Archive for July, 2010

July 29, 2010

Leah Cox

by Matthew Beals

Leah Cox is dancer and education director for Bill T. Jones/Arnie Zane.
She is here teaching technique in the RW workshop and setting a Bill T. Jones work for the company.
She’s pretty great.

City Weekly interviewed her:

Here is the Facebook event page for the preview/discussion:

July 28, 2010

Wednesday is Poetry Day

by Matthew Beals

Because why not.

The almond trees in bloom: all we can accomplish here is to ever know ourselves in our earthly appearance.

I endlessly marvel at you, blissful ones — at your demeanor, the way you bear your vanishing adornment with timeless purpose. Ah, to understand how to bloom: then would the heart be carried beyond all milder dangers, to be consoled in the great one.

– Rilke, Uncollected Poems

July 27, 2010

more reviews anyone?

by ashleyandersondances

show this weekend at sugar space with work-in-progress by andrea dispenziere? anyone going that would like to write about it? shoot us an e-mail at

also list of assignments for the upcoming performance journal to be posted soon.

July 21, 2010

b-sides and rarities review

by ashleyandersondances

Movement Forum surprised me last weekend at B-Sides and Rarities, a one-night engagement  at Sugar Space. I wish I’d come at seven (they did two shows in one night) and everyone in the cast lamented that I’d missed the earlier show. But I certainly didn’t feel cheated by what I saw, in fact I left feeling encouraged in a way that I haven’t in a long time.

The program notes were printed on an 8 ½ by 11 sheet that the audience was encouraged to write on and throw onstage during the performance. The dancers and three musicians began warming up on stage, the lights and conversation dimmed and everyone adjourned from the middle of the space except for Michael Watkiss, who stood with an unusual presence for several seconds before beginning a gestural solo which seemed to develop the character his costume began: holey dress pants and a too-nice button up.

Watkiss’s dance took a long slow turn for the introspective as he looked at his body up and down, cataloging the possibilities and searching patiently for some unexpected resonance in the folding and unfolding of his joints. The other dancers stood around him like a gang in the shadows out of some dance musical film from the fifties. They began to take turns narrating his solo in a sort of dialectic exquisite corpse. Now he’s a father. But he’s a dead beat dad. Now he’s twenty-six. There’s some kind of mental illness. Now he’s having an affair. Now he’s thirty. I’ve seen this kind of text-based work before, but rarely have I seen it with such tenderness between the performers. The framing and reframing that the other performers provided was excellently timed. It really made me think about truth and fiction and how the artifice of performance was functioning. I can’t tell you how his abstract dancing moved me in a different way that it might have out of context, but I know that it has stayed with me and I’m still digesting it. I’d also like to take the opportunity to comment on how much Watkiss’s dancing has developed since I last saw him perform in May. Something is happening; during his training at the U he managed to preserve a rare sense of interior monologue in his dancing, but now he’s taking it into space with a clarity and humor I didn’t know he was capable of.

The progression of the evening was rambling in a charming way, they didn’t have any real concrete plan, which is not an easy thing to pull off, especially with a cast of almost twenty. There were some impressive interludes of explosive dancing to the amiable music of the live band (Alex Aponte, Trevor Price and Randal Topper), including a bombastic little number that looked a little bit like a Tere O’Connor dance falling out of an airplane (danced by Sherisa Bly, Corrine Penka and Eileen Rojas). The cast also undertook a sort of movement roast of departing and founding director Graham Brown who dived, leapt and tired himself with his usual inimitable athleticism. His dancers barraged him with loving jibes and crumpled airplane’s whose comments from the audience had already been turned into a series of experiments ranging from a hilarious deep lunging routine led by sassy Corrine Penka and an awkwardly funny send up of the late king of pop whose initials are M.J. (danced by Sofia Gorder and Jersey Reo Remio).

Before it was all over there was a brightly surreal trio with blind-folds and another stunning performance by Watkiss, this time joined by the equally witty Danell Hathaway, who will direct the company when Brown moves to Maryland to pursue graduate school this fall. Watkiss told us of a fantastic encounter with a giant talking spider (a dream? an acid trip?). As Watkiss was disarmed by this invisible figment of his subconscious, Hathaway playfully tried to undress him, he batted her off, much as one might an annoying insect. Here were performers dancing with a real sense of metaphor, and making it up as they went along. Some deep, but very playful investigation was happening that night and I was grateful to be invited inside of it.

