Archive for December, 2011

December 30, 2011

local headlines

by ashleyandersondances

Check out the link below for Kathy Adam’s end of year review of dance in the city. She notably takes a look at some road shows we may have missed and also different political issues as of late (like RDT and the EPA funding). Due to space some of her writing on smaller spaces (like Sugar Space) were not able to be listed.

Speaking of spaces read about the new arts hub. Often these type of hubs only offer visual arts studios but it appears some dance groups are already in residence (like Samba Fogo). The question on every rehearsing modern dancers mind is…are these floors sprung?

December 29, 2011

Watch this!

by ashleyandersondances

Here’s a clip from the new movie “The Artist” – a cute dance scene reminiscent Gene Kelley and Debbie Reynolds and other 30’s films. It is just one wonderful moment in a wonderful movie. The dance is not revelatory, but it is infused with style and verve. -sofia strempek

December 27, 2011

a few days for Mudson apps and some theater news

by ashleyandersondances

Only a few days left to apply for spring Mudson!!
Click on the tab above.

It’s exceptionally easy because your work-sample can be a URL rather than a DVD.
Also if you don’t have time to pop an app in the mail you can e-mail it to
A few questions and one URL later you are eligible to make a dance, show it off and get some money to keep working on it.

After you apply check out this article from the Trib about the additions to Capitol Theatre (& the Ballet West Academy it houses).
I like that Adam Sklute says he wants to make SLC a destination for dance. I also like the idea of small scale updates to existing cultural institutions.What I don’t like is that those beautiful swaying beams will be homeless.


December 23, 2011

happy holidays

by ashleyandersondances
December 21, 2011

Pina Bausch- A Review by a PE Teacher

by ashleyandersondances

My dad saw Bausch’s Tanztheater Wuppertal performed “Danzon” on December 3rd at Zellerbach Hall in Berkeley, California. He was slightly nervous to write the review, as a PE teacher and definitely not a modern dancer, but here it is…slightly belated but still pertinent. It’s always interesting to see what someone who isn’t schooled in modern dance appreciates, notices, reacts to — particularly in the case of an incredible iconic company.

As the lights dimmed, ten minutes later than expected, for the Pina Bausch Dance Troupe performance of ‘Danzon’, the audience was still in a talkative mood, like guests at a wedding reception unable, in their excitement, to quiet down and listen to the father of the bride commence with the speeches. In our center balcony seats, and throughout the hall, I overheard snippets of conversation reverent in their references to this icon of performance-art-dance. I imagined I’d dropped in on a party of familiars ready to share a festive night together.

And then, onto the stage erupted a flurry of figures, laughing and bubbling with unintelligible vocal excitement, involved in an intricate and amusing ritualistic flirtation between themselves and with the audience as well. The female dancers arrived in white Maidenform bras and undies over which half of them wore loose-fitting, light colored, flowing, gauze gowns. As they pranced around the stage, suddenly two would unite, clasp hands and fold forward, arms outstretched, forming a table top, their sides to the audience. Then, in a grandly amusing and thoroughly sexual gesture, a male dancer would grab the dress at its hem, lift it over the first dancer’s head and arms and draw it onto the second dancer’s unclothed torso. The dancers laugh; the audience laughs; and the pairings continue at center stage while a commotion of frenetic couplings ensue upstage. If this had been all I’d see this evening it would have been enough. But, the performance hadn’t really even begun.

With the second tableau began the show, in earnest. As the stage cleared, one of the dancers invited an audience member, dressed in a flaming red gown and topped with extravagant hair – obviously one of the troupe members – to join the performance onstage. With this grand, artificial gesture the audience, too, was invited to enjoin with the performers for almost two hours of shared imaginings.

So much transpired, I remember only bits and pieces, three weeks later: a quartet of dancers struggling to free their feet in frenzied undulations as they moved slowly downstage, the bulk of their bodies locked and immobile in Victorian rectitude; a tall, white-skinned male dressed in over-sized, sumo-style diapers crawling on all fours and rolling large stones toward a pair of maidens, side-by-side center stage, their arms and legs writhing lustily skyward until the caveman, placing the stones on their chests and between their legs, upon the white cloth of their gowns, clumsily vanquishing their free female energy; a set of pas-de-deux in which various dancers paired with enlarged projections of colorful saltwater fish; and all this interspersed with a number of dances set to spoken word recordings, some playful and some serious, exploring familiar and important transitional moments in life: from youth to adulthood; from the exquisite to the banal; and, inevitably, from life to death.

