Imagine: It's the last day of the conference. . . Your mind is fried. Your body achy from siting and watching so many hours in marginally comfortable theater seats. At this point you have seen nearly 70 dances in three days. And, there is one more informal concert with 7 pieces. Can you do it?
Well, I am certainly glad I did because this concert had outstanding choreography (just like the last two informal showings) and was out of "the box" in a way that sent me home from the concert brimming with creative ideas and new insights.
The show opened with a male solo, entitled Zimoy, choreographed and performed by UC Irvine's Andrew Hallenbeck . The surprise of the piece was not his passion, nor his technique, nor beautiful physique, but the fact that beyond all of that he was wearing pointe shoes. In the entire festival only 2 people wore pointe shoes, One male. One female. That is what I call gender equality. Hallenbeck was raw, connected and fearless. His ability to combine masculine athleticism with the pointe shoe without it necessarily being a direct statement on sexuality or gender impressed me. Once I got over the initial surprise of his wearing pointes (and wearing them so well), I was drawn into his choices of running on the pointes of the shoes, dropping over the edges of the box in modern falls and his stunning exit with hands bound behind his back as he traipsed off in his animalistic walk on pointe. This student took a risk. I have certainly seen men in pointe shoes before (Ballet Trockadero blows my mind with it), but men don't typically train in this way at univerities which means he probably had to make the discoveries on his own time, in his own way. That is what I found so impressive.
University of Oregon charmed me again with a female duet, I'm a Lady, How 'Bout You, choreographed and performed by Linnea Birdwell and Olivia Shaw. I am so pleased that U of Oregon attended, because they brought a wonderfully fresh perspective and value set to the festival. This work was another exquisitely crafted, image rich performance, that caught and maintained my attention without the use of flash or virtuosity. These polka dotted dressed women were committed in their staggering "high heeled" walks as well as the simple straightening of their skirts. It was a simple joy for me.
Cal Poly Pomona presented another student choreographed solo, Dissension to Hostility, by Chris Dela Cruz. There is something about this mover that I could watch for hours without boring. And, while he was "dancing," I call him a mover because there was something beyond the traditional technique, a rawness and honesty that spoke to me beyond the language of dance. I didn't care about a his execution of classical technique, I was invested in his art choices. I felt each action was clearly motivated and the concept manifested. The tattooed cross on his back, was not lost on my interpretation of the work that also included a clasped handed pray like reach to the sky. The final fall backward, without protection or evident catching of himself literally made me and other members gasp with shock.
Dance Professor, Alicia Guy presented a beautifully performed contemporary jazz piece called Changes. This quartet was exquisitely performed and is a testament to the strength of Chapman University's training program. It was also one of the few contemporary jazz pieces in the festival. Her piece reminded me of the interesting (and seemingly continual) disconnect between college dance and the commercial dance world. Art dance and commercial dance have so much cross over yet, there were very few truly contemporary jazz pieces presented. Typically the adjudicators (and I am generalizing here regarding the many adjudicators I have heard over the years) find the use of pop music a weak compositional choice because the words are driving, they have predetermined associations, and are often too short to create a compositional arc that suits the needs of a dance. But, contemporary jazz (often referred to as contemporary-much to the modern contemporary dancers dismay) is what is in trend right now and there are jobs for contemporary dancers and dance instructors. I was very pleased to see such a strong work both in terms of movement invention, meaning making and compositional integrity to represent this genre.
CSU Los Angeles presented a duet entitle Icebergs, choreographed by Laurdes Mack (who also performed in the work). This piece had a clear message of the conflict between music box, ballerina, femininity and the raw, earthy, female energy that reminded me strongly of the Indian goddess Kali (the goddess of destruction). I loved the Kali character's oozing entrance on the floor. It established the disparity between the characters instantly. I did have a few questions regarding the relationship of the characters when they danced in unison. Because they had been so successfully presented in contrast to each other, the unison didn't quite fit for me. But, the issue of identity was powerful and looking back at the rest of the concert brought to my attention just how important the theme of identity is for so many choreographers and especially student choreographers who are just discovering their voices in their lives and in their art. Ultimately this theme of self discovery is what I saw in this piece, and I am excited to see how this student choreographer continues to grow and blossom.
El Camino College (the host of the festival) presented Mychal Harris's Judgement Day, an ensemble piece that was energetic and athletic. I loved the racial diversity within this cast. Concert dance is still a predominantly "white" art form, in part because of the white European culture and in part because of social economic trends in California. It was so refreshing to see such a mixed cast of stunning dancers. The movements were aggressive and powerful. The most resonant moments for me were those of personal vocabulary rather than traditional concert dance movements. There was a West African inspired moment that I can still visualize-- or rather feel. It was in this moment that I felt the dancers owned their performance. In contrast, the balletic port de bras (movement of the arms) also highlighted the graceful self power of these dancers. My question lies in the idea of judgement. I wondered who is judging? What is being judged? This could have been a performance about spiritual salvation or social judgement. Either offers a provocative inquiry for the viewer.
The final piece!
UC San Diego (if I remember correctly) does not often attend ACDFA, so I was so pleased to see them in the showing. Kristianne Salcines performed in her trio entitled Paradigm Shift. And, I want to thank her for the helpful title, because it let me get into the piece, to shift my set of expectations and simply allow the piece to wash over me in waves of imagery, movement and play. I should note that this was the ONLY piece in the entire festival that was performed entirely to silence. I felt very much like I was watching the dancers inside a studio, because of the dancers' easy focus and personal investment in the movement, I even felt a little voyeuristic at times. The fall of the girl onto the stage was perhaps the most exciting entrance of the entire festival. The rocking motifs were very clear, although their nature was not. The rocks seemed to lead to each dancers' personal discovery of release in the joints and body over the duration f the piece which seemed logical. This piece required the audience to reevaluate their value set of dance and performance, and for that I was incredibly grateful. Plus, I love seeing beautiful people allowing themselves to be awkward or even "ugly." Salcines has an apparent intellectualism in her work that gave me freedom as an audience member to question, and analyze the nature of her intention. What I walked away with was a commentary on current dance trends and accepted value sets. "We're the last piece." A dancer spoke the audience. And, what a wonderful message to send us home with.
Did you see the concert? What were your reactions? Share your feedback in
the comment box below!
Missed the other rogue reviews for the baja region festival? Check them out as well.
Informal Concert #1
Informal Concert #2
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Showing posts with label Dance Festival. Show all posts
Showing posts with label Dance Festival. Show all posts
Monday, April 15, 2013
Thursday, April 4, 2013
Then. Now. Onward: A Review of the Los Angeles Contemporary Dance Company
This was my first ever Los Angeles Contemporary Dance Company show, so I came in with literally no expectations. What I knew of LACDC, consisted of a trio I saw of artistic director, Kate Hutter's just last Friday at Adam Parson's Commonality Dance benefit concert. (See review here).
I also, knew a little about Lindsey Lollie's work (one of the guest artists), having seen her at a number of dance festivals in LA this past year. But, all in all, I was a clean slate, and I was excited to see what LACDC had in store for me.
This spring repertory show was truly enjoyable. Now, perhaps I have just been holed up in my suburban life (hello tenure process!), but this is the first local, professional contemporary modern dance company I have seen since I moved to the LA area. I have seen fantastic touring groups come through, and I have seen short form contemporary work in regional festivals. But, this was the first company with evening length repertory that I can say was not either a college dance show or some permutation of contemporary jazz.
The concert consisted of 4 pieces. Here are a few thoughts on each:
Lindsey Lollie's piece "En Route" was set to a live avant garde score of Peter Gonzales. What a treat to have a blend of live instrumentation and real time ipad and macbook driven technical manipulation creating a living, breathing, aural landscape for the piece. Lollie's syrupy movement dripped off the dancers in the signature style I have come to associate with her work. The movement palette was silky smooth with a kinetic flow that poured into the floor and between bodies with a hypnotic result. The dancers embodied the style with ease and vibrancy.
Arianne MacBean presented a beautiful and fun large ensemble piece entitled "100 Times is Not Enough." MacBean's sense of comic timing and wit made this piece extra enjoyable for the audience. Telling the "story" of a choreographer in the creative process, the piece featured LACDC's Kate Hutter as the "choreographer," who has to confront herself and her misgivings about creating dance again and again, but eventually finds solace in simple movements that weave together into a visual tapestry that is rich and satisfying. What can I say? I love humor. And, Hutter's comic timing and ability to connect to the audience was excellent. But, humor aside, the craftsmanship of the composition was what made this piece so victorious in the end! It gave the audience a chance to see the piece come to life, and gave the audience a reason to cheer for the success of the piece. It was a choreographic victory happening before our eyes! "99!"
Returning from intermission, "Unravel" choreographed by Kate Hutter and performed by Hutter and Charlie Hodges, had the audience in rapture. I think the power of this piece lies in the human connection. This piece, more than any other in the evening, highlighted an intimacy between performers that was playful, invested, and personal. The seamless partnering and dynamic flow of the two bodies in space had my neighboring audience member whispering "beautiful" under his breath and clapping overhead by the end. Hutter and Hodges' life long friendship in movement was a treat for the audience to savor.
