http://philadelphiadance.org/blog Making dance and dance writing in Philadelphia more accessible to everyone Wed, 22 May 2013 15:59:20 +0000 en-US hourly 1 http://philadelphiadance.org/blog/2013/04/30/4-tips-for-soon-to-be-college-dance-graduates/ http://philadelphiadance.org/blog/2013/04/30/4-tips-for-soon-to-be-college-dance-graduates/#comments Tue, 30 Apr 2013 10:33:41 +0000 Roger Lee http://philadelphiadance.org/blog/?p=10378
by Roger Lee for The Dance Journal Congratulations! Many college students are preparing to graduate next month with degrees in Dance. It can be hard for undergraduate dance majors to think about life after college with all of their current academic and extracurricular commitments. But it is still necessary. Especially with just one month left [...]]]>
by Roger Lee for The Dance Journal Congratulations! Many college students are preparing to graduate next month with degrees in Dance. It can be hard for undergraduate dance majors to think about life after college with all of their current academic and extracurricular commitments. But it is still necessary. Especially with just one month left until graduation! If you are a soon-to-be dance degree holder there is still time to prepare! Do not be afraid. There are still 4 main things that you can do to make your transition from college to professional dance as smooth as possible. Tip # 1: Meet with your professors Professors are there for a reason. They have been where you are and most likely been where you want to go. Professors have a wealth of knowledge both inside and outside of the dance studio. Most bring a combination of experience in academia, teaching, choreography, performance, directing, production, journalism, and research. Why not take full advantage of their diverse knowledge? College dance majors often see their professors as their bosses. They come to class, study for exams, and complete assignments under the direction of their professors. However, few college dance majors take the time to get to know their professors outside of the confines of a classroom. They usually meet with them about coursework and rarely talk about their future dreams and ambitions within the field. I recommend that graduating dance majors set up meetings with their professors before graduation. These meetings should serve as an opportunity for students to pick their professors’ brains, so to speak. Students should clearly articulate their goals within the dance field, ask for advice on achieving those goals, and ask about being connected to people in the field. Professors not only bring a wealth of experience and knowledge, but they also are heavily connected within the dance field. Making connections within the field is going to be a major requirement for newly degreed dancers entering the professional field. Tip # 2: Network with Alumni There are a growing number of college dance alumni in the real world. These alumni are connected to the small dance field. Chances are that alum are heavily involved in the dance field or know someone who is! As a soon-to-be dance degree holder, it is important to reach out to alumni of your college’s dance program. How can you reach dance alumni? You can start by asking your college’s Alumni Relations and Career Services offices for leads. These particular offices exist to help connect alumni with current students. I recommend that graduating dance majors meet with staff from Alumni Relations and Career Services to find out what dance alum have been doing since graduation. Also, express your interest in networking with these alumni to jumpstart your professional career. Alumni Relations and Career Services will be more than happy to help you network with alumni! Another option is to hit social networking sites like LinkedIn, Facebook, and Twitter. You can run a search for your school’s alumni and seek out those interested in dance and the arts. Once you find alumni, strike up an informal conversation online. Introduce yourself, ask about their time at your college and life after graduation, and express your personal dance goals and interests. Alumni usually love to give back to their college by helping current students. This presents them with a great opportunity to give back without making a monetary donation. Alumni will most likely be happy to give you some free, valuable career advice and help you transition from college to professional dance. Tip # 3: Intern Internships are a great way to gain valuable work experience, learn about your desired field, and network with potential employers. Dance internships can provide college graduates with hands-on experience that bridges the gap between college and the professional world. Most new dance degree holders are in a period of transition immediately following graduation. Whether they are seeking a contracted company position, looking for a dance administrative position, forming their own dance ensemble, or preparing for graduate school, new dance degree holders are transitioning. Obtaining a dance-related internship can help make the transitional period a lot smoother. It may even lead to a full-time position or a great professional connection! Tip # 4: Market Yourself Dancers can be some of the most extroverted, confident people on stage. However, dancers can also be some of the shyest when it comes to marketing themselves. One of the main keys to success in the professional dance field is strong marketing. 