Mark your calendars! The 2018 [Mary Lois] Sweatt Dallas Dance Festival (SDDF) will take place Oct. 12-13 at Ann Richards STEAM Academy in Dallas.
Entitled Back Together Again, SDDF will feature a performance on Friday evening and master classes on Saturday with the Melissa M. Young, the newly appointed artistic director of Dallas Black Dance Theatre.
The whole week will include master classes at two public schools, plus an open master class, a roundtable discussion and performances. The performances will include several companies, groups and soloists, including Jordan Willis, currently at Point Park University and the 2018 recipient of the South Dallas Dance Festival scholarship.
The goal of SDDF is to encourage collaborations between area artists and companies and to support each other’s growth and impact on the local community.
General admission: $15 for adults and $10 for students, seniors, members of Dance Council of North Texas and the Star System.
Dark Circles Contemporary Dance takes us to a whole new world in Joshua L. Peugh’s Aladdin, Habibi, part of AT&T Performing Arts Center’s Elevator Project.
Dallas — Over the last seven years Dark Circles Contemporary Dance’s Artistic Director Joshua L. Peugh has wowed us again and again with his insightful and unique perspective on the human condition as well as today’s social norms. He transfers this information to his dancers using a combo of classical and modern movements infused with his own special blend of grounded footwork, knee-bruising floor work and happenstance partnering. His aesthetic demands that the dancers be comfortable in their own skin, yet open and vulnerable on stage.
Peugh is asking this and much more from the company in his first evening-length creation, Aladdin, حبيبي, part of the AT&T Performing Arts Center’s Elevator Project, Oct. 11-14, at the Wyly Theatre. The immersive 75-minute production focuses on American rhetoric regarding the Middle East and the stereotypes associated with Middle Eastern races and cultures. The work is based on the folk tale of “The Story of Aladdin” or “The Wonderful Lamp,” first written in The Book of One Thousand and One Nights (or The Arabian Nights).
Peugh says this process all began while browsing through a book store one Sunday morning. “I found a copy of Arabian Nights and the first line in the book is once upon a time in China. See when most people think of Aladdin they think of the 1992 Disney movie, but Aladdin was actually Chinese and the story was added later on by Frenchman Antoine Galland.”
He continues, “This was one aspect of the work. The other being company member Chadi El-khoury’s personal story, which includes his mom bringing him and his brother to America when he was 11 years old. We go to his Mom’s house every Sunday and she always calls her children Habibi, an Arabic endearment like ‘sweetheart,’ and it’s why the title of the work is called Aladdin, Habibi. We put the term in Arabic to signal to these people that their voice is being represented here.”
Peugh also points out that the work will feature a new score from Southern Methodist University’s Meadows School of the Arts alumnus Brandon Carson and will be performed live by a six-piece band. The production also includes costumes designed by Susan Austin and lighting by Bart McGeehon.
“I honestly didn’t know what the music was going to look like until I got started with the dancers, but we needed music before rehearsals began and so I ended up sending Brandon a list of plot points and asked him to make them musical numbers. We started off with 20 minutes of music and have gone back and forth a lot until we got to today’s product.”
In the work the dancers also double as stage hands, which was evident during the run through I saw at Preston Center Dance in Dallas last Wednesday morning. When not executing movement in the center, the dancers are constructing a tent out of canes and fabric, playing a game of cards and actively observing their surroundings, just to give a few examples.
Peugh explains, “We played a lot of theater games and one of them was about making yourself very present and aware and basing everything you do on things outside your circle so you are inviting things to happen instead of making them happen, which is already the principles that I run the company on in the first place, but we are now expanding that in different directions.”
The example he gives is in regard to the architecture of the room. Because this show follows a narrative, Peugh had his dancers do a lot of exercises that had to do with using what is there in the space. “Everything you see in the show is stuff that was laying around the studio. So, everything is sort of a found object and not a created one and that mirrors the world we are trying to create in this dance.”
