When I was a dancer, my body performed a script. Movements were iterative, sequenced, and tightly choreographed. My body was self-aware and intentional.

In the ‘everyday,’ our bodies are equally performative and prescribed. We cycle through the habits of life, performing the choreographies of domestic tasks, work habits, play, fitness training, transport. Our posture and exertions, every bit of our corporeal presence, is the result of a cultural meta-choreography. But the everyday body is largely unrecognized as the discursive palette that it ubiquitously is.

My work proposes a costuming of the everyday performance, both to draw attention to its performativity, and to question and tweak the value systems at work in its choreography. The term costume connotes performance, (re)-enactment, character, and occasion. When the body is clad in a costume, it is a knowingly performative body. The rhetorical engagement with costume in the stage of the everyday allows for new methods of corporeal engagement, new ways the body can inhabit and interact with its environments.