In Collaboration with The Tulsa Peoples’ Orchestra

OKLAHOMA MOVEMENT PRESENTS

Universal Theory

Oklahoma Movement Dancers:

Jennifer Alden, Julie Avila, Bayleigh Bates, Katie Bibens, Jennifer Cooper, Hillary Cupps, Linda Davis, Andrea Ellis, Brittany Moore, Emma Morris, Aniya Ordonez, April Robertson, Kymber Sage, Allie Scrivner, Cassie Waggoner, Kimberly Wall, Jolianna Wright

SECTION 1: TIME AND QUANTITIES

TIME: A STAR IS BORN

Johann Johannasson — “Cambridge 1963”

Choreographer: Jen Alden

This dance piece explores the extraordinary process of a star coming to life—from a cloud of scattered particles to a brilliant source of light. Through movement, dancers embody the forces of gravity, energy, and transformation that shape the universe, creating a visual journey from stillness into motion and from darkness into light.

At the heart of the piece is the concept of time, connecting science, mathematics, and movement. Just as the formation of a star unfolds over immense periods of time, the choreography uses mathematical relationships to structure the dancers’ movement. Counts, patterns, repetition, rhythm, symmetry, and changes in tempo become mathematical tools that organize the choreography and illustrate the passage of time.

As the piece progresses, simple patterns evolve into increasingly complex formations, reflecting how small changes accumulate and transform over time. The dancers' timing and spatial relationships demonstrate that mathematics is not only found in numbers—it can also be experienced through rhythm, pattern, sequence, and motion.

QUANTITIES QUARTET

I. THE BIRTH OF ONE

Meredith Monk & Bruce Brubaker — “Railroad (Travel Song)”

Choreographer: Cassie Waggoner

Before there can be many, there must first be one. This solo explores the birth of a single unit: the moment something emerges from nothing, establishes an identity, and begins to exist in time. A single impulse becomes a pulse; a pulse becomes repetition; repetition creates pattern; and pattern gives us the ability to measure change. Through cycles of expansion and return, movement discovers boundaries, distance, duration, and rhythm. The dancer becomes both the quantity being observed and the observer measuring its passage through time. The piece ends with one distinct unit surrounded by space—an initial condition waiting to encounter another.

How does “one” become measurable? How does time allow quantity, pattern, and identity to emerge?

II. THE ENCOUNTER

J. S. Bach — “Invention No. 13 in A Minor, BWV 784”

Choreographer: Cassie Waggoner

What happens when one encounters another? Two independent variables enter into relationship. Each carries its own identity, rhythm, and trajectory, yet interaction creates the possibility for both to change. Inspired by the intricate counterpoint of Bach, the dancers exchange information through imitation, opposition, accumulation, and transformation. A movement introduced by one can alter the course of the other, creating new patterns without erasing what came before. The two remain distinct, but their relationship generates something neither could produce alone. How can two variables interact, influence one another, and change over time while preserving their individual identities?

III. EMERGENCE

J. S. Bach — “Prelude in F-sharp Minor, BWV 859”

Choreographer: Cassie Waggoner

With three, the relationship itself becomes a system.

The addition of a third quantity changes the possibilities exponentially: information can travel in multiple directions, patterns can overlap, and relationships begin to form relationships of their own. As the three dancers accumulate movement, repetition, and interaction, simple individual actions become increasingly complex. What emerges is more than the sum of its parts—a network with feedback, interdependence, and its own evolving behavior. In only a brief passage of time, quantity becomes complexity, and complexity begins to organize itself. How does increasing quantity create new properties, systems, and possibilities that do not exist within the individual parts?

IV. STRUCTURE

J. S. Bach — “Fugue in G Minor, BWV 578”

Choreographer: Cassie Waggoner

When complexity increases, how does order emerge? With four dancers, the number of possible relationships expands again. Yet complexity does not necessarily produce chaos. When a system is governed by consistent rules, individual elements can interact within a larger structure. Motifs are repeated, transformed, layered, and reorganized. Timing, spacing, direction, and relationship become rules within a living system. Each dancer retains an individual identity while contributing to an increasingly intricate whole. What begins as separate quantities becomes organization: patterns become structure, relationships become systems, and complexity becomes order. How can simple, consistent rules organize many interacting elements into a stable and complex structure?

