Dance Panorama Reviews “Expressions”

Posted on May 11, 2012 by DebraSchreiber

On April 28^,2012, at 8 p.m., Exhalations Dance Theatre wrapped up its spring showcase, titled “Expressions.” This was the third spring showcase for the dance theatre, and the last for its founder Katherine Alexander, who will be moving on to her fifth year of pharmacy school next semester.

Wrote 2012 Exhalations president Lea Fosbenner of the theme “Expressions,” “this was chosen to highlight how the dancers can interpret their emotions through the art of dance.” And express they did.

Exhalations' company opens "Expressions" to "Let Go" by Frou Frou. Choreography Lea Fosbenner/Photo Credit Debra Schreiber.

Opening the show was Exhalations’ company, dancing to “Let Go” by Frou Frou with choreography by Lea Fosbenner. Company members include Alexander, Fosbenner, Brittany Cerimele, Victoria Climo, Sandi Comunale, Felicia Freger, Kali Fronczekk, Carly Fuller, Shaylyn Livingston, Ariel McKeown, Rachel O’Rorke, Brandi Salter and Emily Stokowski. This opening number suited the theme perfectly. During this first piece, and throughout the show, the dancers literally let go; every turn, every jump, every facial expression showed them letting go and using dance to express themselves.

The intermediate class dances to "Express Yourself." Choreography by Brandi Salter/Photo Credit Debra Schreiber.

The second dance of the night, aptly set to “Express Yourself” from the Glee Soundtrack, was performed by the intermediate class, made up of Rachel Bristow, Haley Draper, Stephanie Kuratnick, Kylie McGraw, Bridget McGinty, Stacy Miller, Stephanie Novakowski, Jessica Probst, Hayley Ricy, Jenna Trill and Jennifer Wood, with choreography by Salter.

"Nast Boys" performed by the advanced class. Choreography by Victoria Messino/Photo Credit Debra Schreiber.

“Nasty Boys,” music by Janet Jackson and choreography by Victoria Messino, was performed by the advanced class, including Kristen Best, Courtney Caligiuri, Erica Carbaugh, Lauren Curry, Rebecca Ipjian, Kate Iseman, Francine Kusher, Christine Lugaila, Lauren Maha, Christine Sajewski, Kayla Sparkman and Megan Tiernan.

"Fool of Me," choreography by Messino, dancers belong to the advanced class/Photo Credit Debra Schreiber.

The advanced class later took on another Messino piece, “Fool of Me,” music by Me’Shell Ndegeocellob. Sam Potter executed a series of excellent lifts, and the dancers’ expressions through their movements communicated the sadness of the lyrics in the piece.

Acro to "Hit the Lights." Choreography by Sam Potter/Photo Credit Debra Schreiber

The modern/jazz routines were followed by a snappy acro routine, choreographed by Potter, to “Hit the Lights” by Selena Gomez. The level of acrobatics in this routine was high, and the costumes accentuated the dancers’ moves perfectly. The dancers incorporated in this routine were Messino, Fronczekk, O’Rorke, Rebecca Clayton, Maria Clements, Sandi Comunale and Emiley Duespohl.

Exhalations presents its graduating seniors/Photo Credit Debra Schreiber.

“Expressions” took a break as Alexander took to the stage to present Exhalations’ graduating seniors. 2012’s graduating class included Cerimele, Fosbenner, Messino, Novakowski, Clements, Seth Laidlaw, Cheryl Dusky, Brooke Mulkins, Marla Veschio, Rachel Bristow, and Rebbeca Clayton.

The beginners broke onto stage with their number "Grenade." Choreography by Alexander/Photo Credit Debra Schreiber.

The beginner's second number, also choreographed by Alexander/Photo Credit Debra Schreiber.

The beginners, including Dusky, Bianca Coleman, Miranda Cunningham, Karie Diethorne, Denise Herr, Brooke Jackson, Kristina Logan, Kaitlyn Mellor, Kelsey Vale and Christina Yohe, took to the stage with “Grenade” by Bruno Mars. Alexander choreographed the piece and was incredibly proud of the dedication her beginners showed. Their classes began at 7:30 a.m., but they stuck to it and their dedication certainly showed in this piece. It also showed in their second piece, also choreographed by Alexander and set to “Remind Me Who I Am” by Jason Gray. Besides being well-equipped dance-wise, the beginners also showed what some more experienced dancers tend to forget: passion in their faces. Their expressions could not be clearer.

