
The
New York Times has described Mansur's work as "a tour de force
of authoritative, evocative performing, its kaleidoscopic
physical imagery voluptuous, elegiac and whittled keen from
moment to moment."
As
a contemporary dance artist my ongoing interest is in experimental
multi-media performance. I enjoy the fluidity and uncertainty
of setting dances in a wide range of traditional, non-traditional
and site specific environments which have included: theaters,
galleries, parks, street corners, apartments, train stations,
empty storefronts, fields, rivers and other venues throughout
the Washington, DC Metropolitan area, as well as in New York
City, England and Argentina.
I have been curious about movement throughout my life. I have
been making dances for over 20 years. In 2002 I started mansurdance,
a loosely organized performance project, continuing to develop
multi-layered dances that integrate both improvisational and
choreographic approaches, with an emphasis on the interplay
of live sound and visual media, melding visual and visceral
landscapes.
My performance works investigate presence within visual and
kinetic layers of experience.
I
appreciate the subtle and the detailed, and what accumulates
quietly over time, valuing what is seen as well as what is
invisible to the eye but palpable nonetheless.
I
am deeply drawn to what we conceal and reveal as human beings,
the dynamic relationship between our deep inner landscapes
and our outer environments.
For
many years I have been particularly interested in questions
of identity and perception of self.
My
creative work is informed by my training and experiences with
post-modern dance, contact improvisation, somatics, visual
arts and music, as well as short and long term artistic collaborations
with performing artists, musicians, and visual artists.
"[Mansur]
doesn't choreograph her dances, she paints them…[she] has
an eye for color and line, a knack for coursing her dancers
through the unadorned space that leaves movement trails---after-images,
if you will-that linger and blend with the ensuing action
onstage," (The Washington Post).