Christopher Dolder plans to bring the classic sci-fi flick Metropolis into the modern age with compelling choreography and stunning visual effects at this year’s Dallas VideoFest.
Dallas — As is common when watching one of Christopher Dolder’s rehearsals there are multiple elements at work, including behemoth props, video projection and special lighting techniques. In this instance, Fritz Lang’s 1927 science fiction film Metropolis is playing on a screen above center stage while a dozen freshman dancers from the Southern Methodist University’s Meadows School of the Arts ascend out of what will be the orchestra pit and up a 32-foot tall and 4-foot elevated raked stage. The dancers’ rigid posture and weighted toe heel walks parallel the architecture of the buildings in the movie’s opening scene.
The suspense of the moment is heightened by Austin-based composer Brian Satterwhite’s new film score which will be performed live by the Dallas Chamber Symphony at the showing of Metropolis, Oct. 13, at the Dallas City Performance Hall as part of Dallas VideoFest 28. As the next scene begins the dancers stop and face the audience on a diagonal to perform a series of robotic gestures in a cotangent.
On the other side of the stage will be a couple of platforms of varying heights that the dancers will maneuver around and on throughout the film. Mind you, none of these props were present at the rehearsal I watched last week in the basement of the Owens Arts Center at SMU. Instead Dolder showed me images of the stage layout on his phone as well as pictures of the raked stage which he built by hand in a warehouse off of West Commerce Street near Trinity Groves. “I wanted to build something that three dimensionalizesthe space and the film,” Dolder says. “I wanted to create something lofty to represent the upper world in the movie and something mechanical and chunky to represent the underworld.”
For those unfamiliar with the movie, Metropolis is the name of a Utopian society that exists above a bleak underworld populated by mistreated workers. When a wealthy youth (Freder Fredersen) discovers what is happening underground he tries to help the workers, which puts him at odds with the upper class and especially his father. This silent film has paved the way for other movies in the sci-fi genre, and Dolder observes that even through the movie was made almost 90 years ago its main theme of the one percent versus the other 99 percent is still relevant today.
With so much going on in the film already between the live music and various plot lines Dolder says his biggest challenge has been trying not to over conceptualize his contributions. “My goal is to enhance the film with live theater and multimedia; not detract from it with these components.” The main way Dolder is doing this is by incorporating only 30 minutes of contextualized movement into the 82-minute long movie. He focuses on iconic scenes such as the story of Babel and the creation of the robot as well as individual characters, including Freder, his love interest Maria, Freder’s father and Rotwang the Inventor to elevate the storyline without distracting from the film’s original intent.
Dolder explains, “When the film is busy, I am less busy. I use some of the iconography from the film as well as simple gestures to quantify the characters.” In some cases Dolder will replicate a scene such as when the workers are clustered together with the emphasis on their hands reaching upward. Other times he changes the dynamic of a scene with his use of speed and repetition such as a memorable scene where Freder switches places with one of the workers. As Freder struggles to move the hands on a giant clock in the film, Dolder has his dancer repeat the same winding movement sequence over and over, increasing his speed every time to the point of collapse. “I want the audience to feel nervous,” Dolder says.
Dolder’s background in Graham Technique is well-suited for this project. Graham’s signature back hinges, concaved shapes and constant weight exchanges among the dancers complement the radical themes of the movie. During the retelling of the story of Babel, the dancers use compulsive arm gestures to emulate speaking in tongues. As the dancers grab and pull their hands away from their mouths Dolder shouts out encouragements such as “speak louder” and “make people watch.”
This is the first time a collaboration of this magnitude has been attempted here in Dallas. Will the addition of movement, set design, video projection and live music amplify the audience’s overall experience or will it be too much visual stimuli? Viewers can find out for themselves when the Video Association of Dallas kicks off Dallas VideoFest 28 with its showing of Metropolis Oct. 13 at the Dallas City Performance Hall. The festival runs through the 18th and features approximately 125 screenings of local, region and internationally produced media art programs. More information is available at www.videofest.org.
Dallas Black Dance Theatre kicks off its 39th season with an impressive showing of African dance styles and intricate drumming techniques at its annual DanceAfrica performance.
Dallas — Peace! Love! Respect! For Everybody! These values played a pivotal role in the African dances and rituals audiences were invited to be a part of Friday evening at Dallas Black Dance Theatre’s (DBDT) annualDanceAfrica performance at the Dallas City Performance Hall. Special guests Dallas Black Dance Academy Ensembles, Booker T. Washington High School for the Performing and Visual Arts’ World Dance Ensemble, Giwayen Mata and Bandan Koro African Drum and Dance Ensemble enthralled audiences with their boundless energy, uninhibited movement quality and complex drumming skills.
As is customary, Dr. Charles “Chuck” Davis opened the show with a brief historical synopsis of DanceAfrica before handing it over to DBDT’s Council of Elders. With candles casting the only light a handful of individuals dressed in white stood center stage while Mama Diana Hughley lead them through a hauntingly beautiful chant honoring their ancestors. The venue’s intimate setting and special lighting capabilities that allowed images to be projected around the theater really added to the welcoming message of the event, and this scene in particular, which was not always the case when the festival was held at the more expansive Majestic Theater.
DBDT and DBDT II displayed great stamina and rhythmic skill in Davis’ Homage to the Source Africa. The movement was a fusion of balletic leg extensions and jumps and classic Katherine Dunham technique, which included articulated pelvis, flexible spine and polyrhythmic movements. The pinnacle of the dance was the individual solos where viewers got to see the dancer’s personalities come out through his or her choice movement. Main company member Michelle Herbert was all about the pelvis isolations as she bent over and walked backwards while Alyssa Harrington focused on her upper body with a series of torso pops and head swings. DBDT II dancers Lailah Duke and Christen Ashley Williams garnered applause when they combined chest isolations and hip shakes with fast foot work. The men of both groups also wowed the audience with their speed and athletic prowess throughout the entire number.