The ballerina in the music box. Choreography by Potter/Photo Credit Debra Schreiber.

Tutus flew onto the stage for Potter’s acrobatics number to “Music Box” by Regina Spektor. They were gone just as quickly, but their fast-paced number was not one to be overlooked or soon forgotten. It contained very powerful choreography and very powerful dancers. I, for one, would have loved to have seen more.

Duquesne’s Encore Show Choir broke in twice. First, to sing “Love Song” and then again to sing “Beautiful Day.” Their voices were lovely, but I would have loved to have seen more movement from them. Maybe I’ve just been watching too much “Glee.”

Tapping away to Fuller's number/Photo Credit Debra Schreiber.

“Kaboom,” music by Ursula 1000 and choreography by Fuller, was a lively and colorful tap piece. The tappers were well in sync and formed a cohesive group, which included Fuller, Freger, Yohe, Caligiuri and Kelly Folk.

“Power Trip Ballad and Requiem for a Dream” (music by Maria Mena and Clint Mansell) showcased the talents of Messino both as choreographer, and as a soloist.

Messino's solo/Photo Credit Debra Schreiber.

Dancing for joy/Photo Credit Debra Schreiber.

This was a high energy routine that required the strength of all dancers involved, including Potter, Messino, O’Rorke, Comunale, Duespohl, Cerimele and Bristow. While Potter fought for his power trip, he was quickly unplugged by the girls as the swirled around him. Potter made some fantastic lifts, highlighting his strength as a dancer and gymnast. The technique of all the dancers was showcased in this piece, as well as their ability to tap into the darker side of their emotions.

Potter on a power trip/Photo Credit Debra Schreiber.

Potter's powerful lift/Photo Credit Debra Schreiber.

Messino ends Potter's power trip/ Choreography by Messino/Photo Credit Debra Schreiber.

Potter is finished/Photo Credit Debra Schreiber.

A powerful routine to hold the audience’s attention right before intermission.

"Expressions"/Photo Credit Debra Schreiber.

Expression through movement was the message, and that was never clearer than right after intermission, when only the silhouettes of the dancers were available to the audience.

Performing "The Magic of Us"/Photo Credit Debra Schreiber.

Choreography by Lea Fosbenner/Photo Credit Debra Schreiber.

Seth Laidlaw in "The Magic of Us"/Photo Credit Debra Schreiber.

“The Magic of Us,” music by Bim and The Section Quartet, choreography by Fosbenner, showcased the talents of Salter, Fronczekk, Alexander, Fosbenner and Laidlaw. This was another heavily technical modern number.

Choreography for "Sweeping Insensitivity" by Alexander/Photo Credit Debra Schreiber.

"Sweeping Insensitivity" One/Photo Credit Debra Schreiber.

"Sweeping Insensitivity" Two/Photo Credit Debra Schreiber

The dancing was silhouetted again when Fosbenner, Alexander, Climo, Laidlaw, Freger, Fuller, Stokowski, Fronczekk and Livingston gracefully brushed the stage to choreography by Alexander and music by Imogen Heap, Never Shout Never, and Mumford and Sons, “Sweeping Insensitivity.”

Sparkman's hip-hop number "Dizzy"/Photo Credit Debra Schreiber.

Hip-hop was brought in by Sparkman and her class, including Comunale, Kusher, Carbaugh, Coleman, Cunningham, McGinty, Miller, Mulkins, Dara Stockdell ,Trill, Audra Joseph and Lisa Master. Music was”Dizzy” by Day 26. Hip-hop is hard to feel, especially if you are a ballet-trained dancer, and it was evident that some of the dancers in this number where trying to break free from technique so they could express themselves through unstructured movement.

Batons spinning to the sky to "Man! I Feel Like a Woman!" Choreography by Yohe/Photo Credit Debra Schreiber.

“Man! I Feel Like a Woman!” by Shania Twain was used by the baton class, including Yohe, Veschio, Herr, Mellor, Patty Camarda, Alexis Ellis, Jenna Lowrey, Carley Risley and Brittany Yu. Yohe choreographed this piece, and batons flew high, with some batonists twirling more than one.

Salter's number "Rock Your Soul" with the intermediate class/Photo Credit Debra Schreiber.