There were a lot of moving parts just within the first 20 minutes that I got to see of the show, so I will try to break it down for you without giving too much away. Company veteran El-khoury portrays the role of Aladdin and we get to witness his inner struggle of questioning certain rules and customs of the culture that he was born into and then coming to America and trying to fit in here. El-khoury’s journey of discovery involves two genies: the genie of the ring played by Jaiquan Laurencin and the genie of the lamp played by Lena Oren.
El-khoury moves with laser focus and incredible control during rehearsal. Deep lunges, swirling arms and rhythmic hip isolations are at the crux of most of his individual movement phrases. Over the last two years he has put on some noticeable bulk and his technical execution and artistic depth continues to flourish with every new piece the company puts out.
“He works really hard to make this happen,” Peugh says about El-khoury’s artistic growth. “He still works a full time corporate job and he works really hard to dance the way he wants. He has grown incredibly in the last several years. He’s fighting for it and he really loves dancing and it give him pleasure so that’s ultimately where it all starts from in the first place.”
Peugh admits that the creative process for this show has been a completely new experience for him. He doesn’t like to give his dancers too many details because he likes to see how the dancers take the material and make it their own. So, sitting down with the dancers after every rehearsal to talk about the narrative is really a foreign concept for him. Peugh says on the second day of rehearsals he asked the dancers to bring in a list or make a presentation to the group about the question ‘What is Middle Eastern?’ and from there he had the dancers take their lists and make a movement phrase based off one plotline in the story, and that is how the choreography for the show came to fruition.
“It was a really organic process,” Peugh says. “This has been one of the most fun, creative processes I have ever had. I have learned a ton and I am super proud of the work everyone has done. Everyone has put in a lot more than a few hours of learning steps.”
Lot’s of great news has been coming out of the Dallas Black Dance Theatre (DBDT) organization the last couple of weeks, including today’s announcement that Melissa Young will be taking over as artistic director.
Young has been with the company for 25 years and has experience in all facets of the organization. We meet while on the board of directors for the Dance Council about 10 years ago and her commencement and passion for dance and DBDT was as strong then as it is now. She is patient. She is kind. But she also knows when to lay down the law. As they say, third times the charm, so I wish Young good luck in new position!
DBDT also announced last week that it has been selected to receive funding through the Communities Connecting Heritage (CCH) exchange program for its new cultural heritage project with Macedonian filmmakers. Only five artistic organizations in the nation where chosen to participate in this cultural exchange program.
Entitled Widening the Lens, DBDT and Association MakeDox from Macedonia will work together with 12 African-American dancers and 12 Macedonian filmmakers to create a 50-minute documentary exploring and celebrating African-American culture through dance and Romani heritages music. DBDT will incorporate aspects of the project into its Spring Celebration Series in addition to holding three free screenings of the film in July.
What a unique experience for these dancers. Not only do they get to travel around the world exploring different dance cultures, but they will also get to see how a dance documentary is put together from start to finish.
And right behind this announcement came the news that DBDT has invited Joy Bollinger, the newly appointed Artistic Director of Bruce Wood Dance, to set a piece for the company’s annual Director’s Choice performance coming up in November.
According the media release, Bollinger’s new work, This Time, is a reflection of the fleeting nature of the time in her relationships with her children and grandmother and the constant desire to steal moments and capture memories. If its anything like her previous works then audiences are in for large scale visuals, dynamic group sections and a roller coaster of emotions.
Bridget L. Moore has thrown her hat into the professional dance arena in Dallas with the announcement of her newly-founded contemporary dance company, B. Moore Dance!
Smart, innovative, familiar, yet worldly. Those are the words that come to mind when I think of Bridget L. Moore and the pieces she has put out since moving back to Dallas in 2017 to take on the role of artistic director for Dallas Black Dance Theatre (DBDT). In particular her work, Uncharted Territory, which started out as duet for the 2017 TITAS Command Performance and was later turned into a full company piece for DBDT’s Director’s Choice performance the following fall.
Unfortunately, Moore was released from her position after only one season with DBDT for reasons that still remain a mystery. (What do you think happened?)