Fluctuating energy levels and costume mishaps were a distraction in the collaborative number performed by the Dallas Black Dance Academy Ensembles, but the technical foundation and musical awareness was there and it will be interesting to see how director’s Kayah Franklin, Michelle Herbert and Katricia Eaglin build on these strengths throughout the year.
Booker T.’s World Dance Ensemble surprised the audience with their authentic character portrayal and advanced African dance technique in Moussa Diabate’s Sofa (The Hunting Dance). In the beginning a male hunter scouts out the area, his movements slow and deliberate as he aimed his rifle in different directions. The other hunters entered crawling across the stage, pausing every so often to look down their rifles. As the drums behind them changed tempo the dancers’ movements became more exaggerated. As the piece progressed the dancers kept layering the movement with more hip isolations and upper body undulations till the hunt was over. The dancers’ sharp focus and ease with the props throughout the piece are a testament director Michelle Zada Hall’s time and diligence in rehearsal.
The first half ended with Bandan Koro Drum and Dance Ensemble letting it rip on a family of West African bass drums in Foli Kan 2.0 and showcasing their physical and musical fortitude in Dundunba. In both pieces the ensemble made the quick transitions from drumming to dancing appear effortless.
In the second half Giwayen Mata showed great range with five pieces that combined their exceptional drumming and joyous vocals with boisterous arm gestures and tricky foot stomping sequences. The group’s piece For Baba which honored Chuck Davis stood out with its deliberate and reverent movement choices. A single dancer explored the space through a series of opened-chest releases, shifting body shapes and moments of suspension as she slowly traveled across the stage. At the end she approached Davis who was also on stage and bowed her head while touching her chest and then the ground in a sign of respect and love.
Dallas Black Dance Theatre II pushes itself physically and emotionally in Artistic Director Nycole Ray’s Opaque, part of DanceFest 2015 this weekend.
Dallas — Starting out as a student-driven secondary company formed in 2000 by Dallas Black Dance Theatre Founder Ann Williams, Dallas Black Dance Theatre II (DBDT II) has flourished into a high caliber performance troupe made up of eight young and hungry semi-professionals from all over the place. This year’s troupe alone includes dancers from Washington, D.C., Chicago, Mexico and Jamaica. Every dancer has a unique story of how they became involved with DBDT II that they readily shared with me when I stopped by Dallas Black Dance Theatre’s (DBDT) main studio last Thursday to watch them prepare for the upcoming Dallas DanceFest.
Surprisingly only one company member comes from the Dallas Black Dance Academy while everyone else came in contact with DBDT through college workshops, summer intensives, tours in New York City and the International Association of Blacks in Dance conferences. Artistic Director Nycole Ray points out that these dancers are here voluntarily, working tirelessly toward the goal of one day moving up to the main company. “DBDT II is really the training company for DBDT,” Ray says. “Last year six out of the 12 main company members came from the second company.” Ray adds that this has always been Ms. Williams’ vision for DBDT II. “When I took over the second company six years ago Ms. Williams told me she wanted the group to have the same technical excellence and strength as the main company such that audiences wouldn’t be able to tell the difference between the two.”
With that goal in mind Ray is constantly challenging the dancers by introducing them to a variety of movement styles and choreographers, including Christopher L. Huggins, Bruce Wood, Ray Mercer, Dianne Grigsby, Cleo Parker Robinson and DBDT company member Richard A. Freeman, Jr. DBDT II’s touring schedule has included stops in South Carolina, Oklahoma, Louisiana, Virginia and Arkansas. Internationally the company has travelled to Ireland, South Africa, Austria and Peru, just to name a few. Ray says the company is very excited to add Mexico and Chile to their touring schedule this year.
When it comes to her own choreography Ray says she likes to challenge the dancers physically and emotionally, which comes across in abundance in her aptly titled work Opaque. “The piece is about things not always being transparent no matter how much you want them to be. The thought process stems from a person and not so happy feelings, which then evolved into something that made me feel good and positive.” You get a sense of this optimism through the dancers’ lifted upper bodies, unyielding trust in one another and purposeful use of each dancer’s (male and female) long, black skirts. “The skirts purposely cover the dancers’ feet to create this illusion that they are floating while also reflecting on the theme of transparency and what you can’t see.” The skirts are not just for ambiance. The dancers use them throughout the work as extensions of their bodies, links to one another in one section where they unravel across the stage and even for extra resistance in the partnering sequences. The effect is dramatic, yet not overdone.
» The second Dallas DanceFest is Sept. 4-6. Performances will take place on Friday and Saturday night at 8 p.m. with the 2015 Dance Council Honors awards ceremony and performance showcase occurring on Sunday afternoon.
The Austin-based choreographer on landing roles in the The Lion King and Memphis on Broadway, the future of classical jazz dance and performing at Dallas DanceFest.
Dallas — Dallas native LaQuet Sharnell Pringle was bit by the Broadway bug at the age of six after seeingThe Wiz National Tour in Chicago. An avid singer, Pringle performed in her first musical, The Velveteen Rabbit, at Bowman Middle school at age 12. Pringle went on to attend Booker T. Washington High School for the Performing and Visual Arts (BTWHSPVA) where she studied ballet, modern, African and compositional studies as a member of the Advanced Repertory company. She also studied jazz, lyrical, tap, hip-hop and contemporary at The Dallas Powerhouse of Dance and The Centre for Dance, and participated in many local dance events, including the Dance Council of North Texas’ Dance Planet Festival and the Dallas Morning News Festival. Pringle was studying at the North Carolina School of the Arts when she landed her first Broadway gig in Sweet Charity.