SECTION 2: ANGLES AND GEOMETRY

EUCLID’S LUCID LULLABY

Olafur Arnalds — “Doria (Island Songs Vii)”

Choreographer: Bayleigh Bates

Euclid gave geometry a language of definitions and principles. Here, that language drifts into a dream, where familiar shapes begin to feel like something we have known before, but cannot quite remember. A circle has no beginning. No ending. No place to really know when something began or possibly ended. In this dream angles slowly awaken and lines reach beyond what we can see, tracing something that feels both new and as old as the universe itself. The dreamer, conscious and connected chooses to stay a little longer. All is possible here. We are carried forward, gently, without knowing where we are going and somehow that is okay.

Each shape becomes a quiet discovery. A glimpse of the wonder held within mathematical order. A place where logic opens into something magical, and a quiet invitation to dream within the laws of geometry.

SIGNAL

Yu-Peng Chen — “Summer Fantasy”

Choreographer: Katie Bibens

Cause and effect (electrons/ atoms). In parallel worlds where reality and the digital realm exist side by side, two dancers move as reflections of the same signal- sometimes in sync, sometimes departed by distance, delay or distortion. Inspired by the structure of online gaming systems, this duet explores how every action in one world creates a ripple effect in the other, shaping outcomes through connection, interference and response. As the boundaries between realms begin to blur, the dancers navigate moments of perfect angles and alignment, desynchronization, and collision, revealing a shared system where two versions of reality are always trying to stay connected.

VARIABLES (x,y,z)

J. S. Bach — “Cello Suite No 1 in G Major BWV 1007”

Choreographer: Katie Bibens

Three variables exist independently, each carrying a unique value yet unaware of how they connect. Through a series of exchanges, transformations, and shifting relationships, they search for balance within a larger system. Inspired by the language of algebra, 'Variables" explores the idea that meaning is not always found alone, but through the equations we create with others.

SHEEP MAY SAFELY GRAZE

J. S. Bach — “Sheep may safely graze”

Choreographer: Valeria Fleming

“Sheep can safely graze where a good shepherd watches over them.

Where rulers are ruling well,

We may feel peace and rest

And what makes countries happy.”

The inspiration for this piece was derived from the history of the music and the peaceful and serene repetitive musical theme. Bach wrote the music in 1713 as a birthday gift for Duke Christian of Saxe-Weissenfels. The piece was originally a soprano aria to lyrics by Salomon Franck and it was meant to honor and praise the rule of the Duke, likening him to a shepherd that watches over his sheep and allows them to graze safely under his care. While indirect, the choreography explores how we often seek purpose and personal identity in isolation, but the full expression of who we are emerges in the safety of a community that celebrates and supports our differences and encourages our evolution. The primary thematic choreographic phrase is tied closely to the repetition and evolution of the musical theme. The dancers move and explore space independently but are always tied together via the fabric of the music. The steps are meant to make the music visible and highlight subtle change where we might assume conformity in repetition. Calculus, as the mathematical language of change and motion lends itself beautifully to the structure and evolution of choreography. Position, velocity, and acceleration (derivatives and integrals) are clearly visible in the structure and formations of the piece, as well as the physical shapes produced by the dancers. The musical composition, choreography, and subtle story highlight how individual parts relate to a whole and how you seemingly end up back where you started, despite and because of the necessity and inevitability of change.

1.618

Meredith Monk, Bruce Brubaker, Ursula Oppens — “Ellis Island”

Choreographer: Jen Alden and Kymber Sage

Beginning with the simple progression of the Fibonacci sequence—(6 8s of 1 count movement, 4 8s of 6 count movement, 4 8s of 1 count movement 20 8s of 8 count movement) the choreography gradually develops into more complex patterns The solo dancers’ timing, pathways, and formations, are influenced by these mathematical principles. Movements expand, contract, repeat, and evolve, reflecting the way the Fibonacci sequence grows and the Golden Ratio appears throughout nature. Through the language of dance, this piece asks us to experience mathematics not simply as numbers on a page, but as rhythm, proportion, pattern, space, and motion.