21^st Century dance artists will need to separate themselves from the pack by marketing their most unique qualities. Dancers can now market themselves using the internet. Personal websites, blogs, and social media pages are all popular tools for dance marketing. I recommend that soon-to-be dance degree holders invest in having a creative, informative, and user-friendly website created to showcase their work. I also recommend that they spend lots of time posting engaging content and building membership on all of their social media pages. Dance marketing has officially become easier thanks to the internet.]]> http://philadelphiadance.org/blog/2013/04/30/4-tips-for-soon-to-be-college-dance-graduates/feed/ 0 http://philadelphiadance.org/blog/2013/04/26/underground-dance-works-celebrates-a-decade-with-episodes/ http://philadelphiadance.org/blog/2013/04/26/underground-dance-works-celebrates-a-decade-with-episodes/#comments Fri, 26 Apr 2013 11:40:18 +0000 Roger Lee http://philadelphiadance.org/blog/?p=10348
by Roger Lee for The Dance Journal Underground Dance Works (UDW) has been bringing the joy of dance to Philadelphia and surrounding communities for over a decade. To celebrate this major milestone, Founder, Artistic Director and Choreographer Charles Tyson, Jr. is bringing back some company classics in a special concert titled “EPISODES.” The celebration concert [...]]]>
by Roger Lee for The Dance Journal Underground Dance Works (UDW) has been bringing the joy of dance to Philadelphia and surrounding communities for over a decade. To celebrate this major milestone, Founder, Artistic Director and Choreographer Charles Tyson, Jr. is bringing back some company classics in a special concert titled “EPISODES.” The celebration concert opens Friday, April 26^th through Saturday, April 27^th at The Community Education Center. “EPISODES is a collection of what I affectionately refer to as greatest hits and deleted scenes from some of my earlier works,” says Tyson.  He goes on to add, “The finale of EPISODES is Check It!!!,  an energetic jazz-influenced piece that opened Underground Dance Works premiere concert back in 2003.” EPISODES resembles the seriousness found in Tyson’s past choreography. He has produced work dealing with heavy themes including gay marriage, bullying, and the aftermath of Hurricane Katrina.  Tyson explains, “My quirky movement style, known as EclectiFunk is stretched and twisted to convey themes of love, loss and broken promises”. Original company member, Eisa Jackson is quick to state how “Charles allows his dancers to give their own input and feeling to the pieces.”  As a result, audiences are “able to relate to the stories in some way”. This process is what Tyson likes to call “distilled emotion”.  In the development of Without You Tonight, Tyson asked his dancers to visit a moment in time when they were in a highly emotional state and literally on the verge of breaking down. The first half of the dance takes place in that last split second before the dam bursts. The second half is that feeling of cathartic euphoria just after having let it all out.  For Tyson, “it’s these precise emotional moments that have been driving the new works.” The challenge for Eisa is to allow her “emotions to be fully communicated to the audience through just expressions and the movement.”  For the entire company, this honesty of emotion is the result of the time they have spent with each other and in which the company has also morphed in to being an extended family of caring, creative artists. “The company and I confessed to each other how much we look forward to and depend on our weekly rehearsals,” says Tyson. “The camaraderie and outright silliness that makes up our rehearsal sessions (alongside dancing of course) is a cathartic highlight to our week!” EPISODES marks the first time in thirteen seasons that there will be guest choreographers in an Underground Dance Works concert.  There will be new works by company members Eisa Jackson, Lauren Sion, Anthi “Maria” Nguyen and Lauren Williams.  In addition, a series of three short dance videos, directed and filmed by Tyson with the cast of UDW will be presented between pieces. EPISODES Underground Dance Works Friday, April 26 and Saturday, April 27 at 8 pm Community Education Center, 3500 Lancaster Avenue Philadelphia, PA General Admission $15, $12 for students, seniors, and dance professionals Tickets are available at DanceBoxOffice.com and at the door. Information: undergrounddancework.wix.com/udwrocks.  ]]> http://philadelphiadance.org/blog/2013/04/26/underground-dance-works-celebrates-a-decade-with-episodes/feed/ 0 http://philadelphiadance.org/blog/2013/03/06/roger-lee-dance-pays-tribute-to-chris-j-brewer-1992-2012-this-weekend/ http://philadelphiadance.org/blog/2013/03/06/roger-lee-dance-pays-tribute-to-chris-j-brewer-1992-2012-this-weekend/#comments Wed, 06 Mar 2013 12:34:15 +0000 Roger Lee http://philadelphiadance.org/blog/?p=10007
by Roger Lee for the Dance Journal With just a few days before the opening of Roger Lee Dance Take 2, I find myself reflecting on our first year as a company. Since our debut last April, Roger Lee Dance has been on a journey full of triumph, tragedy, and hope. It is hard to [...]]]>
