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.”
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.”
Paige Nyman on becoming a princess for Texas Ballet Theater’s production of Cinderella this weekend in Dallas.
Dallas — Every young girl dreams of one day becoming a Disney princess, including Texas Ballet Theater’s Paige Nyman who will get to live out her childhood fantasy in the company’s production of Cinderella at the AT&T Performing Arts Center’s Winspear Opera House Aug. 24-26. “I have always related most to Belle and Cinderella,” says Nyman, who is celebrating her 10th season with TBT. “I relate to Belle because I love reading books too, and I have always admired Cinderella’s resiliency and her ability to find hope and make the best in every situation.”
Paige Nyman of TBT. Photo: Steven Visneau
Nyman started dancing at the age of 3 in her hometown of Kansas City. At 16, she received a scholarship to the Harid Conservatory where she trained under Svetlana Osiyeva, Oliver Pardina and Victoria Schneider. Nyman joined TBT in 2009 and since then has performed roles in Ben Stevenson’s Dracula, Sleeping Beauty, Peer Gynt, Romeo and Juliet, Cinderella and Four Last Songs, among others. She has also performed in George Balanchine’s Allegro Brilliante, Glen Tetley’s Voluntaries, Jiri Kylian’s Petite Mort, Harold Lander’s Etudes and the title role in Carlos Acosta’s Carmen.
This production marks Nyman’s first time performing a lead role in one of Stevenson’s acclaimed story ballets, an incredible opportunity Nyman says she is more excited than nervous about. “This is such a fun legacy to be a part of and I am enjoying finding who I am in the character. Cinderella has this wonderful innate sense of hope, joy and happiness, but also experiences deep hurt and sadness and it has been a fun challenge to learn how to internalize everything.”
In rehearsals the dancers work equal parts on technique and acting, which Nyman says is really what separates Stevenson’s story ballet from other ballet companies. “He just understands what audiences want to see and what we, the dancers, want to do. He is always finding new ways to keep the story ballets fresh.”
These story ballets are just one of many aspects Nyman enjoys about being a part of TBT. “This is one of the most welcoming places I have ever encountered. From the start I was afforded the chance to work closely with the other company members and choreographers and it has been a wonderful journey for me these past 10 seasons.” She adds, “Ben continues to stretch our boundaries while also staying grounded in his story ballets and I just feel at home here.”
Nyman admits that the road to becoming Cinderella isn’t all tutus and tiaras. “Dancing with inanimate object like a broom can be hard. It doesn’t reason with you,” she jokes.
Nyman is referring to the kitchen scene where she is imagining she is at the ball dancing with a handsome prince when in reality she is covered in filth dancing with a broom. This dance segment led to one of Nyman biggest questions about the process, which was how to keep the role authentic through these quick emotional changes. She explains, “I wanted to know how to create a natural transition from the high of imagining I am at the ball to suddenly realizing I am at home dancing with a broom.”
Nyman has also had to shift her mindset from being one of many dancers in the corps to taking center stage. “There’s this wonderful sense of camaraderie in the corps because we all have the same goal, which is to be the picture frame for the lead dancers. But when you transition into doing a lead role you have to step outside that mindset of amenity. You have to face the fact that the goal is that everyone is looking at you, and maintaining that level of engagement is a beautiful responsibility.”
And like all dancers Nyman has a ritual she does before every performance that might sound kooky to some, but continues to work in her favor. “In the dressing room I have to put my left eyelash on first, my left earring and my right pointe. That is my secret recipe.”
The Texas Ballet Theater season also features:
Ben Stevenson’s Cleopatra (accompanied by Fort Worth Symphony Orchestra) at Bass Performance Hall: Sept. 28-30, 2018
Ben Stevenson’s The Nutcracker at Winspear Opera House, Nov. 23-25 and Nov. 30-Dec. 2, before transitioning to Bass Performance Hall Dec. 7-9; Dec. 13; Dec. 15-16; Dec. 20-24. The Nutty Nutcracker, an unconventional take on the holiday classic, will be at Bass Performance Hall Dec. 14.
The first mixed repertoire, March 1-3, 2019, at Bass Performance Hall features the work of two renowned choreographers, William Forsythe and Christopher Bruce in In the Middle, Somewhat Elevated and Ghost Dances, respectively. TBT dancer Andre Silva will share his contemporary choreography in a world premiere called 11:11.
A collection of works by TBT Artistic Director, Ben Stevenson, O.B.E., is on the bill for the second mixed repertoire and includes Four Last Songs, Twilight, Esmerelda (pas de deux only) and L. The pieces will be performed at Bass Performance Hall March 29-31, 2019.
