshops for my peers to learn more about neuroscience and dance. NeuroDance is a multidimensional project to educate students about neuroscience through dance-making tools. The project involved organizing workshops where participants learned movements inspired by molecular neuroscience, neuroanatomy, and skeletal anatomy. Participants modeled ions, neurons, and planes of movement through facilitated movement phrases and seeds. To assess learning outcomes, quizzes were given before and after the workshops. Volunteers were recruited from on-campus social, dance, and neuroscience groups, and outreach will occur via social media and posters. The data from the learning aspect of these workshops house the scientific results, but the movement observed served as the foundation for a larger choreographic work presented in the Department of Dance’s Dance Majors Concert (2025). The physicality and repetition inherent in dance offer a unique and enriching platform for learning. I aim further to explore the potential of dance education in STEM with this pilot study.

Ernst Chladni visually demonstrated sound wave patterns by using sand on vibrating metal plates. Inspired by his technique of using a violin bow to excite a Chladni plate, this artistic research project explores how cello sounds can also generate Chladni patterns. I will compose and perform a new piece for cello, inspired by the revealed Chladni patterns. During the performance, corresponding visual patterns of sound will be projected for the audience.

Birdsong in the Machine is a soundscape composition that explores the evolving relationship between natural and artificial worlds through the story of the Streaked Horned Lark (Eremophila alpestris strigata), a threatened coastal songbird native to the Pacific Northwest. The central research question is: How can artificial intelligence (AI) and machine learning (ML) enhance environmental storytelling to amplify the voices of endangered species and reimagine human-nature-technology relations? By integrating AI-generated audio, wildlife recordings, and digital sound processing, this project critically examines the paradoxical role of technology as both a disruptor and preserver of ecological systems. Inspired by my lifelong connection to technology and deep appreciation for the natural world, Birdsong in the Machine reflects on the impacts of technological progress on the Streaked Horned Lark. The project draws from Donna Haraway’s A Cyborg Manifesto and the works of Bernie Krause and Thom van Dooren, challenging the perceived divide between the natural and artificial. It envisions a future where these realms coexist harmoniously, fostering collaboration rather than conflict. This composition combines recordings of the lark’s song and habitat with AI-generated audio, using machine learning models to emulate and predict natural soundscapes. Digital audio processing techniques integrate these elements into a cohesive narrative. Bibliographic, archival, and ethnographic research reinforce the ecological and artistic focus of the composition. Through its juxtaposition of organic and AI-generated sounds, Birdsong in the Machine illuminates the paradox of technology’s role in ecological degradation and preservation. The soundscape fosters empathy and awareness for endangered species while reimagining relationships between humans, nature, and technology. Future directions will explore the ethical implications of using AI in ecological art and expand collaborations with scientists and digital artists. Ultimately, this piece stands as both environmental advocacy and an artistic experiment, challenging audiences to rethink their place in the interconnected natural and artificial worlds.