\n<\/p>\n
In 2019 she graduated from Purchase College, almost straight into the pandemic. She used the time of isolation (and collecting unemployment) to develop her solo practice<\/a>. For the past two years, she has danced with Urban Bush Women, a job she finds both financially and artistically sustaining. Eventually, though, she wants to strike out on her own.<\/p>\n \u201cThe desire is to be fully employed by myself in my choreographic work,\u201d she said.<\/p>\n For Fresh Tracks, Sarai is making \u201cBatty Juice,\u201d a trio for herself and two other dancers \u201cthat tries to bring us in proximity to our authentic autonomy,\u201d she said. \u201cIn other words, how do I create a work in which three Black girls can do whatever they want?\u201d<\/p>\n Sarai is a daring solo improviser, and her uninhibited spirit infuses this project, too. \u201cI\u2019m trying to offer this space of, like, the furthest you think you can go, you can go further,\u201d she said.<\/p>\n Sarai sees \u201cBatty Juice\u201d as the start of a longer work, and she hopes Fresh Tracks will open doors to expanding it.<\/p>\n \u201cThe thing that scares me the most is, like, what is post-emerging?\u201d she said, noting the relative abundance of opportunities for early-career artists. \u201cIt feels like you have to start making it up a little bit, after the emerging pot closes.\u201d<\/p>\nLiony Garcia<\/h2>\n