The third installment of Wanderlust Dance Project features new works by home grown talent at the Marshall Family Performing Arts Center on Saturday.
Dallas — Looking over the lineup for this year’s Wanderlust Dance Project (WDP) you can’t help but notice the number of local choreographers that will be presenting work at the Marshall Family Performing Arts Center at the Greenhill School in Addison this Saturday. Come to find out the local programming was a deliberate move by Wanderlust Founder Addison Holmes to support this year’s title, Wanderlust Dance Project III: Homecoming. “Our first year was New Horizons as our first venture, second was Explorations as we brought in a lot of outside choreographers for our dancers and this year we really wanted to hone in on our DFW roots with Homecoming,” Holmes says. The DFW dance scene is stronger than ever, and as a Dallas native myself I couldn’t be prouder.”
The choreographers include a couple of familiar faces such as Hailey von Schlehenried, Gabriel Speiller, Mark Caserta and Mikey Morado as well as some fresh faces, including Stephanie Troyak, Chad Vaught and Todd Baker.
Von Schlehenried recently participated in the premiere of AKA: Ballet and has also presented work at Dallas DanceFest, renamed Dallas Dances, and Avant Chamber Ballet’s 2017 Women’s Choreography Project. Viewers are used to seeing Speiller on stage with Bruce Wood Dance so, it will be interesting to see how he transitions from one role to the other. Caserta and Morado moved to Dallas in 2015 to head up The Thriving Artist Project and are currently working with Dark Circles Contemporary Dance. Troyak is a Booker T. Washington High School for the Performing and Visual Arts (BTWHSPVA) graduate currently dancing with Tanztheater Wuppertal Pina Bausch. Baker was in the news last year as one of five male dancers from Booker T. to be accepted into The Juilliard School. And then there is Vaught, who is not from Dallas, but is currently dancing with DBDT: Encore!
From talking with a few of the choreographers I can tell you that the performance will be blend of contemporary, modern and classical movements arranged in small and large groups with a couple of pas deux’s mixed in. Themes vary from abstract to more story-based pieces that explore a wide range of emotions and current events.
Gabriel Speiller will be unveiling a new work, Unapologetic, which he describes as athletic, musical and sprinkled with intricate partnering. The piece features 16 professional and pre-professional dancers and was originally created for the Frank Sinatra School of the Arts in Queens, New York. Regarding his creative process Speiller says, “As a young choreographers I’m still exploring my choreographic voice by trying different approaches to the creation process, whether that be how I generate movement or how I translate what’s going on in my head to the dancers I’m working with.”
Whereas Speiller’s work focuses on athleticism and musicality, Stephanie Troyak’s piece is more focused on mood and setting. “I’m visualizing a dream-like world, one where we cannot tell if it’s real or if it’s a dream until perhaps later on when a situation brings out different sides of human connection whether it be love, betrayal, hope etc. Maybe a little bit apocalyptic or I imagine the setting a little bit like a flood both in the physical sense and the emotional sense, searching for land or light and consuming the mind and body.” Troyak adds, “I always love to blur the lines between reality and dreams and uncover a deeper layer of the human condition that I always find the most beautiful to find those dark or dirty places within. And within this dream state I hope to also unveil moments of small deaths or small victories or maybe it’s a memory or premonition.”
Another local talent presenting work at Wanderlust this year is Hailey von Schlehenried. She has created a pas de deux, which will beperformed by local dancers Adrian Aquirre and Diana Crowder to an excerpt of Ezio Bosso’s Seasong 1 to 4 and Other Little Stories. She describes the piece as classical, but with a contemporary vibe. “You will definitely see some contemporary lines, but also some classical movements and the partnering, which all fit into this storyline of a love left behind,” she says. When discussing the dancers and her partnering in the piece von Schlehenried says “Adrian and Diana work so lovely together and have such a strong connection when dancing this piece. They took to the choreography and the partnering quickly and I am excited to see the final product.”
And as far as the impact this event is making on the local dance community Speiller says, “WDP is an amazing project to be involved in. Not only does it give professional dancers like myself an opportunity to continue working over the summer, it’s giving the DFW community the opportunity to see new works by local and national choreographers that is being performed by home grown talent.”
As the Dance Council of North Texas (DCNT) exclaimed on its Facebook page yesterday, submissions are now being accepted for the inaugural Dallas Dance Film Festival (DDFF), which will take place Dec. 8 at the Dallas Public Library Fretz Park location. The festival is free and will feature emerging and professional dance filmmakers.
