Archive for October, 2012

October 28, 2012

sugar show applications

by ashleyandersondances

Sugar Space is getting ready for the annual Sugar Show with preliminaries on November 3rd.

Applications have been extended until October 31st for new projects. The preliminary event includes pitching your project to a panel of artists with those selected having their full project produced at the Rose Wagner.

Check out thesugarspace.com for more info!

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October 26, 2012

Leah Nelson’s “Arizona” and the Harvest Festival at Sugar Space

by lovedancemoreguest

Sugar Space put on a Harvest Festival today and yesterday to raise money for co.da, it’s new dance company in residence. It was quite an event, sort of a block party featuring food, art vendors, a beer garden and pumpkin carving, in addition to a salon of live performance. I came to see Leah Nelson perform a solo she created some years ago in collaboration with David Hurwith. Arizona is similar in structure to the solo Nelson presented at Daughters of Mudson this May at the Rose. It begins and ends with a disarming lack of formality. But don’t be fooled, Nelson has chops and intends to use them. To me, her movement looks a lot like an embodiment of thought. Cool, collected, but always slightly unsettled as the stream of consciousness is for all of us even at our calmest. She poses a question with one carefully chosen array of body parts, sits with what she’s said for half a second and responds with a dazzlingly complex set of simultaneous gestures from disparate corners of her body. A verbalized story, this time about acupuncture and not receiving birthday gifts from her father, is almost an afterthought. It gets told on top of and inside of the dancing, yet another facet of physical subtlety. This is a rare feat, especially for an improvisor. The details are spare but compelling at every level.

Nelson dances from beginning to end with a super-casualness that might be maddening in a less skilled performer. But it’s a slow sense of layering that makes her solo work with text (in the two examples I’ve seen) unique and worth seeing. At first she looks like she’s just a very skilled dancer doing a very ornate improvisation. But she does come back to things if you look carefully, not in the simple easy way of just repeating motifs, instead by repeating them in different body parts or modes in a visually challenging way that can only be described as fugal.

The cathartic turn of the piece is (perhaps too) subtle, but I believe present, when Nelson begins to fall a little bit more through space while switching from first-person telling us about her dad to talking to him (one-sidedly) as if on the phone. She’s apologizing for missing Father’s day, and making, or maybe failing to make small talk. Then the dance ends a suddenly and casually as it began. I am left to wonder if the physical echos I have picked up along the way are the individual memories of people I somehow want them to be, or if they are something more abstract and ineffable that ironically might have more literal relevance to how this woman actually lives.

Samuel Hanson is dance artist living in Salt Lake City who regularly contributes to loveDANCEmore publications and events. 

October 24, 2012

call for submissions!

by ashleyandersondances

First things first. You can apply for Mudson. Click the tab at the top of the page to get the link, it’s due in November and is pretty easy to do. If you have problems opening the link (sometimes google docs are tricky!) you can e-mail lovedancemore@gmail.com and we’ll send you one.

Also: Dances Made to Order is launching a new program – The En Route Dance Film Festival. You may remember DMTO which supported three great film projects by Sam Hanson, Aniko Safran/Wyn Pottratz & Josie Patterson Halford/Scott Halford.

They are in their last week for submissions and SLC is filled with film-makers and dancers. For more information about the festival and submission guidelines visit: http://dancesmadetoorder.com/blog/2012/09/call-for-submissions/

The submission deadline is Oct 29, 2012. Only audience members that purchase a ticket will have access to the films selected for the festival. They will not be posted online for the general public.

October 17, 2012

RDT’s Embark

by ashleyandersondances

Below, Tessah Kimball (a student at the School for the Performing Arts in Salt Lake and a dancer at CDT) wrote down some of her thoughts about RDT’s season opening “Embark.” Although the review is somewhat past the date of the show (she has a lot of homework!) it speaks to why everyone should take a high school student as their date to RDT at least once. To a young dancer, the work of artists in history can be even more fresh and complex than they were at the date of it’s premiere. Their insights are concise and unrestrained by expectation about what a dance is “supposed to be like.” Also it’s clear from her description that there is endless conversation and internal dialogue over the a brief commentary. To be in awe of something and try to describe is something Tessah had to try and tackle. But as I sat with her, jaw dropped, I forgot how many times I’d seen some of the work on the program, and started to think in new ways about the form and content of RDT’s archive in new ways. Below I’ve filled in some of the gaps in Tessah’s wondering observations and you’ll note TK and AA to distinguish the responses.

