Archive for ‘press and links’

May 3, 2012

another review of karole’s newer work

by ashleyandersondances

RW audiences have seen work by Karole Armitage for several years now. The most current rendition of “It’s Gonna Get Loud” getting somewhat lukewarm reviews both on the blog and in the Trib.

This recent review of her company’s performance in NY really put RW’s recent performance in context and gave me a lot more to think about:

And speaking of context…while perusing (something everyone should do on a regular basis) I came across NYLA’s request for “context notes” writers for upcoming shows.

March 12, 2012

just in case

by ashleyandersondances

you needed another format in which to view our spring events: click on this link for all the details you could ever dream on Mudson next Monday, the new performance journal edition and Dances Made to Order.

if those aren’t enough dance events for you there are three class offerings this week: master class at rw on weds and fri (weds is with efren corado) and tuesday class at sugar space with molly heller. check out the rw and sugar space websites for more info on these programs.

if that wasn’t enough read about this tribute to donald mckayle who was here last fall as part of udeo:

February 27, 2012

Master Class, the next journal and more

by ashleyandersondances

This week Stevan is teaching for Master Class so get on over to RW on Wednesday evening or Saturday morning. Remember they have public transit discounts, regularly update facebook with new teacher bios/event details and are one of few options for regular, professional level class in the city.

Also count down the days until SPRING MUDSON and the NEXT PERFORMANCE JOURNAL ISSUE. March is the time it all begins. This journal features writing by a lot of people but one of my favorite things right now is a piece by Margaret Paek reflecting on this project at Danspace…

It is alongside photos from the event and a great article by Brenda Daniels (interim dean at UNCSA on dancing and motherhood in major American companies).

If that wasn’t enough the Whitney Biennial is giving dance some of the love it deserves. In an era where it’s sometimes cooler to say things like “I’m a contemporary movement artist” or something else that really means “I make dances” they are highlighting choreography in the 2012 Biennial and saying things like this in the NYTimes:
“It seems like performance art had stolen the limelight away from all the really exciting things that were going on in dance itself,” Ms. Sussman said. “We’re recognizing that.”

February 20, 2012

some links for the week

by ashleyandersondances

Right now I am hard at work compiling the Spring 2012 issue of learning to loveDANCEmore. In the meantime here are some links to tide you over…

While I have never seen this ballet company and lack some context regarding company history I think it’s nice when anyone points out that living in an unusual place can be great. It’s nice that the director mentions that of course it would be nice to have “more recognition” but would it actually change anything? Probably not. No one is exempt from this feeling, even in SLC. I, for example, cling to the day I was called statuesque in the New York Times but also realize that audiences here are often as large (and sometimes as dedicated) as they are in NYC.

It’s not secret that I was not happy about a recent review by Brian Seibert. But reading one of his newest I see that he was able to provide somewhat more context for the works presented in a show at NYLA I wasn’t there so I can’t say for sure, but it seems a more redeeming portrayal than what I last read.

Some people in L.A. got lots of money, which is maybe only interesting to read because it makes it seem possible that anyone here could acquire a similar sum at some point.

Also you can read a take on Pina and more on this Denver based blog I know about a million dancers in SLC have seen Pina. Anyone wanting to submit some words can do so by sending them to

Also coming up are some international reviews by former SLC’er Juan Aldape who is studying in Holland at the moment. So keep checking the blog, they’ll be posted soon.

February 11, 2012

twyla here twyla there

by ashleyandersondances

Maybe you’ll be seeing the “Sweet Fields” reconstruction at the University of Utah, if so check older posts for Sofia’s interview with Elaine Kudo but also read this review of Twyla’s newer projects:

You can also read in the LATimes a little ditty about “Pina” and it’s 3D aspects. Maybe the sheer act of reading the article will magically transport the movie to Salt Lake.,0,6846913.story

If that wasn’t enough remember that SLC will soon be featured on Dances Made to Order ( and you get a discount by buying a season pass to other featured cities as well….check it out.

February 8, 2012

UDEO conference on the way

by ashleyandersondances

The UDEO, an organization by and for dance educators, has their annual spring conference coming up.

On March 3rd at Weber State you can hear a keynote presentation by Charlotte from RW but also catch a lot of breakout sessions by important artists and educators in our community.

I’ll be working with Stephen Brown on “DIY Choreography: Methods of Self-Presentation”, there are also offerings by Erik Stern, Holly Woolridge, Karin Fenn & Pearl Wagstaff-Garff.

Early Bird Registration ends February 18th. Save $5 by registering early online at –
more info at –

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.

November 29, 2011

Inappropriate use of performers…or art?

by ashleyandersondances

An open letter from Yvonne Rainer to the Museum of Contemporary Art in Los Angeles has had online art forums buzzing for weeks now. In her open letter, Rainer responds to a letter she received from a disgruntled dancer who auditioned for a performance created by performance artist Marina Abramovic.