SECTION 3: RATIO

DECONSTRUCTING THE GOLDEN RATIO

Felix Rosch — “A slow undo”

Choreographer: Nina Madsen Puckett

Rooted in the math of the golden ratio (1.618), this trio explores the natural balance of proportion, harmony, and space. Watch as the dancers thoughtfully deconstruct the famous spiral and geometric proportions, turning abstract numbers into a living, breathing architectural conversation on stage.

SECTION 4: SYMMETRY

ELECTROMAGNETIC SPECTRUM

Max Richter — “Nature of Daylight”

Choreographer: Jen Alden

From radio waves and microwaves to visible light, ultraviolet, X-rays, and gamma rays. Through movement, dancers bring these unseen forms of energy to life, transforming scientific concepts into patterns of motion, rhythm, and space. At the center of the piece is the mathematical concept of symmetry. Just as waves demonstrate repeating patterns and balanced structures, the choreography uses mirrored movements, geometric formations, repetition, and spatial relationships to create moments of symmetry and order. As the dancers move through different regions of the spectrum, these patterns shift, expand, and transform.

SPECTRAL SYMMETRY

Tony Anderson and Bonnie Brooksbank — “Arpège”

Choreographer: Jen Cooper

From radial symmetry to reflection, mathematics is full of patterns that repeat, mirror, and transform, leaving the essential structure unchanged. Spectral Symmetry traces the geometry of a kaleidoscope through six dancers whose patterns reflect, rotate, and repeat like light pulled through a prism.

GRAVITATIONAL INVARIANCE

Thomas Newman — “Donna Lucia from Spectre soundtrack”

Choreographer: Bayleigh Bates

There may be something familiar in symmetry simply because we are made of it. We recognize ourselves in an opening wing, in the branching of a leaf, and in ripples flowed outward. 

Two sides reach beneath the same heavy pull. Both yield. What opens will fold again. What rises will return. Through each change, the echo remains. Perhaps there is something familiar in that, too. To be changed by what presses upon us, yet find something within ourselves unchanged entirely. 

SECTION 5: PATTERNS AND MODULAR ARITHMETIC

NATURE’S PATTERNS

Arvo Part — “Spiegal, im Spiegal”

Choreographer: Nina Madsen Puckett

Inspired by the striking geometries and nesting rituals of marabou storks, this choreography explores the mathematics of instinct and home. Through sharp, angular, slow, then expansive movements the piece translates biological architecture into a kinetic study of gravity, convergence, and return.

A LINE GOES FOR A WALK

Caroline Shaw, performed by Roomful of Teeth — “Partita for 8 Voices: Allemande”

Choreographer: Alicia Chesser

Composer Caroline Shaw embedded text from visual artist Sol LeWitt's "Wall Drawing" instructions into her "Allemande," and this dance draws on that interplay of patterns and possibilities. Moving through space and time, a line becomes a square, a diamond, a diagonal, a circle, a shifting mosaic. A line gives us a sense of distance and closeness. As one line intersects with another, it reveals and deepens relationships: parallels, ratios, fractals. A line is accessible everywhere and can go anywhere. Where is your life's line taking you? 

SECTION 6: PHYSICS AND MECHANICS

COSMIC BINARY

J. S. Bach — “Prelude No. 15 in G Major BWV 860 (The Well-Tempered Clavier Book 1)”

Choreographer: Allie Scrivner

This piece explores the physical movement of single star systems and binary star systems found throughout the universe. Unlike single star systems, binary star systems have two stars bound by gravity that orbit around a shared center of mass, also known as a barycenter. The orbital pathways of these systems are naturally elliptical and vary in speed depending on where they lie in relation to each other. It's as though they are waltzing with one another amongst the stars!

CHECKMATE

J. S. Bach — “Badinerie - Bach’s Royal Harpsichord”

Choreographer: April Robertson

Checkmate playfully explores a series of chess games, with the dancers demonstrating the roles and functions of each chess piece. Chess has been used for understanding simple arithmetic, computer programming, and even quantum physics. Fun fact- the Shannon number is the number of possible chess games that can be played, which is more than the number of atoms in the observable universe.

