Tag Archives: Dallas DanceFest

Dallas DanceFest Profile: DGDG

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Colby Calhoun in Chatter from DGDG. Photo: Lynn Lane

Here is the first of several profiles I am doing on companies performing at this year’s Dallas DanceFest. This one was originally posted on TheaterJones.com.

Dallas — Since stepping on to the Dallas arts scene six years ago Danielle Georgiou has had the opportunity to present her work in some pretty interesting spaces, including warehouses, art galleries, Klyde Warren Park, the Wyly Theatre, Hamon Hall, Bath House Cultural Center and the theater at Eastfield College. As one of the performance companies chosen to present at this year’s Dallas DanceFest (DFF), Georgiou will soon get to add Moody Performance Hall to this eclectic list of venues. “I have never presented any of my work on this stage before so, I am looking forward to this new experience and working with the facility’s technical and production crews. It will be interesting to see what happens.”

Created in 2014 under the guidance of arts patron Gayle Halperin and the Dance Council of North Texas, DDF strives to provide local and regional dance performance companies with the opportunity to showcase their work to a wider audience base while also giving them the chance to connect with their peers and experience work outside their own genres. This includes Georgiou’s own dance theater style, as she calls it, which is influenced by German choreographer Pina Bausch’s Tanztheater performance style and those of modern dance pioneers Martha Graham, Merce Cunningham and Paul Taylor. Together with her creative partner Justin Locklear, Georgiou has been able to produce work that is frank in nature, uninhibited in movement quality and thoroughly entertaining.

Regarding the couple’s working relationship Georgiou says, “Justin has brought out in me a new understanding of my own creative process. He constantly pushes and challenges me, and he is not afraid to ask the questions that I don’t really want to answer. He has given my work a particular context that wouldn’t necessarily be there without him.”

For DDF 2017 Danielle Georgiou Dance Group (DGDG) member Colby Calhoun will be performing, Chatter, a solo work Georgiou created for him two years ago. “Colby and I have a special connection in that we both have the same approach to dance making and other creative artistic processes, and we can understand each other without actually communicating.” She adds, “I was very lucky to find somebody who is also willing to throw themselves physically into movement, because as a performer my comfort area is to physically assert myself in order to find what the choreography is supposed to be, and Colby works much like me in that regard.”

An extremely physical work, Georgiou says the movement in Chatter represents the ongoing dialogue and many voices she hears inside her head all the time. “I find that my body and mind have a hard time resting and that is where Chatter started from, which was dealing with the push and pull of daily life and finding moments to try and quiet down, but never really being able to and just having this internal struggle with myself.” Georgiou adds that creating the piece was a cathartic experience for both her and Calhoun. “It felt good getting it out of my system and Colby has even said that after he performs it he feels relieved that he finished it. Watching him perform the piece, it’s a different experience each time.”

As far as what Georgiou is most looking forward to at this year’s DDF she says, “I know the festival’s audience base is going to be very different from our audience base so, I am interested to see what their reactions are to the type of work I make. A lot of times people are not sure what type of work I make so, I think this will be a great way for people to find out that yes I make dance, but I also make theater.” She adds, “And maybe this will encourage them to want to see some of the other works that we do that is this collaboration between different genres, and maybe it will help expand their knowledge of what dance can be. That it doesn’t have to be something very classical and traditional in nature. That it can explore new realms of movement and story.”

» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:

 

8 p.m. Saturday, Sept. 2

  • Ballet Ensemble of Texas
  • Ballet Frontier of Texas
  • Dallas Black Dance Theatre
  • Danielle Georgiou Dance Group
  • Dark Circles Contemporary Dance
  • Indique Dance Company
  • Kat Barragan Dance
  • LakeCities Ballet Theatre
  • NobleMotion Dance
  • SMU Meadows Dance Ensemble
  • Texas Ballet Theater
  • Uno Más
  • Wanderlust Dance Project

 

3:30 p.m. Sunday, Sept. 3

  • AJ Garcia-Rameau
  • Arden Leone Dance Company
  • Bruce Wood Dance
  • Center for Ballet Arts
  • Contemporary Ballet Dallas
  • Dallas Ballet Company
  • DBDT:Encore!
  • Dallas Youth Repertory Project
  • Granadans
  • imPULSE Dance Project
  • Rhythm In Fusion Festival
  • Royale Ballet Dance Academy
  • Rhythmic Souls
  • Texas Ballet Theater School

 

» More information about Dallas DanceFest is available at www.thedancecouncil.org

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Dallas DanceFest Announces 2017 Performing Companies

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Indique Dance Company will be performing at DDF 2017. Photo: Sharen Bradford/The Dancing Imaging

Dallas DanceFest has announced its 2017 line up which shows a lot of hometown pride.