Salter had her number “Rock Your Soul” by Elisa do just that with the intermediate class. These girls are learning fast; their technique is growing, but it was their movement and emotional connection with the audience that really made the piece draw you in.

These girls just want to "Settle Down"/Photo Credit Debra Schreiber.

Chorepgraphy by Fuller/Photo Credit Debra Schreiber.

“Settle Down,” music by Kimbra and choreography by Fuller, was my favorite piece of the evening. It was modern, sexy and quirky, and incorporated dancers with incredible technique and theatrics: Fuller, Salter, Cerimele, Livingston and Freger. The girls took on the idea of the old-fashioned wife and quickly flipped it on its head, whipping their aprons off and dancing with pizzazz.

These dancers "Gotcha"!/Photo Credit Debra Schreiber.

“Gotcha” was a trio choreographed by Messino, with music by Liza Minelli. Messino, Comunale and O’Rorke were sassy and sizzling in this number slightly reminiscent of “Cell Block Tango” from “Chicago.”

Dancers move and groove through the audience during their finale. Choreography by Sparkman/Photo Credit Debra Schreiber.

No one saw what was coming when the dancers came out to take their final bows – and then rush the audience to music by Fun Ft. Janelle Monae (Alvin Risk Remix) and choreography by Sparkman. Dancers took the floor and aisles as they danced their hearts out one last time before the curtain came down and another season with Exhalations Dance Theatre came to a close.

Bravo, Exhalations!/Photo Credit Debra Schreiber.

11 Questions: Angel Corella, Artistic Director/Barcelona Ballet and Principal Dancer, American Ballet Theatre

Posted on May 10, 2012 by Admin

by Julie Gervais

Angel Corella

Dancepanorama had the exciting opportunity to interview Angel Corella while his company, Barcelona Ballet, was spending an extra week in Detroit following their performances at the Detroit Opera House. Listen below as he discusses his transition to full-time Director, his Company’s work, and his outlook on ballet and its place in our contemporary culture.

dp: This a very special time for you. You have made an announcement that you will retire from American Ballet Theatre as Principal Dancer, this June. Was it a tough decision?

Will you continue to appear with your company?

Your Company has just recently made a new home in Barcelona. What is the significance of this move?

Teaching Class

You just mentioned, and have spoken before about, your desire for the company not to be known as ‘Angel Corella’s Company’. What do you want the Company to be known for?

And, all of this rapid growth despite the fact that you launched the company just as the world was falling to its knees in financial crisis, and there are still many unresolved global finance problems. Did you ever question whether it would be better to wait until the economy improved?

A Fantastical Depiction of Swan Lake

You have the rare perspective of someone who has danced a rich variety of top-shelf repertoire, on big stages around the world. What trends do you see in ballet repertoire, and what differences do you see among countries and even regions, such as the American coasts vs. the heartland areas?

Speaking of audience development, it’s great that you have such a clear vision. Because everyone is looking for the answer to the question: how do you get people out of their living rooms and into the theatre?

You have dancers from all over the world, but the majority are from Spain. Is there a special quality – a Spanish energy – that you are excited to show to the world?

How have audiences been responding, as you’ve been touring around?

The television dance show explosion: do you feel like it’s a positive thing?

Finally, what else – because this question is what dancepanorama is all about too – what else can we do to get people more interested in dance?

Michigan Dance Project shares the Stories of “SoulMates” for the Last Time in Ypsilanti, MI

Posted on May 8, 2012 by MDrabant

For many, the term “soul mate” maintains a very distinct, unique meaning. It can relate to true love or best friends, but either way the connotation is very personal to the individual who uses the term. The Michigan Dance Project, being a professional contemporary based company presents a high-energy, emotionally driven experience about the meaning of this term in the original dance production “SoulMates,”choreographed by founder and director Kathy King and assistant creative director Travis Staton-Marrero, while being sponsored by C & B Machinery of Livonia and Huntington National Bank.

Photographer: Ken Hornak

What makes SoulMates so unique is that it combines contemporary and hip hop dance, while being accompanied by an exciting blend of music to take the audience on a journey in understanding the many concepts of a “soul mate.” The seven Michigan Dance Project company members and seven apprentices emote real life feelings through out the constantly shifting styles of movement while maintaining quirky nuances for a wholly developed show. “SoulMates is a fantastic opportunity for anyone to experience a unique night of entertainment while also supporting many local performing artists,” explains King. Though the story lines of the different pieces are not necessarily meant to continue into one another, they stand strong enough on their own as representation of situations that one may encounter in his or her life with any type of “soul mate.”