PERTURBESSENCE

John Lunn — “Life after Death”

Choreographer: Bayleigh Bates

Here we explore physics and the governing laws it demands. Beneath the artistic work is a mathematical architecture of waves, oscillations, geometric transformations, repeating patterns, and timing progressions, continually forming, dissolving, and reorganizing. Central to the piece is perturbation, a disturbance that alters the behavior of a system. Aerial artistry becomes a physical embodiment of that disturbance, introducing a new plane of motion and changing the system around it. The essence of perturbation, the beauty found in how a system responds, transforms, and reorganizes after disturbance.

TURING’S MACHINE

Alexandre Desplat — “The Imitation Game”

Choreographer: April Robertson

During WWII, Alan Turing created the Bombe machine, which he and his team used to crack the Nazi Enigma Code. The dancers are embodying the working parts of the Bombe, emphasizing the continuous movement of the cypher wheels, the 1’s and 0’s of the code, and the syncing up of the machine as the code becomes decrypted.

SECTION 7: CALCULUS

NEWTONS WAVE

Thomas Bergersen — “Remember Me”

Choreographer: Jen Alden

Inspired by the ideas of Sir Isaac Newton and the mathematical discoveries that have shaped our understanding of the world, this piece weaves together concepts explored throughout the performance—number sequences, proportion, symmetry, time, patterns, and waves.

The choreography reflects how mathematical ideas build upon one another across history. Movement, rhythm, and spatial patterns echo the Fibonacci sequence and the Golden Ratio, while symmetry and repetition connect to the structure of the electromagnetic spectrum. Timing and rhythmic relationships represent the mathematical measurement of time, and waves of movement travel through the dancers, illustrating how scientific ideas can be expressed through the body.

PRODUCTION TEAM

Production Director: Jen Alden

Conductor and Music Arrangement: Benjamin Ray

Stage Manager: Jennifer Hertel

Lighting Designer + Technician: Mal Lindsey

Arial Director: Bayleigh Bates

Video Production + editing: Stephanie Stone

Marketing, Social Media, and Graphic Design: Allie Scivner

Photography: Josh New

Sound Recording + Editing: Adam Woods, Oakwood Studios

Costumes: Jen Alden

*Special Thanks: Theatre Tulsa, Evan Wei-Haas, Tulsa Performing Arts Center Trust, Arts Alliance Tulsa, Oklahoma Arts Council ARPA, OKM Board of Directors, Tulsa Peoples Orchestra

A billion Thanks goes to all of the volunteer dancers and musicians that poured their hearts into this production! Thank you for your time, dedication and love of dance, music and math!!

Oklahoma Movement is a collaboration of artists who use innovative movement to inspire & empower the community. We are a 501(c)3 nonprofit organization based in Tulsa, OK that aims to bring current issues surrounding mental health, addiction, and social inequality facing our community to light. It is our belief that movement is something in which we can all relate to and seek to enable the community to experience the many benefits of movement and dance. www.oklahomamovement.org

Tulsa Peoples’ Orchestra (TPO) 501(c)3 is dedicated to serving the community of Greater Tulsa through musical participation and performance. Within the ensemble, we will cultivate a most positive environment for the growth of the individual. With challenging repertoire the group will learn musical concepts that directly correlate to positive human values, adding value with skill and virtue in tandem. www.tulsapeoplesorchestra.org

MEET THE CREATORS

  • Jennifer Alden

    Before arriving in Tulsa, Jennifer danced with several contemporary dance companies in Portland, Oregon. Prior to this, Jennifer studied under Susan Zadoff at the University of Oregon and Eugene Ballet in Eugene, Oregon and was a company member of Dance Oregon and performed with the Eugene Opera Ballet. Before this, Jennifer performed as a soloist with the State Ballet of Oregon under the direction of Eric Hyrst. Jennifer was also involved with musical theater in high school and choreographed her first musical of West Side Story at the age of 17.