The evening culminated with Hutter's interpretation of The Rite of Spring, which celebrated it 100's anniversary just this past spring. Entitled "Prite oef Stringh" (and yes, to save you a moment, it does work out to spell The Rite of Spring all jumbled), this piece was set to a recrafted version of Stranvisky's original score, as freshly composed by Austin Wintory. I very much enjoyed the simple modifications to the original music to suit a contemporary aesthetic of dance as well as a newly crafted retelling of the story. The dancer's wore white long underwear that was cut for the women, and socks on everyone that allowed the dancers to slide and be slid (by others) across the white marley floor. The large cast was essential for creating the sense of tribe and community in the piece and made the final "outcast" particularly prominent. The dancer's exquisite physicality was the shining star for me in this piece. They danced from their gut in a way that was completely vulnerable and appropriately disturbing at times. This, juxtaposed with periods of live clapping, added to the visceral immediacy of the "Rite." A beautiful and beautifully danced contemporary work, that before now I hadn't experienced among the professional LA dance world.
This show runs the weekend and should be seen by every dance lover who aches for concert length contemporary dance works that are unashamed to be exactly as they are in a city of glitter and red carpets.
Then. Now. Onward!
April 4, 5, 6 2013 8:00pm, April 7th at 7pm
I also, knew a little about Lindsey Lollie's work (one of the guest artists), having seen her at a number of dance festivals in LA this past year. But, all in all, I was a clean slate, and I was excited to see what LACDC had in store for me.
This spring repertory show was truly enjoyable. Now, perhaps I have just been holed up in my suburban life (hello tenure process!), but this is the first local, professional contemporary modern dance company I have seen since I moved to the LA area. I have seen fantastic touring groups come through, and I have seen short form contemporary work in regional festivals. But, this was the first company with evening length repertory that I can say was not either a college dance show or some permutation of contemporary jazz.
The concert consisted of 4 pieces. Here are a few thoughts on each:
Lindsey Lollie's piece "En Route" was set to a live avant garde score of Peter Gonzales. What a treat to have a blend of live instrumentation and real time ipad and macbook driven technical manipulation creating a living, breathing, aural landscape for the piece. Lollie's syrupy movement dripped off the dancers in the signature style I have come to associate with her work. The movement palette was silky smooth with a kinetic flow that poured into the floor and between bodies with a hypnotic result. The dancers embodied the style with ease and vibrancy.
Arianne MacBean presented a beautiful and fun large ensemble piece entitled "100 Times is Not Enough." MacBean's sense of comic timing and wit made this piece extra enjoyable for the audience. Telling the "story" of a choreographer in the creative process, the piece featured LACDC's Kate Hutter as the "choreographer," who has to confront herself and her misgivings about creating dance again and again, but eventually finds solace in simple movements that weave together into a visual tapestry that is rich and satisfying. What can I say? I love humor. And, Hutter's comic timing and ability to connect to the audience was excellent. But, humor aside, the craftsmanship of the composition was what made this piece so victorious in the end! It gave the audience a chance to see the piece come to life, and gave the audience a reason to cheer for the success of the piece. It was a choreographic victory happening before our eyes! "99!"
Returning from intermission, "Unravel" choreographed by Kate Hutter and performed by Hutter and Charlie Hodges, had the audience in rapture. I think the power of this piece lies in the human connection. This piece, more than any other in the evening, highlighted an intimacy between performers that was playful, invested, and personal. The seamless partnering and dynamic flow of the two bodies in space had my neighboring audience member whispering "beautiful" under his breath and clapping overhead by the end. Hutter and Hodges' life long friendship in movement was a treat for the audience to savor.
The evening culminated with Hutter's interpretation of The Rite of Spring, which celebrated it 100's anniversary just this past spring. Entitled "Prite oef Stringh" (and yes, to save you a moment, it does work out to spell The Rite of Spring all jumbled), this piece was set to a recrafted version of Stranvisky's original score, as freshly composed by Austin Wintory. I very much enjoyed the simple modifications to the original music to suit a contemporary aesthetic of dance as well as a newly crafted retelling of the story. The dancer's wore white long underwear that was cut for the women, and socks on everyone that allowed the dancers to slide and be slid (by others) across the white marley floor. The large cast was essential for creating the sense of tribe and community in the piece and made the final "outcast" particularly prominent. The dancer's exquisite physicality was the shining star for me in this piece. They danced from their gut in a way that was completely vulnerable and appropriately disturbing at times. This, juxtaposed with periods of live clapping, added to the visceral immediacy of the "Rite." A beautiful and beautifully danced contemporary work, that before now I hadn't experienced among the professional LA dance world.
This show runs the weekend and should be seen by every dance lover who aches for concert length contemporary dance works that are unashamed to be exactly as they are in a city of glitter and red carpets.
Then. Now. Onward!
April 4, 5, 6 2013 8:00pm, April 7th at 7pm
LACDC’s Spring Repertory Concert featuring new work by L.A.
choreographers Arianne MacBean, Lindsey Lollie, and Artistic Director,
Kate Hutter. The performance will also feature live performance of
original music.
Diavolo Dance Space in the Brewery in downtown L.A.
616 Moulton Ave. Los Angeles, CA 90031
Diavolo Dance Space in the Brewery in downtown L.A.
616 Moulton Ave. Los Angeles, CA 90031
Friday, March 1, 2013
Giving Yourself Permission
Yes, my title says "dance instructor" but studying the arts is so much more than than. For me the dance classroom is a place students can discover life.
I've been on a bit of a tear recently: seeing the varied injustices in the dance world, the bad habits, the unhealthy behaviors and negative self images. But, rather than get angry, I have decided to combat it one class at a time. I can't let it get me down, because these struggles are at the heart life learning. The arts really are our forum for self discovery.
How we are (exist, behave, think, work, play) in the dance classroom is reflective of how we are in the rest of our lives. If you are hard on yourself in dance class, you are likely hard on yourself in all other aspects of your "life performance." If you use dance as an "escape," what are you trying to escape? If you stop yourself from trying for fear of failure, how does that exist in your home life, school life, relationships?
I had a student if my office who was suffering from lack of confidence and had started berating himself continually in class. He identified frustration with executing a tricky turn (appropriately called a lame duck-- oh the irony).
And I asked him the following series of questions:
What if you gave yourself permission to struggle with that turn?
What would that feel like?
What would that look like?
What is the worst that would happen?
How can you give yourself permission to go at your own pace, to honor your personal growth and your personal needs?
Big questions, and of course much deeper than actually performing this stinky little turn! Dance is not about the turn, dance is about your approach to life. Can we choose to cultivate healthy behaviors and thoughts in the dance class. Can we give ourselves compassion rather than self inflicted pain? Can we let go of the outcome and enjoy the process?
Of course, it will take practice. And, it should. We need to practice healthier thoughts, healthier views on learning. Can we confront challenges with self compassion? A generous spirit and love?
So, that is my motto for the weekend. As I prepare to enter the world that is the Rogue Festival in Fresno, I ask myself how can I let others know that they have permission? Permission to make healthy choices that will foster their growth and allows them to blossom.
Of course, the answer is simple I have to start with giving myself permission. So I declare today, that I give myself permission to let go of control. I grant myself freedom from expectations. I give myself permission to simply go along with the ride, to speak and dance only from the heart and to see what happens.
I've been on a bit of a tear recently: seeing the varied injustices in the dance world, the bad habits, the unhealthy behaviors and negative self images. But, rather than get angry, I have decided to combat it one class at a time. I can't let it get me down, because these struggles are at the heart life learning. The arts really are our forum for self discovery.
How we are (exist, behave, think, work, play) in the dance classroom is reflective of how we are in the rest of our lives. If you are hard on yourself in dance class, you are likely hard on yourself in all other aspects of your "life performance." If you use dance as an "escape," what are you trying to escape? If you stop yourself from trying for fear of failure, how does that exist in your home life, school life, relationships?
I had a student if my office who was suffering from lack of confidence and had started berating himself continually in class. He identified frustration with executing a tricky turn (appropriately called a lame duck-- oh the irony).
And I asked him the following series of questions:
What if you gave yourself permission to struggle with that turn?
What would that feel like?
What would that look like?
What is the worst that would happen?
How can you give yourself permission to go at your own pace, to honor your personal growth and your personal needs?
Big questions, and of course much deeper than actually performing this stinky little turn! Dance is not about the turn, dance is about your approach to life. Can we choose to cultivate healthy behaviors and thoughts in the dance class. Can we give ourselves compassion rather than self inflicted pain? Can we let go of the outcome and enjoy the process?
Of course, it will take practice. And, it should. We need to practice healthier thoughts, healthier views on learning. Can we confront challenges with self compassion? A generous spirit and love?
So, that is my motto for the weekend. As I prepare to enter the world that is the Rogue Festival in Fresno, I ask myself how can I let others know that they have permission? Permission to make healthy choices that will foster their growth and allows them to blossom.
Of course, the answer is simple I have to start with giving myself permission. So I declare today, that I give myself permission to let go of control. I grant myself freedom from expectations. I give myself permission to simply go along with the ride, to speak and dance only from the heart and to see what happens.
