Executive director Marielle McGregor on carving out space in the local contemporary dance arena and presenting Brush to Canvas at Dallas Dances.
Dallas — As the Dallas arts scene continues to grow so has the number of contemporary dance companies in the area. With well-established companies such Avant Chamber Ballet, Dallas Black Dance Theatre, Ballet Dallas, Bruce Wood Dance, Dark Circles Contemporary Dance, 8&1 Dance Company and Dallas Neo-Classical Ballet claiming large chunks of the city’s ballet and contemporary dance audience, you have to wonder what a newcomer like 6 o’Clock Dance Theatre can possibly bring to the table.
Executive Director Marielle McGregor says the answers lies in the framework of the company, which was founded by Zach Law Ingram in 2014. “What makes us unique is that we are career professionals working across many industries in Dallas. But, instead of happy hour at 6 p.m., we meet to explore our art. We decided that dancers should not have to choose between art and a living wage. You can have both!”
She adds, “We have dancers who are UX designers, mathematicians, marketers and engineers. We have 9-to-5 jobs, but at 6 o’clock—that is when we dance!”
McGregor is currently the senior digital editor for Dallas County Community College District. She is also a co-founding member of 6 o’Clock Dance Theatre and serves as the executive director, managing company business and equipping the company dancers and choreographers for success.
6 o’Clock Dance Theatre will be performing Ingram’s Brush to Canvas as part of Dallas Dances’ Saturday evening program. Ingram is a Dallas native whose professional experiences include Alvin Ailey American Dance Theatre and Dallas Black Dance Theatre. He was also in the Broadway production of The Lion King. He officially moved back to Dallas this summer.
In Brush to Canvas McGregor says Ingram was inspired by the fact that a painting has no real finish. “The painter begins not knowing the end,” she says. “He [the painter] creates his art by throwing out ideas to the canvas, mixing his paints and seeing what comes back. And at some point the painter—through feeling—knows it is a complete work. And yet, at any time, he could pick the brush back up and again continue to explore more.”
McGregor adds, “Zach was also inspired greatly by the music itself. He said it gave him a lot of freedom and rather than dictating what the movement should be, it just let him paint.”
Brush to Canvas is set to “Infra 8” by Max Richter and “Thunders and Lightings” by Ezio Bosso. The piece features company members Darwin Black, Shelby Stanley Campbell, Sarah Cat Hendricks, Constance Dolph, Katricia Eaglin, Sophi Marass, Madison McKay, Marielle McGregor, Katherine Parchman, Laura Pearson, Allison Wood and Alex Yap.
Founder Bhuvana Venkatraman on bringing the classical Indian dance style Baratanatyam to Dallas Dances this weekend.
Dallas — Bhuvana Venkatraman is well known in the Dallas dance community for her roles as an instructor, performer, and advocate of classical Indian dance. More specifically Baratanatyam, which, when broken down, means the dance that encompasses music, rhythm, and expressional dance or Abhinaya and strictly adheres to the Natyashastra or the scripture of classical Indian dance. Venkatraman created Tejas Dance in 2014 as a way to enrich and popularize Bharatanatyam and also identify and encourage talent in the field. Venkatraman says she and Chintan Patel (artistic director of Tejas Dance) were drawn to Baratanatyam because of its vibrancy and the spiritual beauty it has to offer.
“We believe that Baratanatyam is looking at things beyond their actual appearance,” Venkatraman says. “We consider it a medium for finding metaphors in every event in our lives and finding its deeper roots in spiritual elevation.”
The duo has performed for many local organizations, including the Indian Cultural Heritage Foundation, the City of Dallas Office of Cultural Affairs, the 2017 Dallas City Council inauguration, Karya Siddhi Hanuman Temple, Allen Radha Krishna Temple and Arathi School of Dance, just to name a few.
Tejas Dance will be presenting Ardhanareeshawara – Synchronization of Dichotomy at Dallas Dances this Saturday night. The work features music from Parshwanath Upadhye’s album Shambho. The dance will explore the age old question: Are men and women really different?
“This dance talks about the two aspects of our society—the masculine and the feminine. Thinking of both of them as separate energies is common, but the actual spiritual elevation lies in knowing and understanding that these two characteristics though so different are one and the same,” she says. “If we understand that these two are nothing but a complementing half of a major energy, we realize how futile our efforts are to prove one is superior to the other.”
“This dance gives out a strong message to think of someone’s quality and abilities beyond their gender and find beauty within everything,” she adds. “It’s a great way for adults to find themselves more elevated from the claws of society and an excellent opportunity for kids to learn important concepts that will mold them for a better future and eventually leading to a better society.”