    Jennifer was Founding Co-Artistic Director, Choreographer and Company Manager of Oklahoma Movement (formerly Portico Dance Theatre) in Tulsa for the last 15 years, creating, directing and choreographing more than 15 full length works. Jennifer was a Board Member and served as Treasurer of Living Arts of Tulsa for five years. She was Chair of the Arts and Entertainment Crew of Tulsa Young Professionals (TYPROs). Jennifer received awards for 40 Under 40 for both the Tulsa People and Business and Legal News.

    Jennifer has choreographed for three years for the Tulsa Opera, operas such as Carmen, Romeo and Juliet and Samson and Delilah. Jennifer choreographed for Theatre Tulsa and has had the pleasure of choreographing Chorus Line, Oklahoma, Jesus Christ Superstar, Ragtime, The Producers, The Wedding Singer, My Fair Lady, The Music Man and Something Rotten. She also choregraphed and directed Sound of Music. Jennifer directed the opera "The Medium" for the Tulsa Opera. Jennifer was awarded the Tulsa Theater award (PO TATE) for her choreography of "Pride and Prejudice" for Pembroke Players and last season choreographed the full length work with Pembroke "Juliet and her Romeo". Jennifer choreographed for Tulsa Performing Arts Center Produced productions "Ragtime" and "Oklahoma".

  • Benjamin Ray

    Benjamin “Ray” is a music educator, composer, orchestrator and conductor who has dedicated his life to the world of music. 

    Ray is a dynamic leader who combines his skills in experience design with community organization for musical and transcendental goals. From Broken Arrow, Oklahoma Ray has enjoyed a life of music and lessons of all kinds, trumpet, voice, violin, dance and choreography. He hold a degree from the acclaimed music school at University of North Texas in Music Education with additional graduate hours spent in orchestral conducting.

    At age 11 Ray began composing and arranging digitally for himself and sister, the sibling string duo violin and cello. At age 16 Ray more seriously dedicated to learning music theory through studying piano, which led to his new passion, improvisation and composition through piano performance. Ray now performs jazz keys and piano improvisations at gigs around Tulsa.

    Driven by his desire to bring music to the community and reengage former musicians, Ray founded the Tulsa Peoples' Orchestra in 2021—an ensemble dedicated to serving the Tulsa community through all ages education and performances throughout the city.  Ray spends his time orchestrating and arranging pieces of music, composing for string and full orchestra, and directing local ballet/theatre and orchestral productions.

  • Nina Madsen Puckett

    Originally from New Jersey, Nina Madsen Puckett is a professional dance artist, Licensed Massage Therapist and Registered Somatic Movement Therapist and Educator through ISMETA. She is also a Certified Movement Analyst, having received her CMA from the Laban/Bartenieff Institute of Movement Studies in 2006.  She serves on the Creative Team, choreographs and teaches for Oklahoma Movement, owns Madsen Massage and teaches somatic movement classes at Oklahoma Performing Arts.

    Nina graduated cum laude from the University of North Carolina at Greensboro in 2005 with a BFA in Dance (Choreography and Performance). Her international studies included two semesters at two conservatories: the Western Australian Academy of Performing Arts (WAAPA) and the Theatre Academy of Finland (Teatterikorkeakoulu). In 2008, she furthered her clinical expertise with an Associate of Occupational Studies from the Swedish Institute College of Health Sciences Massage Therapy Program in NYC.

    As a dedicated mental health advocate, Nina founded Erase the Stigma Through Dance, which now serves as the advocacy arm of Oklahoma Movement. In 2022, she produced "Changing Perceptions by Moving Minds: A Mental Health and Dance Symposium" at the Tulsa Ballet, featuring dance icon and Guggenheim Fellow Bill Evans. A vocal advocate for the intersection of dance and metal health, Nina has appeared on various podcast and interview series, including the Delaware Dance Organization, The Dance Better Podcast, DIY Dancer in partnership with Okay Let’s Unpack This, and YouTube channel, “Move for a Movement.” In a 2002 review of the American Dance Festival, dance critic, Byron Woods, wrote “the unforgettable flex of Ursula Payne’s student, Nina Madsen, reminiscent of Gretchen Lothrop’s work.”

    She currently lives in Coweta, OK with her husband, Craig, sons Caster and Pallox, dogs Seymour and Emil and their 3 chickens. She is forever grateful to her dear friend Jen Alden, who welcomed her into the Tulsa dance scene in 2009 and has continually created spaces for her and others to thrive.