Sunday, January 20, 2013
Review: Awakenings and Beginnings (Highlights)
As much as I prefer to give complete reviews for dance shows I attend, I only have time to share the majority of the highlights. (So, please don't take offense if I didn't get to your piece this time around!)
The evening of dance was produced by Noelle Andressen and featured pieces from her company Rubans Rouges as well as other companies from LA, Ventura and Santa Barbara county. The show, appropriately entitled Awakenings and Beginnings, was the very first show produced by Andressen and her company. I was very fortunate to work with Andressen while she attended Moorpark College and must say I am most impressed with her courage, creative focus, and unrelenting persistence as an artist.
The show opened with Gitanas de Jazz choreographed by Roubans Rouge dancer Kirby Harrell. This Spanish and Latin inspired dance was a crowd pleaser with its sexy movement vocabulary and fun rhythmic components. Harrell playfully incorporated body isolations and polyrhythms in such a way to make this dance tough to categorize as either jazz, folk or social. What it was, was fun!
Amanda Hart, who is no stranger to the dance scene in LA, performed a charming solo called Fluff. Her performance was simple, clean and captivating. I have seen her company perform many times, and was so pleased with the chance to her dance. She gave this sweet and playful choreography a mature gravity that was honest and lovely.
Another member of the Moorpark College family, department chair, Robert Salas of Movement Theater CoLab presented a trio of three fiery redheads in Four Steps. These three women were stunning in both their power and sense of line. True to Salas' style, this piece included a blend of sensitive gesture and athletic power moves. This power trio (as I liked to call them) did justice to htis challenging work both physically and emotionally.
Under the newly formed performance collective, Art Bark (formerly Sonnenblaume), Misa and Stephen Kelly co-choreographed One World is Never Enough. This piece had it all: charming children at the beginning, a cute Dachshund running across the stage and paper airplanes thrown by the audience! Set to a complex soundscape (that I can't even begin to recreate in my memory), this piece played like an abstract impressionist painting, offering the audience a series of images and scenarios that hinted at travel and relationships, but left the majority of the meaning to be formed by the observer. Very Art Barkian!
One of Andressen's works was the solo Real Eyes, Realize, Real Lies, in which she danced while seated at the edge of a large mirror on the floor. This largely gestural piece, played with the concepts of reflection and identity, ending with Andressen pouring colored paint onto the mirror to obscure her image before a fellow dancer entered to remove her head scarf in a final moment of unveiling. The imagery of this piece reminds me of Andressen's background in film. Like the lens of a camera, the mirrors were both a window into truth and lies, a representative example of Andresson's strong sense of dance as moving pictures.
Jenn Logan choreographed a remarkable duet, Coupling, Cycles 1-3 performed by Katrina Amerince and Scot Tupper. This dance was seamless and brilliant. The dancers and choreographer are all members of Nancy Evans Dance Theater and their intimacy and understanding of each other was evident in the complete ease of the performance. The partnering was mesmerizing and the chemistry between the performers was honest. The performance was an example of technical excellence that was a pure pleasure to watch.
Megill & Company debuted a new piece, called the Señorita Dance, choreographed Beth Megill (that's me!). The audience received this piece with a joyful giggle and enthusiastic applause. The petite allegro and folklorico inspired rhythms set this piece apart from the rest of the concert with its strong sense of play and joy. I am so very proud of the performers whose excellent stage presence made this piece such a crown pleaser.
The Most Fascinating Person I Ever Met... Myself was an emotionally charged modern dance - hip hop hybrid choreographed by another of Moorpark College's faculty Wendi Baity. (If her name sounds familiar, it is because I recently wrote about her video series the Relentless Chronicles). In this piece Baity proves again her incredible ability to create movement that is not only physically challenging, but precise and energetically charged. Baity's movement doesn't just dance to the music, it dances in and around both the message and emotions of the hip hop soundtrack.
Andressen performed her most powerful piece of the evening with Kirby Harell, entitled Coeur de Verre. This piece highlighted exactly what Andressen is best at. Her petite frame and incredible core strength allowed her to be easily manipulated by her partner through sequences of lifts and shapes that feature Andressen's sense of design and space.
Alex Floyd was a new name to me going into performance, but her piece Ten was a definite crowd pleaser. Set to spoken word, this trio of technically strong dancers included a sophisticated blend of contemporary jazz technique and style with more modern phrasing and use of the spoken word soundtrack. Upon hearing that she recently received her degree from the University of Wyoming, I was even more excited because her style is a fresh addition to the LA dance scene.
Melissa Lynn Block of Santa Barbara (also performed with Art Bark) choreographed and performed a wonderfully rich and mature solo she titled Powerless. This somatic and release based modern dance work was perhaps the most unpretentious piece of the entire show. Dressed in a simple black dress, Bloch moved through the space with a strength and clarity that is less common in the current LA dance world. She was grounded and powerful.
Overall the show was a wonderful success and so well attended that audience members had to be accommodated by floor seating on the side of the performance space. The lighting is a simple on-off, and yet, the intimacy and aesthetic value of the performance was not diminished. The audience was quick to forgive any technical mishaps because the goal of the evening was an unveiling and opening of Andressen's vision and the entire audience seemed willing to honor that.
Did you see the show? Please feel free to follow this blog and post comments about your observations! The dance discussion is just beginning. . . Also if you have addition weblinks to share please do!
* I apologize for not having the musical selections for the pieces. The show was so well attended that I wasn't able to get a program! Now, that is what I call a successful first show.
Monday, October 22, 2012
Live @ LALA (Oct 20, 2012)
I know! I know! It has been too long since I have posted and the reasons are far too complex to get into right now. Expect a future post to get to the bottom of that (or at least the middle).
Right now I want to celebrate another great gathering of dancers and dance artists at the Live @ LALA series' first showing, featuring works of local dance makers in this talent filled area. The venue is a super fun and chill dance studio called Live Arts Los Angeles (hence LALA) and the show was a great event, with refreshments for the audience members and wine at the bar.
Here is my personal run down of the show!
Carol Guidry choreographed and danced in a tango with Omar Olivas entitled "Tango de Los Muertos." It was the perfect opener for this loosely Halloween themed night of dance. The dancers rose from the grave (or was it a bed? or both?) to rekindle their romance through a seductive tango that was exquisitely executed and well designed for stage. Their face paint in the style of the skeletons of Dia de Los Muertos was playful and effective.
Lindsey Lollie and Chelsea Yarnell choreographed and performied their duet, "Transcending Fluctuation," set to an original score by Peter Gonzales. These dancers like so many Cal Arts graduates moved with a fluidity and articulate grace that I have come to expect from that dance program. Their ability to move energy between them became the thematic center for the piece and was captivating to watch. Their sensitivity to each other in movement and energy made this piece a success for me.
Shoji Yamasaki created his solo "Illumination" around the use of a standing lamp. You know the ones with the three bulbs that we all had (or have) in our dorm rooms or offices! He played with the directed light, manipulating it to shine around the entire performance space including the audience. The piece opened with his reading. . . and then eating a newspaper! It seems that the illumination was not just about light, but perhaps about information and knowledge as well. Thus in consuming the newspaper we was ingesting greater awareness. Perhaps enlightenment? I enjoyed how this piece was crafted around the lighting special, calling me back to time of pure experiment with the theatrical components of dance as well as the movement itself.
Laura Laser choreographed the duet "The Battle" performing with Sacha Senisch. This piece based on a tribal figure and a birdlike character was particular evocative for me because just earlier that day I had gone for a walk and witnessed a red tailed hawk up close and personal. The dancers performed with strong line and powerful athleticism. The battle did not seem to be external, but rather an internal investigation of the bird spirit with each individual and our need to let it soar free.
Cherise Richards palpably moved the audience with her stunning solo, "Will and Waves," which involved strong capoiera influences as well as surfing and water imagery. It was a personal journey of self reflection that was made extra special by the use of her own shadows on the white back drop (a coincidental boon that worked perfectly). The shadows reinforced the imagery of self discovery and reflection. Richards is a commanding and powerful performer who was able to use her strengths as a mover to tell a deeply sensitive story.
"Interface" was a trio choreographed by Taryn Wayne. Performed by Laura Smyth, Sarah Bennett and Wayne herself. This performance took the show toward a more contemporary jazz feel, utilizing expressive gesture, powerful leaps, kicks and turns as the dancers wove in and out of the space in waves. The club-like dance feel of the accompaniment was a clear hit for the audience that couldn't help but groove a little in their seats.
Stephanie Zatel performed "Fixed Movement," a spooky solo set to the live music composed and performed by Louis Lopez. Dancing on a small table, this piece made me a little nervous as she balanced right at the edge in an extended relevé. The nature of the piece was less clear for me, but Zatel's use of stillness set this piece apart and added to the unnerving nature of the piece. Only after she began using the small table as her own barricade of protection did I really start to match the spookiness of the music, movement and stark use of her emotional landscape.