Co-creator Martheya Nyaard breaks down the company’ intentions and what they have planned for Dallas Dances.
Dallas — Looking over the lineup for Dallas Dances, it’s exciting to see so many first-time presenters blended in with event staples such as Texas Ballet Theater, Bruce Wood Dance and Dallas Black Dance Theatre. One of these new faces is kNOwBOX dance, which was created by local choreographers YeaJean Choi and Martheya Nygaard at the beginning of 2018.
Choi and Nygaard met while earning their MFAs in dance at Texas Woman’s University in Denton. Their overlapping interest in making art that challenged contemporary and modern dance aesthetics lead them to becoming fast friends and dance peers. Choi was working as the dance department’s digital media coordinator and Nygaard as the department’s publicity coordinator when the duo starting brainstorming about what they were going to do after graduation. They came up with the question: how can artists have access to stay connected, make new work and share work globally, and from there kNOwBOX was born.
“We strive to say no to the box,” Nygaard says. “The box symbolizes the boundaries and confines that limit connections. We pursue experimental production and collaboration with other artists in order to create, discuss and advocate for art. …The vision of kNOwBOX dance is to use the digital space and alternative formats to collaborate and archive. Our social media-based Evolving Laboratories facilitate a global presence for our collaborators to make, capture and share art.”
For Dallas Dances Hyun Jung (Jenna) Change will be performing Choi’s 괴다 (The memory of love) to Donovan Jones’ song “The Memory of Love.” The piece uses Korean contemporary dance techniques to express one’s memory of love. Originally from Seoul, South Korea, Choi earned her BFA in Korean dance from the Sung Kyun Kwan University in 2012 and performed with Du-Ri Theater of Korea. Her work has been presented at World Dance Alliance-Americas in Mexico, Dallas DanceFest, Texas Dance Improvisation Festival, American College Dance Association, Seattle BOOST Dance Festival, Terrance M Johnson Dance Project, Big Rig Dance Collective and the Choreographer’s Series in Korea.
Later this year kNOwBOX dance will be co-producing, alongside the Dance Council of North Texas and the Dallas Public Library, the first Dallas Dance Film Festival. In terms of what they hope to accomplish with this new event Nygaard says, “It is our goal that this festival can support both local and international emerging and professional dance filmmakers and provide an affordable platform to share their work. This free festival also offers the community of North Texas a new way to engage with dance.”
“We hope this will be an annual festival that has the potential to grown into a weekend event with workshops, installations and guest artists.”
The jazz dance professor on the fundamentals of Jump Rhythm Technique and her piece, What We Do with Time, part of Dallas Dances.
Dallas — Just like every young dancer Brandi Coleman grew up learning all the basic dance techniques, including ballet, jazz, modern and hip-hop. It wasn’t until Coleman went to the Jazz Dance World Congress in 1992 and saw Billy Siegenfeld’s choreography for the first time that she realized she wanted to focus primarily on jazz. More specifically, she wanted to learn Siegenfeld’s Jump Rhythm® Technique. So, when she heard Siegenfeld was teaching at Jacobs’ Pillow along with fellow jazz choreographer Danny Buraczeski, Coleman knew she needed to go.
“This was a pivotal point for me,” Coleman says about her time at Jacob’s Pillow. “Up to this point I have had a variety of dance training, but this experience at Jacob’s Pillow working with both Danny and Billy really solidified my innate response, love and passion for jazz dance and specifically moving rhythmically and musically.”
“Jump Rhythm Technique just felt good innately to me both in the physicality and in my heart and soul.”
Today, Coleman is an artist-in-residence in jazz dance at Southern Methodist University and is also the associate artistic director of Jump Rhythm Jazz Project (JRJP), an Emmy Award-winning performing and teaching company that celebrates the communal core of jazz performance, including dancing, singing and storytelling in rhythmically syncopated conversations. She also holds a B.A. in dance from Northeastern Illinois in Chicago and an MFA in performing arts/dance from the University of Wisconsin-Milwaukee.
To put it simply Coleman says the goal of Jump Rhythm Technique is to turn the body into a percussive instrument. “So, it’s using the musical construct of jazz music, meaning we’re trying to play syncopation and swing in the body, but we are also trying to understand what it feels like to feel rhythm in the body and to shape energy over approaching movement from how my body looks in space. We do address shape, but we address time first.”
When explaining the fundamentals of Jump Rhythm Technique to her students Coleman uses a comprehensive step by step process. “So, in Jump Rhythm Technique we first say what is the rhythm. Then we improvise to that rhythm. Then we clarify the rhythm. Then we clarify the emotional intention behind the rhythm. And then we clarify where in space we do that rhythm.”
