I am cultivating a dedication to making dances that navigates aesthetic and locates a somatic multiplicity of form. I relate to fleeting tragedies and bizarre humor and am committed to an emphasis on sensation and experience as a conversation generated from the body. My work calls for weathered bodies whose weight and complex identities render an explicit nature, a subtle attention toward desire. My research brings rural notions to urban time frames. I constantly depart from an assumed sentimentality in hopes of finding a preciousness that is steeped in the work. I am concerned with the potential of an image, rather than the image itself. Rather than crafting transitions that aid in understanding a linear schedule, I explore how one thing tolerates the next, sometimes finding a thread of connectivity and other times not. I am committed to honoring the theme that things don't always relate to one another and slipping in and out of relation is more known and felt than we might imagine. I am concerned with choreographic thought and this is where I foster an improvisation practice. Improvisation has been a space to ask questions, interact with other thinkers and teach ideas that surround my work. I am very much interested in the happening and solidifying of choreography on stage with bodies, however, the somatic thought process is what drives my research. I am interested in structure as a non-fixed architecture, queered, unknown and unannounced until it resonates.

Jen Rosenblit has been making dances in New York City since 2005 and holds a B.A. from Hampshire College. Rosenblit has performed for Ryan McNamara, Young Jean Lee and Yvonne Meier. In NYC she has teaches improvisation and performance through CLASSCLASSCLASS and Movement Research. Jen has been a teaching artist at Bowdoin College, Hampshire College, Hollins University and has done lecture demonstrations at Yale and Harvard on the performative body. Lunch N Lecture, a talk over a curated lunch that incorporates issues and concepts from Rosenblit’s current research, was curated by BODEGA at the ICA, Philadelphia, as part of their First Among Equals series. Rosenblit has worked extensively with performer, Addys Gonzalez over the past ten years, was a 2009 Fresh Tracks Artist, a recipient of the 2012 Grant to Artists from the Foundation of Contemporary Arts and a 2013 Fellow at Insel Hombroich in Germany. Her recent works, That Sick Sound, Everlast and So Badly, When Them, and In Mouth have located a space for being with audience in a contemplative theatricality. Rosenblit is currently interested in an improvisational approach to choreographic thought and ways of structuring bodies as they fall out of relation aesthetically and spiritually while still locating ways of being together.

Rosenblit's newest work, a Natural dance, (120min)will premiere May 29-31 2014 at The Kitchen in NYC.

Class: look at me don't look at me

Select Saturdays Through Movement Research, NYC

Approaching improvisation as a culture rather than aesthetic or technique, this class will locate (dis)organization as both a somatic and political gesture. We will hold information, experience, watch it, talk about and rearrange it. This class will consider improvisation as aggressive as technique, as rigorous as choreography and as expansive as performance is. This will be a space to move toward ideas, our complex bodies and dance. We will follow tangential thought to move away from definition and closer to precision.

For bookings and questions contact:

Jen Rosenblit



of recent.

On Titles.
We are in the midst of a process, we have no clue what the thing is yet and we have to call it something? Why? Is it so that people can say the name and gleam something, or worse, so that we can?  I say all of this admitting that titles are important to me and how I imagine and negotiate my work.  Language is just as abstract as dance.  WE ARE WORKING ON THE poetics, how things sound, feel, look.  We rearrange, disengage, locate, falsify, transfer meaning, usurp authority, become authority.  I'm interested in a title being poetry for the work, I’m fearful of describing moments or meaning or desires with language that gets written, printed, formatted, passed on and read before the experiential moment of being with the actual live work happens.  Titles are funny, they are a perfect opportunity to be an asshole.
Things I need.
I need openness and flexibility. I need to be able to rearrange things including the technical, physical and imaginational spaces.    As raw of an environment as possible helps me see extremes and possibilities which benefits me in-process.  There is something ideal about a gallery space, this idea of a white room and the lunacy it employs both in a sense of abstraction as well as heightening an artfulness of looking that is so attached to the museum and gallery.. The theater does something similar, all black, it seeks to hide anything offstage, labor or tech oriented.  It does the opposite of exposing which is what the gallery does, it hides.  Ideally I'd be interested in building a new space for each work so that everything being seen is from the work rather than the work fitting into a space.  This is where I begin the delicacy of  hiding and exposing.
My late attraction to improvisation.
Improvisation is everything. I don't isolate or allocate moments for improvisation to happen amidst insanely counted and phrased sections, that always feels jarring in terms of watching or crafting work. Improvisation is a culture, an approach, something soft with room for sharp but more radically it unsettles the fixed states of any extremes.  It has become my movement practice, my training, my academia through which I understand all things.  It is a truly active place for the body to locate sensation and information rather than relying on memorization and learned behavior.  Crafting work over time has become about locating an improvisatory sensibility rather than an aesthetic.  It is everything.
Art and the artist and the glorification of it all.
I don't always know what this relationship between myself and making dance is.  The elements argue with each other all the time.  I'm lazy and I like to work hard.  I'm very sensitive and I don't care what most people think.  I could do with less automatic, unquestioned sentimentality and I cry during most movies.  I make work with friends who I care deeply for, I'm trying to find ways to pay them.  I expect a lot from them.  I want us all to work with deep care and consciousness, I want my friends to feel like they can tell me when I need to soften a bit. I'm stubborn and I like to control situations and make sure that I am comfortable and I'm obsessively anal about space and our experience within it.
I don't work alone.