  • Valeria Fleming

    Valeria Fleming was an original member of Portico Dance Theater, now Oklahoma Movement, and is grateful to have been welcomed back into the fold since returning to Oklahoma three years ago. As a member of the company in its early days, she had the privilege to help choreograph and perform in several original works including Elements, Alice in Wonderland, and Super Suite.

    Currently, Valeria works independently as a physical therapist with a special interest in Pilates and dance medicine. She has had the pleasure of treating the professional artists of Ballet San Antonio, American Midwest Ballet, and individual performers in Las Vegas, Nevada. She resides in Edmond with her loving husband, two beautiful children, and cranky old dog.

  • Cassie Waggoner

    Cassie Waggoner began her dance training at the age of 5 at Nancy Clarke’s School of dance, training in tap, jazz and ballet. She continued her dance training at South Tulsa Dance Company, where she fell in love with contemporary and hip hop and began competing nationally.

    Cassie joined Portico Dance Theater and Tulsa Modern Movement in 2010 and has performed in many full-length productions including Project Alice, Elements, Super Suite, Wo, and Oklahoma Movement’s Between Us 2-Rewind,  and performed and choreographed site specific work for Oklahoma Movement’s Celebration Earth. Cassie has also danced in two music videos, Hanson’s “Give a Little” and “Thinkin‘ Bout Somethin’” and was part of Shock Ignition- a professional hip hop dance group.

    Cassie teaches Contemporary and Lyrical dance at Ovations Studio and Gym, where she has had the honor of sharing her passion for dance with her students for over 12 years. When she is not dancing, she enjoys being in nature with her two boys and is currently studying to achieve her bachelor’s in nursing at the University of Oklahoma.

  • Bayleigh Bates

    Bayleigh Bates has been dancing since the age of three, when she first fell in love with ballet. Throughout childhood she trained at numerous studios while moving frequently. After settling in Oklahoma as a teenager, she continued her formal ballet education at The Dance and Performing Arts Academy under Matthew and Sandra Bridwell, also with Tulsa Ballet, and entered the world of competitive dance through Soul II Sole Performing Arts. Bayleigh majored in Theatre in college. It was during this time that she was introduced to aerial arts. What began as a new challenge quickly became a lifelong passion, expanding her artistic voice beyond the stage and into the air. Today, she serves as the Director of the Aerial Program and the Ballet Program at Soul II Sole Performing Arts, where she also choreographs competitive works in the lyrical, ballet, and contemporary genres. She is also the Aerial Director, a choreographer, and a performer for Oklahoma Movement. OKM has given her a space to continue to develop original works that blend dance, aerial arts, and theatrical storytelling. In addition, she is an aerial instructor at Zeta Aerial Arts & Fitness and performs professionally with Inspyral Circus while also managing their wardrobe department.

    From 2024–2026, she served as both a performer and Stage Manager with Kin Dance Company, now School of Soul, helping bring contemporary productions to life both onstage and behind the scenes. Bayleigh creates because when the world around her feels the heaviest, the only control she has ever truly found is through movement. For her, movement is the ultimate release. That belief continues to shape her work as both an educator and artist. She strives to create work that is technically strong, emotionally honest, and rooted in meaningful human connection.

    Her upcoming projects include choreographing and directing the aerial acrobatics for Oklahoma Movement’s 2026 production of “Universal Theory”.  As well as serving as the choreographer for the 50th Anniversary production of “A Christmas Carol” at the Tulsa Performing Arts Center, produced by American Theatre Company.

    Some of her favorite performance credits include:

    “Disorder” — Oklahoma Movement & RACE (2024)

    “Afterglow” — Kin Dance Company (2025)

    “Tethered” — Oklahoma Movement (2025)

    “Illuminate” — Tulsa People’s Orchestra (2026)

    “The Traveler’s Atlas” — Inspyral Circus (2026)

    “Super Suite 2”— Oklahoma Movement (2026)

    Beyond the stage, Bayleigh is a full-time single mother to two incredible boys, Levi and Laken. She is endlessly grateful for the support system that continues to encourage her family and make it possible for her to pursue the work she loves. She is humbled and endlessly grateful to collaborate with so many remarkable artists throughout Oklahoma. Whether in the studio, suspended in the air, or collaborating behind the scenes, Bayleigh remains dedicated to creating meaningful experiences through movement and is honored to play a role in the continued growth of Oklahoma’s performing arts community.

