Agency: Remembering You Have It

I have recently become enthralled with the word of agency. And, I am not just talking about an office full of paperwork where you sign on the line. Agency is also a term that encompasses our power to choose and act. 

Lesser used definitions of agency read as follows:
(from the online Miriam Webster dictionary) 

the capacity, condition, or state of acting or of exerting power 

and 

a person or thing through which power is exerted or an end is achieved

Ultimately agency is about our personal power. Agency is how we exert ourselves in the world, making choices about how, what, where, and when we do what we do.  We each have agency over our lives. I describe it to my students to remind them of the fact that they can walk out of the dance classroom at anytime.  No one is holding a gun to their head.  It is there choice to be in the room.  It is their choice to learn.  It is their choice grow and improve. And, it is their sense of personal agency that gives them the power to make these and other important choices.

Feeling like a victim is completely un-fun.  When I find myself feeling pressed for time, or frustrated with my work load, or just plain exhausted, I remind myself of my agency. I remind myself that I have the power to make my own decisions, and I am not a victim.  What this does is shift my thinking away from the heaviness of the moment and put me in a place of power.  I get to choose whether I want to do my work or not. I get to choose if I want to nap or not. I get to choose whether I write this blog or not.  These are all my choices.  

But, agency is coupled with the fact that there are real consequences to all that we do.  In order to not be a victim, we must be able to process the fact that certain behaviors come at a cost (and some with a very high price tag).  For instance, it is my choice whether to skip out on a meeting or a rehearsal, but that choice may mean losing out on the big picture. It may mean losing a friend, losing a part or loosing a job.  

But, in knowing that it is my choice, I get to ask myself "is it worth it?'  

This is the key to finding your own sense of autonomy and self worth.  Being a victim is essentially a cop out to owning our power and putting ourselves first in a giving situation.  When we complain as victims we have given up our agency.  Unless you literally have a gun to your head (or other life threatening situation), you have the choice.  

I have had a gun pointed at me. I was mugged when I was 21 in Solana Beach outside a club at 2am. In that moment, I had little agency.  I was a victim and as a result got my purse stolen but stayed alive.  That was a real-victim situation.  But, the rest of my life when I have felt like a victim, I have actually just made myself a victim. I chose the self definition of victim so I wouldn't have to own my personal power, so I didn't have to own the possibility of making a mistake or otherwise upsetting those around me (disappointed teacher, angry boyfriend, critical boss).  

Believing in your own autonomy and exercising your personal agency is tough!

It means that you have to love and respect yourself enough to make a decision.  But, when you make a decision that is rooted in your own self trust and self love, it feels good. It feels right.  It lets you go to sleep at night with a sense of ease.  There is comfort in knowing that you have a choice.  And, when I realize I have a choice I am reminded of what is really important.  Yes, I may feel stressed from a day at work, but I love teaching, and I choose to be there.  Even on the toughest day, I choose to be there.  When I feel tired and like I don't want to exercise, I am reminded that I exercise to feel better.  Or, when I am tired and just want to sleep, I can choose to do exactly that.  

Right and wrong is irrelevant. Honoring of yourself and acting in congruence with your values and life purpose is what matters.  

Knowing you have the choice makes the choice a lot easier.  

Beth

Where did the dance students go??

Hi Everyone,

So, a few things have changed in my dance life since I last wrote a blog post. 

First, I have been elected as co-president of the CDEA (California Dance Educator's Organization state affiliate of NDEO).  What does this mean? I am honestly not quite sure.  What I do know is that dance has a great opportunity for some big changes at the state level regarding a dance credential being offered for dance educators in Primary and Secondary schools.  And, I am dedicated to doing what I can to improve the state of dance on a state, legislative level.  I will do what I can by facilitating and mobilizing the dance community if every way I can.  

Secondly, and what I want to directly address now is the issue of low enrollment in dance classes at my school (Moorpark College).  A week before classes started, I got the call. Two of my classes were cancelled due to enrollment, and I was being reassigned to classes that had formerly been scheduled for adjunct faculty members.  Whether I liked it or not, I was going to be a Hip Hop instructor and there was nothing I could do about it. 

But, aside from my crazy fear about teaching a genre of dance in which I have relatively little training, my questions is Where are all the students?  

