“The BodyCartography Project is a group with a rare and wonderfully powerful gift to offer us.”
Twin Cities Daily Planet, 2010
“They can always be counted on to keep us guessing and eagerly anticipating their next moves”
Dance Company of the Year, City Pages, 2013
“I want to simply say – erotic pelvic intelligence…Low is a sexy and intriguing piece of choreography to be party to. The work foregrounds choreography as a conduit for social research. It socialises unique methods for empathising guttural feeling-tones through the performance space as artistic practice.”
Val Smith, Theater Review, 2014
“Socially unorthodox”
NY Times, 2013
“These performers could just as easily run rampant through your house, upending your best-laid plans, haunting your dreams… With sly wit and subtle socio-political commentary, the BodyCartography Project revealed the teeming chaos within the shadows of even the happiest home.”
Artists of the Year, City Pages 2008
“Philosopher Alva Noë wrote that experience is not something we have—it is something we do. For the BodyCartography Project this is not an abstract philosophical concept but an operational principle.”
Boris Oicherman, Mapping (your) body reflection on the felt room, WAM website, 2018
“Their approach to creating dances is a layering of influences that is rooted in somatic techniques and philosophies. With attention to the micro (the body) and the macro (the community), the somatic values that BodyCartography Project employ in performance access a deep recognition of the power of the individual, on stage and in society, to make a difference and bond with an audience by invoking the viewers’ somatic response to their choreography. When dancers are grounded within thorough mind-body process, every aspect of the individual changes physically, aesthetically, socially, spiritually, and even physiologically, and these shifts are felt in performance.” Michele Steinwald, Sourcing Dance Through the Body: BodyCartography Project’s Creative Process, 2012
“Bieringa and Ramstad are deeply committed to their practice, to conversations, to inviting participants to connect more fully with their bodies to face dis-ease and the pains of our time. Its gruelling, honourable work as they grapple with the question of how this ‘practice’ can lead to action.” Lyne Pringle, Theatreview