Tag Archives: Brandi Coleman

The Year in Dance

Here are my favorite new dance works of 2018!

Face What’s Facing You by Claude Alexander III for Dallas Black Dance Theatre. Photo: Anne Marie Bloodgood

This year saw the creative juices flowing from well-known local dance artists, including Joshua L. Peugh, Katie Cooper and Kimi Nikaidoh as well as guest artists who brought styles that had yet to be seen in Dallas such as Yin Yue’s FoCo contemporary dance style and Gabrielle Lamb’s bird-like quality and theatricality. We also saw the resurgence of authentic jazz technique from Southern Methodist University (SMU) Artist-in-Residence Brandi Coleman and the expansion of Bombshell Dance Project’s technical fortitude in a new piece by visiting choreographer Amanda Krische.

A few of the works on my list this year also featured live accompaniment, including Cooper’s The Little Match Girl Passion, Nikaidoh’s The Face of Water and Peugh’s evening-length work Aladdin,حبيبي. We also saw more musical collaborations with local talent such as Cooper’s Avant Chamber Ballet with Verdigris Ensemble and Peugh with SMU alum Brandon Carson who worked on both Aladdin and Lamb’s Can’t Sleep But Lightly.

Relatability also played a big part in my decision making for this list, and while every piece made me feel something, the one that spoke to me the loudest was Claude Alexander III’s Face what’s facing you! He managed to address a number of issues affecting individuals with humility and an uninhibited movement quality.

As far as what I’m looking forward to in the coming year I am excited to see what Bridget L. Moore is cooking up with her new company, B Moore Dance, as well as Dark Circles Contemporary Dance’s winter showcase, Avant Chamber Ballet’s Romance and Ragtime and Bruce Wood Dance’s gala fundraiser entitled Dances from the Heart. I am also looking forward to seeing Dein Perry’s Tap Dogs at the Winspear Opera House in March.

And my wonderful husband got me tickets for both Anastasia and Hamilton at Dallas Summer Musical in Fair Park. I am already counting down the days!!!!!

My dance writing goals for 2019 include talking and visiting with even more local dance companies and choreographers as well as attending some shows outside the dance realm, including plays, musicals and opera. Can’t wait to get started.

Until then, here are my favorite new works made in 2018:

 

The Little Match Girl Passion by Katie Cooper

Avant Chamber Ballet and Verdigris Ensemble

December

Moody Performance Hall, Dallas

Always one willing to break the mold when it comes to classical ballet, Katie Cooper paired her company, Avant Chamber Ballet, with the vocalists of choral outfit Verdigris Ensemble for a very sobering and elegantly danced performance of David Lang’s A Little Match Girl Passion at Moody Performance just a few weeks ago. Cooper took a very different approach for the choreography in this performance. Instead of bouts of group allegro and adagio movements Cooper had the corps act as scenery and story imagery, which only added to the balletic lines and character portrayal of lead dancer Juliann McAloon. ACB took a risk with such a somber show, but while the show brought to the surface the feelings of loss and sadness, it also presented airs of beauty and spiritual awakening.

 

Aladdin,حبيبي by Joshua L. Peugh

Dark Circles Contemporary Dance

October

AT&T Performing Arts Center, Wyly Theatre, Sixth Floor Studio Theatre, Dallas

Peugh stretched his artistic boundaries with his first evening-length work, Aladdin, Habib, which Dark Circles Contemporary Dance performed back in October as part of the AT&T Performing Arts Center’s Elevator Project. Known for giving very few details about his pieces to his dancers, Peugh admitted Aladdin was a completely new experience for himself. He stepped outside his comfort zone with repurposed set design, strong character portrayals and live music. The movement was a blend of Peugh’s signature heavy-footed walking steps, twisty curvy floor work and subtle gesturing with more accented hips, body ripples and staccato movements typically associated with Middle Eastern dance cultures. The narrative is based on “The Story of Aladdin” as well as company member Chadi El-koury’s own personal story of coming to America with his family as a young boy, which he approached with calm determination and an emotional intensity we had yet to see from him.

 

Brandi Coleman’s And One More Thing… at SMU. Photo: Meadows Dance Ensemble

 

And One More Thing… by Brandi Coleman

Meadows Dance Ensemble

October

Southern Methodist University, Bob Hope Theatre, Dallas

One of the few jazz choreographers in the U.S. trained in Jump Rhythm Technique, Coleman wowed the audiences with her funky and loud jazz number, And One More Thing…, at Southern Methodist University’s Meadows School of the Arts Fall Dance Concert in October. Originally created in 2015, Coleman added on three new sections with a grand finale that featured a large group of females dressed in casual street clothes moving and grooving to “Tell Me Something Good” by Rufus and Chaka Khan. The piece played between the juxtaposition of stillness and hotness, which the dancers demonstrated through subtle gestures and sassy expressions as well as their sudden bursts energy and scat-singing, a fundamental element of Jump Rhythm Technique. It was fun and rambunctious and definitely a work worth seeing again.

