"She dances alone, and yet.

Re-imagining the hero as feminist avatar, Michelle Boulé continues her investigation of the immaterial labor of dance, what she describes in White (2015) as “out of our limited perceptual range, but in the room.” Her solitude, like that of the hero on her journey toward altered consciousness, evokes a strange temporal focusing of perception through slow motion, repetition and tremulous spiraling dance.

Transposing the voicing and syncopation of disco with environmental ambience and musings of mythologist Joseph Campbell, The Monomyth conjures a narrative of conflict and desire working toward repair. If myth invites an alchemical reorientation to emotion and forces outside our control, dancing responds through an intimate attention to energetics and transitive possibility; the soloist is never only a vanishing point but always opening toward experiential gradient. As George Didi-Huberman writes, the solitude of a solo is riff with paradox “populated by images, dreams, ghosts, memories […] Here is exactly what dancing is, I then told myself: to make of one’s body a subtracted form, even if immobile, of multiple forces.”

She dances alone, and yet never in isolation. Here choreography trespasses across present heartbreak with ancient vulnerability even humor, asking us to attend to consciousness in process."