When I came to Moorpark college 6 years ago, the classes were overflowing with student! It was a breeze to get 3 sections of Jazz I filled with 50 students each.  We had multiple sections of Ballet, Modern and Jazz at all levels.  Then the state budget crisis came down and we had to make cuts, yet the classes we kept were still full!

Then, this semester came and we were left with nothing but questions marks?  What happened? After  thinking it through I have come up with some speculations on why the enrollment is so low. These are mere speculations, and I have no evidence for any of it. But, that has never stopped me before, and I hope that you may have some additional ideas so we can do better next semester!

1.  TMC: "If it is not on the TMC, you shouldn't take it."  Or at least, that is the growing perception I have noticed among the student population.  Yes, the TMC (Transfer Model Curriculum) streamlines student transfer, but it is coming in at a cost to the general liberal arts education. Students don't have time to "figure out" what they want to do in life.  They will run out of units long before they make a decision.  Students need to be driven and focused.  And, that translates to no extra Modern Dance classes for the dancer at heart. 

2.  Unit Max and Priority Registration:  Students who have acquired more than 60 units* which is the ideal number of units needed to transfer are now sent to the back of the registration line.  Meaning students who mismanage their unit loads in their first semesters may get stuck at the back of the line when they are in most need of their last Math or English class in order to transfer.  This is causing students to treat each unit as a precious gold token.  They can't spend them frivolously on performing arts credits that can enrich and transform their lives!  It is a big decision to give up 2 units of your total transferable units to a Tap dance or Ballet class. 

3.  Fewer offerings make tighter schedules: Offering are fewer and fewer across the campus, therefore students are have less and less flexibility in how to shape their schedules.  Where they used to have 30 options of a GE class on various days and times, they now have only 20, or 15 or fewer! And, that GE class has to take priority over an elective dance class.  Students are very limited in what their schedules can be according to the campus wide scheduling and with all the shifts, it is no wonder we have low enrollment in prime times like 8-10am, 10-12pm and 1-3pm. 


4. Repeatability: Repeatability for dance courses at community colleges has been the hot topic for a couple years now. At this point dance students cannot repeat any dance course.  Therefore, most schools including Moorpark have created 3-5 levels of each genre so the student can continue their training.  However, offering all levels of ballet together is virtually impossible to teach, therefore the program has to separate the levels to different classes at different times.  Therefore, students who could repeat a Level I offered at a good time are now stuck having to take Level 2 and Level 2 is not offered at a good time in their schedule so they end up taking no ballet at all. They have no other recourse.


5.  Dance Majors:  being a dance major is a tough decision, because at this point in history it is a choice of the heart and not the head.  Dance majors have always been few and far between. Most students who take dance take it because they love it and don't want to live without it.  Many dance students are just 3-5 units away from an AA in dance, but don't have the "time" or units available to complete their degree before they transfer as a psychology or chemistry major.  So, our number of completors continues to be low.  The dance industry is missing out on some incredible dancers, choreographers, dance historians and dance theorists.  We are losing them to more employable areas of study. 

Which brings me full back to what I first mentioned in this blog:  The elusive dance credential, as it has come to be called, could offer a great pathway for dancers to get a transfer degree, then a BA in dance, then a credential to teach dance in the public school system.  But, without a strong non-performance based job market out there, dance majors are stuck choosing between what they love and a "practical" degree like Math or Business.  Often, Math or Business wins out.  Until we change the job climate for dance majors by giving them the state's stamp of approval, dance will continue to be at the bottom of the list.  And, we may see dance shrink even more.  The performing arts offer a vehicle to understanding ourselves and the world.  We must find a way to keep dance alive in the state of California as well as nation wide.

And, we must do it together.

Beth



*It may be 72 units, I have heard conflicting numbers. 

Teaching: by Beth Megill

I often find myself wanting to be everything to everyone as a dance teacher.  But, of course, not only is that impossible, but it is also exhausting.

As a teacher I am continually changing and updating my techniques, approaches, methods, tools and ideas.  I continue to search for the right balance between tuning into student needs/wants and creating innovative experiences for those students to be challenged. 