Since then I have been keeping my fingers crossed that Moore would be able to find enough creative and profitable outlets around town to keep her here in Dallas. And it appears she will be staying, at least for the foreseeable future, after announcing on her Facebook page on Friday that she has started her own contemporary dance company, B. Moore Dance Company. (Seriously, can that name be anymore perfect! I am all for more dance in Dallas baby!)
With deep connections to Dallas I’m sure she had no problems finding talented individuals willing to work with her. After all, she has taught and set works for so many local arts institutions over the years, including DBDT, University of Texas at Dallas and Booker T. Washington High School for the Performing and Visual Arts where she was also the artistic director of the World Dance Ensemble. Reading through the dancers’ bios on her website, bmooredance.org, almost every member of the company is a graduate of Booker T. and has worked with Moore in some artistic capacity. B. Moore’s troupe is comprised of Timothy Amirault, Taylor Boyland, Lindzay Duplessis, Hailey Harding, Alyssa Harrington, Xavier Santafield, Aminah Maddox and Chaslen Osler.
Now, I’m sure everyone is asking themselves if there is even any room left for another contemporary dance company here in the Metroplex. And my answer would be yes because this is Bridget L. Moore we are talking about here! Firstly, she already has an established fan base thanks to her local roots and years of extensive training, educating and choreographing for many local arts organizations. And then there is the global aspect in her artistic voice, which comes from her international dance studies, and is something that no other contemporary dance company in the area will be able to match.
So, congrats Bridget L. Moore on your accomplishment and I can’t wait to see your first performance!
You can always count on Avant Chamber Ballet to get you into the holiday spirit without sending you into a Christmas coma!
Known as a nutcracker rebel, Katie Cooper of Avant Chamber Ballet (ACB) likes to steer clear of traditional Nutcracker productions. Instead she likes to focuses on other seasonal tales to create memorable holiday performances such as A Ballet Christmas Carol, Holiday Celebration and Nutcracker: Short and Suite.
ACB will once again be performing its Nutcracker: Short and Suite in Southlake, TX, on Nov. 15, but this time the company has a special treat for viewers. In addition to its Nutcracker rendition, ACB will also present the world premiere of Cooper’s Winter from Vivaldi’s “The Seasons.” The one-hour family-friendly performance will feature ACB’s 16 professionally-trained dancers, Cezanne String Quartet, plus new costumes and choreography. Cooper also points out that this will be the only professional dance production in the mid-cities area this year.
“This performance is a perfect introduction to live classical music and dance,” Cooper says in a recent press release. “Vivaldi’s ‘The Seasons’ is one of the most recognized pieces of music, but to see it with choreography and dance takes it to another level for the viewer. Nutcracker: Short and Suite is the second half of the evening with the best parts of Tchaikovsky’s The Nutcracker and all the characters that you love.”
Executive director Marielle McGregor on carving out space in the local contemporary dance arena and presenting Brush to Canvas at Dallas Dances.
Dallas — As the Dallas arts scene continues to grow so has the number of contemporary dance companies in the area. With well-established companies such Avant Chamber Ballet, Dallas Black Dance Theatre, Ballet Dallas, Bruce Wood Dance, Dark Circles Contemporary Dance, 8&1 Dance Company and Dallas Neo-Classical Ballet claiming large chunks of the city’s ballet and contemporary dance audience, you have to wonder what a newcomer like 6 o’Clock Dance Theatre can possibly bring to the table.
Executive Director Marielle McGregor says the answers lies in the framework of the company, which was founded by Zach Law Ingram in 2014. “What makes us unique is that we are career professionals working across many industries in Dallas. But, instead of happy hour at 6 p.m., we meet to explore our art. We decided that dancers should not have to choose between art and a living wage. You can have both!”
She adds, “We have dancers who are UX designers, mathematicians, marketers and engineers. We have 9-to-5 jobs, but at 6 o’clock—that is when we dance!”
McGregor is currently the senior digital editor for Dallas County Community College District. She is also a co-founding member of 6 o’Clock Dance Theatre and serves as the executive director, managing company business and equipping the company dancers and choreographers for success.