Pringle is currently an adjunct professor in the Musical Theater Department at Texas State University. She also teaches at Ballet Austin and Tru Dance Project and is the founder of Fearless Young Artists, an organization devoted to providing extensive creative arts education to diverse youth who are interested in careers in the arts. Her dance career has come full circle this year as she was the headliner for Dance Planet 19 last April and will be performing at the second annual Dallas DanceFest, this coming weekend. Pringle will be performing Friday evening alongside Austin-based artists Amy Morrow and AJ Garcia-Rameau.
TheaterJones talked to LaQuet Sharnell Pringle about navigating through the Broadway industry, where jazz technique fits in today’s contemporary-driven world and what she has in store for audiences at Dallas DanceFest.
TheaterJones: How did you hear about Dallas DanceFest?
Pringle: I was most familiar with the festival of dance when it was called the Dallas Morning News Festival. Back then it was done in the [Annette Strauss] Artist Square. With the amazing new additions to Arts District, I was speaking with Gayle Halperin at Dance Planet 19 who informed me of the new name and vision.
What will you be showcasing at the Festival?
I will be premiering one part of a three-part piece that explores the masks worn when in my romantic relationships, my relationship to the business of show and reactions I have felt towards both. This piece has been cathartic and edifying experience for me. I have learned so much through the many re-writes of my text and through the choreography. I hope that audiences will experience this piece as a type of mirror I am currently looking at to better understand and grow from as I begin a new journey.
What was the auditioning process like for The Lion King andMemphis?
These shows could not be more different. The Lion King was a show that was already up and running. So, coming in the creative team knew exactly what they were looking for. Thank goodness for my modern dance training at Booker T. because the audition quickly weeded out the dancers without modern technique and acting abilities.
For Memphis, the process was a tad more relaxed in that they were looking for someone in particular while also not knowing what they were looking for. I am thankful that I was the right height, talent and person to work with the male dancer they were most looking to pair me with. For Memphis our choreographer looked for great jazz technique paired with character attachment to the movement quickly. I’d say the biggest difference was that with The Lion King I was breaking into the industry and with Memphis I was in “the biz” and aware enough to see the many moving pieces around me.
You were the headliner for Dance Planet 19 last year. What did you take away from that experience?
I mostly took away humility and openness to experience something greater than myself. Dallas in general is an incredible city to nurture incredible talents. Dance Planet 19 brings every young artist and parent into one place where we all grew, laughed, danced and sweated together. It was an incredible weekend of community.
What motivated you to start Fearless Young Artists?
Even as I began to perform professionally, I always had a leg in the studio—to teach and to learn. I began to realize the significant impact my teachers had on my development. They were professionals. They knew what it meant to be on stage, and more importantly get on stage. I saw that there were so many kids that didn’t have access to the level of talent some have to learn from. FYA was born to create a place where the student could both watch the professionals from the audience then learn from them in class. As I continue to build FYA Workshops and Intensives around the country the DFW area will be first on the schedule and map. FYA will also offer scholarships to those young artists in need.
There is a lot of talk in the industry about how jazz technique is being overshadowed by contemporary in the classroom. As a jazz instructor what is your take on this? Where do you think jazz fits in today’s contemporary-obsessed world?
Technique across the board is being replaced by contemporary and center combos. Somewhere along the line we began to teach our young artists about having enough likability to be on T.V shows. Many have stopped teaching marketability and the ability to be a chameleon as dancers and artists. It is now okay to microwave an artist rather than growing and nurturing young artists. Technique, whether it be ballet, jazz or modern or tap or hip hop, requires years of practice and it doesn’t seem to me that the focus is on where the dancer will be 15 or 20 years from now. The great educators and studio owners within the arts have this ability to teach slow and steady wins the race while also enforcing a passion to express, from their individual perspectives, where the technique can take you within choreography.
» The second Dallas DanceFest is Sept. 4-6. Performances will take place on Friday and Saturday night at 8 p.m. with the 2015 Dance Council Honors awards ceremony and performance showcase occurring on Sunday afternoon.
» Tickets for both events are available through TICKETDFW: online at www.TICKETDFW.com, by phone 214-871-5000, or in person at the box office 2353 Flora St., Dallas, TX 75201. For more information, go towww.dallasdancefest.org
The Austin-based dancer on building a freelance career and making her first appearance in Dallas at the second annual Dallas DanceFest.
Dallas — A newcomer to the Dallas dance scene,Ashley (AJ) Garcia-Rameau says she is looking forward to the numerous career building opportunities awaiting her at Dallas DanceFest, most importantly forging new relationships with fellow participants and accessing a broader audience base. “I am excited to network and see the other companies perform,” Garcia-Rameau says. “There is a very nice line-up of artists this year and a lot of whom I have never seen dance. My biggest take away is to learn about other dancers and companies and their choreography.” As to what Garcia-Rameau would like audiences to take away from her performance she says, “The piece I will be presenting is simple, yet strong and will hopefully encourage an emotional response and maybe encourage viewers to go see more kinds of dance.”
The piece, called Inevitable Displacement, is a three-minute solo excerpt from a larger work choreographed by Gina Lewis, which features simple, nude costuming and Lester Horton-inspired movements. In the solo Garcia-Rameau travels from upstage left to downstage right with just one bag while incorporating movement that represents the passage from the past to the future. “It’s inevitable that you’re going to be displaced from your original location,” Garcia-Rameau says about the work’s theme. “The lighting helps demonstrate this point by disappearing behind the dancer once the previous step is achieved. And it’s nice how Gina put it together because it is kind of anguish-y, but also exciting because this person is looking to the future while also being nostalgic about the past.”