Coleman points out that the technique also involves a lot of vocalization, which she says is hard for many dancers because the perception is usually that dancers are to be seen and not heard. So, she usually starts out by asking the dancers questions so they can hear their voices out loud and then she has them sing the Alphabet percussively and then rhythmically. From there she has them start scat singing, which audiences will get to experience firsthand at Dallas Dances this Sunday in Coleman’s What We Do With Time.
“Rhythm and emotion primarily inform the movement and the narrative of the piece,” Coleman says. “It is a quirky, humorous comment on being stressed. It’s about meeting deadlines and missing deadlines and anticipating deadlines that you know you can’t or won’t make. It’s a universal theme that I anticipate anyone and everyone can empathize with.”
I asked Brandi if she thought classical jazz was a dying off and she told me that this is misconception because in order grow jazz dance has had to align with pop culture, which is where new styles like jazz funk and lyrical jazz come into play. So, classical jazz isn’t dying. It is just changing as is natural with all dance forms. She uses the imagery of branches to example these newer styles of jazz, which she said I could read about in the book “Jazz: A History of the Roots and Branches” by Lindsay Guarino and Wendy Oliver.
Like the dance history nerd I am I immediately purchased this book on Amazon and it should be here in a day or two. I am looking forward to reading and will definitely put up a post about my thoughts on the book as soon as I am done reading it. Here is a link to the book if you will she purchase it too
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.
This weekend, the award-winning dance and theater choreographer Camille A. Brown opens the TITAS Presents season with BLACK GIRL: Linguistic Play.
Dallas — 2018 has been quite a year for Camille A. Brown whose powerful combination of storytelling and modern, African and hip-hop movements has been capturing audiences from every angle, including concert dance, on and off-Broadway, and television. Most recently, her work has been seen on NBC with the Emmy-nominated special, Jesus Christ Superstar LIVE, and also on Broadway with the 2018 Tony award-winning production, Once On This Island. Her other theater credits include A Streetcar Named Desire, Cabin in the Sky, Jonathan Larson’s tick, tick…BOOMand Dallas Theater Center’s world premiere productions of Stagger Lee, Fortress of Solitude, and Bella: An American Tall Tale.
The dancing It Girl is also a four-time Princess Grace Award winner, TED Fellow, Ford Foundation Art of Change Fellow, Jacob’s Pillow Dance Award winner, Guggenheim Fellowship recipient and Audelco Award winner. Her work has been commissioned by the Alvin Ailey American Dance Theater, Complexions, Ailey II, Philandanco!, Urban Bush Women, Ballet Memphis, and Hubbard Street II, among others.
With all these creative accolades it’s no surprise to learn that Brown has been choreographing since childhood when she would make up dances to cartoon shows. A lot of her movement is influenced by the social dances of her childhood, including hip-hop, African and step dance. She was also versed in salsa dancing and musical theatre thanks to her parent’s love of musicals and Latin social dances. Add in her point of view as a strong black female from Queens and you have the foundation of BLACK GIRL: Linguistic Play (2015); the second part of a trilogy that her troupe Camille A. Brown & Dancers will be performing as part of TITAS Presents in Dallas Aug. 24-25.
TheaterJones caught up with the busy dancemaker to talk about her current success, working on Once On This Island, finding her artistic voice and what Dallas audiences can expect to see from her dancers this weekend.
TheaterJones: Most young dancers dream of becoming performers, and yet you knew you wanted to choreograph from a very young age. Dancers don’t usually come across composition classes till they reach high school age, so how did you foster your interest in creating movement growing up?
Camille A. Brown: I have always been a quiet child. My voice was small, so I got teased a lot, and it made me more self-conscious about speaking. I watched Michael Jackson and Janet Jackson videos as well as musicals (which my mom introduced me to). I would spend hours learning all the routines from videos and musical numbers. I also created movement to the opening credits of cartoons I watched. Family gatherings were opportunities to put on a show with friends and cousins. My family would support our efforts and was always a great audience.
How has your upbringing in Queens influenced your artistic choices throughout your career?
One of the first works I did was about rush hour in New York City and what happens when everyone is waiting for a delayed train. I took all of my experiences riding the subway since 13 to create six minutes of material. The work was eventually commissioned by Alvin Ailey American Dance Theater.My most recent work is also pulling from my experiences growing up in the city. Some of it is inspired by my neighborhood. A couple in Queens walking down the street with their isms bold and bright. The guys that play basketball outside. The hand gestures (dab) they do greeting each other.