6 o’Clock Dance Theatre will be performing Ingram’s Brush to Canvas as part of Dallas Dances’ Saturday evening program. Ingram is a Dallas native whose professional experiences include Alvin Ailey American Dance Theatre and Dallas Black Dance Theatre. He was also in the Broadway production of The Lion King. He officially moved back to Dallas this summer.
In Brush to Canvas McGregor says Ingram was inspired by the fact that a painting has no real finish. “The painter begins not knowing the end,” she says. “He [the painter] creates his art by throwing out ideas to the canvas, mixing his paints and seeing what comes back. And at some point the painter—through feeling—knows it is a complete work. And yet, at any time, he could pick the brush back up and again continue to explore more.”
McGregor adds, “Zach was also inspired greatly by the music itself. He said it gave him a lot of freedom and rather than dictating what the movement should be, it just let him paint.”
Brush to Canvas is set to “Infra 8” by Max Richter and “Thunders and Lightings” by Ezio Bosso. The piece features company members Darwin Black, Shelby Stanley Campbell, Sarah Cat Hendricks, Constance Dolph, Katricia Eaglin, Sophi Marass, Madison McKay, Marielle McGregor, Katherine Parchman, Laura Pearson, Allison Wood and Alex Yap.
Founder Bhuvana Venkatraman on bringing the classical Indian dance style Baratanatyam to Dallas Dances this weekend.
Dallas — Bhuvana Venkatraman is well known in the Dallas dance community for her roles as an instructor, performer, and advocate of classical Indian dance. More specifically Baratanatyam, which, when broken down, means the dance that encompasses music, rhythm, and expressional dance or Abhinaya and strictly adheres to the Natyashastra or the scripture of classical Indian dance. Venkatraman created Tejas Dance in 2014 as a way to enrich and popularize Bharatanatyam and also identify and encourage talent in the field. Venkatraman says she and Chintan Patel (artistic director of Tejas Dance) were drawn to Baratanatyam because of its vibrancy and the spiritual beauty it has to offer.
“We believe that Baratanatyam is looking at things beyond their actual appearance,” Venkatraman says. “We consider it a medium for finding metaphors in every event in our lives and finding its deeper roots in spiritual elevation.”
The duo has performed for many local organizations, including the Indian Cultural Heritage Foundation, the City of Dallas Office of Cultural Affairs, the 2017 Dallas City Council inauguration, Karya Siddhi Hanuman Temple, Allen Radha Krishna Temple and Arathi School of Dance, just to name a few.
Tejas Dance will be presenting Ardhanareeshawara – Synchronization of Dichotomy at Dallas Dances this Saturday night. The work features music from Parshwanath Upadhye’s album Shambho. The dance will explore the age old question: Are men and women really different?
“This dance talks about the two aspects of our society—the masculine and the feminine. Thinking of both of them as separate energies is common, but the actual spiritual elevation lies in knowing and understanding that these two characteristics though so different are one and the same,” she says. “If we understand that these two are nothing but a complementing half of a major energy, we realize how futile our efforts are to prove one is superior to the other.”
“This dance gives out a strong message to think of someone’s quality and abilities beyond their gender and find beauty within everything,” she adds. “It’s a great way for adults to find themselves more elevated from the claws of society and an excellent opportunity for kids to learn important concepts that will mold them for a better future and eventually leading to a better society.”
Co-creator Martheya Nyaard breaks down the company’ intentions and what they have planned for Dallas Dances.
Dallas — Looking over the lineup for Dallas Dances, it’s exciting to see so many first-time presenters blended in with event staples such as Texas Ballet Theater, Bruce Wood Dance and Dallas Black Dance Theatre. One of these new faces is kNOwBOX dance, which was created by local choreographers YeaJean Choi and Martheya Nygaard at the beginning of 2018.
Choi and Nygaard met while earning their MFAs in dance at Texas Woman’s University in Denton. Their overlapping interest in making art that challenged contemporary and modern dance aesthetics lead them to becoming fast friends and dance peers. Choi was working as the dance department’s digital media coordinator and Nygaard as the department’s publicity coordinator when the duo starting brainstorming about what they were going to do after graduation. They came up with the question: how can artists have access to stay connected, make new work and share work globally, and from there kNOwBOX was born.