by Roger Lee for the Dance Journal With just a few days before the opening of Roger Lee Dance Take 2, I find myself reflecting on our first year as a company. Since our debut last April, Roger Lee Dance has been on a journey full of triumph, tragedy, and hope. It is hard to believe that just one year…365 days…12 months can bring along so many life experiences! Roger Lee Dance debuted at The Performance Garage on April 20, 2012. Our opening night saw a full house of supportive friends, family, dance lovers, local residents, and Performance Garage regulars. As I peered into the crowd from backstage, I began to thank God for this awesome opportunity to share my passion for dance with the audience. It was a blessing to dance my own choreography in my hometown after overcoming a dance-threatening injury. I had no idea how the first show would pan out. But I knew that I was living out my dream. No matter what I knew that this opening night performance would be a defining moment in my dance career and life. As the hour-long show came to a close and the house lights came up, the 8-member company was greeted with a standing ovation, whistles, and smiles of appreciation. The question and answer session full of inspiring words of wisdom, comments on the choreography, and questions about the future of Roger Lee Dance confirmed that my company dream had officially become a reality. After a few months of rest and relaxation, Roger Lee Dance held auditions in the summer. This resulted in the addition of four new dancers. One was a young videographer and chef by the name of Chris J. Brewer. I was first introduced to Chris by one of the original company dancers and ended up hiring him to film our rehearsals and debut concert last April. One day during at a company rehearsal Chris put down his video camera and unexpectedly began breakdancing. I was so impressed that asked him to put down the camera for good and join the company as a professional dancer for season 2. I will never forget the joy on Chris’ face when he accepted the company dancer position. He gladly stepped away from the video camera and stepped out on the dance floor with the rest of us last July. Chris was also a part of the Roger Lee Dance Take 2 promotional photo shoot conducted by Nathaniel Dodson of Endy Photography. I could have never imagined that Chris’ professional headshot would be featured two weeks later—at his own funeral. On August 3, 2012, Chris J. Brewer unexpectedly passed away at the age of 20. The devastating news and shocking loss really hit the company hard. We had grown close to Chris and felt as if we had lost a brother. Roger Lee Dance paid its respects at Chris’ funeral and decided to dedicate its second concert, Take 2, to his loving memory. But none of this could bring Chris back. We longed for the chance to see him again, dance with him again, and say our goodbyes to him. After a company discussion we decided that we should deal with Chris’ death in the best way we know how—through live dance performance. Saying goodbye to Chris J. Brewer was the inspiration behind my new work “Dear Chris.” The emotional piece features the full company saying their goodbye messages to Chris through both spoken word and dance. It is our way of healing, putting our heart-felt words into the atmosphere, and sharing Chris’ loving memory with the audience. It is also our way of celebrating the life of a talented young man who was gone entirely too soon. In just one year…365 days…12 months Roger Lee Dance has suffered the loss of one of its newest dancers. However, though weeping may endure for a night, joy comes in the morning. The company will also have the honor of celebrating his life the new piece “Dear Chris.” The piece will close out the first act of Roger Lee DanceTake 2 this weekend. We are anxiously awaiting the chance to celebrate the life of Chris J. Brewer on stage. It is the least we can do to pray honor to our brother. We invite the community out to celebrate Chris with us. We hope to see you there. Roger Lee Dance Take 2 (In Loving Memory of Chris J. Brewer, 1992-2012) March 8 and 9 at 8 pm March 10 at 2 pm The Performance Garage 1515 Brandywine Street, Philadelphia, PA 19130 $15 Tickets at www.danceboxoffice.com or www.rogerleedance.com]]> http://philadelphiadance.org/blog/2013/03/06/roger-lee-dance-pays-tribute-to-chris-j-brewer-1992-2012-this-weekend/feed/ 2 http://philadelphiadance.org/blog/2013/02/02/review-alvin-ailey-american-dance-theaters-2013-north-american-tour/ http://philadelphiadance.org/blog/2013/02/02/review-alvin-ailey-american-dance-theaters-2013-north-american-tour/#comments Sun, 03 Feb 2013 03:30:41 +0000 Roger Lee http://philadelphiadance.org/blog/?p=9670
by Roger Lee for The Dance Journal Photos by Bill Hebert I first heard about Alvin Ailey American Dance Theater while attending the Philadelphia High School for the Creative and Performing Arts. The company came up time and time again during our Horton classes. We watched videos of their signature piece “Revelations” and referred to [...]]]>