Read the letters and some of the online chatter here:

Have you heard about this recent upset? Am I jaded or simply incorrect in thinking that some works made here in Salt Lake use this blank-faced dancer or situations where dancers are subjected to the whim of the audience? (I am thinking specifically about the recent work by Kitty Sailer, which will be shown for the first time in completion December 9th at the Film and Media Arts building at the University of Utah). And is it bad that I enjoy this type of show?

Sofia Strempek

Sofia is an intern with loveDANCEmore and BFA student at the U

November 22, 2011

thanks Eva & InfiniteBody

by ashleyandersondances

We’ve long been interested in Eva Yaa Asantewaa’s blog InfiniteBody and were so excited when she gave us permission to print one of her blog posts in the current issue of the performance journal.

So we thank her for this shout-out ( and encourage you to read her work on InfiniteBody, we’re sure more will be featured in upcoming issues of the performance journal as wel!

November 15, 2011

word from Juan Aldape across the pond

by ashleyandersondances

Juan Aldape, formerly SLC-based dancer getting a master’s abroad, has sent us a review as well as details about his program.

The Erasmus MA in International Performance Research (MAIPR) is a unique course that enables graduates to answer the most critical questions being asked in the world of the arts, theatre, and performance. The MAIPR is a 16-month taught master’s programme delivered by four European universities.

Application Deadlines: 3rd January 2012 for Erasmus Mundus scholarship competition entrants; 30th April 2012 for all other applicants. For more information, contact Lindzey Mullard, Warwick’s MAIPR Programme Officer, via or go to the MAIPR website:


Below we’ve included his review of DV8’s latest work, mostly due to our own jealousy that we weren’t there.

In the future we might link to his reviews on a google doc so we can read about what’s happening in that neck of the woods, without adding confusion (and more jealousy) about what is actually on stages in SLC.


Let’s Talk About This. A DV8 Review

“Please raise your hands: Do you feel morally superior to the Taliban?”

Lloyd Newson’s latest production Can We Talk About This?, presented at the Warwick Arts Centre, thinks you should be. The first question challenges the audience to morally assess cultural and religious behaviour. Newson’s verbatim physical theater production is an elaborate documentary narrating real events in which progressive individuals have been murdered for speaking out directly or indirectly against extreme Islamists. The piece, through highly distinctive movement and a behemoth text, prompts us to question the validity of multicultural relativism; considering its intrinsic catastrophic plausibility.

Can We Talk About This? is respectfully direct. It does not shy away from dealing with a highly debated topic. Multicultural relativism is the doctrine that knowledge, truth, and morality exist in relation to culture and society, and are not absolute. This affects people and government systems whereby certain policies are curbed to prevent upsetting cultural sensitivities. For example, he highlights an instance when a German court upholds a ban on Muslim women seeking divorce because the Quran states women cannot divorce men. The German court defending that they did not want to violate religious freedom; thus allowing a parallel quasi-legal system in a democratic state.

“Due to our desires to be tolerant, and perhaps because of post-colonial guilt and a     fear of being labelled racist and Islamophobic, I feel there is a liberal blind spot, a     lack of voices speaking up against some of our most basic freedoms, particularly     when it     comes to discussing Islam and multiculturalism.”
-Lloyd Newson, Program Forward

The piece is both a question and a statement about the current multicultural state of affairs in the United Kingdom, in particular, and democratic nations, in general. Over 40 interviews were carried out by the company with notable individuals knowledgeable and experienced in free speech, Islam and multiculturalism to generate the performance text.

What sets this piece apart, which is what we have come to expect of DV8, is an exquisitely irregular and exaggerated movement vocabulary coupled with provoking, nuanced and complicated stories. The initial image, an extended arabesque skewed against the wall in a hotel-like lobby, foreshadows the prevailing tableau of the work: physically and socially contorted memes through which explicit religious and cultural perspectives are navigated.

A stand out moment includes a duet where Joy Constantinides is being masterfully juggled by another performer, throughout the delivery of her tea drinking monologue. Representing Ann Cryer, a dignified parliamentarian, she explains the balancing act most politicians negotiate between ethics and elections – the game she did not want to play as she campaigned against forced marriage. The stamina required by her partner is unquestionably difficult.

Another poignant vignette is a simply structured section where all the performers are sporadically arranged through out the hard-wood stage. They silently pivot on their feet, stopping short of falling over or colliding. Grandiose and elaborate movement is hardly needed, the tension is created by the real individuals which the performers represent.

The production additionally makes use of four plasma screens of varying size hung about the set. At various times they display archival materials of news reports or documentaries surrounding free speech debates, or the death of artists, writers and progressive thinkers. This footage makes the score for movement sections, as well as provide a direct dialogue for performers questioning the images.

After the show, I had the pleasure to make the acquaintance of Dir. Newson. He shared how the tension between religion, Western democracies and self-expression deserves astute attention. The production is both an intimate and risky revelation of just this: an object of both political and cultural engagement. It elicits our actual, non-rhetorical response, foregoing neutrality on the issue of multicultural relativism.

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