Wow! It is hard to believe that this year marks the 4th installment of Dallas DanceFest (DDF) which was created in 2014 under the guidance of arts patron Gayle Halperin and the Dance Council of North Texas. It looks like the festival’s mission of presenting high caliber and well-rounded dance performances will continue this year with a program that features all the major local players as well as the largest showing of pre-professional companies to date and a handful of relatively unknown dance companies from around and outside the Metroplex.

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Dallas Black Dance Theatre. Photo: Amitava Sarkar

Let’s start with the bigwigs in Dallas dance. For the fourth straight year Bruce Wood Dance Project, Texas Ballet Theater and Dallas Black Dance Theatre will be featured at DDF as well as their smaller counterparts DBDT: Encore! and the  Texas Ballet Theater School.

We will also see pieces from some repeat dance companies, including Dark Circle Dance Company, Contemporary Ballet Dallas,  Indique Dance Company, Southern Methodist University’s Meadows Dance Ensemble and Houston-based NobleMotion Dance.

warflower-dgdg
Danielle Georgiou Dance Group in War Flower. Photo: Steven Visneau

DFF 2017 will also feature a number of first timers, including Danielle Georgiou Dance Group, Center for Ballet Arts, Impulse Dance Project, Uno Mas and Grandans. Southern Methodist University Meadows dance student’s Kat Barragan and Arden Leone will also be showcasing work for the first time at this year’s festival.

I am also pleased to see so many familiar pre-professional ballet companies on this year’s roaster, including Ballet Ensemble of Texas (Coppell, TX), Ballet Frontier of Texas (Fort Worth, TX), Chamberlain Performing Arts (Plano, TX), Dallas Ballet Company (Dallas, TX) Royale Ballet Dance Academy (Dallas, TX) and LakeCities Ballet Theatre (Lewisville, TX). I have seen these companies perform a variety of dance styles from classical and neo-classical to more contemporary and jazz movements and I am eager to see how these aspiring professionals handle the pressure of sharing the stage with the more seasoned artists on this year’s program.

LBT-lesoiseauxdeville
LakeCities Ballet Theatre performs in Music in Motion. Photo: Nancy Loch Photography

We have also seen a surge in the number of dance festivals occurring around Texas over the last couple of years so,  it didn’t surprise me to see the Rhythm and Fusion Festival and Wanderlust Dance Project in this year’s line up. If you’re interested in reading more about the rise of dance festivals in Texas then you should read Nichelle Suzanne’s 2015 article for Arts+Culture magazine entitled Talent, Training, Festival & More: Fueling Contemporary Dance in Texas.

The 2017 Dallas DanceFest will take place Sept. 2-3 at the Moody Performance Hall, formerly Dallas City Performance Hall. More information about the festival can be found on the Dance Council of North Texas website.

I hope you see y’all there!

 

 

 

 

Preview: Dark Circles Contemporary Dance 2015 Fall Series

Dark Circles Contemporary Dance performs Slump at Jacob's Pillow. Photo: Courtesy of Jacob's Pillow
Dark Circles Contemporary Dance performs Slump at Jacob’s Pillow. Photo: Courtesy of Jacob’s Pillow

BOYISH CHARM

Dark Circles Contemporary Dance wants you to feel like a kid again in its Fall Series this weekend at Texas Christian University.

Fort Worth — It has been a whirlwind summer for choreographer Joshua L. Peugh and his band of beautiful misfits also known as Dark Circles Contemporary Dance (DCCD) USA. Over the last three months DCCD has taken part in numerous local and national festivals, including Dance Source Houston’s Barnstorm DanceFest, Dallas DanceFest, The Dance Gallery Festival in New York as well as Jacob’s Pillow Dance Festival’s Inside/Out Performance Series, a monumental first for the company. “I’m still processing what happened that afternoon,” Peugh says. “The wind was blowing and the sun was setting and I looked around the stage at the generous artists I get to laugh, cry, struggle and create with, and I felt completely full.”

