Jennifer Monson in Live Dancing Archivein tow was initiated as a project to acknowledge and deepen the artistic and cultural legacies I carry with me as an "experimental" cultural producer. After moving to central Illinois in 2008, I became starkly aware of other understandings of "experimental" in different geographic contexts and became interested in decentering my own New York-centric perspective. in tow is the manifestation of a new body of work, born from interdisciplinary collaboration, ecological research, and, increasingly, purely choreographic experimentation. I am keenly aware of being in a new phase as an artist.

Tere O'Connor's BLEED My most recent dance, BLEED, premiered at the Brooklyn Academy of Music's Next Wave Festival in December 2013 and is currently on tour in the United States through fall 2015. BLEED is the culminating work of a two-year research project during which I constructed three other pieces, Secret Mary, poem, and Sister, all from very different source material and each with an entirely different cast. I then collapsed these into this fourth work simultaneously remembering and forgetting the previous dances. All eleven of the performers from these works form the ensemble for BLEED, yet the specific movement material from those works is gone. Ghosts of the other dances resonate through the new work and shape its form, but they are subterranean and exert their pressure on this new construction from the caves of memory.

Cynthia Oliver and Leslie CuyjetRecently returned from sabbatical in the fall of 2014, Cynthia Oliver worked on projects that included a combination of activities: two essays for publication—one for the visual artist Kehinde Wiley's Los Angeles exhibition on Haiti and the other for a forthcoming book on dance and politics—and continued appearances with Tere O'Connor Dance in two pieces she performed with his company, BLEED and Sister, a duet with David Thomson.

Sara Hook and Paul Matteson in Bored House GuestsHook's aim is to contribute to the art of dance by being a good role model/citizen, to create opportunities for other dance artists, and to make work that both honors our artistic forbears and enlivens our experience of contemporary culture. She seeks to synthesize contemporary sensibilities and training within an enduring dialogue with the ideas in masterworks of past artists. Because of a natural mistrust of trend, her investigations are often fueled by a need to embed critical comment on contemporary dance within her work. Therefore the very nature of performance is often the subject of her dances; she is compelled to reveal the tragicomic traits of the life devoted to dance.