Rebecca Gual is a movement artist of caribbean descent.
choreographer >> performer >> movement director >> project manager >> arts administrator
nyc
Bio
A Queens, New York native, Rebecca Gual (she/her) is a movement artist, choreographer, project manager and arts administrator. She holds a Bachelor of Fine Arts in Performance and Choreography from California Institute of the Arts.
Rebecca is the Rentals Manager at CPR - Center For Performance Research, a Creative Partner with SLMDances and a Project Facilitator with Pepatián. She has previously held positions at A.I.M by Kyle Abraham, UOVO, Gibney and Roads & Kingdoms. Rebecca was a Fall 2021 artist in residence at Bethany Arts Community and a 2021-2022 artist in residence through the Dance Your Future: Artist & Mentor Collaborative Residency with Pepatián & BAAD!
As a performer, she has had the pleasure to collaborate and perform in works by Ligia Lewis, Andre Tyson, Jessica Lang, Colin Connor, Alexis Zaccarello, Katherine Morales, Glen Eddy, Molly Gorin, Danielle Kipnis, Dolly Sfeir, Tarren Johnson, Nicole Loeffler-Gladstone, Zoe Scofield, Joan Bradford, Karesia Batan, Oroma Elewa, Jacqui Dugal, morgaine de leonardis and Sydnie L. Mosley.
Rebecca presents her choreographic works as gual + moves. Select curation, exhibitions and performances include Roy and Edna Disney CalArts Theater (REDCAT), Ailey/Citigroup Theater, Queens Museum, CPR - Center for Performance Research, Triskelion Arts, and LIC Arts Open.
Artist Statement
Bodies can be of the moment and guardians of the past. They contain highways of flowing information, unbeknownst to its inhabitant. A signal is sent, a choice is made, and the body follows suit. I aim to probe the choices and instincts of the human form, along with the labor of basing autonomy on societal roles. The connections between these expressions have helped me to create a concise but layered physical language. It aims to answer many questions that I'm invested in exploring. The most important of all: Can one archive the physical phenomena of movement?
My work deals with the process of remembering, and how the action of remembering shifts from mind to mind. It is often a disorienting environment for dancers to inhabit or even visit. To ignite this particular slice of self-awareness within my collaborators, I ask them to rely on each other to understand where they are in space and time. My process initiates a collective memory – an ecosystem of memories built and now shared. The moment I begin a new work is the moment this new body begins to develop. This body has memory, bones, fluids, a life to accomplish, and a topography to define. Dance has the power to capture how we relate to the people around us, and for me, it is imperative to capture collective memory as an instinct within the work, rather than a concept.
I combine found text, a study of microexpressions, and dynamic movement to investigate the genuine response a body can have to its lived experience. I aim to disrupt harmful narratives imposed by personal histories and create a movement language that reflects the generosity of the details shared. Through the intimate nature of collaborative performance-making, I seek to connect the spectators and the spectacle. I want performance to engage civic society in exploring movement in a myriad of ways: through collective action, to mobilize modes of healing, and to voice esteem for an embodiment of pleasure.