Independently, Peugh travelled to Seattle to create a new work, Short Acts on the Heartstrings, on former Pacific Northwest Ballet member Oliver Wever’s company, Whim W’Him. Peugh also spent time this summer in Tulsa where his signature work Slump (2012) made its Oklahoma premiere with Tulsa Ballet II. When not travelling, DCCD is hard at work in the studio preparing for their upcoming Fall Series: Aimless Young Man, Oct 9-11, at Texas Christian University’s Erma Lowe Hall, Studio Theatre in Fort Worth. Peugh will be presenting two new works, Aimless Young Man and It’s A Boy, which I got to see the company rehearse at Preston Center Dance in Dallas two weeks ago.

An exuberant display of compulsive gesturing, topsy turvy partnering skills, knee bruising floor work and primitive posturing, Aimless Young Man contains all our favorite Peugh mannerisms performed at super high speed much to viewers delight.

Aimless Young Man is my mediation on the struggle young men have finding or following their paths. It has become a lot more than that. The dancers have brought out new colors in the questions we are fighting with. Why choose martyrdom, why fight? How can we be extraordinary and why do we feel the need to be?” At times the work resembles a circus spectacle with David Cross juggling across the floor and the section where the whole company stands in a semi-circle while an individual performs their idea of a trick, i.e. continuous body rotations and contorted body shapes. Other sections appear more militant with sharp body movements and rigid formations. These wonderfully manic sections are balanced with moments of stillness and isolated gesturing such as rhythmic chest smacks.

Dark Circles Contemporary Dance rehearses Aimless Young Man. Photo: Tania Lopez
Dark Circles Contemporary Dance rehearses Aimless Young Man. Photo: Tania Lopez

On the other side of the spectrum is It’s A Boy, a contemplative work in which Peugh, Cross, Kelsey Rohr and Alex Karigan Farrior sport Tuxedo shirts and coat tails as they explore their inner child with the help of four unassuming canes. In Kelsey Rohr’s solo her attention is centered on the path of her cane as she methodically skims it down the top of her arm till it is resting horizontal on the top of her hands. Your eyes continue to follow the cane as Rohr outlines her body, stopping periodically to lodge the cane under her neck or in the crease of her elbow. Julie London’s rendition of “Mickey Mouse March” makes you long for those younger, care free years. As to why he chose such a universally known song Peugh says, “I’m a huge Walt Disney fan. He was a genius, like Michael Jackson, who was sensitive to the magical curiosity of childhood. There’s a tenderness and nostalgia in the song, but also an emptiness and loneliness. It’s about letting go and saying goodbye.”

Watching the work progress it’s clear the canes are more than a gimmick. In some parts, the canes were used as extensions of the dancers’ bodies while other times they were used for support such as when Rohr was carried across the floor balanced between two canes. In the beginning the canes resemble toy’s that the dancers wield like light sabers before sticking them down their shirts. In one instance, the dancers hold the cane still and run around in circles with their foreheads glued to the top of the cane. In other sections, the way the dancers’ gazed at and caressed the canes made these everyday objects appear almost human. Peugh says he didn’t give the dancers any direction in how they should interact with the canes. “I think it’s more interesting to see what comes out of the dancers in the moment, instinctively during the performance. It won’t ever be the same thing. It’s more interesting to see the range and layers of feelings flicker.”

Dark Circles Contemporary Dance’s Fall Series: Aimless Young Man will take place Oct. 9-11 at Erma Lowe Hall, Studio Theatre in Fort Worth. The program includes Aimless Young Man, It’s A Boy and Peugh’s crowd-pleasing, Slump.

This preview was originally posted on TheaterJones.com.

Dallas DanceFest Profile: Dallas Black Dance Theatre II

Photo: Sharen Bradford, The Dancing Image
Photo: Sharen Bradford, The Dancing Image

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.

This preview was originally posted on TheaterJones.com.

Dallas DanceFest Q&A: LaQuet Sharnell Pringle

LaQuet-HeadshotThe 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.

This Q&A was originally posted on TheaterJones.com.

» 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

 

Dallas DanceFest Profile: AJ Garcia-Rameau

Courtesy of AJ Garcia-Rameau
Courtesy of AJ Garcia-Rameau

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.

This profile was originally posted on TheaterJones.com.

