Behind The Scenes With Mind The Gap 38

Dance Source Houston will present the final Mind The Gap performance of 2026 on December 2 at MATCH. The program includes solo and ensemble pieces influenced by a range of dance forms. Learn more about the 6 works that will be presented on the program directly from the artists and get your tickets at matchouston.org/events/2025/mind-gap-xxxviii.

Emilie Anne

“I’m excited to return to Mind The Gap with ‘The Great Departure,’ a continuation of my earlier works, ‘Snowy-Silver Elephant’ and ‘Voice of the Swan,’ which premiered at MTG in 2022 and 2023. In ‘The Great Departure,’ a sheltered prince ventures outside the palace for the first time and faces the stark realities of the human condition: the inevitability of old age, sickness, and death. The illusion of his idyllic life shatters, and he decides to leave his royal life behind. With fearless resolve, he rides into the unknown in search of answers.

This new piece furthers my exploration of cross-cultural narratives, weaving Eastern and Western influences. MTG is where I first presented my work as a choreographer, so it feels like both a homecoming and a new beginning! I’m grateful for this platform, which embraces all dance genres and supports choreographers in their artistic journey.”

Nahee Lee

“The work I’m presenting is a combination of 4 improvisational solo works that artistically investigated and experimented with minimalism. ‘St.’ is also largely inspired by the stoic philosophy of Marcus Aurelius and Dadaism. This work is performed and choreographed to help the larger population of viewers understand that forms of any abstract art are not always something that holds a meaning, but rather something that does not necessarily need to have a meaning or need to be understood.

Having a narrative in many forms of art has always intrigued more people, but also led to many being afraid of art due to the pressure of having to understand. To combat that, ‘St.’ was largely created with the idea and the driving force of having no meaning, but still with the goal of making the viewer ending up with some kind of reaction.”

Kavya Mathukumalli | Silambam Houston

“This Kuchipudi solo performance combines Shadakshara Koutvam, a piece that explores sound, rhythm, and spirituality through the sacred syllables of “Om” with Lalgudi Desh Thillana, a lively pure dance composition known for its intricate footwork and joyful expression. Together, these pieces offer a compelling contrast of meditative intensity and kinetic exuberance, showcasing the technical and expressive range of Kuchipudi. While rooted in Indian tradition, the work is designed to engage diverse audiences through its universal themes of energy, precision, and celebration. This performance offers a space where movement speaks beyond boundaries.

This work was born from my deep love for Tamil language, rhythm and power of devotion. Inspired by a traditional Bharatanatyam song, I reimagined its vibrant music through Kuchipudi, creating a new dialogue between tradition and innovation. This work premiered at the See Chicago Dance Festival, where its spirit of faith and celebration resonated widely. Bringing it to my home audience in Houston will allow me to continue refining its universal story of rhythm and connection.”

Anna-Caison Roguski

“In this newly expanded piece, ‘The Wind Has a Name, I utilize the rich language of jazz dance to explore bluegrass music. The work uses music from The John Hartford Estate and Swamptooth to create vibrant conversations between the choreography and the compositions. 

The focus of my MFA at the University at Buffalo was jazz choreography. I drew from the writings and works of Melanie George, Carlos R. A. Jones, and Adrienne Hawkins to craft an approach to the creative process that centers deep listening and authentic conversation with music. I spent most of my time in graduate school creating and moving with jazz music. After I graduated, I developed an interest in using the same creative process with bluegrass music. The music is full of untapped potential in the concert dance space and reminds me of my childhood in South Carolina.”

Isabella Mireles Vik | Aufheben

“This piece is the beginning section of a new evening-length work I am building towards Fall 2026. The piece differentiates from my more vigorous work and focuses on subtle movements to build into a rupture of movement. The piece features images of my family members on silk scarves and is an homage to the various mothers in my life. The music mixes Scandinavian herd calling with contemporary Norwegian fiddle. This section is entitled “Birth,” to describe the metaphorical birthing of the dancers. The beginning circular sections of the piece are meant to resemble a dilating cervix.

This work is a small section of a much larger project I am working on with Aufheben. I want to play with how this piece will be presented in a theater setting, understanding its potential as it develops into an evening-length. I rarely show excerpts of my work and want to take the opportunity to share with an audience. I hope that when viewing the piece, people in the audience can be reminded of the different mothers in their own life.”

Rebecca LaFon | Vessel Movement Co

“This piece is about how, as humans, we all reach a time when we feel weary, and beat down by the waves of life, and realize that we are often let down when we lean on ourselves or the world around us. Yet if we lean on God, He will sustain us and carry us through each and every day.

With so much going on in the world today, this piece was created to bring some hope and encouragement to it’s viewers and remind them that no one is alone when going through their struggles and trials.

We hope that the audience feels uplifted and encouraged after watching this piece and maybe sees a part of their own lives through the dancers as they portray this story of looking outside themselves to find hope and strength.”