The Michigan Dance Project was founded in 2006 and is based out of Brighton, MI with the mission of providing professional training opportunities and greater career options for dancers statewide. To promote the professional experience, the company has toured to many different performance venues, but finds a returning comfort in the Riverside Arts Center in Ypsilanti, MI. This little black box theater will be the last host of the SoulMates production in the Michigan Dance Project’s performance season. “I live and work in the Washtenaw County community, which makes this performance very special to me,” says King.

SoulMates will be performed on Friday, May 18^th and Saturday, May 19^th at 8:00pm and Sunday, May 20^th at 2:00pm. Tickets are $10 pre-sale and $12 at the door, with discounts available to groups of 10 or more. Since seating is limited, pre-purchased tickets are recommended and can be ordered through www.michigandanceproject.com, however tickets will be available at the door one hour prior to the show. Group orders should be directed to michigandanceproject@yahoo.com, along with any other questions or inquiries.

Written By: Megan Drabant

A Pittsburgh Pointe Mystery

Posted on May 8, 2012 by DebraSchreiber

By: Debra Schreiber/Pittsburgh

Steel is what shaped the early culture of the Pittsburgh area. The Carrie Furnace is a piece of that heritage still standing. It has now also become a part of Pittsburgh’s art history.

Ron Baraff, Director of Museum Collections & Archives at Rivers of Steel, gives tours of the Carrie Furnace and can authorize use of the site. Oftentimes, he said in a telephone interview, people decided to visit the site on their own.

Mysterious pointe shoes at the Carrie Furnace - where did they come from?/Photo Credit Debra Schreiber

While at the Carrie Furnace one day last spring, Baraff noticed a pair of pointe shoes hanging down by the now infamous deer sculpture, “Deer Head” which was made from material found at the Carrie Furnace. The shoes were a mystery to him.

“I was like what are these doing here?” Baraff explained. It is now assumed the shoes were left behind by a dancer who had done a video shoot on site.

But then came a second pair.

Maria Caruso, founder and director of Bodiography Contemporary Ballet, did a photo shoot at the Carrie Furnace for the dance production of “Eyes Wide Open.” The idea behind the production was to parallel science and movement. The show took the audience through four seasons, each season showing three photographs. The Carrie Furnace photos were used at the end of the piece.

Photo by Eric Rose of Mysterion Studios

Other photos of the dancers at the Carrie Furnace were used as PR for the performance, and showed, “the dancer come alive there [at the Carrie Furnace],” said Caruso in a telephone interview.

Caruso is a Pittsburgh native. Her family were coalminers. She described the Carrie Furnace as, “so well preserved. It really comes to life.” She liked the idea of shooting there and appreciated the richness of history contained at the site.

Photo by Eric Rose of Mysterion Studios

The first pair of pointe shoes was gone when they came back to the site, she said.

Before Caruso left the site she told Baraff that she had left a present for him. When he asked her what it was, she replied, “You’ll see.” It was the second pair.

“It took me a couple of days to realize they were there,” Baraff said.

When asked why she left the pointe shoes there, Caruso explained that at the Carrie Furnace, “You can find articles of the past. It’s so cool to see how the artist did the deer. Everyone who goes there has an opportunity to leave a mark.” The pointe shoes, and a pair of high heels she wore, were hers.

“It’s great to be a part of the Pittsburgh cultural language,” Caruso said.

Photo by Eric Rose of Mysterion Studios

Anyone interested in visiting the Carrie Furnace, part of the former U.S. Steel’s Homestead Works, where, according to Rivers of Steel, “at one time, the furnaces and the steelworkers who labored in them produced more than 1,000 tons of iron a day,” should contact Rivers of Steel at (412)-464-4020 or info@riversofsteel.com. Tourists will learn about the steel-making process, walk through the well-maintained furnace, and view the “Deer Head” and maybe even the point shoes.

Anyone interested in Bodiography, a contemporary ballet company that brings movements to life through pointe, should contact the studio at (412)-521-6094 or info@bodiographycbc.com.

