Archive for August, 2011

August 31, 2011

last night to vote

by ashleyandersondances

tonight is the last night to vote in the artys

check out the dance categories and vote for (or write in) your faves

August 30, 2011

mid-week links

by ashleyandersondances

It’s not just in the US where dance artists and organizations struggle for funding and support. Below the NY Times gets commentary from dance professionals throughout Europe. Dancers in SLC had similar conversations at the Utah Dance Professionals Summit earlier this month at the Main Library.

The dance listings in the NY Times this week also feature work by Eiko & Koma who recently visited Utah for SaltDanceFest. When and if they return (please, please!) perhaps they will contribute more of their outdoor works.

The Seattle Times recently announced some Princess Grace Award Winners

The SLTrib has a new events listing page on their revised website. Check it out to see upcoming shows including Curtain Up at the Rose (with Ballet West sneak peeks), Polychromatic (RW’s season opener) & the U’s Dance for the Camera Festival.

August 28, 2011

RawMoves — Babble Review

by ashleyandersondances

Maybe I was the only person that didn’t enjoy The Story of Eight, RawMoves’ prop-driven escapade of 2009.  Then again, maybe I wasn’t. But I think I had a unique reason for my dislike. I thought the poster for that show, which featured ropes and ladders and such, looked like the scene from a ship, I thought the title referred to pieces of eight, and I assumed the show would be about pirates. Needless to say, I was mistaken and a little disappointed. I walked into this year’s show with a taste of that regret still on the tongue.


I was astounded. The first ten minutes of Babble fulfilled my need for textual banter and fast, classy moves. The dancing from this troupe is often fierce, but the choreography is not always this seamless and complex. I found my eye roving from one pair of cheeky fork-lovers to the next with gleams of anticipation. The text elements continued to push boundaries, striking an engaging balance between chaos and clarity. There were very impressive Russian sounding rants, a few lyrical motifs (When a Man Loves a Woman—yes!!) and an incredible lack of gesture-driven phrases where dancers cover their mouths with their hands and then sprinkle unsaid words to the ground like dust.

The smaller ensemble dance sections were often quieter, but still enjoyable. Tyler Kunz left his paperwork behind for an evening and rattled us with a macabre solo. A notable trio engaged in a beautifully interwoven set of phrases. The larger ensemble pieces, especially the finale, fell a little flat in my opinion, though they were full of fine dancing. Perhaps too full. Arranged in cumbersome lines, the dancers seemed to tread water instead of stir the space. A fellow audience member mentioned that the dance sections seemed like the “safety net” in an otherwise daring show.

I have always been impressed that choreographers Natosha Washington and Nicholas Cendese manage to find room in the busy SLC dance scene for their professionally produced, but small company. This year, my respect for them as choreographers has grown. Here’s hoping that they keep surprising audiences for years to come.


Kitty Sailer is a MFA candidate at the University of Utah

August 28, 2011

Dance Camera West

by ashleyandersondances

Ally Voye grew up dancing in SLC and now dances in LA.  She also makes dance films and you may have seen her work Red in dance-dance: a gallery of video last January. She attended Dance Camera West awhile back and just sent us her personal favorites from the festival as well as links to the festival winners. Check out the links below and also note that one of her faves is doing a workshop at the U this fall in conjunction with their festival.

Slow Dance from BRAVOFACT. Short, sweet, unexpected. FUN! Those Canadians have it down.
Full film here:

Katrina McPherson’s film “There Is A Place”. She’s doing a workshop at the University of Utah in September (which I will be attending, YAY!) but I think she is brilliant. The editing in this piece was unreal.
Trailer here:

This was a film of the stage piece “Sutra” by Sidi Larbi Cherkaoui & Anthony Gormley with the Shaolin Monks. I think Sidi Larbi Cherkaoui is brilliant, always, and generally I’m not a fan of films of stage works, but this piece was so fascinating I forgot I was watching a film of a live performance. The way he used the monks and the set pieces was phenomenal.
Trailer here:

