Stemming from her research into the mechanisms of the musical (2013), Liz Kinoshita has been using her love for American musicals from the thirties, forties, fifties, and sixties, and her study in the musicality of contemporary dance, as a departure point for several evening-length performances she has been touring mostly in Europe and North America. She was born in Toronto, Canada, and has been based in Brussels, Belgium, for the past fifteen years. Her intertwining of North American tools and European aesthetics is indicative of her professional and personal trajectory and history. She relays how important she feels a thorough practice of performance is, how she has been able to learn and improve through touring possibilities, and how it has informed her work to date. With a concern for sustainability in the artistic field, Liz Kinoshita examines her own mobility and choreographic practice, and its ability to stay relevant, necessary, experiential, and energizing.


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pp. 33-37
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