Since its 1998 inception nathantrice/RITUALS has toured throughout the United States, Bermuda, Japan, Argentina and Aruba through the last 12 years. Nathan and his company have also taught nationally and internationally conducting master classes, workshops and lecture demonstrations.The company has been presented in some of the most prestigious festivals in the U. S., including New York Summer Stage, Jacobs Pillow Dance Festival, The Harkness Dance Festival, City Centers Fall For Dance, Lincoln Center’s Out of Doors Dance Festival, Brooklyn Museum, Aaron Davis Hall’s E-MOVES Festival, Judson Memorial Church’s (DADD) series, Orensanz Foundation for The Arts festival, Symphony Space, Danspace Project Food For Thought Series, and Dance New Amsterdam’s In The Company Of Men Festival.

In 2001 Nathan Trice created the Recognizing Women Project. A project focused on bridging the gap between art and academia through research and collaborative initiatives amongst college/university women studies departments and the company’s artists. The projects objective is to create work that is both educational and artistically interpretative that aims to shed light and provoke thought on the social, psychological, economic, political, emotional and spiritual experiences of women. The process of The Recognizing Women Project usually spans an academic semester, allowing time for student research, suggestions and constructive criticism to play a significant role in the creative process. In the past, professors have allowed the project to become a component in their curricula, giving students academic credit and press recognition for their contributions. The Recognizing Women Project so far has facilitated collaborations between dancers and students within the women’s studies departments of Fordham University, Brooklyn College, Hollins University and Adelphi University. The collaborative aspect of this project has become an integral component in helping to produce work of high artistic merit that also possesses a strong educational foundation. It has noticeably increased interest in the arts among research students who seek to creatively contextualize their inquiries and perspectives surrounding women’s issues as a means to inspire dialogue and activism. In 2011, one of the works from the Recognizing Women Project repertory entitled One’s Trilogy, which investigates how socio-historical and family/ancestral constituents might play a role in mental disorder, was selected for presentation at the annual meeting of the International Society for Psychological and Social Approaches to Psychosis in San Francisco, CA and at the annual meeting of the Association of Psychoanalysis, Culture & Society at Rutgers University in New Jersey. The presentation of One’s Trilogy sparked inquiry into possible interdisciplinary research initiatives between theatrical dance and the social sciences. Our aim to continue fostering these kinds of relationships with enthusiastic institutions has always been essential to the project’s objective and sustainability.

Strange Love: EPISODES is a visual, audio, sensory, theatrical performance that episodically explores the underlying architectures of courtship, intimacy and love. Inspired by the music of John Coltrane, Miles Davis and classic film noir, artistic director Nathan Trice gathers eight dancer/singers and a jazz trio to merge vocal renditions of Coltrane’s & Davis’ horn solos with theatrical dance, movement monologues and a montage of ambient cinematic projections. The mixed media morphs into a unique expressive language that performers use to episodically peal back the layers of their complex perspectives on courtship, intimacy and love. Thematically Strange Love: EPISODES is stimulated by director Anne Bogart’s seven essays on art and theater, “Stereotype, Resistance, Terror, Eroticism, Violence, Memory and Embarrassment“. Trice designates a number of these themes to each episode as a means to germinate and explore the multifaceted worlds of courtship, intimacy and love. Within those worlds the eight dancer/singers make use of vocal riffs, cryptic text and physical dramatic movement to create a series of scenes that give insight into each other’s relationship and their personal dispositions. In December 2012, Nathan and his company of multi-talented artist completed a six-month residency at FreeCandy, an intimate sixty-seat warehouse art/performance space located in the Clinton-Hill/Bedford-Stuyvesant area of Brooklyn, NY. FreeCandy’s graffitied walls, neon painted antique & contemporary furniture and fixtures, and candled decorated bar with concocted drinks became the perfect setting for Strange Love: EPISODES. The uniqueness of both space and content of the piece created an intimate, urban, gritty mood where the audience and performers proximity produced a two-way voyeuristic exchange between one another resulting in a visual, audio, sensory, theatrical experience for everyone.

Us: a project,conceived and conceptualized by Nathan Trice, explores central ideas of existentialism, including freedom, authenticity, anxiety and the absurd through collaborative collectives composed of philosophers, psychoanalyst, economist, writers, and a number of artistic directors. Trice is preparing for the second season of Us: a project to explore the relationships between Capitalism and Schizophrenia. The objective of the work is to explore French psychoanalyst/philosopher Felix Guattari’s theories on capitalism and schizophrenia. Guattari believed schizophrenia to be an extreme mental state induce by the capitalistic system itself, and one that enforces neurosis as a way of maintaining normalcy. Trice is interested in creating a series of deconstructive inquiries based on Guattari’s theories presented in a tableau-like format as a means to illustrate the parts, the assemblage and functioning of those parts, and how that functioning makes up the symbiotic relationships between capitalism and schizophrenia. In 2009 Trice premiered Us: a project with a focus on exploring notions and ideas surrounding concepts like “They, Us, Together and Myself”. The premier was presented in a very unusual manner by creating four fifteen-minute works that begin and end simultaneously in adjoining quadrant studios after which audience members rotate in a clockwise fashion. With-in each studio dancers introduce a series of habitual patterns they either struggle to follow or break free from in an attempt to convey an understanding or response to one of the four dispositions: “They, Us, Together, Myself“. The dancers delivered a combination of virtuosic movement, symbolic gesture, sound effects, song and cryptic text that allowed the audience to witness how each of them diagrammatically map out the terrain of their social psychology as a means to understand their disposition. The aim of the work was to investigate the external appearances and underlying design of our absurd transitory states of commune, our need to believe in things absurd, our absurdity of togetherness and the absurdities of our ephemeral inner-vision.