The contemporary ballet style of the piece comes naturally to Garcia-Rameau whose dance training includes the Houston Academy of Dance, Exclamation Dance Company, The Alvin Ailey School, Complexions Contemporary Dance Company and Dominic Walsh Dance Theater. She joined the Austin Classical Ballet Company and BHumn Dance Company while attending the University of Texas where she earned a B.S. in Chemical Engineering and a Dance Minor with a focus on advanced ballet. After graduating in 2011, Garcia-Rameau spent three years doing freelance work with artists and dance companies in Philadelphia and Michigan before returning back to Austin this spring.
Garcia-Rameau notes that the Austin dancescape has changed some since the last time she lived here and says she is encouraged by what she sees happening. “Since coming back I have noticed there are a bunch of really good freelance dancers and they have formed this group called Austin Community Ballet. Basically, we get together a couple times a week and give each other class and it has been fun, challenging and a great way to network. What’s also promising is the hunger I see in the dance community here now as opposed to what it was before I left where it was just stagnating. It’s nice to see that things are growing in Austin and more people are getting interested in the arts.”
Garcia-Rameau will be presenting Inevitable Displacement during Friday evening’s program which also includes performances by Austin-based choreographers Amy Morrow (Bell House Arts) and LaQuet Sharnell Pringle.
» The second Dallas DanceFest is Sept. 4-6. Performances will take place on Friday and Saturday night at 8 p.m. with the 2015 Dance Council Honors awards ceremony and performance showcase occurring on Sunday afternoon.
» Tickets for both events are available through TICKETDFW: online at www.TICKETDFW.com, by phone 214-871-5000, or in person at the box office 2353 Flora St., Dallas, TX 75201. For more information, go to www.dallasdancefest.org/
The second annual Dallas DanceFest promises more variety and exceptional dancing from individuals and groups throughout the region.
Dallas – The perception of dance in Dallas has changed dramatically over the last five years largely due to the development of the Dallas Arts District; the rise in the number of professional dance companies based in the city; the restructuring of veteran dance groups like Texas Ballet Theater and Dallas Black Dance Theatre; and the creation of local dance festivals, including Rhythm In Fusion Festival (RIFF) and Dallas DanceFest (DDF). All of these factors are helping to transform Dallas into a grand destination for dance. Keeping this in mind the Dance Council of North Texas (DCNT), in partnership with the City of Dallas Office of Cultural Affairs, is planning to deliver more vitality, diversity and excellence in dance with the second annual DDF which takes place September 4-6, 2015 at Dallas City Performance Hall. This prestigious event features performances on Friday and Saturday evenings at 8:00 p.m. and concludes Sunday afternoon with the Dance Council Honors.
The impact of the festival isn’t just felt around the Dallas-Fort Worth Metroplex but across the region as well. Houston-based METdance (formerly Houston Metropolitan Dance Company), an original participant in the Dallas Morning News Festival, was disappointed when that festival disbanded in 2004 as it had looked forward to performing for Dallas audiences. But artistic director Marlana Doyle says, “We were grateful to be a part of DDF last year and had the thrill of enjoying the Dallas audiences and arts community in such an amazing venue once again. METdance appreciates the efforts of the Dallas Dance Council and looks forward to celebrating the arts in Texas.”
Kimi Nikaidoh, artistic director of Bruce Wood Dance Project here in Dallas, adds, “Given the all-consuming nature of running an arts organization, it’s impossible to see what all of the many other groups in the area are accomplishing. Dallas DanceFest brings us all out of our respective “workshops” and gives us the chance to be inspired and challenged by each other.”
Curated by top dance professionals Lauren Anderson, Fred Darsow, Bridget L. Moore and Catherine Turocy, DDF 2015 will feature 19 exceptional artists and companies from all across the region including – Houston, Austin, Oklahoma, Alabama, and the Dallas-Fort Worth Metroplex. Audiences can expect each performance to be a unique and thrilling display of dance styles including – classical ballet, modern, tap, hip-hop, traditional Indian dance and Ballet Folklorico. The programs will also feature performances by well-known and beloved Dallas institutions such as Dallas Black Dance Theatre and Bruce Wood Dance Project along with some new names including the Dallas Cowboys Rhythm & Blues Dancers.
“It was incredible to see such a tremendous response to DDF 2014,” says DCNT President Kirt Hathaway. “The Dance Council made the decision to re-implement this wonderful dance event after it had sat idle for so many years. With the inclusion of the Dance Council Honors, DDF has immediately become one of DCNT’s marquis events. Producing such a wonderful weekend of dance would not have been possible if the organization had not experienced such growth over the past several years. It truly shows that there is a great commitment by the board and staff to support dance in North Texas and beyond. This year promises to be even more exciting.”
This year’s participants include:
Ballet Ensemble of Texas (Coppell, TX) – Formed in May 2001 under the leadership of Lisa Slagle, the company’s goal is to present quality ballet performances for the local communities and to provide advanced ballet students with the opportunity to prepare for a career in dance. It is the official company of the Ballet Academy of Texas.
Bell House Arts, Inc. (Owasso, OK) – Founded by Rachel Bruce Johnson, The Bell House is a collaborative dance and art cooperative dedicated to creating opportunity for artistic exchange. At The Bell House, we are interested in the collaboration of ideas, people and movement language that challenge the status quo and conventional ways of making art by elevating art as a process. Its fosters meeting points for artistic connection between people rather than elevating the art as product in order to activate the transformative nature of movement that can be experienced both in the practice, performance and witness of dance.