My piece (Megill & Company) performed "Pulled" next. In contrast to the other pieces, I see just how different my theatrical bias is for some current trends. This piece is sort of psycho-thriller set in dance. I created it to contrast all the humor and levity in the MeCo repertory, but out of context, it was eerie to see. Despite a little lighting malfunction, it went well. At least I think it did-- I was in it so of course I couldn't get the full effect. . .
Next, Ingrid Graham performed her solo "Artemis," leaving the audience in pure awe of her physique and technical background. There weren't bios in the program, but I can only imagine that before coming here from NY she received training in Horton and the Ailey style. She was a goddess on stage. Powerful. Regal. Impeccable.
Jordan Saenz performed her solo "through the blood, bone and muscle" to another original music by Peter Gonzales. This piece stood out for its detailed musicality that perfectly reflected Gonzalez' electronic score. Saenz' movement is mesmerizing ebbing and flowing through her body that seemed at times to be made of rubber due to the way it arced and slinked its way through the space. Saenz is a highly articulate mover whose style blends both hip hop and contemporary modern into a very hip and very personal style that I can still recall in my memory (but could never hope to recreate on my own body because of its elusive nature).
The show closed with another male female duet, "Visitor" co-choreographed and performed by Laura Ann Smyth and Mark Tomasic and set to a spooky remake of Britney Spears' Toxic by Yael Naim. Unlike the first duet, this duet was not a romantic escapade, but seemed more like a tortured memory of a couple faced with the demise of their relationship. The movement was loosely based in Jazz dance, however, kept a fresh and unique voice that is often unseen in current jazz dance choreography. The musicianship of both dancers was clear in their solo and unison movement and created a believable tension that ended with a thriller ending.
As a whole, this event was what I want dance events in LA and Ventura to be. Unlike other festivals, I noticed a clear artistic and personal maturity in all of the performances in this show and from the audience as well. The relaxed environment made for an extremely friendly and supportive environment and the works themselves were very evocative for me as an artist and teacher. Special thanks to the owners and producers Karen Quick and Jennifer Vaughn who have started something very special with this project.
I highly recommend you check out Live at LALA next time around!
Right now I want to celebrate another great gathering of dancers and dance artists at the Live @ LALA series' first showing, featuring works of local dance makers in this talent filled area. The venue is a super fun and chill dance studio called Live Arts Los Angeles (hence LALA) and the show was a great event, with refreshments for the audience members and wine at the bar.
Here is my personal run down of the show!
Carol Guidry choreographed and danced in a tango with Omar Olivas entitled "Tango de Los Muertos." It was the perfect opener for this loosely Halloween themed night of dance. The dancers rose from the grave (or was it a bed? or both?) to rekindle their romance through a seductive tango that was exquisitely executed and well designed for stage. Their face paint in the style of the skeletons of Dia de Los Muertos was playful and effective.
Lindsey Lollie and Chelsea Yarnell choreographed and performied their duet, "Transcending Fluctuation," set to an original score by Peter Gonzales. These dancers like so many Cal Arts graduates moved with a fluidity and articulate grace that I have come to expect from that dance program. Their ability to move energy between them became the thematic center for the piece and was captivating to watch. Their sensitivity to each other in movement and energy made this piece a success for me.
Shoji Yamasaki created his solo "Illumination" around the use of a standing lamp. You know the ones with the three bulbs that we all had (or have) in our dorm rooms or offices! He played with the directed light, manipulating it to shine around the entire performance space including the audience. The piece opened with his reading. . . and then eating a newspaper! It seems that the illumination was not just about light, but perhaps about information and knowledge as well. Thus in consuming the newspaper we was ingesting greater awareness. Perhaps enlightenment? I enjoyed how this piece was crafted around the lighting special, calling me back to time of pure experiment with the theatrical components of dance as well as the movement itself.
Laura Laser choreographed the duet "The Battle" performing with Sacha Senisch. This piece based on a tribal figure and a birdlike character was particular evocative for me because just earlier that day I had gone for a walk and witnessed a red tailed hawk up close and personal. The dancers performed with strong line and powerful athleticism. The battle did not seem to be external, but rather an internal investigation of the bird spirit with each individual and our need to let it soar free.
Cherise Richards palpably moved the audience with her stunning solo, "Will and Waves," which involved strong capoiera influences as well as surfing and water imagery. It was a personal journey of self reflection that was made extra special by the use of her own shadows on the white back drop (a coincidental boon that worked perfectly). The shadows reinforced the imagery of self discovery and reflection. Richards is a commanding and powerful performer who was able to use her strengths as a mover to tell a deeply sensitive story.
"Interface" was a trio choreographed by Taryn Wayne. Performed by Laura Smyth, Sarah Bennett and Wayne herself. This performance took the show toward a more contemporary jazz feel, utilizing expressive gesture, powerful leaps, kicks and turns as the dancers wove in and out of the space in waves. The club-like dance feel of the accompaniment was a clear hit for the audience that couldn't help but groove a little in their seats.
Stephanie Zatel performed "Fixed Movement," a spooky solo set to the live music composed and performed by Louis Lopez. Dancing on a small table, this piece made me a little nervous as she balanced right at the edge in an extended relevé. The nature of the piece was less clear for me, but Zatel's use of stillness set this piece apart and added to the unnerving nature of the piece. Only after she began using the small table as her own barricade of protection did I really start to match the spookiness of the music, movement and stark use of her emotional landscape.
My piece (Megill & Company) performed "Pulled" next. In contrast to the other pieces, I see just how different my theatrical bias is for some current trends. This piece is sort of psycho-thriller set in dance. I created it to contrast all the humor and levity in the MeCo repertory, but out of context, it was eerie to see. Despite a little lighting malfunction, it went well. At least I think it did-- I was in it so of course I couldn't get the full effect. . .
Next, Ingrid Graham performed her solo "Artemis," leaving the audience in pure awe of her physique and technical background. There weren't bios in the program, but I can only imagine that before coming here from NY she received training in Horton and the Ailey style. She was a goddess on stage. Powerful. Regal. Impeccable.
Jordan Saenz performed her solo "through the blood, bone and muscle" to another original music by Peter Gonzales. This piece stood out for its detailed musicality that perfectly reflected Gonzalez' electronic score. Saenz' movement is mesmerizing ebbing and flowing through her body that seemed at times to be made of rubber due to the way it arced and slinked its way through the space. Saenz is a highly articulate mover whose style blends both hip hop and contemporary modern into a very hip and very personal style that I can still recall in my memory (but could never hope to recreate on my own body because of its elusive nature).
The show closed with another male female duet, "Visitor" co-choreographed and performed by Laura Ann Smyth and Mark Tomasic and set to a spooky remake of Britney Spears' Toxic by Yael Naim. Unlike the first duet, this duet was not a romantic escapade, but seemed more like a tortured memory of a couple faced with the demise of their relationship. The movement was loosely based in Jazz dance, however, kept a fresh and unique voice that is often unseen in current jazz dance choreography. The musicianship of both dancers was clear in their solo and unison movement and created a believable tension that ended with a thriller ending.
As a whole, this event was what I want dance events in LA and Ventura to be. Unlike other festivals, I noticed a clear artistic and personal maturity in all of the performances in this show and from the audience as well. The relaxed environment made for an extremely friendly and supportive environment and the works themselves were very evocative for me as an artist and teacher. Special thanks to the owners and producers Karen Quick and Jennifer Vaughn who have started something very special with this project.
I highly recommend you check out Live at LALA next time around!
Saturday, September 1, 2012
MixMatch Run Down (Friday Aug 31st, 2012)
Another great show in the 6th Annual MixMatch festival. This time with a completely different feel and composition of styles and trends from the shoes last week. (Reviews for those shows here: Saturday 25th, Sunday 26th).
Here are a few of my thoughts on each piece to help foster discussion and support for dance artists in the LA community and beyond. Please feel free to comment and add share your ideas and observations!
Act I
The show opened with a piece by Sara Kempe entitled, "I Wish I Were a Punk Rocker." The cast of all women in floral dresses nicely executed this lyrical/contemporary jazz piece. There was strong use of musicality and nuance in the choreography. The dancers' unison was quite strong and highlighted by their smiling focus that was committed and enjoyable.
Jenni Kiiholma choreographed and performed in the next duet, "What is most durable in the world." Kiiholma is a beautiful mover and her agility and flow was a pleasure to watch through out the piece set to Tool and the Deftones. There was a patience and stability in Kiiholma's performance that I found refreshing. Her partner shared this aesthetic of clear intent, ease and strength. The question that emerged for me was regarding the relationship between the two dancers. The introduction of the male dancer happened quite a while into the piece, and I wondered about the reasoning behind this as well as the nature of their transition into dancing together. Nevertheless, I was so pleased with the quality of the dancers' movement that this question did not detract from my enjoyment.
"The Eyes of the World" choreographed by Alexandra de Ochoa of Blackbird Dance Company, introduced a more tribal (Africanist) aesthetic to the show which by chance would resurface again and again in other works. This particular piece was very clearly animal influenced as the dancers crouched and circled each other between phrases of fluid spines and rhythmic stepping. The "cat" was a particularly engaged performer, believable in her conviction and presence. I enjoyed the rhythmic walking pattern with a scoop of the arm that added to the Africanist groove of the piece.