Another one of my faves was an EMPAC Commission/BRAVOFACT film from Canada called “Hoop”
Here is a brief article about the screening at Dance Camera West, focusing on this film:
And a video of the making of it here (although it gives it away before you see it, which is a shame):

The “winners” of the Dance Camera West Festival were announced here:

– Dance Camera West Best of Festival
   – The Co(te)lette Film
Trailer here:
This piece was EPIC. Really intense, in your face, frightening, compelling, long, but BRILLIANTLY done on film.
Here is a clip of the original stage piece by Ann van de Broek:

– Dance Camera West Audience Choice Award
   – In Dreams I Run Wild
Full film here:
Another short and sweet one – GO DANCE FILM ARTISTS FROM THE USA – nicely shot, gorgeous dancing, simple, fun concept. Love it.

– Dance Camera West Best Documentary
   – Never Stand Still
Extended trailer here:
I enjoyed this documentary about Jacob’s Pillow. I’ve been to Jacob’s Pillow as a choreography lab student, so it was nostalgic for me, but also very informative to interesting to hear from so many well known choreographers in one sitting. Good for non-dancers who don’t know any of these choreographers or about Jacob’s Pillow.

August 27, 2011

Momentum: a dance marathon

by ashleyandersondances

Sponsored by Ririe-Woodbury and produced by Juan Carlos Claudio and Jill Voorhees Edwards, the 5th annual Momentum featured eight pieces, a sampler platter appealing to many different tastes. Each piece was different from the one before—disparate elements connected more by the dance artists than by the pieces themselves. While each piece had something different to offer, the pace and length of the concert as a whole made it hard really appreciate one before being thrown into another. This is one of the dangers of having so many distinct pieces with different themes—it can be hard for the audience to connect to a central theme that leads them through the concert, and as a result, there is hardly enough time to recuperate and then connect with the next piece, next theme, and next set of dancers.

And as piece after piece, the evening progressed, I began to feel as if I were running a marathon; a dance concert marathon, a marathon that I wasn’t prepared to run. The artTix description stated the show was 70 minutes, so I was under the impression that I had signed up for a performance likened to a leisurely walk-run, when in actuality, I signed up for a marathon trail run through the Appalachian Mountains. There was no intermission on the night that I attended, so there was no time for a water or snack break to refuel and reenergize for the coming pieces. The lights up and down between each of the pieces was just enough time to come up for a bit of air before being thrown back into tumult of dance. Halfway through, I was wishing I taken the time to eat a bowl of Wheaties before the show and by the end, I was dragging myself to the finish line—counting down the number of pieces before the end of the show. Finally, an hour and forty-five minutes after it began, the show ended, and I was exhausted.

This is not to say that there wasn’t some beautiful scenery on the Momentum marathon run. Tandy Beal’s solo, performed by Juan Claudio Carlos was well-crafted and beautifully performed. It opened with a man on stage in a red silk bathrobe, gesturing and moving quickly—reminiscent of the White Rabbit from Alice in Wonderland. There was a touch of humor, beginning with the text in the sound-score and running as an undercurrent throughout the piece.

jo blake’s piece provided a breath-taking view at the beginning of the run. While the film was distracting at times, the movement choices were visceral and impactful. The dancers wove between pedestrian and dance movement smoothly and authentically.

But by the end of the show, it didn’t matter how nice the scenery was, the audience was required to run for so long that it became hard to appreciate anything except the distance to the finish line.

The mission of annual Momentum concert (providing independent dance artists a venue to show their work) is admirable and the amount of dance artists it brings together is impressive: it should continue into the future. I hope in that that future contains more thematic structure and hopefully more water breaks so it does not become overwhelming. And—next time I will eat my Wheaties.

Rachael Shaw is a graduate of VCU and a MFA candidate at the University of Utah

August 25, 2011

the westerner

by ashleyandersondances

when Karinne was in town as an artist-in-residence she did a lot of research and writing and dancing at the library.

but most importantly we went to the Westerner on a night when it wasn’t so crowded and practiced line dances made up my Karinne, Ashley & Katie Meehan. it was pretty amazing AND the dances made their way into her novella on there is a video you should check it out.

the installment of the novella is here:

and the video can be found at the link above OR

The Navarone from Karinne Syers on Vimeo.