Booker T. Washington High School for Performing and Visual Arts (BTWHSPVA) Repertory Dance Company I & II (Dallas, TX) – BTWHSPVA is “the cradle of the Dallas Arts District.” In 2015, the school was awarded the Texas Commission of the Arts Medal of Honor for exemplary training in Arts Education. The department’s philosophy is to provide a broad dance education that challenges the students artistically, intellectually and physically and to prepare qualified students for collegiate and professional careers in dance and related professions.
Bruce Wood Dance Project (Dallas, TX) – BWDP was launched in 2011 to champion the vision, leadership and artistry of nationally acclaimed Texan dance-maker Bruce Wood. BWDP picked up where the successful Fort Worth-based Bruce Wood Dance Company left off. Under Wood’s direction the company produced six word premieres and a TITAS Presents Commission for Command Performance Gala. Currently in its fifth season the company is now under the direction of Kimi Nikaidoh after Wood’s passing in May 2014.
Chamberlain Performing Arts (Plano, TX) – Established in 1984 by Artistic Director Kathy Chamberlain as a student ensemble dedicated to providing students a stepping stone to professional dance careers. Chamberlain is dedicated to serving North Texas and the surrounding community by providing professional quality performances and outstanding outreach programs. The company takes great pride in the ongoing efforts to expand its cultural diversity through performance collaborations.
Dallas Black Dance Theatre (Dallas, TX) – Founded in 1976 by Ann Williams, DBDT consists of 12 full-time dancers performing a mixed repertory of modern, jazz, ethnic and spiritual works by nationally and internationally recognized choreographers. Over the years the company has grown from a community-based, semi-professional organization to a fully-professional dance company that is renowned in the U.S. and is noted for its rich cultural diversity, history of inclusion and high-level of artistic excellence in contemporary modern dance and educational programs
Dallas Black Dance Theatre II (Dallas, TX) – This semi-professional company created by Dallas Black Dance Theatre Founder Ann Williams in 2000 consists of eight aspiring artists from around the nation. Under the guidance of Nycole Ray, DBDT II provides an opportunity for young artists to develop their dance skills while serving the Dallas/Fort Worth community and touring across the nation. Going into its 16th season performing works by recognized and emerging artists, DBDT II performs a diversified repertoire of modern, jazz, African, lyrical and spiritual works.
Dallas Cowboys Rhythm & Blues Dancers (Irving, TX) – Founded in 2009, DCRB is a high-energy co-ed hip hop dance team and drum corps. Lead by Jenny Durbin Smith DCRB brings an innovative, unique and exciting element to the Cowboys legendary game-day entertainment line-up. The dance teams dynamic routines feature breakdancing and hip hop-based movement requiring both strong musicality and level of dance ability. Presented by Miller Lite, DCRB was conceptualized under the direction of Dallas Cowboys Executive Vice President of Brand Management Charlotte Anderson and is the first and only entertainment concept of its kind in the National Football League.
Dark Circles ContemporaryDance (Dallas, TX) – Originally formed in Seoul, South Korea by Joshua L. Peugh and Cho Hyun Sang, Peugh started the USA branch of the company in 2013 bridging the gap between East and West. DCCD is dedicated to bringing the progressive work of international choreographers and dancers to a worldwide audience. It strives to educate the public on the power of movement in communicating ideas.
AJ Garcia-Rameau (Austin, TX) -AJ Garcia-Rameau is an independent contemporary ballerina based in Austin. AJ trained at Houston Academy of Dance and Austin School of Classical Ballet. She received additional training under scholarship with Alvin Ailey School, Joffrey Jazz/Contemporary and Complexions Contemporary Ballet. AJ earned a BS degree in Chemical Engineering and Dance minor from the University of Texas. She has performed with Exclamation Dance Company, Austin Classical Ballet and BHumm Dance Company.
Houston Repertory Dance Ensemble (Houston, TX) – The ensemble is a sponsored project of Fractured Atlas, a non-profit arts service organization, and is led by Artistic Director Amy Blake. This ensemble was designed for the dancer seeking collaboration with exemplary worldwide professionals in the industry to help them obtain greater levels of achievement in the arts through classical training in ballet, jazz, modern and contemporary. The ensemble provides dancers with a positive working environment and opportunities for master classes, private coaching, YAGP participation and multiple international showcases and performance venues.
METdance (Houston, TX) – Founded in 1995, Houston Metropolitan Dance Center Inc. strives to educate and revitalize a passion for dance through the finest instruction and performance. Under the direction of Marlana Doyle MET Dance Company has performed throughout the United States in dozens of theaters receiving high acclaim, performing works by some of the most influential and talented choreographers of our time. The company is the sister organization to the MET Dance Center. Mosaic Dance Project of Dallas (Dallas, TX) – Created in 2014 by Giovanna Godinez Prado, Mosaic Dance Project’s mission is to create, educate and inspire individuals that desire to grow not only as dancers, but as artists as well, along with our cultural and ethical awareness and values.
Natyananda: Joy of Dance (Birmingham, AL) – Founded in 1978 by Sheila Rubin, Natyananda performs both traditional and original choreographic works in the classical Bharatanatyam style of Southern India. Through student, professional and guest artist presentations Natyananda promotes understanding of universal artistic and cultural themes while showcasing the rich and unique heritage of Alabama’s Asian Indian-American community.
NobleMotion Dance (Houston, TX) – NMD was co-founded by Andy Noble and Dionne Sparkman Noble in 2009. Over the last five years it has distinguished itself as one of Houston’s most important dance companies. NMD brings a fresh perspective to their community with its mission of integrating technology and dance, and is a Resident Incubator at the Houston Arts Alliance and is currently on the Texas Commission on the Arts (TCA) touring roster.
