Climb, twirl, paint, imagine. I was born and raised in Boise, Idaho in a Basque-American family; I knew I was unusual from day 1. Born to be different and strike my own path in life. I was free to pursue my passions and express myself in many forms, from studying Egyptology at 10 to choreographing at 17. Through my own studies and explorations I slowly began to shape my identity.
When I turned 15 I started dancing with the Oinkari Basque Dancers, a professional Basque folk dance group, and the heart of my Basque family, my Amuma (grandmother) passed away. I had always been Basque, it was in my blood, I ate the food, and I had been to a several festivals. It wasn’t until I had lost a part of my Basque identity, my Amuma, that I found my own identity. I gained a loyalty to my Basque heritage that I had never felt before. I danced for my Amuma because in life she had never seen me dance, but I hoped in death she was watching me dance and was proud.
The next year I was advised by a former dance teacher to try a modern dance class from her friend, Matt Hope. From the first day he had us rolling on the floor and moving in a less than attractive manner. There was something that clicked with me, the athleticism and abstract movement felt right on my body. I had never danced “ugly” before or thought more about how to move than the lines created by the body. Matt pushed us to think about what it felt like and not what it looked like. He faced us away from the mirrors, had us on our hands, shifting weight, dancing like I had never danced before. Matt opened my door of opportunity by introducing me to Leah Clark and the Balance Dance Company, a pre -professional modern company.
Balance Dance Company supported dancers in developing and cultivating their skills as choreographers. For my junior and senior years, I created works for the Ballet Idaho Choreography Competition for youth choreographers. The first year was a solo piece that I later set as a trio for my final Balance show. The second year I created a quartet that was based on my rebellion to the traditions of the choreography competition. I wanted to create a dance that was all about breaking the rules and creating your own path. The piece contrasted from the rest of the competition in utilizing rock music by The Raconteurs and a physical, modern style of movement. It wasn’t a pretty piece but it had a clear voice and complete thought, and won first place. With the help of Balance and the choreography competition I learned about myself and my perspective on life.
In high school I spent a large portion of my time at school with my arms elbow deep in clay using the human form as my inspiration. I was encouraged by my pottery instructor to sculpt in my own way and create outside of the conventional forms. My first advanced sculpture series was based on the human form wrapped in a blanket of clay, leaving only a shell to suggest an invisible body creating the shape. Upon those shells I painted aspects of human nature from childhood memories, religion, love, and family. Another series I sculpted based on a human head starting with just the skull and adding until it was a complete head. I was never interested in making cups or flowers or things. I wanted to capture the human body, mind and spirit with a little clay and paint. I feel the same about choreographing.
When I moved to California for college, I had a plan to be in the school company and get a degree in International Business, then work for an art gallery or museum. However I didn’t fit the model of the school company and instead, landed in my dance teacher’s modern company in San Luis Obispo, one of the best things to ever happen. In working with Variable Velocity, I learned about Bartenieff fundamentals, gyrokinesis, Bill Evans’ mind-body integration, and a list a mile long. Before I met Jude Clark Warnisher, one of the directors of Variable Velocity, I had never heard of a sacrum, let alone knew how to use it. After three years with the company my sacrum is my best friend.
In September 2009, I packed two large duffle bags and boarded a plane to France where I lived and studied for 4 months. I lived in a small apartment building dedicated to 200 international students of Rouen Business School. Living abroad connected me with my European roots and allowed me to experience many cultures and a different way of life.
I had traveled to Europe several times before, but this was the first time I had to do everything myself. My favorite part of life in France was waking up each morning, opening my huge window and doing a 20 minute yoga, Pilates, or ballet work out before starting my day. This ritual became the basis for what would change my life. I decided one day to create a dance and then make a film in my tiny apartment which I posted on my French travel blog. I continued to make site-specific dance pieces while living in France.
When I returned to the U.S. I decided to continue blogging and focused on dance and my site-specific work in the new blog, MovementTronic: Chertudi Dance Adventure. I have worked vigorously on the blog and I also have been teaching the beginning modern Variable Velocity class, observing and assisting in Nipomo High School’s dance department. When I am not dancing I am at someone else’s rehearsals and classes. Dance and I have become one. I know the only path for me is dance.
