To Moriah Evans choreography is a social process. Her work draws on somatic practices and feminist critiques of performance and visual culture to expand dance beyond the visible. In her latest work, Evans examines how historical and ongoing forms of socio-political transformation remain as information within the body. Remains Persist works from the remainders—of ancestral histories, lived experiences of race, societal catastrophes, socio-political hierarchies, displacements, imaginations, fantasies, pleasures and more—that live differently in each of our bodies. If this information is invisible, can it be consciously activated and witnessed through movement, utterances, and language? Evans charges the theater with its potential to reconfigure power structures and systemic inequities. In the artist’s own words, “A lot of my work has been about dance and referencing discourses within dance, but this piece uses dance to contend with discourse in the world. And with that, I’m claiming dance, or the body, as a site where people can heal.”