According to festival organizers, which includes DCNT, Dallas Public Library and kNOwBOX dance, there will be a Q&A with the film creators following the screening and audience members will participate in the selection process for the Best of the Fest dance filmmaker. In addition to the Best of the Fest award there is also an award for most creative and most innovative.
Rules say the film must be 5-10 minutes long, incorporate dance, must pay fee per submission and only two submission per artist. Submission deadline is Sept. 21.
If you are interested, please visit the DCNT website or FilmFreeway.com for more information about this event.
I can think of a few names I would like to see submit work for this festival, but one name stands out in my head and that is Orlando Agawin. A few months ago he posted a short film on social media featuring Dark Circles Contemporary Dance (DCCD) company member Lena Oren entitled Spring Break.
In the film Oren is frolicking around a tennis court in high-waisted jeans and white Keds to the soothing vocals of Elis Regina’s Aquas De Marco. I love the way she flirts with the camera and some how makes eating an orange look sexy. The film is so fun and silly and I just couldn’t stop watching it. I had no idea Orlando, who also danced with DCCD, was into filmmaking. I kind of want him to submit this short film so I can see it again, but on a larger screen this time!
AKA: Ballet offers up a unique experience for both viewers and performers at the Latino Cultural Center tomorrow night.
From left: Carter Alexander, Hailey von Schlehenried, and Albert Drake of aka: Ballet. Photo: AKA: Ballet
Dallas — Hailey von Schlehenried is one of many local choreographers reaping the benefits of the changes that have been made to the Dallas dancescape over the last several years. Von Schlehenried first caught the public’s eye at Avant Chamber Ballet’s 2017 Women’s Choreography Project (WCP) and then again at Dallas DanceFest (DDF) later that summer. She has also recently been asked to set a piece for Wanderlust Dance Project, which marks another first for the blossoming artist.
It was at DDF where von Schlehenried met Carter Alexander (associate artistic director for Chamberlain Performing Arts) who asked if she would be interested in doing a collaboration the following summer. One thing lead to another and von Schlehenried is currently in the final stages of two new works, which will be presented alongside new pieces by Alexander and Albert Drake of Bruce Wood Dance at AKA: Ballet’s premiere performance at the Latino Cultural Center this Friday.
The performance will feature many familiar dancers, including Kaitlyn McDermitt, formerly with Avant Chamber Ballet; Alyssa Harrington, formerly with Dallas Black Dance Theatre; Alizah Wilson, Adrian Aquirre of Bruce Wood Dance; and Riley Moyano, Amanda Fairweather and Alex Danna of Texas Ballet Theater.
“We are so happy to have these dancers and they have been working so tirelessly in preparation for the show,” von Schlehenried says.
For this performance von Schlehenried has created two pieces: a classical pointe number and a more contemporary work. She describes the pointe work as fluid and free, and in contrast the contemporary work is visually darker, which meshes well with its theme about sinning. “I was really inspired by the music for the contemporary piece which is really centered on the idea of sin. The dancers pass around this scarf throughout the dance, which represents this idea of passing off our sins to someone else,” von Schlehenried says. “And the pointe piece is all about letting go and getting the dancers outside their classical boxes so that they appear to be surrendering to a situation.”
Von Schlehenried says her dancers played a big part in the creative process for both pieces. “I really wanted this to be a collaboration so I had the dancers brainstorm with me, which really makes them feel like they have a say and also relaxes the dancers. They all possess this amazing creative energy which helped make the process so much easier.”
Von Schlehenried is especially close with McDermitt who has had a role in almost every work she has put out since 2013. She even goes as far as calling McDermitt her lucky charm. “It just seems that every time I am working on a special project Kaitlyn is always in it. She is such a lovely person and is so into what she is doing, which really makes her a positive force for me and the arts community.”
McDermitt has definitely been paving a way for herself in the Dallas arts scene with gigs, including a couple of seasons with Katie Cooper’s Avant Chamber Ballet, performances at local festivals such as Plano Dance Festival and DDF as well as partaking in local arts events, including Dallas RAW and AKA: Ballet. She also teaches at Royale Ballet Dance Academy in Dallas and is a member of Ballet North Texas. She graduated from Southern Methodist University’s Meadows School of the Arts with a BFA in dance performance in 2012.
You can see McDermitt and the other performers in von Schlehenried’s, still untitled, works this Friday evening at the Latino Cultural Center. Tickets are available at www.ticketweb.com. You can make a donation to the show at www.fracturedatlas.org.
Avant Chamber Ballet’s 2018-19 season includes a new family program and new collaborations with local musicians and singers as well as works by Paul Mejia, Christopher Wheeldon and George Balanchine.