Exhalations a Home for Dance at Duquesne University

Posted on May 8, 2012 by DebraSchreiber

By: Debra Schreiber/Pittsburgh

No dance? No problem.

When Katherine Alexander, 21, came to Duquesne University, there was no dance theatre, only a dance team. As she moves on to her fifth year in pharmacy school, that is no longer the case.

Alexander founded Exhalations Dance Theatre in 2010. She served as its president until this year and is now the treasurer of this unique dance group.

“When I got to Duquesne, there was no dance besides the dance team,” Alexander said. “I missed it so much, I needed to do something.” She wanted to create a dance theatre, “for people who danced in high school and wanted to keep dancing.”

It is also a place for people who want to discover dance. Beginners are welcome. So are boys.

Dancers rehearse for Exhalations' spring showcase: "Expressions"/Photo Credit Debra Schreiber

Exhalations has become a huge movement on Duquesne’s campus. When Alexander held auditions for Exhalations in 2010, 70 people showed up. Now over 100 people show up to the auditions. “The first semester I was expecting 10 people, maybe 20,” Alexander said. “It’s already so much bigger than I thought it would be…it kind of just grew around me.”

Perfecting a lift while rehearsing for "Expressions"/Photo Credit Debra Schreiber

The theatre also welcomes all styles of dance, though modern is the main focus. The students have practiced acro, taught by Sam Potter, tap, taught by Carly Fuller, hip-hop, taught by Kayla Sparkman, ballroom and baton as well. The styles vary by semester, depending on who is available, “as long as we have someone willing to teach,” Alexander said.

Tap dancers in rehearsal for "Expressions"/Photo Credit Debra Schreiber

And not everyone has to perform. Students are welcome to come in and warm up with the dancers and leave before the showcase choreography begins. The students are divided into beginner, instructed by Alexander, intermediate, instructed by Brandi Salter, advanced, instructed by Victoria Messino, and company classes, instructed by Lea Fosbenner, who is the current Exhalations president.

Choreographer Victoria Messino works with dancers on their movements for "Expressions"/ Photo Credit Debra Schreiber

The group performs fall and spring showcases and has also performed at the University of Pittsburgh as part of the Choreography Project. “I had a really rewarding experience after the first show,” Alexander said. “A girl’s mom thought her daughter would never dance again,” but the girl discovered Exhalations and was able to revive her dance life.

For their showcases the group has performed a modern version of “The Nutcracker,” which was a, “crazy version; nothing classic” Alexander said, for which the group developed much of the music; “Radio Hits,” which included “a lot of Adele,” Alexander said; and this spring, “Expressions.” The group also visited Children’s Hospital in Pittsburgh in 2010 to perform for the kids.

When asked about the name Exhalations, Alexander said it was something she never thought about. “In my mind, it worked,” she said, explaining the exhale as something you give off, which, in the case of the dancer, is choreography.

Although she will be leaving Exhalations soon, Alexander hopes that the dance group will, “continue being open to different styles of dance…and dancers.”

Cri-Cri El Grillito Cantor

Posted on May 4, 2012 by Neguif Angeles

The Department of Fine and Performing Arts at Texas A&M International University celebrated “Cri-Cri: El Grillito Cantor,” showcasing its dance concert for two consecutive days on April 20 and 21, 2012. All songs performed in their repertoire were original Cri-Cri tunes. Cri Cri is a magical singing cricket who was created by Francisco Gabilondo Soler.
Soler started with the tale of this magical singing cricket at Mexico City. Cri-Cri: El Grillito Cantor (the singing cricket), lives to sing and diffuse messages of unity and teach children manners and goodness among each other. Cri-Cri is also accompanied by other magical creatures that come to life and sing along with him, such as El Ratón Vaquero (The Cowboy Mouse), La Muñeca Fea (The Ugly Doll), Los Tres Cochinitos (The Sleepy Little Pigs), along with other characters.

Department Chair for the Fine and Performing Arts, Bede Leyendecker, started this magical tradition 20 years ago. Leyendecker started putting songs together from the Cri-Cri collection shaping them into what is now a full Cri-Cri dance concert. Leyendecker stated, “I’ve taken selections that represent and could be choreographed to every genre of dance, [such as] Ballet, Modern, Tap, Jazz, Flamenco [and] Folklorico.”