“We strive to say no to the box,” Nygaard says. “The box symbolizes the boundaries and confines that limit connections. We pursue experimental production and collaboration with other artists in order to create, discuss and advocate for art. …The vision of kNOwBOX dance is to use the digital space and alternative formats to collaborate and archive. Our social media-based Evolving Laboratories facilitate a global presence for our collaborators to make, capture and share art.”
For Dallas Dances Hyun Jung (Jenna) Change will be performing Choi’s 괴다 (The memory of love) to Donovan Jones’ song “The Memory of Love.” The piece uses Korean contemporary dance techniques to express one’s memory of love. Originally from Seoul, South Korea, Choi earned her BFA in Korean dance from the Sung Kyun Kwan University in 2012 and performed with Du-Ri Theater of Korea. Her work has been presented at World Dance Alliance-Americas in Mexico, Dallas DanceFest, Texas Dance Improvisation Festival, American College Dance Association, Seattle BOOST Dance Festival, Terrance M Johnson Dance Project, Big Rig Dance Collective and the Choreographer’s Series in Korea.
Later this year kNOwBOX dance will be co-producing, alongside the Dance Council of North Texas and the Dallas Public Library, the first Dallas Dance Film Festival. In terms of what they hope to accomplish with this new event Nygaard says, “It is our goal that this festival can support both local and international emerging and professional dance filmmakers and provide an affordable platform to share their work. This free festival also offers the community of North Texas a new way to engage with dance.”
“We hope this will be an annual festival that has the potential to grown into a weekend event with workshops, installations and guest artists.”
The jazz dance professor on the fundamentals of Jump Rhythm Technique and her piece, What We Do with Time, part of Dallas Dances.
Dallas — Just like every young dancer Brandi Coleman grew up learning all the basic dance techniques, including ballet, jazz, modern and hip-hop. It wasn’t until Coleman went to the Jazz Dance World Congress in 1992 and saw Billy Siegenfeld’s choreography for the first time that she realized she wanted to focus primarily on jazz. More specifically, she wanted to learn Siegenfeld’s Jump Rhythm® Technique. So, when she heard Siegenfeld was teaching at Jacobs’ Pillow along with fellow jazz choreographer Danny Buraczeski, Coleman knew she needed to go.
“This was a pivotal point for me,” Coleman says about her time at Jacob’s Pillow. “Up to this point I have had a variety of dance training, but this experience at Jacob’s Pillow working with both Danny and Billy really solidified my innate response, love and passion for jazz dance and specifically moving rhythmically and musically.”
“Jump Rhythm Technique just felt good innately to me both in the physicality and in my heart and soul.”
Today, Coleman is an artist-in-residence in jazz dance at Southern Methodist University and is also the associate artistic director of Jump Rhythm Jazz Project (JRJP), an Emmy Award-winning performing and teaching company that celebrates the communal core of jazz performance, including dancing, singing and storytelling in rhythmically syncopated conversations. She also holds a B.A. in dance from Northeastern Illinois in Chicago and an MFA in performing arts/dance from the University of Wisconsin-Milwaukee.
To put it simply Coleman says the goal of Jump Rhythm Technique is to turn the body into a percussive instrument. “So, it’s using the musical construct of jazz music, meaning we’re trying to play syncopation and swing in the body, but we are also trying to understand what it feels like to feel rhythm in the body and to shape energy over approaching movement from how my body looks in space. We do address shape, but we address time first.”
When explaining the fundamentals of Jump Rhythm Technique to her students Coleman uses a comprehensive step by step process. “So, in Jump Rhythm Technique we first say what is the rhythm. Then we improvise to that rhythm. Then we clarify the rhythm. Then we clarify the emotional intention behind the rhythm. And then we clarify where in space we do that rhythm.”