I mistakenly believe that I can be/want to be/should be the best teacher in the entire world!  And, if I am not, then I have failed! Ha!  That is just crazy talk.  But, deep down that is the belief under which I am operating.

I know it is crazy. But, emotional belief sets don't see the line between realistic and crazy. So, I get worried. One minute I worry that I am not enough of a physical challenge, and the next I worry that my material is totally inaccessible and too hard.  I worry that I am too boring, then I worry that I am not taking enough time to slow down and go deep. I worry that other teachers push harder, then I worry that I am pushing them too hard and risking injury.  I am a mess.

It's no wonder I often leave the dance classroom feeling like I have in someway fallen short of expectation.  I have set up demands and conditions for myself that are outright contradictory and therefore impossible. 

I can't be everything.

And I hate to break it to you... But, you can't be everything either. 

We are just as we are.  And, I am ready to let that be ok. 

So what type of a teacher am I? 

Curious:  I love curiosity. I am continually curious about the way the body moves, the way we think, the way we feel, and how/why we create art.  I don't have all the answers, and I am suspicious of people who think they do have all the answers.  I appreciate students who are willing to be curious with me.

Concerned:  I am very concerned for the physical and psychological health of my students. I have suffered so many injuries of the years, that I can't/won't push people.  If people want a drill sargeant, I am NOT the teacher for you.  I would rather you think, then try, then rest, then re-think, and try again.  Fatigue is a real hazzard for dancers, and I just am not willing to risk it. 

Playful:  I like to have fun. I have serious moments, but my love of dance really comes out when I am joyful in movement. I like to smile and be silly in most circumstances.  What I notice is that this takes me out of "work" mode and into play mode.  So, class starts to feel less like a "technique" class and more like a celebration. 

Varied:  You really never know what you will get with me. One day we might meditate, the next day we might make dances, the next we might work on alignment, the next work on fuettes.  I worry that I am somehow NOT consistent enough, but I am learning to just accept that this is what I love about dance, that there are so many facets to the surface of the diamond of dance.

Guiding:  I consider myself a guiding teacher rather than a driving teacher.  This is tough, because it requires that the students drive their learning.  I realize that this is hard for many students, and can be exhausting. Sometimes, we just want to be told what to do.  I have also felt that way as a student! But, it is not in my nature to tell you what to do.  I will ask you to try it, then you get to decide. 

Nerdy:  I am a total nerd.  I know many dancers who love dance because it allows their kinesthetic brain to take over for 2 hours.  I don't exactly work that way.  I am interested in cultivating thinking dancers. Dancers who listen to their bodies, make connections between their inner world and the outer world.  I get jazzed about dance theory.  It opens up a horizon filled with movement opportunities.  I believe in dance as a creative and intellectual process as much as a kinesthetic adventure. 

Interested in Personal Growth:  Sometimes I wonder whether it is dance that I love teaching or whether it is quality of life.  The truth is one feeds the other.  Dance is a vehicle for life-learning about who we are, how we operate in the world and how we express ourselves (to others and to ourselves).  Dance is a vulnerable activity in which we are completely exposed in our strengths and weaknesses (physical and mental).  It incorporates so many of the senses and forms of intelligence, it is the perfect tool for self reflection on all fronts.  I don't really care how high you kick your leg or how many turns you can do.  I might be able help you do both better, but that is just mechanics. 

A good friend and fellow dance instructor said to me the other day "I am more of a trainer and you are more of an educator."  I have been thinking a lot about that statement.  I understand what he meant, but it forced me to ask myself, what type of teacher am I and what type of teacher do I want to be? What am I teaching through dance? And, which elements might I be missing in my current classes? 

I find my friends word choice so interesting. . . He is right in that, I don't use the word trainer for what I do -- in fact I don't think I ever have ever used train for the learning process in dance.  I have never asked a someone to come "train with me."  Or, say "Yes, that dancer trained under me."  Interesting.  I am just now thinking about this for the first time.  I might say that student "studied with me."  Maybe.  But mostly I say I have "worked with a student"  Worked WITH, because I ask the students to work 100% of the time; they do the work, with me, side by side.  They make the discoveries; they make the connections; they ask the questions of themselves and others. 