Cri-Cri featured dancers with distinctive costumes that vividly portrayed the character they were trying to personify. The audience could appreciate costumes such as piñata heads, sequence jumpsuits, traditional Spanish costumes, cowboy-like clothes, Mexican traditional sombreros (hats) and other bright garments that grasped the audience’s attention. Spectators could appreciate dancers chase and leap across the floor while other audience members witnessed the energy of powerful high kicks. The strong sound of the zapateado (footwork) echoed across the stage and the theatre representing the Flamenco and Folklorico dance styles.

According to Leyendecker, in this dance concert, performers are not only taught different choreographies and styles of dance, but they must also learn theatrical aspects. Performers use facial expressions and specific body movements to bring their characters to life. An example of this type of dancing was appreciated throughout many of the presentations, such as “La Muñeca Fea.” This character was personified by TAMIU graduate student Griselda Dozal. The story of “La Muñeca Fea” is a tale of a lonely, ugly doll who was forgotten in a basement and who deteriorated with time.

This dance concert was performed by 120 TAMIU dance students with the special collaboration of dancers from the Young Dancers Program. The Bridge had the opportunity to converse with one of the child performers, Susana Samos, who was accompanied by her mother Cathy Cornelius. The young dancer expressed her excitement to be part of the dance concert. Samos had the role of one of the baby duck who was part of the choreography “La Patita.” She started dancing since she was two and has been part of the Young Dancers Program for four years. The young dancer shouted her excitement and told The Bridge why she thought she was chosen to dance in Cri-Cri. Samos stated, “I was called to dance Cri-Cri because I’m such a wonderful dancer… and I love to dance, and that’s why I [think] Ms. Bede said I could dance.”

The dance concert also took part in awarding the Blanche Flores Leyendecker scholarship, the recipient was TAMIU dance student Hector Manuel Perales. This scholarship offers the recipient a $1,000 award to recognize commitment to the dance program and advancement in the field of dance.

For more information on “Cri-Cri: El Grillito Cantor,” the audience can reach Bede Leyendecker at bleyendecker@tamiu.edu

(You may contact Neguif Angeles at neguifangeles.tamiu.edu)

Barcelona Ballet gives Detroit first look at its ‘Swan Lake’ [DETNEWS]

Posted on April 25, 2012 by theofficialmrw

A breathtaking beauty is cursed by an evil sorcerer to swim a lake by day as a swan and to take human form only at night.

You’d think this would make finding true love rather difficult for a girl, but not when it comes to the ballet “Swan Lake.”

The Barcelona Ballet will perform the bittersweet love story at the Detroit Opera House Friday through Sunday.

For Full Article CLICK HERE The Detroit News

Encanto Espanol

Posted on April 24, 2012 by Neguif Angeles

Encanto Español

Encanto Español was celebrated this past Saturday March 31, 2012 at Texas A&M International University (TAMIU), in the Center for Fine and Performing Arts Theatre. This event is an all Spanish Dance concert that takes place annually in the spring. In addition to dance performances, this dance concert raises funds that precede a dance scholarship directed towards students in the TAMIU dance program.

Encanto Español is a scholarship fundraiser for dance students, which incorporates those who are studying Flamenco and Spanish dance. Department Chair of Fine and Performing Arts Bede Leyendecker, initiated this annual tradition. The event marked its 10th anniversary of celebrating Encanto Espanol.

Upon arrival, audience members had the opportunity to delight their taste buds on a dinner reception. There were tapas Españolas, a traditional Spanish dish, accompanied by Sangria a traditional spanish wine punch, to share some of the provided menu. A Spanish theme was set with the appreciation of vivid types of décor, ranging from traditional Spanish fans, hats, and capes.

While conversing with the guest, The Bridge encountered with a historical person from the TAMIU family. Dr. Rafael Lecuona is a fellow TAMIU retired professor of Political Science and one of the early founders of TAMIU, he was accompanied by his wife Mrs. Diana Lecuona. They both willingly shared some words with The Bridge while they enjoyed a Spanish feast.. The food reception was hosted by the Woman’s City Club. They wrote a grant that provided about 2000 dollars that helps to pay for the events food expenses.