LaQuet Sharnel Pringle DDF 2015 commissioned premiere(Austin, TX) – A Booker T Washington HSPVA alum, Pringle attending the North Carolina School of the Arts before making her Broadway debut in 2005 in Sweet Charity with Christina Applegate and Dennis O’Hare. She has also performed in productions of The Lion King and Memphis. Today, Pringle is an adjunct professor at Texas State University teaching Jazz Dance in the Musical Theater Department. She is also the artistic director and founder of Fearless Young Artists (FYA) and was the headliner of Dance Planet 19.
Rhythmic Souls (Dallas, TX) – This small company if wicked fierce rhythm tapper is captivating local audiences with their unique blend of style, charisma, innovative choreography and rapid-fire footwork. The company is on the cutting-edge of dance choreography with cross-genre repertoire that infuses rhythm tap dance with body percussion, sand dancing, contemporary movement, flamenco, swing dance and anything else that might lend itself to their rhythmic percussion. The company strives to bring the spirit of tap dance back to the stage and continue the legacy of an American art form.
Southern Methodist University Meadows School of the Arts Dance Division (Dallas, TX) – The SMU Division of Dance offers both conservatory dance instruction and a liberal arts education. The dance program develops disciplined, versatile artists through professional training in ballet, modern and jazz techniques as well as theory. Undergraduates can earn a B.F.A. in Dance Performance or a minor in Dance Performance. Students perform masterworks of the great choreographers of the 20th century as well as works by contemporary masters.
Texas Ballet Theater School (Fort Worth, TX) – Training the next generation of dancers and arts patrons is the mission of TBT Schools. Starting with the very young, we nurture aspiring artists to discover their greatest potential and to develop a love of movement, a passion for creativity and an appreciation for the beauty and athleticism of classical dance.
Tickets for DDF 2015 available August 1 through TICKETDFW: online at www.TICKETDFW.com, by phone (214) 871-5000, or in person at the box office 2353 Flora St, Dallas, TX 75201.
Gayle Halperin’s latest endeavor opens new doors for the Dallas dance community. Literally.
Dallas – Bruce Wood Dance Project. TITAS. Dallas DanceFest. Dance Planet. These are just a few of the high profile dance organizations and events that Dallas arts patron Gayle Halperin has helped cultivate. Last year alone, Halperin steered the committee for the inaugural Dallas DanceFest while also continuing on with the Bruce Wood Dance Project’s (BWDP) fourth season after the loss of its founder a few weeks prior to the company’s June performance. Halperin’s drive and intuition when it comes to the needs of the local dance community led to her being featured in TheaterJones’ first Forward Thinker Series in December 2014. Halperin’s most recent contribution to the dance community not only gives BWDP a stable home, but also provides dance groups in the area with a more affordable option when looking for rehearsal and performance space.
“My dream has always been to have a rehearsal space that transforms into a minimal black box theater that can be used for small studio performances,” Halperin says. “I like a space that can only fit about 80 to 100 people and has minimal lighting and good sound, but without all the fancy trimmings.”
Halperin is turning this dream into a reality with the Bruce Wood Dance Gallery. Located at the corner of Howell St. and Levee St. in the Design District, the Bruce Wood Dance Gallery occupies approximately 6,000 square feet of the 12,000-square-foot white brick building. Right now BWDP is only using half of the space while the other half is being finished. The second space only became available for lease this past winter. Halperin says she hopes to have the company rehearsing in the second space, which is 400 feet bigger, by the end of the summer. BWDP’s current space features sprung flooring, high ceilings, a break area and plenty of natural light. “We ended up going with this location because it had high ceilings, no poles and didn’t need a lot of finishing up. We saw a lot of spaces, and it was quite difficult to find a space that only needed minimal repair. We were fortunate to find this corner property in the Design District.”
The process of finding a rehearsal space started more than a year ago, Halperin says, when Wood decided he wanted the company to start rehearsing during the day, Monday through Friday. “We always knew that if the company was going to go anywhere that it needed its own space. So, last year when Bruce announced that the company wasn’t going to rehearse in the evenings anymore I made that commitment to him to find a place for the company to rehearse.” She adds, “Bruce always said that’s how he worked when he had the Bruce Wood Dance Company. You have to work every day in order for the company to develop a cohesive style and to be challenged to become stronger.”
The company didn’t move into the Bruce Wood Dance Gallery till July 2014; one month after Wood’s passing. And even through Halperin’s name is on the lease she says the whole project has been a huge team effort. She credits BWDP’s Administrative Assistant Rebecca Butler for finding the space and board treasurer Danny Curry for masterminding the construction of the sprung flooring. “This was leap of faith, but Bruce made a huge impact on me so it’s all worth it.”
Albert Drake makes his choreographic debut with his work Whispers, part of the Bruce Wood Dance Project’s upcoming performance marking the company’s fifth anniversary.
Dallas — After watching Albert Drake rehearse his first piece for the Bruce Wood Dance Project (BWDP) Monday afternoon at the company’s studio in the Design District it struck me that Dallas is now not only a breeding ground for uniquely qualified dancers, but also choreographers. Drake has made a name for himself in the North Texas dance community as a founding member of the Bruce Wood Dance Project as well as for his work outside the company, including teaching at Park Cities Dance and Southern Methodist University where he received his BFA in dance performance from the Meadows School of the Arts.
As a dancer, Drake is known for his explosive movement quality and innate lyricism and it was nice to see these traits represented in his first chorographic endeavor, Whispers, part of BWDP’s 5 Years performance June 19-20 at the Dallas City Performance Hall. The work follows eight dancers, including Drake and BWDP’s Artistic Director Kimi Nikaidoh, as they search for the meaning of happiness. Starting with an R&B vibe and then shifting into a fast-paced piano phrase, the 20-minute piece is broken up into various duets, trios and group sections depicting the various relationships among the dancers.
