Sarah Elizabeth Stanley is a dancer, teacher, and anthropologist.
Currently, she is on faculty at Orange Coast College and is the director of Metaphysical Playthings.
Sarah was born and raised in Tucson, Arizona and resides in Long Beach, California. She has performed with DIAVOLO | Architecture in Motion, x2 Dance Collective, The Assembly, and as a founding member of the Esperanza Dance Project and the Paul Taylor Teen Ensemble. As a freelance artist, Sarah has performed at The Metropolitan Museum, Lincoln Center Festival, The Getty Museum, and Spoleto Festival USA, among others. Professional and education performance credits include works by Alvin Ailey, Merce Cunningham, Martha Graham, Laura Glenn, Keith Johnson, Bill T. Jones, Rebecca Lemme, Jose Limón, Marjani Forte Saunders, and Paul Taylor. She holds a BA from Sarah Lawrence College and an MFA in Dance from California State University, Long Beach, where she was granted the Distinguished Achievement in the Creative Arts award upon graduation. She has been on faculty at CSULB and Orange Coast College. Sarah is earning a PhD in Anthropology at The University of California, Irvine where her research considers dance, embodiment and experience, trauma and healing, narrative, and the ethics of care.
As a young performer, I was drawn to American modern dance; what I discovered then through daily movement practice, I articulate today as a deep commitment to its lineage, its radical potential, and its capacity to ask the enduring questions of what bodies can do, how, and with whom. I became especially invested in the work of Paul Taylor, training as a work-study scholarship student as well as performing as a founding member of the Paul Taylor Teen Ensemble and serving as assistant to former Taylor School director Raegan Wood. My connection to Taylor style continues to develop through ongoing guidance from Rachel Berman and Patrick Corbin.
My professional career has taken me between New York and Los Angeles, performing with companies such as DIAVOLO | Architecture in Motion, The Assembly, and my own company, x2 Dance Collective, co-founded with Brynn Bodair. With x2 (“times two”), we created original works in film, installation, taught workshops, and built spaces for dancers of diverse training backgrounds to move together. As a freelance artist, I’ve performed at venues including The Getty, The Metropolitan Museum of Art, Lincoln Center Festival, and Spoleto Festival USA.
As an undergraduate student at Sarah Lawrence College, my practice expanded to include dance history, composition, improvisation, and somatic anatomy under the mentorship of Peggy Gould and John Jasperse. I also earned an MFA in Dance from California State University, Long Beach, where I focused on choreography and pedagogy. During graduate study, I became increasingly interested in screendance, nontraditional performance venues, and the ways performance can be opened to recreational dancers as well as professionals. For more than a decade, I have taught modern, ballet, contemporary floorwork, improvisation, and partnering to students of all ages at four-year universities, community colleges, high schools, and private studios.
about me:
Across these experiences, I have valued most the ways in which dance fosters meaningful connections and collaborative exchange, and anthropology has enabled me to consider the cultural and ethical stakes of embodied life. As a doctoral student at the University of California, Irvine, I look at dance-based programs across the U.S. as forms of extraclinical care. My research focuses on initiatives like DIAVOLO’s Veterans Project and other programs that have emerged at the intersection of art, health, and community development and outreach. I ask what participants gain from these practices, how they theorize their own healing, and how choreography itself operates as a mode of relational and embodied knowledge.
In addition to my anthropological research, I founded Metaphysical Playthings (MPT) as a venue through which I pursue related artistic and pedagogical interests. MPT is an iterative choreographic series that approaches dance as a mode of inquiry, built around shared thematic investigations, formal constraints, experimentation, and collaboration. Each iteration of this project is guided by questions regarding how choreography shapes our experiences of time, space, attention, and relation, and by a committment to making concert dance forms more widely available.
My ongoing artistic and anthropological work is motivated by the same questions that first drew me to dance: how movement expresses meaning, how our bodies remember, and how we come to understand one another through shared physical practice.