The event showcased people reciting poetry in Spanish and music by Dr. Gilberto D. Soto and the TAMIU guitar ensemble. In addition, TAMIU Silver Winds, under the direction of Dr. Susan Berdahl, performed Latin American music. Throughout the course of the program the audience could appreciate Spanish dances ranging from classical, traditional and the new. A variety of dance techniques could be valued from the dancers, ranging from different types of zapateado footwork, the utilization of castanets, large red fans used by female dancers which are called pericones, a variety of props, and colorful and sophisticated costumes that represented the Spanish culture.

The Bridge had the opportunity to speak to some of the performers that danced for Encanto Español, getting some of their inside thoughts, ideas and advice for future dancers who might be part of this show. Griselda Dozal is a graduate student at TAMIU who has had the opportunity to be part of Encanto Español for five consecutive years. Dozal participated in 20 dance pieces of the concert that ranged from, Abanicos, Alegrias, Cotenant, and Rumbas for which she prepared for long hours throughout the week and weekends. Although she had to spend a lot of time practicing in order to prepare for her dance pieces, she eagerly shared how delighted she was with the experience. Dozal stated, “I love it! It’s an all Flamenco show, so we get to share our Flamenco passion.” Dozal is a student who has previously been awarded a dance scholarship. She expressed her gratitude towards programs like Encanto Español that seek funds for scholarships that help students in the dance program.

The Bridge also had the opportunity to meet a first time performer of Encanto Español, Hector M. Perales. Perales a junior at TAMIU expressed his deep excitement when asked about his experience as a dancer for Encanto Español; he stated, “It’s been an honor dancing here and specially for this concert.” Perales shared how extensive his practices were, and how much dedication a dancer must put into his or her technique in order to give a good performance. He thinks that new performers to this show should learn from dancers who have had previous experience to this dance concert in order to give the best out of them. Perales stated, “My favorite part of Encanto is actually the journey to the concert.” The young dancer performed a variety of Spanish dances such as, traditional Spanish dance, Flamenco, and classical.

Encanto Español will be celebrated next spring of the 2013 semester. For more information, you can contact Bede Leyendecker at bleyendecker@tamiu.edu or call
956 326-2649.
(You can contact Neguif Angeles at neguif.angeles@tamiu.edu)

Review: Alvin Ailey American Dance Theatre at the Detroit Opera House Mar 29 – Apr 01, 2012

Posted on April 1, 2012 by Admin

Alvin Ailey American Dance Theatre and Detroit: we have a thing.

We know, we know, the Company makes regular tour stops in other cities too. But could any other city possibly feel as right for this Company? Could another city match Detroit – for rich history and struggle and re-invention – in a way that relates as closely as we do to this Company and its repertoire? I don’t think so.

That said, Thursday’s opening night program didn’t exactly click all the way through.

Home, choreographed by Rennie Harris

Opening with ‘Home’, a new-ish commission by Rennie Harris, seems a good bet to kick off the evening. It is described as being “inspired by the stories of people living with or affected by HIV” and set to gospel house music. But it’s not clear how it relates to life with HIV. A dozen-some dancers come and go from the stage, often working together in small groups or pairs on stylish club steps, in club clothes, often just dancing alone in a group the way you do in clubs. Every once in a while there are some “stagey” steps, but mostly it looks like what you would do if you’re professionally trained, out on the town for the night with a bunch of colleagues, and would like to clear the floor. You’d show just enough of your skills that all the non-dancers would slink back to their chairs and enjoy the show.

Linda Celeste Sims in Takademe

‘Takademe’ (1999 / Robert Battle) was next up, and it’s a great piece that feels really fresh. A solo for a man or a woman (Linda Celeste Sims on this night), it uses the exotic sound of Indian Kathak rhythms to good effect, in that its relative unfamiliarity serves to fire up imagination and curiosity, which is then given expression in the dance. It’s lighthearted and captivating despite the fact that it almost never leaves center stage. (Most of it was choreographed in a living room.)

‘The Hunt’, also by Mr. Battle, finally promised

The Hunt

some human interaction, the lack of which looms large in a lot of contemporary choreography. Six bare-chested men in ceremonial-style floor length skirts and the strong, insistent drums (Les Tambours du Bronx) combine to evoke the connection between hunting and warring. The men interact in ways that seem to span lifetimes. They fight, they dominate each other, and they drag each other off the stage as well as they support each other and collaborate at times. There may be no more beautiful backs on earth than the chiseled and supple backs of the Ailey men, conditioned as they are for such a variety of modern and classical techniques, and this work makes beautiful use of these extraordinary bodies.

