Erin Christine Bell
41619 Pine Hill
Polson, MT 59860
+1 406 883 1516

Professional Performance
2012-2014 Company Member – Bread and Puppet Theater/Peter Schumann. Principal Performer: “A Thing Done in a Seeing Place”, “Captain Boycott”, “Fire”, “A Man Says Goodbye to His Mother”, “The Shatterer of Worlds”, “Bird Catcher in Hell” – Avant garde, Noh inspired dance and object performance, with a focus on inclusivity and political relevant themes. National (USA) and International Touring (Canada, Puerto Rico, Palestine).
Performer/Tour Director: “Bread and Puppet Presents: Lubberland National Dance Company’s Bombing Instead of Negotiating” (USA, Canada).
2012 Rogue Angel Theater. Performer: “Rites of Passage”. Multidisciplinary, immersive theater (USA).
2011 Company Member – The Rural Academy Theater. Principle Performer: “On Second Thought”. Devised, Horse-drawn theater touring rural villages in the Appalachian Mountains (USA).

Original Performance and Choreography
2018 “Improvisations” – Performance in collaboration with Sara Lydia Anne Banks (NYC, USA).
2018 “And Maybe in the End Our Intuition Does Not Even Belong to Us” – Concept and performance. (NYC, USA. Ljubljana Slovenia).
2018 “Dissonant Flow” – Concept and performance. (NYC, USA).
2017 “What is Human” – Choreography. (Ljubljana, Slovenia).
2016 ”Not All Roads Lead to Rome” – Choreography. (Ljubljana, Slovenia).
2012 “Las Semillas” – Concept and performance in collaboration with Maryanne Coella, coordinated with expert lectures about the local agro-technology industry (San Juan, Puerto Rico).
2011 “Do Right Belly Fire, Do Right Monkey Brain” – Concept and performance. National tour (USA).

Film/Video Projects
2017 “Dance Translations” – Dance to the People. Performance.
2017 “An Ordinary Dance”- Arte-short collage. Concept and text.
2015 “Sanguine” – Arte-short dance series. Concept and performance.

Further Activities
2018 Tanzfahig – Guest resident teacher – Somatic improvisation, diversity in dance. (Berlin, Germany).
2018 Labodance – Cognitive science research participant (Paris, France).
2018 “Dissonant Flow” – Article under review with Contact Quarterly Magazine.
2018 Neurohumanities Center – Guest Resident. (Catania, Italy).
2018 Micro-Phenomenology – Attendance at embodied phenomenological interview workshop. (Paris, France).
2018 University of Ljubljana, Cognitive Science Dept. – Movement workshop facilitation. (Ljubljana, Slovenia).
2017 Sexological Bodywork – Attendance in somatic sexuality education (Berlin, Germany).
2017 Body-Mind Centering – Attendance in ligament and fascia module – (Tuscania, Italy).
2017 Ana Monro/SUGLA – Guest teacher, final project director (Ljubljana, Slovenia).
2017 Institute of Special Education and Rehabilitation – Movement research with autism (Skopje, Macedonia).
2017 Derida Dance Center – Guest workshop (Sofia, Bulgaria).
2016 Artist’s Asylum Metelkova – Artistic residency. (Ljubljana, Slovenia).
2016 Barcelona International Dance Exchange – Workshop facilitation. (Barcelona, Spain).
2015/6 ISLO, Education in Dance and Somatics – Participant. (Joensuu, Finland).
2015 Personal Care Assistant for quadriplegic Contact Improvisation dancer on national tour (USA).
2005 Bachelor of Arts, Cultural Anthropology. University of California, Santa Cruz (USA).
1984 – 1994 Natural Horsemanship training (California, USA).

Teaching Experience
Along with dance and theater practice, my approach to teaching is strongly informed by my unique experience working with horses. Due to their size, and the possibility of kicking or biting, acute awareness is needed, deep understanding of implicit, non-verbal communication is developed. Able to ride, free of any bridle, rope or restraint, the conversation between my horse and I was such that he would gallop, stop, or do fancy ‘footwork’ on request, all through the subtlest of communication. Most importantly, as opposed to ‘breaking,’ forcing one creature’s desire upon another, I learned to find calmness before delving into further conversation.
These skills inform my ability to listen to the implicit information present in each group, to teach at the pace most fitting each group. I am able to present a variety of exercises for deeply listening to this implicit information – both within oneself and in dancing with others. This brings a sharp sensitivity to each dancer’s practice in technical training and movement in daily life. Additionally, this nuanced listening brings forth intimate improvisations and adds depth to creative practice. I also bring in current research dealing with social cognition to my classes, as well as directly experimenting with participants, feeling into the experience of making sense together.
I have facilitated workshops with a variety of art organizations, universities and movement abilities in USA, Puerto Rico, Greece, Slovenia, Bulgaria, Canada, Finland, Spain, Palestine, Macedonia, Italy and Germany.

Video Links – Performance