Rachel Thorne Germond has presented her work in New York City at such venues as the Joyce Soho, Movement Research at Judson Church, WAX, Chashama, The Merce Cunningham Studio, Dixon Place, amongst others and in Chicago since 2000, primarily at Links Hall, but also in performances with the Girlie Q Variety Hour, the Chicago Kings, and in festivals such as the Feast of Fools, Full Circle Festival, the Spareroom, the Around the Coyote Festival, Looptopia!, and Estrogen Festival.

Ms. Germond is a graduate of Cornell University (1986) where she studied modern dance while obtaining degrees in Fine Arts and Comparative Literature. She achieved an MFA in dance and choreography (2000) at the University of Illinois Champaign-Urbana where she was a Fellow. Her training includes intensive study of Klein/Mahler technique with Barbara Mahler and with such notable teachers as Mary Anthony, Anna Sokolow, Pedro Alejandro, Tere O'Connor, and Nancy Topf.

In 2003, 2005, and 2006 she was the recipient of the city of Chicago's CAAP grant, and she was an artist-in- residence through C.A.P.E. at Roberto Clemente High School from 2004-2007. Since 2004 Rachel has taught dance as arts integration in the Chicago Public Schools through CAPE and in 2009 -10 for Hubbard Street Dance Chicago's MAP programming.

In 2004 she formed her Chicago-based pick up company, RTG Dance. The company is on hiatus until 2012. Ms. Germond is temporarily relocated to Norfolk, VA where she is teaching as Adjunct Faculty at Old Dominion University.

ARTIST STATEMENT
As a choreographer I grapple with the nature of movement as metaphor or analogy. I strive to convey on- stage a world that is not dissimilar to everyday life, but the dances I make do address aspects of fantasy, imagination, and memory within the context of contemporary life. I have been consistently interested in archetypes and paradoxes.

To create my work, I draw on a knowledge of contemporary and historical artistic, biographical, and literary sources. Intrigued by a wide range of random and disparate inputs from modern life, I employ multiple strategies of investigation in my choreography, creating ambiguous juxtapositions and new, unfamiliar languages.