“I wanted to play with relationships that weren’t necessarily just about love,” Drake says. “There is a duet toward the end of the third section that has more of a protective quality to it and has this feeling of you and me against the world. And there are other duets and trios that more about trust and support.”
The blind support Drake talks about allows the couple to transfer their weight back and forth without qualm as they glide across the floor. Their momentum never stops even as the female slides into a split and is pulled through her partner’s legs into a steadfast fourth position relevé. The trios are dotted with dynamic leaps, wicked fast turns and buoyant floor work. A composed backward walking phrase is used multiple times, but the dancers’ changing directions keep viewers on their toes.
“I don’t like predictability,” Drake says, as he explains his penchant for the unexpected. This also makes for some exciting transition changes, such as when the dancers sprint out of the wings or get picked up one by one as a dancer runs by. And in one exuberant section all the dancers dash across the stage leaving a lone dancer to execute a controlled headstand into a series of one-footed balances performed in silence. “Creating transitions is difficult because they have to flow and take the audience on a journey without taking them in and out. As a choreographer you have to find a way to keep the audience involved and keep the whole thing circular.”
The cast is a mix of company veterans including Harry Feril and Nikaidoh and newcomers such as Eric Coudron and David Escoto. While the group danced seamlessly together Drake says it did take some time for everyone to adjust to the creative process. “The first week it was just about making sure everyone was present because, for some of the newer dancers, they haven’t gotten a lot of chances to work in the creative process. A lot of dancers get drawn into a repertory company where you learn old works over and over. In the creation process you have to be patient, moldable and willing to let go.” Drake admits that was a struggle, but once everyone got into it he says they were able to absorb the movement without prejudice and some good stuff came out of it.
It’s easy to spot Wood’s influences in Drake’s choreography. After all, Drake spent more than half his career training with the notable North Texas choreographer who passed away suddenly last year. “I adopted him early on as the mentor I wanted to be around and learn from. His previous dancers adored the man and followed him religiously and I see why. So, he invested in me and I invested in him and it was a great relationship.”
Wood’s quirky foot work, deliberate gesturing and emotional pull are seen throughout Drake’s piece, but most poignantly in the opening section where the four females each perform a gestural phrase of movement that slowly builds in intensity.
“His principles are a part of me so it wasn’t challenging to stay within his realm of movement. The hard part was moving away from it and standing out and not necessary being a replica of him. Now, I didn’t try to stray away from them, but I did want to take his principles and use them in a different context.” Wood also had the unique ability of connecting with audiences on a deeply emotional level, something Drake hopes to accomplish with Whispers. “I don’t want the physicality or the prettiness of the piece to determine how people feel. My main purpose of this piece is to keep people emotionally involved.”
The concert will also feature the Dallas premieres of Wood’s Requiem and Polyester Dreams.
Avant Chamber Ballet makes a rousing tribute to American Ballet at the Soluna Festival with guests from the Dallas Symphony Orchestra.
Dallas — There’s nothing like hearing live music at a classical ballet performance. It adds some spontaneity to an otherwise technically fixed art form as well as a layer of anticipation for both performers and audience members. It was this anticipation that had audiences on the edge of their seats as Avant Chamber Ballet (ACB) broadened their artistic range in a near flawless performance Tuesday evening at Dallas City Performance Hall in conjunction with the Soluna: International Music & Arts Festival. Staying within the margins of the festival’s theme “Destination America” Puder put together an exciting program that included some of her favorite American ballet choreographers, including George Balanchine, Christopher Wheeldon and Paul Mejia, and also showcased the company’s ever growing versatility and musical awareness.
Having been brought up on the Balanchine style it came as no surprise that ACB’s restaging of Balanchine’sValse Fantaisie paralleled the technical fortitude of the original. Glinka’s driving composition, arranged by ACB’s composer in residence Chase Dobson, guided the five females and one male through this whirlwind that can only be called pure dancing. As was Balanchine’s custom, leg beats and rises on and off pointe were accentuated with subtle head tilts and arm changes. Natalie Anton, Madelaine Boyce, Kristen Conrad and Kaitlyn McDermitt performed the springy corp steps without hesitation and beautifully captured the musical nuances with their elongated arabesques and breathy arm transitions. Christy Martin was a spitfire in the lead role with fellow dancer Peter Kurta. Martin showcased exquisite control as she stepped into a lengthyarabesque hold after completing a vigorous entrechatvariation.
Kurta ate up the stage in his traveling jump sequences and maneuvered Martin through a series of assistedpirouettes and rotating body positions without qualm. Musicians Miika Gregg (violin), Lydia Umlauf (viola), Jennifer Humphreys (cello), Kara Kirkendoll Welch (flute), David Cooper (horn) and Saule Garcia (piano) partnered beautifully with the performers on stage with changing tempos, volumes and styles generating the same energies in the dancers.
Paul Mejia’s Serenade in A challenged ACB’s Natalie Anton, Emily Dixon, Yulia Ilina and Rachel Meador with its musical intricacies and scrupulous technique. Choreographed in four parts, each section uses a different part of the body to highlight the nuances in this illustrious Stravinsky composition. The long-sleeved white leotards and matching ballet belts enhanced the dancers’ lines and did not detract from the detailed movements seen in the work. Right away the eye is drawn to the dancers’ upper bodies as they contract and release on different counts.
These constantly changing counts made the simple plies with wrist flicks and back arches appear fresh and exiting. In the third section the fast tempo was accented by the dancers’ hips as they quickly tip-toed on the balls of their feet around one another. Pianist Garcia slowed the tempo down in the final section as the dancers focused on raising and lowering their arms to different counts and rhythms.