I have found that I learn things when I need to learn them. . . not before.  So, I trust that the students will ask the questions when they are ready for the answers. And, to take it one step further, I believe they need to find the answers for themselves 90% or the time!

I am not sure, if this is the best approach. I am not sure what this means in terms of changing student's lives and their dance world.  I am not sure of many things at the moment. But, I do know that I have to stop trying to be everything to every student who walks in the door.  It just doesn't work that way.  I have to trust myself, teaching what feels right. And, I need to trust that those students who want to learn what I have to offer will be there, and that I can walk with them on their journey of learning and learn even more about dance and myself along the way. 

Beth

So You Think You Can Dance: Follow Up

Thank you everyone for your responses and feedback to my last post about SYTYCD! You can read them and my follow up responses HERE. 

I must admit that for the past week I have been completely obsessed with the show and the questions I have surrounding it.  Last night I watched again (as I am staying with a dear friend who has cable and watches it).  And, this morning I got sucked into Dance Spirit and Entertainment Weekly blog posts about last night's show this morning. 

First, I really enjoyed the dancing last night.  I enjoyed the musical variety and the complete abandon in the dancers' performances.  I was particularly partial to musicality in the choreography overall.  This really is great dance that is available to the world. And, I believe in the good nature of the judges in general (despite the occasional misspeak or off color comment).  The show is great at what it does. 

And, as a dance educator, it feels good to have seen the last two episodes of my student's favorite dance show. I feel better informed by the value set my students are bringing with them into the dance studio.  This is an advantage for me as an educator.  But, now, I have the challenge of making sense of it all. Connecting the dots for my students between what they are watching on TV and what we are doing in the classroom.  Navigating the boat of education between the river's banks of entertainment and art.  When they are the same, when they are different, why they are the same and different. 

I think I am accurate in saying many (and maybe even most) higher education dance instructors have concerns about SYTYCD and as a result many don't watch it regularly if at all as well as criticize the show for its negative effects. I haven't had the opportunity to read much about the effect of SYTYCD on higher education.  Although, since my former blog, I am receiving more insights and connections (Thank you for your leads!).  But, it seems the higher education dance world has managed to largely ignore the presence of SYTYCD in our departments (and in our curriculum).  Perhaps we thought it would simply go away over time, lose favor and fall out of style. But, we are now in Season 10 and going strong.  So, I think we as dance educators need to take sometime to grapple with what this means for our students and for the future of dance.

If the show continues another 8 years, every single incoming freshman will have lived an entire life in the presence of SYTYCD.  Can you imagine that?  How will this change the face of dance education in 10-15 years when this generation of SYTYCD fans become the next generation of dance educators in higher education?  Will there be a swing back in the other direction, back toward long format works based in minimalism and characterization without virtuosity? 

I don't have the answers and I would need to study a lot of more sociology to figure this one out, but as an active dance educator and as a dance artist/ choreographer.  I am ready to begin this discussion.

If you are interested in joining, you know how to find me. 
Beth

Boom! . . . Flat on my back. . .

Well, in my last blog, I was my own personal champion for diving into the creative experience. And, I took the leap. . . and ended flat on my back. Literally.

Just as I was getting excited, ready to do the work!

I spent 3 days in bed with a horrible SI (Low back) injury, that kept me completely immobilized and out of work. Three whole days! I have never (ever in my 10 years of teaching) had to take 3 consecutive days off of work because of illness or injury.  It was a first, and it was hard for me to swallow.

The first day, I was ok. I thought to myself "This is what it feels like to take care of myself. I can totally do this."  The second day I said, "Well one more day won't be too bad, different classes will be missed. And, I just have to." Day three:  "What is wrong with me? Three days?  Oh no! What is everyone going to think?"

In many ways that sense of guilt hurt far more than the level 10 pain in my back.   I worried that people were going to think all sorts of ugly negative things about me.  I tortured myself about it for the entire time I was laying on my back, too injured to even hold up a book.  I was certain that people were going to think that I wasn't trying hard enough to heal.  That I wasn't being responsible and "pushing through" as truly motivated and reliable people do. 

But, this was of course all in my head. The reality was I couldn't stand up or sit without intense pain.  The reality was that no matter what anyone was thinking, I was physically unable to teach for three days.  But, I couldn't let go of it.  I was convinced of my doom and gloom as a professional dance instructor. 