Jessica Kondrath presented a beautiful excerpted solo danced by Devon Reurekamp, entitled "The Art of Breathing." This piece was elegantly designed with awareness to both time and space that captivated the audience. Kondrath has a special ability to draw the audience's focus where she wants us to look so that we really notice the beauty in Kondrath's choreographic detail. The performer did justice to these moments with a patience and clarity that was mesmerizing.
"The Story of Mulan" choreographed by Mary Ann Van De Car and Members of Troupe Zachareet was quite a show, complete with ornate costumes, fans and swords as props, belly dancing coin skirts and break dancers! This performance group clearly loves to dance and there was a strong sense of community among this mixed racial and multi-generational cast. The b-boys were particularly enjoyable for me.
The act closed with Amanda Hart's "Flex/Pull," the duet I saw last week, which you can read about here.
Act II
Ami Mattison choreographed "These Letters" which opened the second half of the show. This quartet was a perfect example of where contemporary jazz practices have evolved. The quartet was powerful, sexy, and expressive. The dancers were generous in their performance of the challenging material and their attention to dynamic nuance. The theatrical component of the piece included letters that the dancers crumpled up and threw around in a variety of choreographic situations. This use of paper transformed the piece into a theatrical work that was truly enjoyable for me. (Note: I imagine that Mattison might call her work contemporary rather than contemporary jazz, but I wanted to note that this style is different than contemporary in the modern dance genre thus the inclusion of jazz in my categorization of her work).
CHIHIRO KODAMA knocked the socks off of the crowd with his piece, "Re-Construction." This production (for in fact it was the most theatrically complex piece of the evening) was well crafted and nothing short of a total blast. The crew of dancers each had incredible skill that was played perfectly in the loose narrative of a man in his electronic world. The unison moments were excellently timed and the soloing was jaw dropping. The incorporation of video, magic, acting, flashlights, red light balls, hats and canes made this piece a true stand out.
"Beguiled in the Bajou" choreographed by Maura Townsend of Project21Dance returned the audience to a groove in the Africanist aesthetic that was reminiscent of Katherine Dunham and Alvin Ailey. This expressive modern dance included a cast of 7 dancers who filled the stage with their "cool" Luisiana energy as they performed with a sense of release, abandon and musicality that makes this style of dance a joy to watch. The featured female in all white seemed to be conjuring the spirt of the other dancers, whipping them into a frenzy of fluid spines, powerful legs and expressive torsos.
Irene Watson, brought laughs to the stage in her playful and outright funny duet entitled "Ooohdalollie." Watson, measuring up at what I imagine can be no more than 5 feet, and her tall partner, who seemed to tower over her, were funny from the start. The over sized lollipop that changed hands countless times as they fought over it, seemed to me to be the real heart of the piece. In some ways the lollipop seemed to have a mind of its own and its presence was the sole reason for the incredible and funny movement that came out of the dancers. The way her partner, Jarred Laos, flung her about in there pink petticoat was a hoot.
Noelle Andressen presented her third piece in the festival "Emergence." This group piece utilized sheer sacks in which the dancers started with illumination from a flameless tea light. The sacks were then taken off and wrapped around the dancers into sarong style dresses or skirts, thus literally conveying the title concept of emergence. I wonder however if the theme of emergence could be taken further; this group of dancers that included a variety of technical levels and body shapes were also emerging from the stereotypes of what types of bodes and what levels of experience are needed to create dance works. One of the most stunning moments for me was a very simple slow walk that was performed in the background of the piece by two of the dancers. The dancers' focus in this very simple choreographic moment was beautiful for me and proved again that dancers of all levels and body types deserve an opportunity to express themselves through movement.
My piece "Pull & Draft" (Megill & Company) was second to last in the concert. My trio of dancers performed very well considering it is a "big" dance that didn't quite fit on the very small Miles Memorial stage. But, it is a good lesson for me to learn as a choreographer. I need to choose works that fit in the performance space otherwise they cannot be done justice. With that said I am particularly proud of the dancers Leah Craig, Nathan Burdine and Brooklynn Reeves for managing to dance so fully and so musically within the confines of that performance space. For me that is a mark of true professionalism.
The show closed with a jaw dropping solo by Thomas Tsai entitles "MEAN". Thomas entered form the house, walking down to the stage before jumping up and beginning his monologue of words and movement. His b-boy background knitted seamlessly with a the modern dance sensibility of performing to spoken word. I just don't know how he kept his breath while flipping, swirling, rolling and stalling his way through the piece. His incredible feats of strength and balance challenged me to keep equal focus on the words. I was so captivated with his movement that I had to force myself to keep listening to what he was saying. And, when I did, I noticed how his words also swirled, and rolled and stalled just like his body. It was a stunning work. And, the audience showed its appreciation with thunderous applause.
Two more shows left in this festival. Come out and show your support for dance in our community.
Here are a few of my thoughts on each piece to help foster discussion and support for dance artists in the LA community and beyond. Please feel free to comment and add share your ideas and observations!
Act I
The show opened with a piece by Sara Kempe entitled, "I Wish I Were a Punk Rocker." The cast of all women in floral dresses nicely executed this lyrical/contemporary jazz piece. There was strong use of musicality and nuance in the choreography. The dancers' unison was quite strong and highlighted by their smiling focus that was committed and enjoyable.
Jenni Kiiholma choreographed and performed in the next duet, "What is most durable in the world." Kiiholma is a beautiful mover and her agility and flow was a pleasure to watch through out the piece set to Tool and the Deftones. There was a patience and stability in Kiiholma's performance that I found refreshing. Her partner shared this aesthetic of clear intent, ease and strength. The question that emerged for me was regarding the relationship between the two dancers. The introduction of the male dancer happened quite a while into the piece, and I wondered about the reasoning behind this as well as the nature of their transition into dancing together. Nevertheless, I was so pleased with the quality of the dancers' movement that this question did not detract from my enjoyment.
"The Eyes of the World" choreographed by Alexandra de Ochoa of Blackbird Dance Company, introduced a more tribal (Africanist) aesthetic to the show which by chance would resurface again and again in other works. This particular piece was very clearly animal influenced as the dancers crouched and circled each other between phrases of fluid spines and rhythmic stepping. The "cat" was a particularly engaged performer, believable in her conviction and presence. I enjoyed the rhythmic walking pattern with a scoop of the arm that added to the Africanist groove of the piece.
Jessica Kondrath presented a beautiful excerpted solo danced by Devon Reurekamp, entitled "The Art of Breathing." This piece was elegantly designed with awareness to both time and space that captivated the audience. Kondrath has a special ability to draw the audience's focus where she wants us to look so that we really notice the beauty in Kondrath's choreographic detail. The performer did justice to these moments with a patience and clarity that was mesmerizing.
"The Story of Mulan" choreographed by Mary Ann Van De Car and Members of Troupe Zachareet was quite a show, complete with ornate costumes, fans and swords as props, belly dancing coin skirts and break dancers! This performance group clearly loves to dance and there was a strong sense of community among this mixed racial and multi-generational cast. The b-boys were particularly enjoyable for me.
The act closed with Amanda Hart's "Flex/Pull," the duet I saw last week, which you can read about here.
Act II
Ami Mattison choreographed "These Letters" which opened the second half of the show. This quartet was a perfect example of where contemporary jazz practices have evolved. The quartet was powerful, sexy, and expressive. The dancers were generous in their performance of the challenging material and their attention to dynamic nuance. The theatrical component of the piece included letters that the dancers crumpled up and threw around in a variety of choreographic situations. This use of paper transformed the piece into a theatrical work that was truly enjoyable for me. (Note: I imagine that Mattison might call her work contemporary rather than contemporary jazz, but I wanted to note that this style is different than contemporary in the modern dance genre thus the inclusion of jazz in my categorization of her work).
CHIHIRO KODAMA knocked the socks off of the crowd with his piece, "Re-Construction." This production (for in fact it was the most theatrically complex piece of the evening) was well crafted and nothing short of a total blast. The crew of dancers each had incredible skill that was played perfectly in the loose narrative of a man in his electronic world. The unison moments were excellently timed and the soloing was jaw dropping. The incorporation of video, magic, acting, flashlights, red light balls, hats and canes made this piece a true stand out.
"Beguiled in the Bajou" choreographed by Maura Townsend of Project21Dance returned the audience to a groove in the Africanist aesthetic that was reminiscent of Katherine Dunham and Alvin Ailey. This expressive modern dance included a cast of 7 dancers who filled the stage with their "cool" Luisiana energy as they performed with a sense of release, abandon and musicality that makes this style of dance a joy to watch. The featured female in all white seemed to be conjuring the spirt of the other dancers, whipping them into a frenzy of fluid spines, powerful legs and expressive torsos.
Irene Watson, brought laughs to the stage in her playful and outright funny duet entitled "Ooohdalollie." Watson, measuring up at what I imagine can be no more than 5 feet, and her tall partner, who seemed to tower over her, were funny from the start. The over sized lollipop that changed hands countless times as they fought over it, seemed to me to be the real heart of the piece. In some ways the lollipop seemed to have a mind of its own and its presence was the sole reason for the incredible and funny movement that came out of the dancers. The way her partner, Jarred Laos, flung her about in there pink petticoat was a hoot.