In BLACK GIRL: Linguistic Play, there are moments that are inspired by relationships with my mother, grandmother, and cousin. Q85, Farmers Blvd., Guy R. Brewer, Foch Blvd, E/F train (last stop), Green Acres Mall, Rochdale Village, grandma and granddaddy’s house. We carry our stories with us and they never let us go.
Looking back, would you still have chosen to go to college before starting your professional dance career?
Absolutely! I wasn’t ready to be a professional dancer after I graduated high school, and still wanted to learn more as a student.
How did you get involved with Once On This Island? What research did you do leading up to teaching the choreography for the show?
I had never seen OOTI, but was very intrigued by the story. I knew it was a very popular musical, which made me nervous! It’s hard stepping in as a choreographer creating material for a show that’s been done thousands of times. I got a little bit in my head about it. I knew my role as a part of the creative team was extremely important. I wanted to honor the culture of Haiti and the Caribbean islands, but also honor my choreographic voice.
People ask me what the inspiration behind the movement for the show was. Culture always tells you where to go. The challenge was to create a language that combines culture, my voice and the actor’s creative identities. I connected with an Afro-Haitian/Afro- Cuban consultant, Maxine Montilus. We had four sessions together. I told her that these sessions were not so I could implant these specific steps into the show. It was about me knowing the origins of steps so they could help to inform my choreographic choices.
The other challenge for me was the production was staged in the round and I had never choreographed anything in the round before. I was creating my latest work, ink, at the same time so I used that creative process as an opportunity to practice. It’s interesting how many projects can support one goal. I’m grateful for it all.
How have your experiences working on Broadway and TV impacted the way you think about movement for your company dancers?
I have always been interested in telling stories, but working in theater with collaborators and putting an entire show together that has music, acting, dance, set design, sound design, costume design and orchestrations has made me a better storyteller and communicator. The information that I absorbed working in theater has helped me to create my movement language and given me the tools to communicate what I want to my dancers and musicians.
Can you please talk to me about the building of BLACK GIRL: Linguistic Play? Is it mainly autobiographical? Is it one complete story or broken up by experiences?
BLACK GIRL: Linguistic Play is the second piece of the trilogy and it reveals the complexity of carving out a self-defined identity as a black female in urban American culture. In a society where black women are often only portrayed in terms of their strength, resiliency, or trauma, this work seeks to interrogate these narratives by representing a nuanced spectrum of black womanhood in a racially and politically charged world.
Kyra Gaunt’s book, The Games That Black Girls Play, talks about the contributions of black girls to hip hop through childhood games. If we look at the mechanics of the hand clap game “numbers”, it’s highly intelligent, mathematical and musical. Social dance grounds a time and place. The body has so many stories to tell and we can see them through social dance. We can also see people’s creative identities.
There is artistry in childhood games and social dance.
I am bringing all my stories, my personal experiences of being a woman and of being black into the work. BG:LP is about my childhood. It has glimpses of the relationship I have with my sister-friends, cousin and mother.
At what point did you know you wanted to make this part of a trilogy?
After creating Mr. TOL E. RAncE, my headspace was still in the world of black identity. My mentor and dramaturge, Talvin Wilks, encouraged me to go with the flow. Three evening length pieces later!
Where do you want to go from here?
I want to stay focused, clear and keep growing. It is my goal to continue creating works for my company, become a director/choreographer for musical theater and do more TV and film. Debbie Allen is a huge inspiration. She does it all. Her body of work makes me believe that all things are possible.
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.”
Danielle Georgiou Dance Group in Just Girly Things. Photo: courtesy of DGDG
Danielle Georgiou Dance Group (DGDG) made my summer last year with their zany dance theater work Donkey Beach. An ode to the 1960s’ beach movie genre and Disney’s Teen Beach Movie the musical follows a group of campers as they are transported to one super awesome beach party after drinking some magical water. As in all of her works Georgiou addresses taboo topics such as gender roles, sexuality and female equality through her own blend of song, dance and dialogue that usually has the audience laughing and cringing at the same time.
This summer DGDG will stay true to its feminist roots, but always with a unique twist in Just Girly Things, part of the Festival of Independent Theatres’ 20th anniversary at Bath House Culutral Center at the end of July.
On its Kickstarter page Just Girly Things is described as a delightfully raw and painfully honest piece of dance theater, which centers on the complicated relationships between women and the obstacles that they place between each other in an already tenuous environment. Chocked full of songs and dances inspired by 1990s’ pop culture and television sitcoms, this musical comedy will show the lengths women will go to resist disappointment and achieve perfection. The production is written by Georgiou and Ruban Carrazana and includes original music and lyrics by Justin Locklear, Cory Kosel and Trey Pendergrass. I am so pumped to see the Beach Bum band once again. Looking forward to some more catchy tunes 😉
You can check out DGDG in Just Girly Things on the following dates:
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.