But, by the end of that third day of rest, I was finally able to stand without muscle spasm.  On day four I gingerly went to teach, and everyone smiled, glad to see me, asked how I was feeling, expressed just how worried they were for me. One student even gave me a little Mexican incantation to help me heal.  People weren't upset with me for being injured, they were compassionate. Far more compassionate than I was to myself. 

A week later from the initial grab of injury. I am still healing, my pain has moved from a level 10 at the peaks to more of a constant 4.  It still requires me to lay down and rest my back for long periods of the day, allowing the muscles to undo and the joint to heal.  But now, I don't feel guilty taking that time to rest and heal.  I am comforted by the reminder that people have shown me compassion and support. It is my job to honor them by showing the same gentle nurturing to myself.  It doesn't have to be selfish; it doesn't have to be hurried.  As Soto Zen Buddhist Susuki Roshi said, it is just "Things as it is." 

And, I am worthy of healing just as I am. 

So are you. 


(PS The incorrect subject verb agreement in Susuki Roshi's quote is intentional. As a Budhhist he saw the multiplicity of the world as just aspects of everything as one. No duality. Hence we see plural, but the nature is singular. . . Pretty cool stuff).

Rogue Review for ACDFA Informal Concert #3

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

Also, don't forget to sign up and follow this blog for more dance writing and reviews and my musings about life and being an artist.

Rogue Review for ACDFA Informal Concert #2

If the first "Informal" concert didn't kick my butt, then this one certainly did!

It is so exciting to see such variety in the informal concerts.  I think the fact that these pieces are not being "adjudicated" allows the choreographers and dancers to put themselves out there with no inhibition. The audience sees that. And, appreciates it deeply.  The concepts are at times risky or nontraditional, but this is exactly what makes it great.  Tomorrow begins the Formal Adjudication process. (Not my underground rogue style), so we shall see just how the two forums compare. 

Anywho. . .  Let's talk Informal #2

Moorpark College performed Something to Say, a piece I choreographed in collaboration with the dancers. . . so I can't really review that because. . . I made it.  So moving on to the second dance. . .

Cal Poly Pomona brought a solo work performed and choreographed by Jennifer Gerry entitled Cultivation of Thought.  The beautiful dancer performed with rich generosity and captivating strength and flow.  Wearing her hair down allowed her to hide and reveal her face as part of the choreography. In a way, I felt like her hair was an idea of itself coming to fruition.  What drew me to her movement was the balance of her impressive kinetic flow and her use of gesture that was light and bound (sort of dabbing through the space in a gentle and easy way).  My one question was why she finished on the floor with her face covered with her hair?  I ask not because I didn't like the ending, but because this was the question that resonated with me as the piece ended, making me wonder did her idea overtake her?

Line Ballet/ Dominican University showed their flirty ballet best in Elisabeth Schiffbauer's Confrontation.  Set to music of Bob Marley and Bunny Wailer this ensemble of women demonstrated the flirty power of feminine allure.  The performers' strength lies in their extension, balance and uplift.  The thumbprint of ballet training. The quirky more grounded movements, charmed the audience in comparison, but underscored the difference between the use of gravity in modern and ballet technique. What didn't read was the nature of the confrontation in the title. Although I am not necessarily one for 'tricks,' the one dancer's triple pirouette into a second triple pirouette (as perfectly timed with the music) was stellar. 

José Costas from Orange Coast College presented his duet called (wait for it. . . ) Duet! This piece was a study in romantic partnering. The dancers were beautiful and embodied the sensibility of this type of piece very well.  The black clad male and white clad female formed a traditional image of yin and yang that draws so many people to dance.  As I was watching I was reminded of the love duets danced in the old Hollywood movies.  I was swept away with visions of Cyd Charisse and Gene Kelly.  Simple. Lovely. 

Repercussions was choreographed by Santa Monica College student Glenjamin Rodriguez.  This small ensemble work was reflective of the first heavy romantic break up we have all had to endure.  The piece was for this student what dance is for so many college students, a venue to reflect on life and learning.  Sorting out the trials of discovering our paths as individuals is tough, and dance offers a forum for dancers and choreographers to delve into the meaning behind their lives, the feelings, sensations, unspoken experiences and cellular memories.  I could tell this work was about the choreographers process and personal growth, and in that it was a sure success.