Noelle Andressen presented her third piece in the festival "Emergence." This group piece utilized sheer sacks in which the dancers started with illumination from a flameless tea light. The sacks were then taken off and wrapped around the dancers into sarong style dresses or skirts, thus literally conveying the title concept of emergence. I wonder however if the theme of emergence could be taken further; this group of dancers that included a variety of technical levels and body shapes were also emerging from the stereotypes of what types of bodes and what levels of experience are needed to create dance works. One of the most stunning moments for me was a very simple slow walk that was performed in the background of the piece by two of the dancers. The dancers' focus in this very simple choreographic moment was beautiful for me and proved again that dancers of all levels and body types deserve an opportunity to express themselves through movement.
My piece "Pull & Draft" (Megill & Company) was second to last in the concert. My trio of dancers performed very well considering it is a "big" dance that didn't quite fit on the very small Miles Memorial stage. But, it is a good lesson for me to learn as a choreographer. I need to choose works that fit in the performance space otherwise they cannot be done justice. With that said I am particularly proud of the dancers Leah Craig, Nathan Burdine and Brooklynn Reeves for managing to dance so fully and so musically within the confines of that performance space. For me that is a mark of true professionalism.
The show closed with a jaw dropping solo by Thomas Tsai entitles "MEAN". Thomas entered form the house, walking down to the stage before jumping up and beginning his monologue of words and movement. His b-boy background knitted seamlessly with a the modern dance sensibility of performing to spoken word. I just don't know how he kept his breath while flipping, swirling, rolling and stalling his way through the piece. His incredible feats of strength and balance challenged me to keep equal focus on the words. I was so captivated with his movement that I had to force myself to keep listening to what he was saying. And, when I did, I noticed how his words also swirled, and rolled and stalled just like his body. It was a stunning work. And, the audience showed its appreciation with thunderous applause.
Two more shows left in this festival. Come out and show your support for dance in our community.
Sunday, August 26, 2012
MixMatch Run Down (Aug 26th, 2012)
As stated in my last blog, I am currently trying my hand as a dance writer in hopes of encouraging more discussion about dance and also growing the awareness of what is currently available for dance lovers in the Southern California region. Today was the 3rd performance of the 6th Annual MixMatch Dance Festival at the Miles Memorial Playhouse in Santa Monica. While I was not able to see the entire show because I was also performing, I managed to see most of it and wanted to share my impressions of the fantastic matinee performance.
Act I
The matinee opened with "No, Seriously" choreographed and performed by Molly Mattei. Beautifully performed, this dance was a versatile mix of dynamic energies that swept me away. I found her performance to be intoxicating with its use of subtle timing, musical phrasing and articulate movements. This piece is a wonderful representation of contemporary American dance which blends styles seamlessly, balancing traditional technique with more urban vocabulary and personal expression.
Amanda Hart, the Artistic Director of the MixMatch festival and HartPulse Dance, presented a beautifully performed quartet, "Spoons." I imagine the title represented the metaphor of two souls finding each other and fitting together like spoons. In this piece, the two duets worked in and out of each other, continually moving the focus of the audience member before finally returning to the original pairs, holding and hands as seemed inevitable.
Noelle Andressen, Artistic Director of Rubans Rouge, performed her first solo work "Decision." I know it was her first work because she told me! Noelle is a former student of mine from Moorpark College, and I couldn't be more impressed with her growth. She has proven to me that perseverance above all is the most important. This solo was dynamic and emotive with its strength residing in grounded leg stances and articulate gestures of the arms and torso. She danced around and finally into a pile of rose petals, signaling to me a deflowering of the character that matched the title beautifully.
"In this Shirt" choreographed by Meghan Tobin and Felicia Guzman of LA Unbound was an ensemble piece that included women in yellow dresses and a featured male figure. I enjoyed the challenge of the technique and expressive demand of the piece. It opened with a stunning duet in a very classical ballet style with beautiful line and balance. I was left with a few questions, particularly about the title of the piece and the relationship of the featured male dancer with the rest of the ensemble (which included just one other male). But despite my questions, it was clear to me that these dancers dance hard for their passion.
Kim T. Davis of ktdavisdance stole the stage again in today's performance of "Without...", a trio of one woman and two men. Unlike her piece yesterday, this trio was more aggressive, with the three dancers taking turns, supporting, holding, pushing and propelling each other through space. The performance was exquisite. These dancers performed their impressive partnering with an ease that seemed to suspend the laws of gravity while completely evoking them. The choice in cast was significant for me. All three had light hair and skin complexions, but differed greatly in height. This created a sense of them being siblings that I could not shake. As the "middle" brother fought for independence, it seemed only natural that the others had no choice but to let him be and to go on without.
Sadly I was unable to see the last piece of Act I, "Lifeline" by Leverage Dance and choreographed by Tawny Chapman. I did see part of it in tech but I don't feel comfortable giving feedback because I was unable to see it in it entirety and with complete focus. So, if anyone has a link to this piece online please do post it in the comments so other readers can appreciate the work!
Act II
"Cicatrix," choreographed by Heather Dale Wentworth and performed by her Carlsbad based company, OPUS MIXTUS dance, was one that I saw in tech rehearsal and then again from the side lines as I waited backstage. A powerful group of dancers with strong lines and facile bodies made this dance a pleasure to watch. Wentworth incorporated the use of black elastic bands around the dancer's waists, thighs, wrists and ankles. At first, it seemed simply a pleasant design elements, but then the elastic bands were manipulated and shared by the dancers as they wove in and out of each others space before finally coming together, bound to each other in the last moment of the piece. Not knowing what a cicatrix is, I did what any good blogger would do and googled it! It turns out a cicatrix is a scar and this new information leaves me wondering: were the dancers the cells coming together to heal a wound? It makes sense to me in retrospect, but I would want to see the dance again to determine if that connection is grounded in the rest of the piece.
Next came something COMPLETELY different, a piece I performed in with poet performer Joelle Hannah called "A Dance for the Guy in the Blue Button Down Shirt." Because it is not fair to critique your own piece, I will leave that up to you and invite you to check out a performance of the piece from the Razor Babes poetry tour last May. You can determine for yourself whether it was brilliance, madness or a bit of both.
"Variations on a Theme of Trees" was another piece that I was only able to see in tech rehearsal. But I did watch it in its entirety and what I can say about it is this: this piece was well designed from a theatrical perspective, incorporating interesting props including painted images of a tipping building, large tree branches attached to back harnesses, fabric covered fans, chairs and a metal tower. It created an environment that went beyond the dance. As for the modern dance movement vocabulary, it reminded me of work I have seen in festivals in Mexico, and it seems that the choreographer Beatriz E. Vasquez is Latina, so it makes me wonder whether there is a genre of Latin American Modern dance, that needs recognition in the current cannon of dance practices. The style was sculptural and thematic, utilizing strong ballet partnering that was never purely classical, but rather revealed the dancers strong technique as they portrayed an abstracted narrative through line and shape.
"Polymorphic" choreographed by Erica Villalpando of Nanette Brodie Dance Theater lent a yogic feel to the stage as the female cast elegantly performed partial sun salutations, yogic stretches and impressive feats of strength and flexibility. The dancers wore geometrically designed aqua and red costumes, that matched the geometry of the red boxes they used as props. The use of the red boxes added an element of height to the stage space when it was used as a pedestal for the female figures. The dance began slowly, but by the end it found an engaging pace as the dancers moved on and off the red boxes in swirling patterns of leaps and assisted lifts. Overall this was a visually dynamic piece.
Sophie Olsen brought a bit of theater (as well as excellent dancing) to the stage with "Rollerskater" performed by Carole Biers. This fun and quirky solo was short and sweet. Bier's focus was essential to the success of the piece as she was able to draw in the audience to her playful games. She interacted with the space by addressing a mysterious something in the air, playfully picking it out of space and dropping it into her pants for safe keeping. Could it have been a key that was referred to in the song? I imagine yes.
Arpana Dance Company brought the house down with its joyous classical Indian dance piece "Aikya" choreographed by Ramya Harishankar. The brilliance of the piece was that the classical Indian dance vocabulary drove the piece, but was set to a variety of music styles including Anoushka Shankar and Coldplay! These lovely young women were a joy to watch. There is something about the classical Indian dance training that is very potent in capturing the interest and attention of the audience. I think it derives in part from the use of rhythm and specific rhythmic stepping in the choreography. The women stamped and slapped the floor with their feet in beautifully syncopated (and perfectly accurate) rhythms. But in addition to the driving rhythms of the footwork, the dancers authentic joy and clear focus was another factor in engaging the audience. The dancers' joy at the end was intoxicating enticing the audience to a roudy round of applause at the end of the show.
Next week there are three more shows for you to enjoy (MeCo will perform Pull & Draft Friday Aug 31st and Won't Let Go Sept 2nd). Don't miss out of this performance that offers something for everyone and celebrates the love and diversity within the world of dance!