Sam Hanson

July 21, 2010

Andrea Dispenziere on the Hunt

by Matthew Beals

City Weekly interviews Andrea Dispenziere about her upcoming show:

I am hunting for your comments… What are you hunting for?

July 21, 2010

anyone attend?

by ashleyandersondances


July 16, 2010


by ashleyandersondances

sometimes the internet is like a big junkyard of treasures

July 16, 2010

A MoFo Reminder

by Matthew Beals

Tonight is B-Sides and Rarities with Movement Forum! If you find me at the show and tell me you read this blog, I’ll buy you a drink. How’s them apples?!

B-Sides and Rarities, An Evening with Movement Forum
July 16, 7 pm and 9:30 pm
Sugar Fix or $10 in Advance / $12 at door

Movement Forum presents their never before seen B-Sides and Rarities, An Evening with Movement Forum. Without any predetermined themes or structures, Movement Forum will present a purely improvisational event full of surprises for all (including the performers)! This lively evening will include food, drink, live music and two intriguing performances with time to mingle in between. Come to the first, stay for the second to see a totally different show!

And write a review!
And send it to us!


July 15, 2010

OosImaginary Review

by Matthew Beals

I’ll get to the actual show, but first I want to heave a mighty BRAVO to OosImaginary for hatching the wild idea of going on tour and bringing it to life. Sam Goodman, from an interview on the Sugar Space blog:

We have venues booked in Louisville, Nashville, Conway (AR), Denver, Salt Lake, Missoula, Seattle, Portland, & Ventura, but the idea behind the tour is to perform every day in some capacity, so we are also planning on doing a lot of guerilla/street/outdoor performance in addition to the venue shows.

This is not something that happens easily or without a strong commitment to following through with absurdity in spite of all the shit that people give you, not to mention all the shit we give ourselves. So, to the whole OosImaginary crew, congratulations. You made something awesome happen.

The show itself was a wandering journey through fractured dreams, twisted imaginings, and bizarre visions. The improvised dancing was skillful and engaging to watch, and the entire cast gave solid performances in a dance-theatre-music mashup that satisfies. Make no mistake, this show is the scenic route on the road to I don’t know where. If you need to arrive at some defined story or moral, this might not be your show. This is not a weakness.

The score for the most part matches the rest of the material, though I found myself bothered by some of the lyrics. Not the actual lyrics, just the fact that they were there — I resisted their pull back into a place of verbal cognition. I didn’t mind the integration of poetry as much, but this may be due to the low volume of the cassette player which turned the reading into more of a mumbling aural score than actual verbalization.

In the end, I wanted more. I’m not saying it was unresolved or too short, I’m saying I wanted more. OosImaginary, you walk us right up to the brink. You point over the edge and explain the darkness below, like a very competent tour guide. I want you to jump off, and I want you to take me with you. Similarly, in theory you are dissolving the roles of dancer, actor, and musician into a holistic improvisation. In practice, you’re just taking turns, passing those roles around. Now I will dance, next I will play music, then he will play music, and she will act.

My experience with improvisation is that when you really feel like you’re losing your mind, that is the beginning of the work. Most people stop there because, frankly, it’s scary. Right now I feel like OosImaginary tells the story of losing their minds, or collective mind. It’s a good story. But it’s a bit like trying to drown yourself in a kiddie pool. You know in the back of your mind that ultimately, you’re still safe. Give me the ocean. Give me high tide on a stormy day, salt and sand and seaweed and an undertow that does not relent ever.

Overall I’m excited about this group and what they’re doing. I think that OosImaginary is capable of pushing the envelope, and I hope that they will. I’ll be keeping an eye out for them (Summer tour 2011!?).

–Matthew Beals

Remember that loveDANCEmore solicits reviews from anybody and everybody!
Send us your writing at

July 10, 2010

interview time

by ashleyandersondances

below read this review from movement research between jmy leary (who runs pieter performanceartspacedance in la) and john jasperse (who recently choreographed for rw as part of propel)

then write your own interview and submit it to the learning to love dance more journal
due for release at mudson in september or october.

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