Collaboration is a relationship to something which kind of means everything and nothing all at the same time.  Inside of this relationship there can be inequality, demands, control, fear, frustration, ego, anything.  It is about showing up, listening, relating, learning when to let go of ideas and when to put a foot down.  I don't know if you can evaluate when the thing is working or not.  I think some might say through ease but what I'm interested in cultivating is not easy.  

A disappearing history. Selected Dance Works.

a Natural dance, The Kitchen, NYC 05.2014

Pastor Pasture, Issue Project Room, Brooklyn NY 05.2012

In Mouth, New York Live Arts, NYC 02.2012 
CultureBot interview with Cassie Peterson 
Title Magazine interview about Bodega residency in Philadelphia, PA 
Bomblog interview with Lauren Bakst on process
Bomblog interview with Lauren Bakst on Bodega residency and lecture
Time Out Preview with Gia Kourlas 
Talk with Carla Peterson and Vanessa Anspaugh 

Salivate if you could, Studio Series. Dance Theater Workshop, NYC 03.2011

When Them, Danspace Project Platform 2010 NYC 03.2010 
New York Times Review by Claudia LaRocco 

Everlast and So Badly, Fresh Tracks. Dance Theater Workshop, NYC 01.2009 

That Sick Sound, Movement Research at The Judson Church 10.2008

                     Photo credit Ian Douglas.


Finding Language.

I find the desperation between fleeting tragedies and bizarre humor to be a very active location for the body, as well as bodies in relation to one another. I depart from preciousness and sentimentality on a conceptual level in hopes of locating a more potent relevance for how we read relational aesthetics and objects in space and time. Observing what already exists on the body, what I place onto it or take away from it, has been crucial to my investigation. Rather than training performers to look and act like me, i insert methods to attain constant awareness on the line between memory and the experiential.
I am concerned with detaching and reapplying visual histories, how time and situational tendencies can assume familiar outcomes, and how the way that one thing tolerates the next becomes a rule for how we occupy time. I tend to use bodies to occupy landscapes or visual fields rather than purposeful markings on time and space. I try to breed rural notions within urban time frames and often create something that requires its own set of rules for navigation.
Delicate perversion coils my work while the physicality of the bodies dominates a general aesthetic. There is something familiar and uncomfortable about the moving body. The body feeds more information than any awesome concept or lighting plot. I lean toward the idea that my work is not autobiographical, this can be argued on many levels but it is not my goal with performance. There is often no glorious ending and not much for people to take with them when they leave. People want something. Placing myself within the work is becoming a clearer choice rather than default these days. I use myself as a performer because I like to interact with the work in this way. This is where a lot of the exploration happens for me.
My choreographic approach is more of a cartographer or information analyst. As a performer of the work I get to bring dimension to the flatland of information and begin to explain that exploration to the other performers. I situate my work in a space where endless distraction makes you feel like there is bound to be an eventual truth. Since this place is completely manifest on invented inquiries, there isn't always an obligation to unveil or humanize or tenderize the body with movement. Engaging in the discourse of body memory and body experience, I can isolate tendencies and desires to then manipulate visual exhibitions of bodies. Once I feel as though we have located a coherent moment of either memory or experience, I tend to place an outside distraction over the whole process. Be it adding unrelated music or irrelevant props, a beautiful moment of bodies moving in design can occur and be overlooked at the same time.
My concepts and movement structures at times dissolve each other. I am reaching for a more heightened subtlety of experience. I don't find modern dance to be nearly as abstract as the world around me. The smell of rain, endless laughing, disgust, wanting more time-these are all abstract situations that I don't hope to recreate with dance but to begin to engage sensation with visual information.
I'm not sure if my work is about anything more than the absurdity of the body. I'm building space for the viewer to experience indentation, for eyes that find molding and packaging as important as a love story. Sometimes I also just make up moves that I think would be totally awesome in my dance!

                                                        Photo credit Alyssa Robb at Bodega in Philly