Dallas – What I admire most about Katie Cooper is her tenacity when it comes to the business end of running a ballet company. It is very easy for artistic directors to get lost in their own heads and lose touch with what is happening right in their own dance communities. But that has never been the case for Cooper. Her eyes have remained opened to the Dallas dance scene and the global ballet industry. Her company continues to thrive because of her industry know how and fresh ideologies when it comes choreographing and presenting ballet works. She is definitely someone that future choreographers and directors in the area should get to know.
For its 2018-19 season Avant Chamber Ballet (ACB) will be presenting David Lang’s the little match girl passion, Christopher Wheeldon’s Morphoses and world premieres by Cooper and by the soon-to-be-announced winner of the 2018 Women’s Choreography Project commission. And this is just the tip of the iceberg! The company will also be performing more works by George Balanchine and Paul Mejia.
The music for the season includes Vivaldi, Ragtime, George Gershwin, Astor Piazzolla local composer Quinn Mason and a collaboration with singers from the Dallas-based Verdigris Ensemble. And just like all of its performances ACB will be dancing to live accompaniment.
You better start marking your calendars now. You don’t want to miss any of these shows!
A copy of the official press release can be found below:
Avant Chamber Ballet’s artistic director Katie Cooper and music director David Cooper announce the company’s 2018-2019 season, featuring three subscription productions at Moody Performance Hall in the Dallas Arts District and the launch of the new Family Saturdays series. The season includes world premieres by Katie Cooper and Women’s Choreography Project, as well as works by Paul Mejia, Christopher Wheeldon and George Balanchine.
“Our seventh season is our biggest yet with five new works, collaborations, and touring,” says Katie Cooper. “We are also excited about starting the Family Saturdays program, which will expose new audiences to the joy of live music and dance.”
The subscription season opens with David Lang’s the little match girl passion, a collaboration with the Dallas-based Verdigris Ensemble. Together on stage, the dancers of Avant Chamber Ballet and the singers of Verdigris Ensemble will bring to life Lang’s Pulitzer Prize-winning setting of the famous Hans Christian Andersen story. This will be the first time a contemporary choral work will be staged with ballet in Dallas.
In February, Avant Chamber Ballet returns to Moody Performance Hall with Romance and Ragtime. The performances will encompass four ballets with live music: a company premiere of Christopher Wheeldon’s Morphoses, a world premiere by the soon-to-be-announced winner of the 2018 Women’s Choreography Project commission, and world premieres of Katie Cooper’s The Seasons with music by Vivaldi and Ragtime with music by Scott Joplin.
Closing the season will be Fascinating Rhythms – an exciting evening of dance and live music by George Gershwin, Astor Piazzolla, and local composer Quinn Mason. Returning to the repertoire will be George Balanchine’s Who Cares? – an audience favorite that perfectly pairs Gershwin’s toe-tapping melodies with Balanchine’s genius choreography. Paul Mejia’s Cafe Victoria, a company premiere, features Piazzolla’s alluring Contrabajissimo. The program closes with a collaboration between choreographer Katie Cooper and Dallas-based composer Quinn Mason. The performance will mark the world premiere of both Cooper’s choreography and of Mason’s String Quartet No. 2.
Family Saturdays is a subscription series for young audiences to experience live music and dance in an engaging and family-friendly environment. Each Family Saturdays performance will be one hour long and will feature the professional dancers of Avant Chamber Ballet accompanied by live music. The series will be held at 2:30 pm on December 8, February 23, and May 4 at Moody Performance Hall, and will offer area families a perfect introduction to the performing arts.
I was starting to wonder if Dallas DanceFest was even going to happen this year, but my reservations were laid to rest last week when the Dance Council of North Texas announced on its Facebook page the dance companies that will be participating in this year’s festival, which has been strategically renamed Dallas Dances.
The festival has received criticism from the beginning about its focus on mainly local dance companies and for its inclusion of pre-professionals from the Dallas-Fort Worth area. Local Dance Critic Manuel Mendoza touched on these sore points in his review of last year’s Dallas DanceFest, which boasted the question “Why doesn’t Dallas have the dance festival that it deserves?”
In his review Mendoza basically says that by including the pre-professional dance studios, high schools and university programs in the area the festival is actually doing a disservice to the more established dance companies in the area.
He writes, “North Texas professional companies are the ones putting the area on the dance map even as they struggle to find suitable places to perform in a town starved of small, affordable venues. They are the groups competing for public and private grants so they can aim high, so they can someday pay their dancers something close to what their New York counterparts earn.”
He continues, “Most important, they are the ones doing the most complex, interesting work.”