TK: It is a neat experience when you get to see a professional company perform at a young age. At 14, I have seen few shows so most of the movement that I have seen has been new, to me. “Embark” is a mixture of both older and brand new movement. The show started with choreography by Michio Ito. The very first piece had a light and airy feel to it. Mostly in unison and not a lot of contraction in the spine. The smaller shorter “sub” pieces had more of an earthy tone. More lower spine movement but nothing like you would see today.
AA: It’s true there was no releasing or yielding into the floor or partner but what’s interesting is that it did have similar emotionally laden narrative to more current works with those characteristics. I enjoyed seeing the range of works by Michio Ito although I felt the transitions between segments could have been sharpened.

TK: The second piece of the show, “Hello, World” by Jacque Bell, was very electric but not static. Quicker movement, sharper angles, and more movement. The back drop to the dance was created by Bart Poulson.  It was very interesting. I had never seen anything like it before.
AA: While Bart’s animation and sound work was like something I’d seen before it was an excellent complement to the choreography of Jacque. It gave a clear framework for the dance where we could see the movements of each performer coincide with animated performers on the scrim. It created expectation but also surprise.

TK: The third piece was created by Merce Cunningham. Imagine a child’s brain. Pull all of the imagination out of it and throw it on the stage. The start and stop; the slow, medium, and quick movement — it was like a child’s attention span. So much clarity all jumbled together. The two men who narrated only had a minute or two for each individual story. Some were read alone others layered on top of each other. So Neat!!!
AA: It was a great iteration of an iconic work, “How to Pass, Kick, Fall and Run” and the narrators added a lot to the company dynamic and the visual layers of the dance.

TK: The last piece was created by pedestrians. “8 Seconds of Fame” was featured at the Utah Arts Festival where anyone and everyone could do what they wanted for 8 seconds. Or as I realized after the show, it’s 8 Counts: the usual timing we dancers use to count. Making all of this pedestrian movement into a dance is a feat that RDT accomplished.
AA: I didn’t have super high expectations for the community project but was pleasantly surprised at the way movements were strung together. In future iterations I think the project could benefit from a hard look by a single choreographic decision-maker — it might get beyond being a cute community project and into some serious movement investigation.

TK: Embark was an amazing balance of past and present!

Read two more reviews here:

http://www.sltrib.com/sltrib/entertainment2/54966696-223/dance-rdt-company-utah.html.csp

http://www.deseretnews.com/article/865564014/RDTs-Embark-peformance-amuses-inspires.html?pg=all

October 13, 2012

RawMoves CO$T OF LIVING, QUALITY OF LIFE

by lovedancemoreguest

The language of dance has many dialects.  When I go to a show, I always find it interesting to try and flesh out the particulars of the vernacular being presented onstage.  Not so much what is being said as how it is said.  Tonight, CO$T OF LIVING, QUALITY OF LIFE spoke in the unique dialect that Salt Lake has come to know as belonging exclusively to RawMoves.  A dialect that is big on metaphor and emotion, and reliably verbose.  With a company of arguably some of the most talented performers in Salt Lake City, RawMoves always seems to deliver crowd-pleasing performances.  This evening was no exception.

CO$T OF LIVING, QUALITY OF LIFE grew out of Table for Four and House of Timothy, two dances that pre-date the creation of RawMoves itself.  Having seen these dances performed in the past, tonight definitely felt like a progression, a more in-depth look at the forces that grind us apart and throw us together, those forces that are uniquely human and by definition, Raw.

The opening of the show, with scattered props and spent, silent dancers, one moving slowly among them, brought to mind the melting clocks from Dali’s famous painting The Persistence of Memory.  Slowly the dancers came to life and began their story.  From there, the evening was more grounded, but there were definitely sprinkles of surrealism that evoked images of beautiful nightmares.  A haunting duet between Ursula Perry and Jennifer Beaumont comes to mind.  The duo’s calculated interactions and vacant expressions broke off as they tried to break free of their cycle, but ultimately remained stuck.  A clear psychological theme that dealt with patterns of interaction, cycling and re-cycling, and of the layers and layers of stories we put onto our interactions with those closest to us emerged here.  RawMoves sifted through the layers of this particular story, and although the emotions may have been raw, the movement was polished and the net effect was always beautiful.  The dancers were beautiful, as was the lighting and the set.  This speaks to another aspect of RawMoves vernacular- there is a value placed on beauty.  What is being said, is being said, beautifully.