Bombshell Dance Project gets ready to showcase three new works, including program headliner Like A Girl at Moody Performance Hall today!
Dallas — The inspiration for Like A Girl, one of two new works by Bombshell Dance Project’s Emily Bernet and Taylor Rodman, focuses on what it means to do something like a girl.
“We started out with the phrase “fight like a girl,” but then it expanded to doing anything like a girl and what does that mean especially now that there is such a boom in strong women,” Bernet says. “It’s not to say no progress has been made. It’s more like what does it mean now that we’ve made all of this progress?”
Rodman adds, “It’s interesting because we started off with a phrase that is kind of aggressive and then over the past year it has evolved into so much more, like what does it mean to be sensitive or what does it mean to be feminine like a girl?”
To accomplish their task the bombshells are incorporating some of what they learned during a fight choreography workshop with Prism Movement Theater co-founder Jeff Colangelo into their choreographic process, which features the duos’ penchant for large, powerful movement guided by contact improv, images and feelings. In this particular piece the bombshell’s movement choices are also being influenced by feedback from an online survey that asked questions such as what does it mean to be feminine and name something you believe in fighting for. The bombshells have also added to their ranks for this piece, with fellow female powerhouses Haley Tripp, Alyx Henigman and Alex Clair.
I caught up with the dance besties during one of their recent rehearsals at Preston Center Dance in which they candidly talked about their experience with fight choreography and what they have in store for the rest of their Like A Girl program, which takes place June 22 at Moody Performance Hall in Dallas.
“It was not an easy class,” Rodman says about Colangelo’s fight choreography workshop. “It was hard to keep it pure because it was so movement-based. It required us to find the balance between anticipating and not anticipating what was happening.”
Bernet laughs, “Oh yeah! We kept getting in trouble for dancing it.”
The class focused primarily on stances and how one should advance and back up and then progressed into more detailed techniques like how to throw a punch. From there more partnering was added and the students essentially made what dancers would call a phrase, according to Rodman. And while the pair will not be performing any of the fighting techniques, they say the experience has definitely impacted their creative process for Like A Girl. “The experience really opened us to the elements of listening and the reactive element in which you try not to anticipate what’s to come,” Bernet says. “The level of physicality involved and this quietness-from-behind-like approach also were aspects of the class that have stuck with me.”
The Bombshell’s second new work, All The More, was inspired by Harry Styles’ “Kiwi” music video and features a cast of 12 students from around the Dallas-Fort Worth area. The applicants were required to submit a three-minute improvisational video and it just so happened that all the submissions the bombshells received were from female dancers, a detail the ladies say works great for this show. “It was opened to everyone, but we would have picked females anyway for this particular show because we are exploring something that is really unique to females and so, that is kind of what we are going for this time,” Bernet says. She adds that the duo is working on some ideas for incorporating men into their work later down the road.
The third piece on the program is New York-based choreographer Amanda Krische’s LUNA. Rodman met Krische at YoungArts Miami during their senior year of high school, and they really got to know each other when they were selected as presidential scholars and spent two weeks together in Washington D.C. The two remained in contact throughout college and when the bombshells decided it was time to bring in another choreographer Rodman says Krische was always at the top of their list.
Krische graduated from Purchase College with a BFA in dance and currently resides in New York City where she works with her own set of dancers. Her choreography has been shown in such venues as LaGuardia High School, the Dance Theater Lab at Purchase College, SUNY, the John F. Kennedy Center for the Performing Arts, Gallim Dance, the Actors Arts Fund and Ailey Citigroup Theater. Her work mainly focuses on the physical history of the body and its connection to memory. This is the first time her work will be presented in Dallas.
“We both learned a lot from her choreographic process,” Rodman says about their time with Krische. “She came in with one little phrase and floor pattern and turned that tiny nugget into a 10-minute dance in only four days. …Amanda works a lot with the ideas of memory, and when we were working with her she was really specific about creating a world and how the movement exists within that world even to the point of what the temperature is and what you are looking at and what you see at different moments.”
The bombshells describes Krische’s piece as a slow burn due to the repetitive nature of the movement. The piece starts off with the two dancers walking a specific number of steps in a predetermined pathway around the space before gestures, pauses and abrupt floor work are woven in to break up the monotony of their walks. The intensity of the piece builds as the dancers dig deep to maintain their high energy levels as the music changes from meditative to pulsating, which leads to an unexpected yet satisfying ending.