"I am a collector of human portraits and a sculptor of life’s narratives.
Sarah Matzke is a choreographer, performer and educator in Dallas, Texas. Her research focuses on embodied cognition, phenomenology and the role of experiential learning theory in education. Matzke has taught nationally and internationally, and is currently Adjunct Faculty at Texas Christian University and The University of Texas at Dallas.
Matzke obtained a Bachelor of Arts from Southern Methodist University and a Master of Fine Arts in Choreography from Jacksonville University. Matzke has been a company member of Dark Circles Contemporary Dance, Open Sky Arts Collective, recipient of the Dorothy Amann Women of Distinction Award, Artist in Residency at The University of Texas at Dallas and Guest Artist for Big Rid Dance Collective, Collin County Ballet Theatre, Eastfield College, Texas Dance Improv Festival and the University of North Texas. She has trained multidimensional artists at studios and schools such as AD School of Dance, Booker T. Washington School for the Performing and Visual Arts, and the School of Contemporary Ballet Dallas.
Matzke is the co-creator of Aaron + Hur, an organization that assists leaders to create sustainable artistic programing and education around the world , and the Generous Movers Project, a community-centric movement gathering.
It is my life’s goal to create outlets for thought, curiosity and abandoned creativity. The moving body is an entity so simple, yet so wildly complex. The dichotomy fascinates my attention and fuels my passion to research and education.
Within every class, I present opportunities for play and empowerment of the thinking/doing mind. It is often thought that during contemporary movement practices that the body moves without the mind. It is my belief rather that the body and mind work harmoniously together. The body does not abandon the mind, but rather the two through practice develop a hypersensitiveness of one another. This awareness drives the work of my students and allows their minds to move in freedom without hindrance or binding needed for identification. As a result, an endless supply of possibilities and information is unveiled.
I believe kinesthetic engagement of the body is deeply seeded in a relationship of phenomenology. The body becomes an extension of the environment, playing in an affect exchange. Knowledge and perception emerge as the body encounters events through experience. It is through this handling that we form knowledge. This active phenomenological experience places confidence in the body and it is within this confidence that play becomes available.
Plato once said, “You can discover more about a person in an hour of play than in a year of conversation”. It is in play that guards are dropped, judgment and egos removed. New movement experiences and opportunity are welcomed and student’s flourishes.
Success to me is training someone to explore, gathering information, problem solve and critically thread information together.
I am a collector of human portraits and a sculptor of life’s narratives. My work forces on kinesthetic experience of the body and the inner dialogs of our humanity- our relationships, struggles, strengths and triumphs. I believe dance is one of the most powerful mediums for affect. It is a modality of the senses, one of the purest forms of ephemerality. With every choreographic piece, I challenge myself to give honor to the body as a fleeting form, believing it’s delicacies and intelligence should guide the work.
I am given the opportunity to truly see the people, the mover, in front of me and to tell their story. It is an honor that I do not take for granted.