University of Oregon captivated the audience with a Graduate student work, Limbs, by Taylor Theis.  This piece more than any others so far was an example of patience in dance composition. I loved that the choreographer allowed visual space and time for the audience to really listen to the words of the text that opened the piece.  The male-female duet was extremely well balanced, showing the melding of two bodies that seemed made to fit together without one dominating the other.  The play on words of limbs of a tree and limb of the body was delicately carried through the work which included a pallette of contemporary modern dance flavored movements.  I wondered how much this choreographer has worked with Laban's Movement Analysis because this piece would be a excellent study in the variety of dynamics, shapes and effort qualities because each moment was clear and honest in its execution of the movement concept. 

Santa Ana presented Daylight Ends choreographed and performed by Samuel DeAngelo.  This artist was clearly highly skilled and trained in contemporary jazz dance technique, but his work was framed with modern dance sensibilities that balanced the dramatic energy and virtuosic moments.  This piece had a lot of ideas, and most of my favorites were presented once and then left alone. I was curious about this choice of including so many movement ideas in one piece.  I was wondering also what it might be like to grow the gestural movement into the exquisite technical moments so they became one and the same.  The dancer was extremely impressive in his strength, flexibility and performance energy (I was glad to see him come back to the stage for Mad Men later in the concert). 

CSU Long Beach students Heather Glabe and Jeremy Hahn had the audience in stitches over their White Washed Deathscape: Vol 3.  This was one funny number.  A parody on action films and romantic/comedy/actions films, these dancers were clearly well trained in traditional concert dance technique, but they were not afraid to toss it all away for the sake of a good chuckle. And, for that I applaud them.  My favorite part?  When they pull out each others eye balls, put them in their own and continue dancing.  Not just any dance could stand that sort of wild innovation. Before the piece started I leaned into my neighbor and said (not just a little sarcastically) "Oh good, Air on a G String!  No dance festival is complete without it."  I was ready to take this dance seriously, until it totally proved me, right!  And ending in the pieta?... priceless.

Mad Men was an all male piece choreographed by Kari Jensen of Santa Ana College.  I think every male dancer should have a chance to dance in an all male piece.  I mean, all girl pieces are a dime a dozen, but all men pieces are still something to behold. They are a treasure to be enjoyed.  This one as expected played to natural strengths of the male performers including lots of athleticism and power in  the choreography.  I enjoyed the use of the show Mad Men as a launching point but the choreographer's choice to go beyond the show and play with the more universal story of this era.  (This was confirmed in the post show discussion-- and I felt so smart for getting it first! Yeah me!) The challenge of this type of work is the challenge for these young men to play mature adult men.  Although their focused wavered occasionally, I was overall very impressed with their abilities not only to dance like men but speak like men as well. 

The final piece of the evening brought the house down!  Loyola Marymount University showed a piece that I can't BELIEVE was not selected by the school for the formal Adjudication concert, Trigger (or 9 Too Many).  This student choreographed, female duet was sexy, strong and exquisitely performed.  The piece occurred around a folding table and the dancers faced off across it with a vehemence that not many dancers can physically portray.  The simple moments of spinal articulation will perhaps forever resonate in my mind's eye.  The curl of the pelvis through the setting of the scapula.  What I didn't understand from the piece was the reference to gun control that the dancer referred to in the talk back after.  Perhaps this was due to having just seen the action-comedy piece from CSULB. The gun references just seemed to be an appropriate extension of the dancers' anger toward each other.  But, despite my missed mark in terms of meaning, I was satisfied because the commitment and physical performance let me know that whatever they were fighting about was important. 

Well, that's it for today! Whew! Two reviews in one day for me!  That is a new one.  Please share your thoughts as well!  Did you see the concert? What were your reactions? Share your feedback in the comment box below!

Then sign up to follow this blog for more dance writing and reviews and my musings about life and being an artist.