What I think people are overlooking is that the mission of the Dance Council is not to exclusively support and promote just the professionals in the area, but also the up and coming professionals that stem from the local studios, performing arts schools and universites. And I think this is where the mission of Dallas DanceFest starts to get murky. Is the festival suppose to only highlight the professionals in the area? Or is its main target the young professionals and giving them a unique performance opportunity?
Apparently festival organizers have decided it’s a little bit of both if this year’s line up is any indicator.
I think the Dance Council has come to realize that they should stick true to their overall mission, which is fostering and promoting every type of dance and dancer in the Metroplex and I believe the name change better reflects the vibrancy and diversity of the Dallas dance community.
With that said, here are the dance companies performing at this year’s Dallas Dances:
Dallas Black Dance Theatre tackles their own unresolved issues in Claude Alexander III’s Face what’s facing you!, part of the company’s Spring Celebration Series.
Dallas — Over the last couple of years Claude Alexander III has grown into an even more magnetic and mindful performer thanks to roles in unforgettable dance works such as Bridget L. Moore’s original version of Uncharted Territory for the TITAS Command Performance in 2017 and Jamal Story’s aerial duet, What to Say? Sketches of Echo and Narcissus (2015), which also happens to be one of my all-time favorite pieces. Now, this Dallas Black Dance Theatre company veteran is making his transition into the world of choreography with his first dance work,Face what’s facing you!, part of DBDT’s annual Spring Celebration Series at the Dee and Charles Wyly Theatre in Dallas this weekend.
For his first choreographic piece Alexander is coming to terms with some unresolved issues in his life in order to start the healing process, which he says is the underlying theme of the whole work. “I wanted to create something that is authentic and true to who I am right now,” Alexander says about his inspiration for the piece. “So, I just started thinking about things in my life which lead me to consider some things that I felt like I had to deal with as child and as I came into being an adult and this made me realize that I operate a certain way because I never quite addressed these issues when I was younger.” He adds, “I literally just wanted to be able to have a cathartic point to deal with a few issues in my life and I felt like this work was going to be the beginning of the process for healing.”
Once he had a clear idea of what he wanted the piece to be about Alexander and the other DBDT dancers met in the studio where he had the group create some improv movement based off a series of prepared questions. “I first asked them to identify what their issue is. Then what does it affect in your life. Then I asked them where it hurts you the most. And lastly, I asked them what would it look like to become free from whatever that thing is.” He continues, “And so, we used those four questions to formulate some improv and create some really authentic movement or motifs and from there is just all came together.”
A recent opinion piece on dancemagaine.com entitled “Dancers are Choreographers, Too. It’s Time for Dance Criticism to Reflect That” led me to ask Alexander exactly how much of the dancers improv material did he wind up using. He responds, “Oh, a lot of it! The improv material is probably where we developed the bulk of our motif. Now, I created most of the actual movement, but I would say hey, let’s use the arm from this person’s improv or let’s use that step from this person’s solo. And what I did was each person has a solo within the piece and it’s not always a featured solo, but they all have something that maybe only they do and I siphoned that movement, if you will, to use in other places in the work.”
While the inspiration for the work is based on specific moments in his life, Alexander says the narrative of the piece is not autobiographical. “Well, for one thing, the lead in the piece female,” he says. “At first I thought it was going to be a man because I thought it was going to represent me, but it actually turned out to be a female and she doesn’t necessarily represent me at all. It’s more about what her struggles are, but I certainly used movement and motifs that represent my struggles as well.”
The piece is broken up into five section with the first section focusing more on movement than the actual storyline. The second section is where the main character is introduced and Alexander explains that the three women dancing alongside her represent the three issues she is struggling with. He describes the third section as mostly a duet with a lot of partnering which gives the main character the opportunity to look at how someone else deals with their issues. The fourth section involves a group of dancers and each person is assigned one of the lead’s issues. And the final section is all about the lead realizing her strength and finally addressing a person/issue that she meets in the beginning, but never acknowledges until this last section.
As far as what Alexander wants this piece to say about him as a choreographer he says, “More than anything I want the work to be accessible to everyone. And accessible doesn’t necessarily mean that they need to like it, but that they can still relate to it.” He adds, “My biggest goal is to get the audience to have a reaction so that they leave and say that they understood what they watched or that made mef feel something or that challenged me in a new way. And I think if that goal is reached then I have done my job.”
You can see Face what’s facing you! at DBDT’s annual Spring Celebration May 18-20 at the Wyly Theatre in Dallas. The program also includes Ray Mercer’s Undeviated Passage, Ulysses Dove’s Vespers and Joshua L Peugh’s Rattletrap.