Coleman points out that the technique also involves a lot of vocalization, which she says is hard for many dancers because the perception is usually that dancers are to be seen and not heard. So, she usually starts out by asking the dancers questions so they can hear their voices out loud and then she has them sing the Alphabet percussively and then rhythmically. From there she has them start scat singing, which audiences will get to experience firsthand at Dallas Dances this Sunday in Coleman’s What We Do With Time.
“Rhythm and emotion primarily inform the movement and the narrative of the piece,” Coleman says. “It is a quirky, humorous comment on being stressed. It’s about meeting deadlines and missing deadlines and anticipating deadlines that you know you can’t or won’t make. It’s a universal theme that I anticipate anyone and everyone can empathize with.”
I asked Brandi if she thought classical jazz was a dying off and she told me that this is misconception because in order grow jazz dance has had to align with pop culture, which is where new styles like jazz funk and lyrical jazz come into play. So, classical jazz isn’t dying. It is just changing as is natural with all dance forms. She uses the imagery of branches to example these newer styles of jazz, which she said I could read about in the book “Jazz: A History of the Roots and Branches” by Lindsay Guarino and Wendy Oliver.
Like the dance history nerd I am I immediately purchased this book on Amazon and it should be here in a day or two. I am looking forward to reading and will definitely put up a post about my thoughts on the book as soon as I am done reading it. Here is a link to the book if you will she purchase it too
The choreographer on starting the annual Texas Dance Improvisation Festival and presenting at the Dance Council’s Dallas Dances festival.
Dallas — A well-known associate professor of dance at Texas Woman’s University (TWU), Jordan Fuchs has been making dances grounded in improvisational practices since the early 1990’s. At that point he was living and working in San Francisco until he moved to New York City in 1998, which he then left in 2007 to take his position with TWU. His work uses the aesthetic values of improvisation to find the instability of each performance moment, the possibility of transformation through sensation and the inherent state of moving always in relationship to another and to our environment, according to his Web site.
Throughout his career Fuchs has danced for artists, including K.J. Holmes, Kirstie Simson, Mark Dendy, Luka Kito/Megan Boyd, Rebecca Lazier, Gina Jacobs, Scott Wells, Lizz Roman, Joanne Nerenberg and Potrezebie. Fuchs is a Fulbright Specialist and has been on faculty at Hunter College and Movement Research. He has taught workshops at numerous universities and festivals across the United States and internationally. Fuchs is also a former dance specialist in the Jerome Robbins Moving Image Archive of the Dance Division of the New York Public Library.
For Dallas Dances he will be presenting a 6.5-minute excerpt from the second half of his work Torsion, which premiered in 2017 at the Jordan Fuchs Company’s spring performance at TWU’s Dance Studio Theater. Featuring dancers Michelle Beard, Whitney Geldon and Melissa Sanderson, the originally 20-minute trio explores movements centered in the pelvis and the body’s connective tissue, the fascia. The piece also includes original sound composition by Andy Russ and lighting design by Roma Flowers.
“I was intrigued at the movement possibly between the layers of skin, muscle and bone,” Fuchs says about the inspiration for the piece. “For instance, if you hold your forearm in your hand and rotate your forearm there is a lot of movement possible. I wanted to know what kind of dancing could emerge from paying attention to such subtlety.”
“When I start projects, I only define starting points.,” he adds. “I never know where they will end up and that is one of the pleasures of choreography for me. Finding where I end up.”
In addition to teaching and choreographing, Fuchs is also the founder of the annual Texas Dance Improvisation Festival, which will be celebrating its 10th anniversary this October with special guest artist Judith Sánchez Ruíz, a former dancer with both Trisha Brown and Sasha Walsh. “I wanted to create a space where improvisational dance practices and movement forms such as contact improvisation could be front and center rather than an alternative offer, particularly in moving here from New York City over a decade ago, a place where such practices were so integral to the dance making of me and many of my peers,” Fuchs says about jumpstarting the festival in Dallas.
“The mission of the annual festival has been to share, inspire and challenge the improvisational dance community in Texas through bringing in internationally renowned guest artists and creating opportunities for sharing teaching, performing and dance practices and for networking.”