August 25, 2011

Momentum preview

by ashleyandersondances

The dance season is upon us and Momentum serves a platter for every taste. Now in it’s fifth season, this show brings together Ririe-Woodbury alumni, invited guests and friends of alumni to provide a platform for showing their work. Simply put, you are sure to get your money’s worth of dance with this medley of works.

True to its concept, this particular iteration of the series fetches a spectrum of artists on different parts of their artistic journey. Seasoned choreographer Tandy Beal shares, through RW dancer and Momentum organizer Juan Carlos Claudio, a beautiful and purely well crafted solo. Emerging voice Mallory Rosenthal presents a quartet dabbed in wool and a literary wasteland. From beginning to end, the show highlights something different about each invited choreographer: Jill Voorhees Edwards, Heather Nielsen, jo blake, Liberty Valentine, Elizabeth Stich and Chia Chi Chiang.

While the show is a bit longer than most local affairs, the length suits the purpose. Take this as an opportunity to put to practice both your critical thinking lens and your appreciation meter. While watching the show, consider these conditions: What are the inherent risks and successes of bringing together different aesthetic preferences for one show? Similarly, what are the pit falls or exciting elements of producing artists with similar dance training histories? As an audience member, do you prefer conceptual dance or physically driven works? What makes a piece of work dance? What impact does costuming, set design and lighting have on the way you appreciate a dance piece?

This show will give you the momentum, pun intended, you need to have a long and eventful 2011 dance season. What are you waiting for? Propel yourself!


August 24, 2011

this weekend plus fringe fests

by ashleyandersondances

tonight/tomorrow expect a Momentum preview by Juan Aldape and late in the weekend a review by Rachael Shaw
also expect a review later in the week about Babble from Kitty Sailer
and don’t forget you can submit your own reviews by commenting on those threads OR e-mailing

also check out the links below…
the first is for the SLAC Fearless Fringe Fest which appears soon for the second summer
the second is for the Philly Fringe/LiveArts Festival which has been going on for who knows who long

the reason they are posted side by side is that the SLAC Fringe Fest is great and has featured work from artists in multiple disciplines (like SB’s Yoga Confidential last year) and when placed alongside the Philly Fringe you can see how much possibility there is for sharing a wide array of live performance in a short amount of time at the end of each summer. while SLAC (to my knowledge) curates their festival, the Philly Fringe (and many traditional fringe festivals) allow anyone with a venue in the city limits to produce their live-performance project. if you think of how many venues are available in SLC and how many independent dance and theater artists are in town the possibilities seem almost as endless as the Philly Fringe offerings.

August 22, 2011

more local press links

by ashleyandersondances

like we’ve said in previous posts this weekend is jam packed with dance events: auditions for Bonnie Story’s pre-professional company, shows like Babble & Momentum & a SLC Ballet open house to celebrate their new space

read more about Momentum in the Trib where Juan Carlos Claudio & Jill Voorhees Edwards talk about the history and evolution of the show, while students discuss what a great venue they have to share new works in a professional setting

also in the Trib was an interesting article on historical, indigenous dances and the ways in which they were influenced by the relationships of Native Americans to LDS settlers. years ago during a fellowship at the Colonial Williamsburg Foundation I found a lot of similar research relating to Christian ministry on otherwise “traditional” performances.

also in local press is the 2011 Arty Ballot. many dancers and dance projects in SLC are featured which is excellent but don’t forget that write-ins are also accepted in ALL categories. so, if your favorite theater company isn’t one that’s more mainstream, if your favorite dance choreography doesn’t happen to be by one of the Arty sponsors or if you have a favorite tattoo of graffiti artist, you can still offer your voice about dance, theater, visual art, tattoos & more

August 20, 2011

thank you salt lake city arts council

by ashleyandersondances

loveDANCEmore offers a huge thanks to the Salt Lake City Arts Council for awarding a project support grant for the Fall 2011 Mudson series.

This generous grant with help ashley anderson dances appropriately support establish & emerging choreographers in the community as they develop new works.


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