Act I
The matinee opened with "No, Seriously" choreographed and performed by Molly Mattei. Beautifully performed, this dance was a versatile mix of dynamic energies that swept me away. I found her performance to be intoxicating with its use of subtle timing, musical phrasing and articulate movements. This piece is a wonderful representation of contemporary American dance which blends styles seamlessly, balancing traditional technique with more urban vocabulary and personal expression.
Amanda Hart, the Artistic Director of the MixMatch festival and HartPulse Dance, presented a beautifully performed quartet, "Spoons." I imagine the title represented the metaphor of two souls finding each other and fitting together like spoons. In this piece, the two duets worked in and out of each other, continually moving the focus of the audience member before finally returning to the original pairs, holding and hands as seemed inevitable.
Noelle Andressen, Artistic Director of Rubans Rouge, performed her first solo work "Decision." I know it was her first work because she told me! Noelle is a former student of mine from Moorpark College, and I couldn't be more impressed with her growth. She has proven to me that perseverance above all is the most important. This solo was dynamic and emotive with its strength residing in grounded leg stances and articulate gestures of the arms and torso. She danced around and finally into a pile of rose petals, signaling to me a deflowering of the character that matched the title beautifully.
"In this Shirt" choreographed by Meghan Tobin and Felicia Guzman of LA Unbound was an ensemble piece that included women in yellow dresses and a featured male figure. I enjoyed the challenge of the technique and expressive demand of the piece. It opened with a stunning duet in a very classical ballet style with beautiful line and balance. I was left with a few questions, particularly about the title of the piece and the relationship of the featured male dancer with the rest of the ensemble (which included just one other male). But despite my questions, it was clear to me that these dancers dance hard for their passion.
Kim T. Davis of ktdavisdance stole the stage again in today's performance of "Without...", a trio of one woman and two men. Unlike her piece yesterday, this trio was more aggressive, with the three dancers taking turns, supporting, holding, pushing and propelling each other through space. The performance was exquisite. These dancers performed their impressive partnering with an ease that seemed to suspend the laws of gravity while completely evoking them. The choice in cast was significant for me. All three had light hair and skin complexions, but differed greatly in height. This created a sense of them being siblings that I could not shake. As the "middle" brother fought for independence, it seemed only natural that the others had no choice but to let him be and to go on without.
Sadly I was unable to see the last piece of Act I, "Lifeline" by Leverage Dance and choreographed by Tawny Chapman. I did see part of it in tech but I don't feel comfortable giving feedback because I was unable to see it in it entirety and with complete focus. So, if anyone has a link to this piece online please do post it in the comments so other readers can appreciate the work!
Act II
"Cicatrix," choreographed by Heather Dale Wentworth and performed by her Carlsbad based company, OPUS MIXTUS dance, was one that I saw in tech rehearsal and then again from the side lines as I waited backstage. A powerful group of dancers with strong lines and facile bodies made this dance a pleasure to watch. Wentworth incorporated the use of black elastic bands around the dancer's waists, thighs, wrists and ankles. At first, it seemed simply a pleasant design elements, but then the elastic bands were manipulated and shared by the dancers as they wove in and out of each others space before finally coming together, bound to each other in the last moment of the piece. Not knowing what a cicatrix is, I did what any good blogger would do and googled it! It turns out a cicatrix is a scar and this new information leaves me wondering: were the dancers the cells coming together to heal a wound? It makes sense to me in retrospect, but I would want to see the dance again to determine if that connection is grounded in the rest of the piece.
Next came something COMPLETELY different, a piece I performed in with poet performer Joelle Hannah called "A Dance for the Guy in the Blue Button Down Shirt." Because it is not fair to critique your own piece, I will leave that up to you and invite you to check out a performance of the piece from the Razor Babes poetry tour last May. You can determine for yourself whether it was brilliance, madness or a bit of both.
"Variations on a Theme of Trees" was another piece that I was only able to see in tech rehearsal. But I did watch it in its entirety and what I can say about it is this: this piece was well designed from a theatrical perspective, incorporating interesting props including painted images of a tipping building, large tree branches attached to back harnesses, fabric covered fans, chairs and a metal tower. It created an environment that went beyond the dance. As for the modern dance movement vocabulary, it reminded me of work I have seen in festivals in Mexico, and it seems that the choreographer Beatriz E. Vasquez is Latina, so it makes me wonder whether there is a genre of Latin American Modern dance, that needs recognition in the current cannon of dance practices. The style was sculptural and thematic, utilizing strong ballet partnering that was never purely classical, but rather revealed the dancers strong technique as they portrayed an abstracted narrative through line and shape.
"Polymorphic" choreographed by Erica Villalpando of Nanette Brodie Dance Theater lent a yogic feel to the stage as the female cast elegantly performed partial sun salutations, yogic stretches and impressive feats of strength and flexibility. The dancers wore geometrically designed aqua and red costumes, that matched the geometry of the red boxes they used as props. The use of the red boxes added an element of height to the stage space when it was used as a pedestal for the female figures. The dance began slowly, but by the end it found an engaging pace as the dancers moved on and off the red boxes in swirling patterns of leaps and assisted lifts. Overall this was a visually dynamic piece.
Sophie Olsen brought a bit of theater (as well as excellent dancing) to the stage with "Rollerskater" performed by Carole Biers. This fun and quirky solo was short and sweet. Bier's focus was essential to the success of the piece as she was able to draw in the audience to her playful games. She interacted with the space by addressing a mysterious something in the air, playfully picking it out of space and dropping it into her pants for safe keeping. Could it have been a key that was referred to in the song? I imagine yes.
Arpana Dance Company brought the house down with its joyous classical Indian dance piece "Aikya" choreographed by Ramya Harishankar. The brilliance of the piece was that the classical Indian dance vocabulary drove the piece, but was set to a variety of music styles including Anoushka Shankar and Coldplay! These lovely young women were a joy to watch. There is something about the classical Indian dance training that is very potent in capturing the interest and attention of the audience. I think it derives in part from the use of rhythm and specific rhythmic stepping in the choreography. The women stamped and slapped the floor with their feet in beautifully syncopated (and perfectly accurate) rhythms. But in addition to the driving rhythms of the footwork, the dancers authentic joy and clear focus was another factor in engaging the audience. The dancers' joy at the end was intoxicating enticing the audience to a roudy round of applause at the end of the show.
Next week there are three more shows for you to enjoy (MeCo will perform Pull & Draft Friday Aug 31st and Won't Let Go Sept 2nd). Don't miss out of this performance that offers something for everyone and celebrates the love and diversity within the world of dance!
MixMatch Run Down (Sat Aug 25th, 2012)
This weekend and next Amanda Hart's Hart Pulse Dance is hosting the 6th Annual MixMatch Dance Festival at the Miles Memorial Playhouse in Santa Monica.
I am participating in the festival with my group Megill & Company, but tonight I took the time to attend the show as an audience member and enjoy the gifts of the dance scene here in LA (and beyond). I am writing this review in order to help get the word out about dance in the So Cal community. It is so hard for small, independent dance groups to get reviewed. So. . . I thought I would go rogue and start doing it myself. The following are my impressions, observations, and questions that emerged while watching this fun filled night of dance. Please feel free to add comments if you saw the show as well or if I have made an egregious mistake that should be fixed!
I hope that this will serve the community as a springboard for talking about the amazing dance practices that are happening all around us.
ACT I
The show opened with Michelle Shear's "Two Forty Five," featuring a quartet of dancers (3 female, one male) sitting around a table wearing structured suit jackets in various subdued colors. The piece built from gestures of the head, arms and hands while seated at the table, to bigger "break off" phrases with full bodied movement grounded strongly in a ballet-modern technical vocabulary. This was a well crafted piece, that contained strong elements of theatrical design, symmetry and asymmetry in space, theme and variation. It reminded me of Kurt Jooss' "The Green Table" in its use of the table and specific hand and arm gestures.
"Windows Within," choreographed by Joei Waldron of Axxiom Dance Collective, was a powerful male duet that featured impressive turns, leaps and extensions on behalf of the dancers. While the interaction between the men was emotion-filled, I wondered whether it was a piece about two individuals or rather a single individual who may be struggling within (as suggested by the title). Regardless of the specific narrative, the theme of yearning and struggle was evident and well performed by these athletic dancers who were powerful and passionate.
Sophie Olsen's "Peep Show" provided an unexpected commentary on women's power and sexuality. The three female dancers opened the scene wearing bathrobes and performing perfunctory tasks of reading, chowing on chips and flossing. Then, upon hearing the sound of quarters dropping in the machine they strip off their fuzzy exteriors revealing quintessential lingerie in red, black and white. After performing a shocking routine of sex powered head rolls, body grinds and hip undulations, they returned to their boring world of waiting. This pattern repeated until these girls had had enough. rebelling against the structure and ending with broken movements that embodied the destruction of their compliance.
"Then and Now" was choreographed by Heather Dale Wentworth or OPUS MIXTUS dance. This sweet female duet was in stark contrast to the piece before it. The performers, dressed in black and white, shared a yin yang quality that blended them together in moments of sensitivity and care. The piece oscillated between moments of support and care, the most powerful of which for me was the image of the one girl holding the head of the other while kneeling in child's pose.