(What else is beautiful, you might ask?  Why, whipping your hair back and forth, of course.  And there was plenty of that, as well, although it was superbly done and more satisfying to watch than I care to admit.)

Other satisfying-to-watch moments included some intense action on (and off) the couch between Rosy Goodman and Nathan Shaw (before which, a high school student behind me commented loudly, “Oh, this one is HOT,” in case everyone else in the row couldn’t see that for themselves), well-placed moments of unison embedded in frantic vignettes, as well as some stand-out performances from each dancer in the cast.  Natosha and Nick seem to have a knack for letting their dancers shine, individually and interactively, as they explore themes of human emotion, frailty and strength, domination and submission, voyeurism, grief, blame, and others I probably missed.

I will close by saying that if you haven’t watched Corinne Selena Penka dance to the Ink Spots “I Don’t Want to Set the World on Fire,” yet, you probably should.  Something about this solo struck a cord with me, and it is placed in the show in such a way that it sticks, and pulls together some of the many themes from the evening.  It is a welcome break in the pace, too, which up until this point has had a quick pulse, reflecting the tension of the themes at hand.  The song promises, “I don’t want to start the world on fire, I just want to start a flame in your heart.” As beautiful as that sounds, it is left up to the audience whether it holds true.

For more information about the show or RawMoves, go to http://rawmovesdance.com/

 

 

Emily Haygeman is a local dancer and choreographer, and a fan of loveDANCEmore.  She contributes to the blog when Ashley Anderson requests it, and is otherwise pursuing a degree in School Psychology and autism research, doing yoga and hanging out with her cat.  

October 9, 2012

upcoming shows in Ogden

by ashleyandersondances

Some of you may know about a choreography competition administrated by Imagine Ballet Theater (IBT) in Ogden. Somewhat similar to the Sugar Show in SLC and other award shows across the country part of the “award” is a partially produced performance at the Egyptian Theater in Ogden. This is a great thing for artists who have a lot of choreographic experience but lack the company infrastructure of some of Utah’s older institutions.

This Saturday, LA-based Laurie Sefton will share her work and in several weeks Monica Campbell (Utah graduate and UVU faculty) will share her work. Both shows will happen at 7:30pm in the Egyptian (2415 Washington Blvd in Ogden). As always we will accept reviews sent to lovedancemore@gmail.com of either production.

Laurie’s company will also be teaching a master class this Friday from 10:30 to 12:00 at the Weber State Dance department and the kids from IBT will be performing a flash mob at the Ogden Train station on Saturday at 11:00 as a performance promotion. The dancers from IBT will be performing a short section in the concert  which they learned during their summer intensive.

The two programs will be a great opportunity to see new choreography and experience different points of view.

October 5, 2012

review coming up & while you wait

by ashleyandersondances

Tessah Kimball (a performing arts high school student and dancer with CDT) is hard at work writing her thoughts about RDT’s Embark. It seemed like a wise idea to share historical works with a fresh viewer and we’re excited about what she’ll say.

While you wait go participate in Studio Series at RW tomorrow morning. And Sunday you can check out Rachael Shaw’s dance film at the F&MAD Film Festival at the Tower at 7pm. It’s great that dance film is getting to be really integrated into SLC’s popular film scene. Rachael was a great supporter of loveDANCEmore events before she moved to Wyoming to teach — she not only shared her choreography but actively participated in the journal and the works of others. Get out and see her project.

October 4, 2012

mudson on october 15th + new applications

by ashleyandersondances

check out the next installment of Mudson on October 15th, 7:30pm at the Masonic Temple (650 E. South Temple)
see new works by Katherine Adler, Michael Watkiss, Molly Heller, Movement Forum & a film by Aniko Safran

and get excited because you can apply for Spring 2013 mudson via this link: https://docs.google.com/document/d/1TtlPIxRkTd169vGvUvtNWLokhwudR9XXPj62M8_R7r4/edit
if you have problems with that document please e-mail lovedancemore@gmail.com

October 2, 2012

an upcoming show

by ashleyandersondances

sam hanson & kitty sailer are showing their continuing work from mudson at a gallery show.

Monday October 8th @ 7pm
at The Dunce School for the Arts
Rockwood Studios
1064 East 2100 South
$5 admission at the door

in addition to seeing their ongoing collaboration unfold you can catch a butoh performance and see what’s on display at the gallery

check it out. we are always excited when projects from mudson continue to be practiced and honed in new spaces. it’s also great that dunce is highlighting live performance.

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