The Healing Power of Expression: A Journey of Trauma, Pain and Transformation

This is a powerful performance piece featuring Jorge Luis Morejon, Ph.D., who created The Healing Power of Expression in collaboration with Susan Kleinman, BC-DMT. The piece was produced by Adrienne Ressler, LMSW-CEDS at the Renfrew Center for Eating Disorders, Florida. The piece, specially choreographed for the International Association of Eating Disorders Professionals Conference (iaedp) audience, was commissioned by the Renfrew Center Foundation for Eating Disorders. The presentation was recorded by Maydelaine Rodriguez-Castillo on February 28, 2014 in St. Petersburg, Florida.

LINK: https://www.youtube.com/watch?v=9Y_PpEz4ayc

Inner Loop

Jorge Luis Morejon and Sandra Portal-Andreu in the Salsa piece.  Miami Avenue Metro Mover Station, Miami. 2014

Inner Loop is as a free automatic looping downtown transportation with no driver, no beginning and no end. It is a cycle, a circle, a journey through public space encountering secrets hiding in plain view, a multi generational cast all exploring the only time we ever have.

Directed by Gabriel Forestieri and Performed by Dale Andree, Joanne Barret, Belaxis Buil, Miu Buil, Carly Dorman, Gabriel Forestieri, Jenny Larson, Joanna Mayaari-Ursal, Lucien Mayaari-Ursal, Kristen Mclaren, Jorge Luis Morejon, Rebecca Pelham, Lize-Lotte Pitlo, Sandra Portal-Andreu, Carlota Pradera, Laura Prada, Emily Tedesco, Carlos Torres, Katie Wiegman.

Also visit projectlimb.net
LINK: Projectlimb Promo - http://vimeo.com/84673853

The Moving Perspective Festival, Miami, 2014

The Moving Perspective Festival at Inkub8, a Knight Arts Grantee, is described as “a series of individually conceived weekly workshops, “labjam “sessions and intensives designed as an open dialogue to identify meanings and procedures from idea to presentation.” But what the festival represents is Inkub8′s and

its allies’ insistence that Miami become a center for cutting-edge performing arts. The final night improvisation was performed by Lazaro Godoy, Gabriel Forestieri, Tangin Fong, Jorge Luis Morejón, Carlota Pradera on Saturday evening at Inkub8, February 15th, 8pm.

Jorge Luis Morejon (left) and Gabriel Forestieri during the Moving Perspective Festival's closing improvisation.

Conference on the Sustainability of Dance as an Art Form: Economics, Politics and the Philosophy of Resistance

Errol Barrow Centre for Creative Imagination. The University of the West Indies, 

Cave Hill Campus, Bridgetown, Barbados. March 6 - 8, 2014. 

Paper Title: Caribbean Dance: Ecology of Our Sensory Environment

Jorge Luis Morejón

Creative and Festival Arts Department

University of the West Indies,

Saint Augustine, Trinidad and Tobago, West Indies

Abstract: This study considers dance ecology as a key concept in analyzing the sustainability of dance in the Caribbean. Dance can be looked at from two distant positions; from an economic stand or from a communicative, efficient and transcendental point of view. Economically, a generalized tendency is to consider dance as an ephemeral cultural manifestation with limited market value. There is also the view that dance is an art form whose value, in terms of economics, relays on the trade or sales generated around the performance event. This is, however, somewhat a myopic view of dance as art. It ignores the relationship between dance’s use value, dance’s exchange value, and dance’s inherent value as it blurs definitions of artistic individuality and artistic nonconformity as opposed to an ever increasing systematization of information. As energy and information become our most exchangeable natural resources, dance, as an art form, needs to find a relevant position within the newly emerging economic structure without resigning from its role as a container of freedom and of aesthetic and intellectual vision and pursuit. This is precisely why I argue that dance production has to be conceptualized as a model for sustaining cultural ecology as it prevents society from contaminating people’s perceptual environments. Although dance is not a standard concept in economics, there are some elements such as investment value and rates of return, which, once compared to more tangible art forms contribute to the understanding of dance beyond the quantitative impositions of formulaic art markets.