Erica Lyn Pena performed a stunning solo entitled "inTAKE". Wearing simple knit pants and a tank top, there was nothing particularly theatrical about this piece. Instead it was a study in motion and flow. Pena leapt and rolled through the space in an opening that was kinetic and whirling in its repetition. Each movement motif was developed in front of the audience in such a way that we as observers could track the movements visually and eventually feel the movements and their kinetic value.
The first half closed with a film "La Femme" featuring the work of Sophie Olsen (who also choreographed "Peep Show" and the festival director Amanda Hart. This is a steamy piece set to the music of Yael Meyer featuring a cast of stunning dancers who embody the flickering heat of fire perfectly.
ACT II
The second half of the show began with an earthy duet by Kim T Davis of Ktdavisdance. The female duet began simply and grew over the duration of the piece in an organic way that surprised me by the end. The exquisite modern dancers were patient and serene in their rock solid performance. The aspect of the piece that stood out most to me was the use of the hands. This piece highlighted the power of touch, exploring it in countless ways and in so doing conveying the depth of intimacy between these two women. Grasping, sliding, catching. I was gradually carried away into its chilling ending.
Phil Turay took the show into a hip hop flavored direction in his "Cleopatra." Turay is an articulate dancer whose use of isolation and urban movement vocabulary (as well as more popular music style) made this a groovy, good-time, energetic dance. I was particularly surprised by the combination of his movement vocabulary, which was clearly influenced by street dance and club dance and his choice of not wearing shoes. This contrast against expectation was refreshing and effective in blending a more urban vocabulary with concert dance.
Ericalynn Priolo of Priolo Dance Company assembled an excellent group of female dancers for her piece entitled "Process." This piece featured a groups of women dressed in all black who moved powerfully and gracefully through the performance space. There was a clear edginess to the piece that used strong lines as well as interwoven moments of release technique. The dancers served the aesthetic and athletic vision of the choreographer moving with a seamlessness that made the performance a joy to watch. I was left with only one question. The dancers began the piece wearing dresses over pants, then they exited and removed the pants before finishing the performance in the dresses. I admit, I found myself taken out of the dance for a moment as I tried to make sense of this. (I would love to hear other people's ideas on this). But, overall this piece was beautifully crafted and performed.
Jessica Wang presented her take on blending dance movement and martial arts in "Kung Fu Fusion" a piece that focused on the design potential of the body in slow moving shapes that were then contrasted with bursts of energy in quick kicks and jumps. Wang's performance offered both serenity and power, conveyed in her unwavering focus.
"Flex/Pull," choreographed by Amanda Hart, closed the evening of dance. The only male/female duet of the show, this piece offered a new energy to the audience. The dancers were well matched in height and physique, very fit and powerful in their movement profile. The nature of the relationship was primarily expressed through sculptural partnering that demonstrated the skill and strength of the dancers. While there was a romantic component to the performance, the duet seemed to present a metaphor for two energies that pushed and pulled against each other in a fight for balance before coming together in a final image of interwoven ease.
Overall, the show proves once again that there is great dance happening in the area, and I am so pleased to be a part of it. I will continue to do my best to offer feedback for the festival participants, and hope that it will spark new discussion and appreciation of the dance that is happening here and now in our own backyard.
FYI: My company (Megill & Company) will be performing, Sunday Aug 26th, Friday August 31st and Sunday August 2nd. Come check out this great dance event!
I am participating in the festival with my group Megill & Company, but tonight I took the time to attend the show as an audience member and enjoy the gifts of the dance scene here in LA (and beyond). I am writing this review in order to help get the word out about dance in the So Cal community. It is so hard for small, independent dance groups to get reviewed. So. . . I thought I would go rogue and start doing it myself. The following are my impressions, observations, and questions that emerged while watching this fun filled night of dance. Please feel free to add comments if you saw the show as well or if I have made an egregious mistake that should be fixed!
I hope that this will serve the community as a springboard for talking about the amazing dance practices that are happening all around us.
ACT I
The show opened with Michelle Shear's "Two Forty Five," featuring a quartet of dancers (3 female, one male) sitting around a table wearing structured suit jackets in various subdued colors. The piece built from gestures of the head, arms and hands while seated at the table, to bigger "break off" phrases with full bodied movement grounded strongly in a ballet-modern technical vocabulary. This was a well crafted piece, that contained strong elements of theatrical design, symmetry and asymmetry in space, theme and variation. It reminded me of Kurt Jooss' "The Green Table" in its use of the table and specific hand and arm gestures.
"Windows Within," choreographed by Joei Waldron of Axxiom Dance Collective, was a powerful male duet that featured impressive turns, leaps and extensions on behalf of the dancers. While the interaction between the men was emotion-filled, I wondered whether it was a piece about two individuals or rather a single individual who may be struggling within (as suggested by the title). Regardless of the specific narrative, the theme of yearning and struggle was evident and well performed by these athletic dancers who were powerful and passionate.
Sophie Olsen's "Peep Show" provided an unexpected commentary on women's power and sexuality. The three female dancers opened the scene wearing bathrobes and performing perfunctory tasks of reading, chowing on chips and flossing. Then, upon hearing the sound of quarters dropping in the machine they strip off their fuzzy exteriors revealing quintessential lingerie in red, black and white. After performing a shocking routine of sex powered head rolls, body grinds and hip undulations, they returned to their boring world of waiting. This pattern repeated until these girls had had enough. rebelling against the structure and ending with broken movements that embodied the destruction of their compliance.
"Then and Now" was choreographed by Heather Dale Wentworth or OPUS MIXTUS dance. This sweet female duet was in stark contrast to the piece before it. The performers, dressed in black and white, shared a yin yang quality that blended them together in moments of sensitivity and care. The piece oscillated between moments of support and care, the most powerful of which for me was the image of the one girl holding the head of the other while kneeling in child's pose.
Erica Lyn Pena performed a stunning solo entitled "inTAKE". Wearing simple knit pants and a tank top, there was nothing particularly theatrical about this piece. Instead it was a study in motion and flow. Pena leapt and rolled through the space in an opening that was kinetic and whirling in its repetition. Each movement motif was developed in front of the audience in such a way that we as observers could track the movements visually and eventually feel the movements and their kinetic value.
The first half closed with a film "La Femme" featuring the work of Sophie Olsen (who also choreographed "Peep Show" and the festival director Amanda Hart. This is a steamy piece set to the music of Yael Meyer featuring a cast of stunning dancers who embody the flickering heat of fire perfectly.
ACT II
The second half of the show began with an earthy duet by Kim T Davis of Ktdavisdance. The female duet began simply and grew over the duration of the piece in an organic way that surprised me by the end. The exquisite modern dancers were patient and serene in their rock solid performance. The aspect of the piece that stood out most to me was the use of the hands. This piece highlighted the power of touch, exploring it in countless ways and in so doing conveying the depth of intimacy between these two women. Grasping, sliding, catching. I was gradually carried away into its chilling ending.
Phil Turay took the show into a hip hop flavored direction in his "Cleopatra." Turay is an articulate dancer whose use of isolation and urban movement vocabulary (as well as more popular music style) made this a groovy, good-time, energetic dance. I was particularly surprised by the combination of his movement vocabulary, which was clearly influenced by street dance and club dance and his choice of not wearing shoes. This contrast against expectation was refreshing and effective in blending a more urban vocabulary with concert dance.
Ericalynn Priolo of Priolo Dance Company assembled an excellent group of female dancers for her piece entitled "Process." This piece featured a groups of women dressed in all black who moved powerfully and gracefully through the performance space. There was a clear edginess to the piece that used strong lines as well as interwoven moments of release technique. The dancers served the aesthetic and athletic vision of the choreographer moving with a seamlessness that made the performance a joy to watch. I was left with only one question. The dancers began the piece wearing dresses over pants, then they exited and removed the pants before finishing the performance in the dresses. I admit, I found myself taken out of the dance for a moment as I tried to make sense of this. (I would love to hear other people's ideas on this). But, overall this piece was beautifully crafted and performed.
Jessica Wang presented her take on blending dance movement and martial arts in "Kung Fu Fusion" a piece that focused on the design potential of the body in slow moving shapes that were then contrasted with bursts of energy in quick kicks and jumps. Wang's performance offered both serenity and power, conveyed in her unwavering focus.
"Flex/Pull," choreographed by Amanda Hart, closed the evening of dance. The only male/female duet of the show, this piece offered a new energy to the audience. The dancers were well matched in height and physique, very fit and powerful in their movement profile. The nature of the relationship was primarily expressed through sculptural partnering that demonstrated the skill and strength of the dancers. While there was a romantic component to the performance, the duet seemed to present a metaphor for two energies that pushed and pulled against each other in a fight for balance before coming together in a final image of interwoven ease.
Overall, the show proves once again that there is great dance happening in the area, and I am so pleased to be a part of it. I will continue to do my best to offer feedback for the festival participants, and hope that it will spark new discussion and appreciation of the dance that is happening here and now in our own backyard.
FYI: My company (Megill & Company) will be performing, Sunday Aug 26th, Friday August 31st and Sunday August 2nd. Come check out this great dance event!
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