  • Kymber Sage

    Kymber Sage was born in Nebraska and raised in Oklahoma. She began her journey into dance at 13 years old on Broken Arrow’s pom team,the Tigettes, where she danced through high school. She received her BA in Theatre from Oklahoma Baptist University in 2017. Since returning to Tulsa after graduation, she has graced stages as both a performer and choreographer through dance, theatre and aerial arts. 

    She currently teaches aerial arts at Tulsa Dance Company and Oklahoma Extreme Tumbling & Trampoline. She has performed with various theatre companies in Tulsa including Pembroke Players, Theatre Tulsa, Overture Musical Theatre and Tulsa Project Theatre. Kymber can also be found frequenting the air with companies such Calliope Circus and Oklahoma Showgirls. She is currently a company member with Kin Dance Company and Oklahoma Movement. 

    Her recent performance credits include Caroline in Pride & Prejudice with Pembroke Players, A core dancer in OKM & Race Dance Companies Disorder, Witch 1 in Pembroke Players Macbeth, a dancer and aerialist in Sonder with OKM where she wrote and directed, and Miss Thorn in Ruthless! The Musical presented by Overture Musical Theatre. 

    When not creating or performing, she can be found with her wonderful family having the best adventures.

  • Katie Bibens

    Katie Bibens is a proud native of Bartlesville, Oklahoma. She earned her Bachelor of Arts in Dance Performance, with a minor in Arts Administration, from Mercyhurst University in Erie, Pennsylvania. Following her studies, Katie pursued a professional dance career with Ballet Nebraska and performed as a guest artist with Osage Ballet, Ballet Vero Beach, and Ballet Concerto. 

    With over ten years of teaching and choreographing experience, Katie has shared her passion for dance with students of all ages. She has worked with Bartlesville Civic Ballet, Stage Art Dance, and Children’s Musical Theatre, and previously served as the Studio Manager and Primary Instructor at Nebraska City Dance Studio, where she supported more than 120 dancers and their families.

    Beyond the world of dance, Katie works for the Tulsa Convention and Visitors Bureau, promoting Tulsa as a premier destination for meetings, conferences, and conventions.

    She also serves on the Board of Directors for Art Maker LLC, an Osage nonprofit dedicated to supporting the arts and arts education in the Pawhuska area.

    Outside of her professional endeavors, Katie enjoys dancing with OKM, gardening and vintage shopping. In her free time, she can often be found exploring Tulsa, spending time with her husband, Michael, and doting on their beloved fur baby, Hazel.

  • Jennifer Cooper

    Jennifer Cooper began dancing at age five in Anchorage, Alaska, training in ballet, tap, modern, jazz, contemporary, pointe, and hip hop. She joined Dance Spectrum Alaska at age 14, and danced seven seasons under the direction of Gail Florio.

    After pursuing an education in psychology and sociology at Christopher Newport University in Virginia, Jennifer relocated to Tulsa, Oklahoma in 2012. In Tulsa, she has explored additional artforms such as aerial dance and community theatre. This is her 13th season performing with Oklahoma Movement and 4th season choreographing.

  • Allie Kwon Scrivner

    Allie Kwon Scrivner's history with dance originated from her love for musical theater. Throughout the years she has danced recreationally, competitively, and now, she enjoys supporting the artistic visions of others like herself through companies like Oklahoma Movement. 

  • April Robertson

    April Robertson is a Tulsa local who has been dancing with Oklahoma Movement since 2023, and started with Portico Dans Theatre in 2013. April trained with Theater Arts and continued in college with an independent dance troupe named Entity.

  • Alicia Chesser

    Alicia Chesser is a writer, dancer, choreographer, and movement educator based in Tulsa. She edits arts and culture coverage at The Pickup, teaches contemporary dance at Temple of Dance, and facilitates movement experiences with Transitive State