» 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/

Dallas DanceFest 2015 Profile: Amy Diane Morrow

Morrow's Carry On. Photo: Martin Perez
Morrow’s Carry On. Photo: Martin Perez

The Austin-based choreographer on her quest for cultivating home grown art and collaborating with Oklahoma’s Bell House Arts in this year’s Dallas DanceFest.

Dallas — Amy Diane Morrow is no stranger to the Dallas dance scene. In addition to having taught classes at Southern Methodist University, Texas Christian University and Texas Woman’s University, Morrow is also frequently in town teaching Gaga workshops, a movement language developed by Ohad Naharin of the Batsheva Dance Company. And last March Morrow made a big splash at Avant Chamber Ballet’s inaugural Women’s Choreography Project with her new piece, String Theory. Morrow fans will get another chance to see her work at the second annual Dallas DanceFest which takes place Sept. 4-6 at the Dallas City Performance Hall. Morrow will be presenting her trio Carry On, which she is doing in collaboration with Owasso, Oklahoma-based The Bell House Arts, Inc. (BHA).

Morrow describes Carry On as an autobiographical portrait that focuses on the weight of relationships and the distance within relationships as it pertains to family and friends. “At the heart of it Carry On is an autobiographical portrait that became a study on this portrait in relationship to two people, three people and a group of 20 people,” Morrow says. “I have restaged it several times on several different groups and now it has distilled back to a trio.” The piece also touches on the physical and emotional baggage we carry around with us.

Morrow says Carry On is also a reflection of her travels and the amount of stuff people try to carry through airport security. “Every time you go through TSA it is a reminder of the things that we carry and how stuffed and over packed we are. It got me thinking about how these things are somehow tied to security, memory, people and places.”

Amy Diane Morrow. Photo: Rino Pizzi
Amy Diane Morrow. Photo: Rino Pizzi

Morrow sees herself as a connector of people and places. After years of splitting her time between Texas and Tel Aviv, Israel, Morrow now resides in Austin where she will be joining the staff at the University of Texas’ Department of Theatre and Dance. The city is also home to her latest project, the TBXS Toolbox Series, which provides specialized workshops for creative artists to hone skills for their personal practice and expand their professional market. “I still travel and do residencies a lot, but my effort is really to bring the international collaborations, opportunities and experiences that I’ve had to my home state because I really believe in home grown art and building the local community from grass roots.” So far, TBXS has hosted seven workshops and has featured guest artists, including ARCOS Dance, Kira Blazek, Manuel Vignoulle and Jesse Zaritt.

While in Tulsa this past summer Morrow met BHA Founder Rachel Bruce Johnson and their collaboration and friendship grew from there. Morrow says, “The Bell House has become a really great umbrella for freelance artists to collaborate with Rachel. It’s her mission to provide these teaching and performance collaborative opportunities, and she is doing it.” Since joining BHA, Morrow has performed at the Fringe Fest Summer Stage in Tulsa, the Tulsa Ballet Studio K Series and will be a part of Dallas DanceFest 2015. Morrow notes that with the current shift in the industry away from traditional dance companies to more independent projects and opportunities, it’s no surprise that the number of these non-profit arts cooperatives has been growing throughout the region. “This is a big conversation I am having right now with others in the Austin dance community. Nowadays to be sustainable and to be able to keep putting out work you really need an alliance or collective to help you, and Rachel is doing that in her own way with BHA.”

Morrow is also a big advocate of dance festivals. In fact she first met her mentor Ohad Naharin while working at the American Dance Festival. “Festivals are where you network and grow, and it’s where the magic happens. The word festival is becoming to mean an efficient organization that provides the maximum amount of opportunities for the maximum amount of people. It’s really an umbrella for the artists and the community, and it’s definitely needed.” Morrow adds, “I think that festivals in the south and specifically in Texas will continue to grow over the years and I’m really excited to be a part of it.”

» 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.

This profile was originally posted on TheaterJones.com.

DESTINATION DANCE

The second annual Dallas DanceFest promises more variety and exceptional dancing from individuals and groups throughout the region.

Dark Circles Contemporary Dance (USA) founder Joshua L. Peugh and company dancer Alex Karigan Farrior in Critics of the Morning Song. Photo Robert Hart
Dark Circles Contemporary Dance (USA) founder Joshua L. Peugh and company dancer Alex Karigan Farrior in Critics of the Morning Song. Photo Robert Hart

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. Photo: Brian Guilliaux
Bruce Wood Dance Project. Photo: Brian Guilliaux

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 Contemporary Dance (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.