Rogue review for ACDFA Informal Concert 1

Ok! I can't resist! I am compelled to go rogue and be the underground 'adjudicator' for ACDFA's informal concerts. I am writing these reviews because these pieces deserve some more feedback and this way they can share it in a written form with others! Dance writing and reviews have become an endangered species, and this is just my way to give back to the community and support the creative process. Feel free to post your thoughts and questions for the choreographers too!

Let's get the dialogue started!

What a wonderful opening concert for ACDFA Baja Region festival!! The pieces were varied, entertaining, and passionately performed.

San Francisco State University, presented "Tsudoi" which translates as The Gathering. This piece, choreographed by Ayana Yonesaka, gave me visions of raindrops falling and pooling together. I enjoyed the dancers' clear focus, powerful energy and vulnerability. I particularly enjoyed the simplicity of the light blue costumes which presented the dancers line with honesty and simplicity. Beautiful movement that cast a serene spell over me.

California State University, Dominguez Hills presented a witty solo choreographed and performed by Nathan Ortiz, entitled "To be continued..." Nathan's drag costume of black shorts and a playful apron, thick 50's eye liner and "up do" emulated his Amy Winehouse character perfectly. Playfully incorporating a flask, pill bottle and cigarette made it even clearer. I loved the dancer's ability to evoke Winehouse so clearly in his movement. The most memorable movement was the grand plié with shoulder and chest pops. His pearl necklace accidentally broke part way through, but it was a happy accident, creating a most appropriate metaphor for the singer's destructive behavior and eventual demise. The pearls spread across the stage adding an element of disorder and danger that I loved.

Modesto Junior College instructor Lori Bryhni choreographed "Unearthed" a rich and appropriately earthy ensemble piece. This first thing that stood out to me was the beautiful costumes. Long elegant taffeta skirts that draped and swirled beautifully with the movement, catching the light and adding a dimension of visual momentum to the modern dance vocabulary. The dancers performed from the heart. I particularly enjoyed the open hearted release moments in which the ensemble successfully transformed the stage with their unison shapes and unified energy.

Dominguez Hills presented a second work, called "Chasing Clouds", a duet choreographed by Brianna Colon, that was wonderfully endearing. These dancers were so playful in their movements and acting. It really was irresistible. I enjoyed the sweet, human element of the work. And, the use of the star balloons set the tone for the piece and offered a simple metaphor for the audience to enjoy. I could tell that these dancers dance for the love of dance.

Rio Honda College presented a solo choreographed and performed by Tiffany Ramirez, entitled "To Write Love On Her Arms". This solo was a great example of a student choreographer really working through an idea and discovering her voice in movement. I enjoyed the work with gesture and motif, but I also enjoyed her B-boy-like ease on the floor with leg gestures that coordinated with the strong beat in the music. The dancer's commitment and honesty in presenting a piece seemed deeply personal that put me on her side as an audience member rooting for her performance even though I don't know her.

San Jose City College's student Alex Andrews choreographed and performed in this trio set to a poem by Allan Watts. The poem spoke of light and mysticism, and the dancers flowed through the space in their white garments to inhabit the universal energy. The piece was titled, "The Light That Blinds" and may have been served by stronger incorporation of this powerful image. The piece worked to embody the peace and serenity of this mystical energy, and I wonder how the striking image of being blinded by such beauty may have offered contrast to the elegance and beauty in the choreography.

San Jose State University treated the audience with their quirky contemporary jazz style in Dominique Lomuljo's "Miss Shapen Fortune." I hadn't seen the title of this piece before I watched it, but the design of the costumes complemented the design of the movement and attitude for the piece so well that even I considered getting back into a unitard. I loved the jazz elements of this piece that played so seamlessly into the more modern compositional structures. The dancers were appropriately fierce and detached, embodying the aesthetic of the cool that is a thumbprint of jazz dance. My only question was the use of a traditional parallel passé in the turns when so much of the body shaping was charmingly unconventional.

Anyone who attends ACDFA and thinks the informal concerts are not worth their time is sorely mistaken! These pieces were truly fantastic.

What are your thoughts? Did you see the concert? Share your feedback in the comment box below! Then sign up to follow this blog for more dance writing and reviews and my musings about life and being an artist.


- Posted using BlogPress from my iPad.... So please forgive the typos and grammar errors!

Location:ACDFA baja region, El Camino College