 

LUNA by Amanda Krische

Bombshell Dance Project

June

Moody Performance Hall, Dallas

Repetitive phrases that travel every which way was the foundation for New York-based choreographer Amanda Krische’s LUNA, which was part of Bombshell Dance Project’s Like A Girl performance at Moody Performance Hall last June. Emily Bernet and Taylor Rodman tapped into their inner beasts in order to maintain their energy levels throughout the 10-minute work which started out with the two of them walking a specific number of steps before the monotonous phrase was broken up with gestures, pauses and abrupt floor work. The girls described the piece as a slow burn and they definitely had to dig deep as the intensity continued to build and the music switched from meditative to pulsating. It was a pleasant departure from the bombshells signature robust movement style.

 

Can’t Sleep But Lightly by Gabrielle Lamb

Dark Circles Contemporary Dance

March

WaterTower Theatre, Addison

New York-based choreographer Gabrielle Lamb challenged the dancers’ mathematical skills as well as their artistic sensibilities in her piece for Dark Circles Contemporary Dance’s showing at WaterTower Theatre’s Detour Festival back in March. Methodical walks, balletic lines and alien-esque body shapes are woven throughout this cleverly crafted piece. What I liked most about this piece is its lack of physical partnering; instead the dancers relied on simple human contact to produce authentic connections with one another. It was a very trippy ride indeed and a complementary pairing of artistic minds.

 

The Face of Water by Kimi Nikaidoh. Photo: Sharen Bradford/The Dancing Image

 

The Face of Water by Kimi Nikaidoh

Avant Chamber Ballet

April

Moody Performance Hall, Dallas

Nikaidoh used a range of emotions and the highs and lows within Argentine composer Osvaldo Gojilov’s 2002 chamber piece Tenebrae to drive the movement in her new work for Avant Chamber Ballet’s 2018 Women’s Choreography Project last April. Nikaidoh described the piece as more of an emotional journey focused primarily on hope and new beginnings, which was depicted in the longer, sweeter notes in the music. The combination of classical movements such as pas de deuxs and standard corps body lines and formations with Nikaidoh’s penchant for subtle musical gesturing and unlikely body shapes was a delightful juxtaposition for these talented dancers. Add in the dancers’ emotional conviction and you had a winning work.

 

Begin Again by Yin Yue

Bruce Wood Dance

June

Moody Performance Hall, Dallas

Bruce Wood Dance did an admirable job of presenting New York-based choreographer Yin Yue’s FoCo contemporary techniques to audiences at its Harmony performance last June. The cyclical nature of the piece is an extension of Yue’s movement style that features liquid body rolls, continuous arm circles and wide, sweeping leg lifts and floor work. The piece showcased the bond of the group, a staple of many of Bruce Wood’s works, in which the dancers appeared as one living organism before breaking off into smaller pairs and individual movement sequences. A musical mover Yue’s choreography came across as one continuous line of thought that dips, daps, weaves and loop-de-loops around an individual’s personal space, which led to some unexpected and visually pleasing moments.

 

Face what’s facing you! by Claude Alexander III

Dallas Black Dance Theatre

May

AT&T Performing Arts Center, Wyly Theatre, Dallas

Dallas Black Dance Theatre tackled their own unresolved issues in Claude Alexander III’s Face what’s facing you!, part of the company’s Spring Celebration Series back in May. As a rising choreographer Alexander delivered a strong voice in this work, which centered around some unresolved issues in his life in order to start the healing process. The piece was cathartic and heart pounding at the same time as the dancers meshed smooth walks and sustained lines with explosive jumps and multiple turns. Alexander didn’t waste any time getting to the theme of the piece and the action-packed stripped-down choreography was a breath of fresh air.

 

This list was originally posted on TheaterJones.com.

 

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Dallas Dances: Brandi Coleman Dance

The jazz dance professor on the fundamentals of Jump Rhythm Technique and her piece, What We Do with Time, part of Dallas Dances.

Brandi Coleman Dance. Photo: Andrew Garvis

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.”

This profile was originally posted on TheaterJones.com.

 

SIDEBAR:

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