The evening with Tanztheatre Wuppertal Pina Bausch continues to resonate, as do those important dreams we awaken from in the dark of the night, wondering who we are, how we got here where we are, what on earth was it all about and, most importantly, what does it all mean. It is a rare performance that leaves us asking more questions than we knew we had to ask. Pina Bausch’s, ‘Danzon’, is one of those rare, memorable and resonant theatre experiences.

By Chris Strempek, Sofia Strempek’s Dad

December 21, 2011

apply apply!

by ashleyandersondances

apply to Mudson!
submit to the Journal!

click on the Mudson and/or Journal tabs above and make sure to apply to present your work in 2012.

December 19, 2011

links here and there

by ashleyandersondances

Salt Lake City dance is by no means sleepy around the holidays but it is more or less limited to holiday-themed productions which have already been seen, reviewed and discussed at length.

So below are some various links to keep you up to speed with dances not related to Christmas trees or magical lands.

Former SLC’er Matt Beals shared this essay on the female body in performance by a Seattle based choreographer-performer: With a name like “Occupy Your Ass” how couldn’t you be intrigued?

If you are looking for ideas to submit based on the “Survival” themed journal due out this spring, read about a “revival” of Yvonne Meier’s work in the NYTimes Featuring performance by ashley anderson dances board prez Ishmael Houston-Jones we can’t help but spread the word about this awesome project.

And speaking of survival, you can read in the LA Times about “the LA Dance Project” which I don’t know a lot about (other than the founder is of Black Swan fame and his insight that company models really aren’t working very well rings pretty true). Who knows if this model will be any more relevant but read here and decide for yourself.

December 14, 2011

Intern in SF

by ashleyandersondances

I’m enjoying winter break in San Francisco, taking a break from dance (in a university setting, anyways). But dance isn’t taking a break. How exciting to be in a relatively unfamiliar environment, and to find myself centered and stable because of a strong dance community. I’ve been in San Francisco 5 days…already performances, classes and dancers are filling my “to do” calendar.
Some of the events on my calendar were penciled in after reading “In Dance”. This is a magazine that is as close to loveDANCEmore’s journal as I have seen.
Some of the articles in the magazine are specific to San Francisco, but more often than not they address a larger dance community. I am posting their archives page as a resource for great dance articles chronicling events, but also current social/economical/media issues which relate to the art form.
I have requested permission to post one particularly affecting article about “participatory art practices” from the magazine on the loveDANCEmore blog, so hopefully you can read it directly from our blog soon!

Sofia Strempek

December 14, 2011

If this is what the politicians criticize….

by ashleyandersondances

If this is what Utah politicians are most critical of then they seriously need to think harder.

The link above describes a grant received by RDT for environmental education as part of their “green map” and/or “snapshots” projects. Apparently multiple Utah politicians find it a poor use of funds.

Let me tell you that Utah politicians have regularly supported a number of things that are 1) a much larger use of a funds and 2) arguably as inessential a use.

While dance critics (Kathy Adams in the Trib and Sofia Strempek/Burr Johnson for loveDANCEmore) were critical of RDT’s Green Map project in a concert setting all critics agreed that as an educational project RDT was doing a fine job. The idea that environmental education can’t happen via the performing arts is absurd, especially in a state like Utah where so many artists are employed as educators.

The dancers of RDT do their very best to encourage physical inquiry within the K-12 core curriculum. So do many other programs like Tanner Dance and Ririe Woodbury (to name a few). They encourage the notion that there are multiple ways students can learn — viewing and creating art is one of them. This is widely supported by research that creative projects help us to internalize and manifest our education as well as, if not better than, traditional book work. To deny students the opportunity to learn about recycling, or community, in a fun way would be more than a shame.

Keep in mind the money they receive pales in comparison to almost all government agencies. These dancers are underpaid and their organization is understaffed. They are doing this because they are professionals dedicated to an under-appreciated field.  I wish the scoffing politicians could say the same.

December 14, 2011

tis the season to…

by ashleyandersondances

apply for Mudson. click on the “home” tab up top and you’ll see an application link.

also submit to the spring journal. you know you’d love to toil away on an article related to “survival” whether to you that means choreography and sustainability, using somatic practices or something else.

send both materials on in to

you can send questions to that e-mail address as well.

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