Pictured: Houston Repertory Dance Ensemble
Pictured: Houston Repertory Dance Ensemble

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 in Photo Box D. Photo: Lynn Lane
NobleMotion Dance in Photo Box D. Photo: Lynn Lane

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.

More information about the festival is available at www.DallasDanceFest.org.

This feature was originally seen in the Aug.-Oct. 2015 issue of DANCE! North Texas which is published by The Dance Council of North Texas.

Gayle Halperin: Nurturing Dance

Gayle Halperin’s latest endeavor opens new doors for the Dallas dance community. Literally.

BWDP rehearsing in the company's new space in the Dallas Design District. Photo: Sharon Bradford - The Dancing Image
BWDP rehearsing in its new space in the Dallas Design District. Photo: Sharon Bradford – The Dancing Image

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.”

Photo: Robert Hart
Photo: Robert Hart

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.”

This article originally appeared in the Aug.-Oct. 2015 issue of DANCE! North Texas which is published by The Dance Council of North Texas.

Also check out the feature I did on BWDP Company Member Albert Drake who made his choreographic debut with Whispers in the company’s 5 Years performance in June.

Gayle Halperin: Dance Maven

Photo: Robert Hart
Photo: Robert Hart

After launching the Dallas DanceFest and positioning Bruce Wood Dance Project for its future following Wood’s death, Gayle Halperin is a major force in the dance scene’s growth.

When Gayle Halperin comes up with an idea that could benefit the Dallas dance scene, it is full steam ahead, regardless of the budgetary and timeline pressures associated with producing a large event such as the new Dallas DanceFest, or the personal challenges that can arise from continuing the legacy of the Bruce Wood Dance Project after the passing of choreographer Bruce Wood last May. While Halperin is quick to credit her “village of supporters, patrons and passionate dance lovers, it is clear that she is nonetheless an invaluable part of the local dance community, with her arts organization knowledge, list of contacts and passion for the dance art form.

Halperin’s intuitive sense of the community’s needs are why so many of the programs she has championed over the last couple of years have met with such success. “Looking back, my first project was Dance Planet and expanding exposure of dance at the community level—bringing all styles together at one venue. Then TITAS made living in Dallas manageable for me by bringing in nationally and internationally acclaimed dance companies. Then, I kept taking on more and more roles at the Dance Council of North Texas.”

Most recently Halperin steered the committee within The Dance Council of North Texas to create the Dallas DanceFest that took place in August at the Dallas City Performance Hall. With the number of artists living and working in the area growing and the exquisite Arts District at their disposal, Halperin saw a unique opportunity and pounced on it. “I was blown away and overwhelmed with the whole event. Each day was an amazing experience—shows had such a great variety of high caliber dance—all the dance companies were at the top of their game. Each show was inspiring and as excellent as the one before. The audiences embraced the variety and were enthusiastic.”

Halperin also has close ties with the Bruce Wood Dance Project (BWDP) since it was she who approached Wood about restarting the group and moving it to Dallas in 2011. After Wood died unexpectedly in May, some in the arts community questioned whether the company could sustain itself.  Thanks to Halperin’s and the other board members’ quick thinking the BWDP’s September performance went on as planned. “I was following my instinct. He taught me so much about courage, drive, passion, responsibility, work, and more. I could feel it in my bones that B. would want us to keep going. It’s been not easy going forward without him. Not easy at all. But as artists we know how to be flexible, how to problem solve, and so we continue. Bruce lives on through his choreography, aesthetic, teaching, and dancers. Continuing onward is the best way to celebrate his life.”

Halperin’s ultimate legacy may be succeeding in her goal of making Dallas a “dance destination” in the same vein as New York, Los Angeles, Miami or Chicago. The development of new local performance opportunities, and paying jobs, through projects and events such as those Halperin has helped spearhead are going a long way in helping artists make Dallas home rather than just another stop on a performance tour.

The 2015 Dallas DanceFest is scheduled for Sept. 4-6, 2015 (check the website for info about submitting an application); and the Bruce Wood Dance Project is rehearsing for its next performance at Dallas City Performance Hall. Also, a photography exhibit chronicling Bruce Wood and his work runs Jan. 10-Feb. 15 at the Arlington Museum of Art.

This profile was originally published on TheaterJones.com.