During CDDC’s recent residency at BIMA (Brandeis Institute of Music and Art), you were the featured Artist-in-Residence. What did you take away from that experience, and how did it impact you as a teacher?

BIMA was an amazing experience for me overall. Coming there as a teacher, I also did a lot of learning on my own. I was surrounded with amazing educators and people who were generous in their time and skills to encourage a “newbie” like me. This experience gave me insight to becoming a more well-rounded artist, realizing that my contribution to the art that I love so much does not end on stage but is reinforced through teaching and sharing what I know.

When you’re not dancing on tables or throwing jackets with CDDC, what are some of your hobbies?

I eat or should I say, I cook. Well… it all starts with research on which restaurants have amazing food. My roommates and I call ourselves Brunch Ladies. On occasion when our wallets will allow a tasting of what our neighborhood restaurants offer, I, or we, try to make the meal at home. Most of the time we try to do it just from memory of what we’ve tasted with a whole lot of guessing. This got me to eat eggs. I did not like eating eggs before.

I also make a habit of cooking Filipino food and mastering my signature dishes. My mom and grandmother are very good cooks, so I want to follow in their footsteps. When I struggle with a certain dish or need specific ingredients, I hop on the train to Queens to shop and also solicit tips from my mom and sister. I call this quality family time.

Of the works you’ve performed with CDDC, which is your favorite?

I would say Odisea. It was one of the pieces I learned at my audition. I really enjoyed the marriage of movement, music and sentiment of the piece and it gave me a glimpse of how Carolyn is as a choreographer. I also loved doing Divide and Conquer. It was such a fun and stamina challenging piece, plus I get to act like a kid! Add to the list Under My Skin and a section called “Kaffee Klatsch” in American Dream that is part of the full work of Mayne Mentshn.

You’ve been involved in the re-creation of a number of CDDC works, such as Odisea, Under My Skin, and the Klezmer Sketch. What’s that process like? What do you enjoy about it? How is it different from the creation of a new work?

When re-creating/re-staging works, it is always important to still keep an open mind. Yes, the pieces have been done before but changes to choreography, musicality or intention are bound to happen. These changes are affected by either casting, stage, space or artistic choice by the choreographer. The fun happens when people go to the next level and you all go together, hence, doing amazing ensemble work! There is already a certain comfort with doing the movements, so people push themselves in every aspect of performing and artistry. Feeding off that drive and energy is food for the soul!