Renee Robinson, Constance Stamatiou, and Matthew Rushing in Revelations

No Ailey show in Detroit (indeed almost anywhere) would be complete without the masterpiece that is ‘Revelations’, the Company’s signature work. It is eternally young, this dance. Looking at it past the first few ecstatic viewings finally allows for a little more analysis, which reveals its utterly sublime balance as one of the reasons for its enduring success. It’s smooth, never rushed, never overloaded. When there is more than one thing going on, the other things are not competing for attention with the main thing. It focuses the eye and the mind exactly where it wants them, which then gives it full access to the heart. The Company dances it, even the virtuosic sections, with the ease of water flowing from a tap. It’s an astonishing achievement, and every time I’ve seen it, the dancers seem just as surprised and delighted as the audience at the sweeping power of this giant work.

“For Kristine: A Family Diary”

Posted on March 20, 2012 by Neguif Angeles

As mentioned before, the American College Dance Festival Association (ACDFA) will be hosted at Texas A&M International University (TAMIU), starting Tuesday February 28th through Saturday March 3, 2012. The College of Arts and Sciences, Department of Fine and Performing Arts celebrated its 14th Fall Dance Concert on Saturday November 19, 2011, which took place at the Center for the Fine and Performing Arts Theatre. A variety of student dance pieces were showcased at this recital, but one of them made an impact. The Modern dance piece, “For Kristine: A Family Diary.” The work of student Selma Gonzales portrayed the tragic story of a family member death due to domestic violence. Her work and dedication has been recognized by the University dance professors as one of the best student choreography of that semester, thus being chosen to represent the dance program at the American College Dance Festival Association.
Selma Gonzales is a TAMIU Senior student, an English Major with a minor in Dance. Selma attended John B. Alexander High School, were she participated in the colorguard program for four years. In this program, she was taught fundamentals of Ballet and was introduced to Modern Dance. Selma’s love for modern dance did not begin until she had the opportunity to experience the technique at the TAMIU dance program, as she declared, “It wasn’t until I came to TAMIU were I learned a lot more about modern, and that’s where I started to grow, and my love for modern grew as well.” Selma’s family tragedy were the inspirations that led to a strong dance choreography, that selected by her professors got chosen to represent TAMIU at the American College Dance Festival Association.
A lot of organization and thought Selma go into her dance choreography while she prepares until ACDFA. The modern dance piece was named, “For Kristine: A Family Diary” in memory of Kristine Meza; who was murdered outside of her home by her boyfriend the past February of 2011, in San Antonio Texas. This dance piece represents the pain of the murder of her cousin, domestic violence, and what the pain does to the family of the victim. Through this piece Selma is trying to portray how the family of a domestic violence victim copes with the pain of their loss one. Selma stated, “Many people just think about the victim and the person who committed the crime… it’s never thought about the family of the victim how much they have to go through.”
This dance choreography involves meanings, symbolism, and abstract ideas. The young choreographer explains how there was a thought and meaning to every movement she created, as she would reminisce the moment in time when it happened. Selma’s piece holds a very innovative way to showcase her work to the audience, starting with her audio. The actual audio that will be heard by the adjudication board members will be recordings that the family made, talking about Kristine and sharing thoughts about how and who she was. Furthermore, she uses chairs to symbolize the process that it took her family to overcome their tragedy, there is a pile of broken chairs that grows into one complete chair. Selma stated, “I wanted to start with the chairs broken, because that’s how we started this journey of our healing… as you go along you see the chairs slowly building up, and that’s how we were.”
For Selma Gonzalez this choreography involved more than just a dance technique, she wanted to portray awareness of domestic violence, its consequences, and the scars it leaves on people. As a result of this tragedy Selma’s family created a foundation called “The Kristine E. Meza Memorial Foundation” to create awareness and to raise money for scholarships. Selma expressed her deepest gratitude towards the TAMIU dance program and her professors for being chosen to represent the university at this dance conference, she stated, “I am honored actually, I was not expecting it but I’m very honored to represent TAMIU at this conference ACDFA… I’m very blessed.”
If you would like to know more about ACDFA and its history please visit their website at www.acdfa.org
(Neguif Angeles may be contacted at neguif.angeles@dusty.tamiu.edu)