Just as the title states, Puder’s new work Endless Arc was a continuous array of wide arcing movements, contracted torsos and explosive leg extensions. By breaking the piece into five parts the audience could fully appreciate Puder’s interweaving formation changes, complex petite allegro sections and push and pulling partnering skills. In the first section, Sarah Grace Austin set the tone when she performed a series of slow side bends and tendue steps with an inverted hip swivel. As Bela Bartók’s String Quartet No. 4 picked up tempo Austin and the other five dancers on stage exploded into a number of running jetes which led them off stage.
In the second and fourth sections, Madelaine Boyce, Kirsten Conrad and Christy Martin made easy work of the traveling chaine turns and double pirouettes that came in between their running patterns, which had them circling close to one another before shifting directions. The simple rotating bourrees and slow walks which spread the group across the stage in the third adagio section was one of the most visually arresting moments of the whole piece. The audience was also pleased to see Tagir Galimov handling the classic partnering skills (i.e. rotatingarabesques, pirouettes) with more assertiveness and continuity.
The piece came to a satisfying conclusion as the entire company executed a series of high powered traveling jumps and alternating battements before ending in diagonal spanning the stage. As they pivoted to the front with one arm curved up and the other down the stage went dark. Throughout the piece Charlton Gavitt’s bold color choices and abrupt lighting cues meshed with the sharp changes in the music and helped round out the work.
These more traditional works were separated by two contemporary duets choreographed by Christopher Wheeldon. In The American pas de deux Michele Gifford clung to Shea Johnson as he manipulated different parts of her body. Flexed feet, broken arms and a contracted torso made up most of Gifford’s movements as Johnson swept her across the floor in a number of over the head lifts. The counterbalance holds and sustained lifts, which made up a bulk of the work, tested Johnson’s control and consistency with positive results. WhereasThe American was light and buoyant, Wheeldon’s There Where She Loved was grounded and tense with Gifford desperately reaching and arching away from Johnson as he dragged her across the floor on the tops on her feet. Soprano Corrie Donovan’s soul stripping rendition of Kurt Weill’s Je ne t’aime pas as well as her physical presence on the stage gave the couple courage to fully let themselves go which in turn made their performance more dynamic and believable.
Avant Chamber Ballet plans to wow audiences with its artistic range and technical fortitude at the inaugural Soluna: International Music & Arts Festival in Dallas.
Dallas — It comes as no surprise that Avant Chamber Ballet (ACB) is the only local ballet company invited to participate in Dallas’ inaugural SOLUNA: International Music & Arts Festival. After all, the company’s goal of reconnecting dance with live music fits right into the festival’s purpose and it also helps that ACB has strong ties with the Dallas Symphony Orchestra, the organization in charge of this three-week performing and visual arts extravaganza. ACB Artistic Director Katie Puder adds that DSO is always her first choice when looking for collaborators, and having worked with these musicians already has made this process a little easier. It also can’t hurt to have DSO Principal French Hornist David Cooper as your company’s music director. With that said, ACB’s fresh perspective on the fixed art form of ballet has more than earned them a spot on the festival’s roster.
Staying within the margins of the festival’s theme,Destination (America), Puder has put together an exciting program showcasing choreographers and composers who came to American for inspiration and freedom. The lineup includes George Balanchine’s Valse Fantaisie, Christopher Wheeldon’s pas de deux fromThe American and There Where She Loved, Paul Mejia’sSerenade in A and the premiere of Puder’sEndless Arc. “Soluna’s theme of Destination America was a great reason for applying for our first Balanchine ballet and presenting a Paul Mejia ballet,” Puder says. “We are also honored to be the only ballet company partnering with the festival and Dallas City Performance Hall is the ideal home for ACB.”
Watching ACB rehearse for Soluna at Park Cities Dance two weeks ago I saw the dancers being tested both physically and mentally, which in turn added new intensity to their movement choices. This was most apparent in Mejia’s musically brutal work, Serenade in A, which features company members Natalie Anton, Yulia Ilina, Rachel Meador and Emily Dixon. While everyone in the company learned the piece Puder selected these four based on certain factors. “It was a choice of who looked best in it, would look best in the white leotards and had the height too. The four girls shouldn’t match (in terms of appearance), but they need to be able to blend together.”
Right away the two pairs start on different counts as they glide side to side in a series of deep squats with a contracted torso as their arms swoop up and down, resembling bird’s wings. As the dancers move into a box formation their timing matches as they perform a series alternating hand gestures and shouldering before smoothly changing timing again. Another signature section is when the four dancers come together and link hands just as the dancers do in the second half of Swan Lake. As the group deliberately walks forward together they raise their linked arms up and down on alternating counts. One at a time they present a foot and shift their weight forward while repeating the arm movements. The layered movements and musical intricacies are challenging, but these four dancers make it look effortless nonetheless.
An exhilarating display of curvaceous arms, hard-hitting leg extensions and continuous stop and go action,Endless Arc, set to Bela Bartok’s String Quartet No. 4, shows us another side of Puder. “For Soluna I knew I wanted a full company piece that would be different than the other repertoire we were presenting. The music is so driving and energetic. It demands a certain quality and power.” All the elements that audiences have come to appreciate about Puder’s work are still present, including her intrinsic musicality and complex body positioning, but now there is a sense of urgency to the dancers’ movements. This urgency shows through the dancers’ explosive running and leaping passes, the push and pulling quality behind their partnering and Ilina’s head-whacking grande battement derriere.
The Soluna: International Music & Arts Festival runs May 4-24 with Avant Chamber Ballet’s performance taking place at Dallas City Performance Hall on May 5 at 7:30 p.m. Beginning at 6:30 p.m. in the DCPH lobby, Anita N. Martinez Ballet Folklórico will perform.