“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
“closer animated our whole festival space with the frenetic act of spectatorship and performance. The surfaces of Wellington Waterfront came alive with the playfulness of this interaction, blurring distinctions between the works and the passers by and altogether enhancing the spirit of our event in dimensions not yet seen before. closer is an unusual and surprising work that changes dance and changes space.”
Sam Trubridge, director of the Performance Arcade, 2016
“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
“… their somatic practice does not seek formal beauty and engages in field-searches where the aesthetics is investigative. At the same time their somatic practice comes from somewhere and returns to it. Their collaboration with the Norwegian Museum of Science and Technology—in the Fluid Spaces project—was an investigative venture of that kind. Embryonic. The subject of embryology is neither extrinsic and passing—it exceeds the scope of their project-engagement with the museum—nor is it age-old and intrinsic either: better to say that it is a deep and emergent subject.”, Theodor Barth’s Meantime index, 2022
“I didn’t feel like a spectator. I was invited into a process, a deep transmission, as if I was sensing with my own early evolution, my coming into form. The next day I was amazed how different I felt in my body, free, easeful, expansive. I felt an internal process going on for two weeks, and woke up one morning with tears in my eyes. Life force! That’s what it was. A connection to life force before birth trauma, beyond conditioning. An incredible gift.” – audience Julie Breines Oredam
“Working with BodyCartography Project has been remarkable and unforgettable. Our collaboration went well beyond providing space for the dancers to rehearse and perform; They helped transform my idea of what dance looks like, as well as my understanding of certain key objects in our exhibition Life and Death. Furthermore, an outstanding program of lectures and workshops curated by BodyCartography beautifully complemented the two weeks of performances at Nasjonalt Medisinsk Museum / Norsk Teknisk Museum.” – curator Phil Loring