by Roger Lee for The Dance Journal Photos by Bill Hebert I first heard about Alvin Ailey American Dance Theater while attending the Philadelphia High School for the Creative and Performing Arts. The company came up time and time again during our Horton classes. We watched videos of their signature piece “Revelations” and referred to the company as the “cultural ambassadors of dance.” By the time I reached Ursinus College, I had a strong Ailey foundation that served me well in all of my dance history, composition, and modern classes. We watched videos of the company’s celebrated repertoire and had discussions about the intricacies and philosophy behind the movement, lighting, and costumes. After revisiting old college notes, watching YouTube footage, and spending lots of time on the company website, nothing could have prepared me for seeing Alvin Ailey American Dance Theater live for the first time on Thursday evening.  It was an experience that I will never forget. As I stepped into the Merriam Theater lobby I was instantly immersed in shoulder to shoulder traffic. After sliding though souvenir buyers and elevator waiters, I was directed to my seat.  Audience members chatted, looked at their souvenir programs, and discussed their favorite Ailey pieces. Since the company has been producing work since 1958, the company had a lot of favorite pieces to choose from! This particular concert series marked the beginning of Alvin Ailey’s 2013 North American Tour. They kicked off the tour in the City of Brotherly Love and Sisterly Affection. After much anticipation, Thursday night’s program began with the piece “Grace.”  The 1991 company classic was choreographed by Ronald K. Brown back in 1991. I had the pleasure of taking Mr. Brown’s African-inspired dance master class last month at The Performance Garage in Philadelphia. It was great to witness his work being performed by the athletic and graceful Ailey dancers. Mr. Brown used a variety of music, including Duke Ellington’s “Come Sunday,” to fuse elements of religious and secular dance.  The piece began with a solo performed by Linda Celeste Sims. She gracefully used each movement sequence to get from up stage to down stage in a linear fashion. The subtle lighting mixed with Sims’ white dress created a nice visual. The soloist was soon joined by a group of dancers executing strong, rhythmic African dance phrases with fluidity and ease. The strenuous movement could have understandably left the dancers panting and pushing through the movement. However, the longer the piece went on the more graceful, effortless, and charismatic the dancers became. By the end of this long piece the dancers had changed from white to red costumes and back to white again. They also moved their hips and torsos in countless ways to the vibrations of house, jazz, Latin and African music. The audience applauded during certain sections of the piece leading up to their thunderous standing ovation that seemed to last as long as the piece did. What I loved most about Ronald K. Brown’s “Grace” was the intricate, polyrhythmic movement phrases, ever-evolving spatial formations, and his use of the back of the stage. Ronald K. Brown was not afraid to go where most choreographers will not. He was not afraid to have the 11 dancers face the back of the stage and spend significant time dancing away from center of stage or downstage. This choreographic bravery was refreshing to witness. “Grace” was followed by an intermission that led into Garth Fagan’s piece “From Before.” Although the piece was choreographed back in 1979, it managed to maintain a timeless feel. I could not tell if the piece was created in 1979 or 2009. The movement transcended any particular time period and made this piece one of my favorites. The costuming for “From Before” resembled something that would be found in a Merce Cunningham classic. The colorful full-body unitards showed off the strong physics of the male and female dancers. It was great seeing strong female dancers lifting, turning, jumping, and suspending on stage with what appeared to be the greatest of ease. One of these moments came from long-time Ailey dancer Hope Boykin. She executed a number of high, suspended jumps out of a deep second position plie. Just when I thought Boykin would grow tired or tone down her jumps, I was shocked to see them grow even bigger and more powerful with each plie. “From Before” featured African-influenced movement where the dancers used their backs and torsos in creative ways. This piece proved that the Ailey dancers have mastered the delicate balance between power and grace. This is an incredibly hard balance for any dancer to achieve. It was inspiring to witness this balance all throughout Garth Fagan’s piece. It was also inspiring watching an intricate group movement phrase where dancers pencil turned repeatedly while switching in and out of unpredictable arm positions. Just as I became fixated on the unique turning phrases, more dancers entered in the stage on back diagonals to create a new spatial arrangement. To top it all off, some dancers were given short solos. These solos impressed me not only because of their rigor in technical requirements but also their showmanship. Each soloist seemed to develop a personal connection with the audience while dancing. This was evident because audience members yelled out “Go ahead!”, “Do You Thing!”, and other signs of approval and support. It was great to witness this natural, overt and audible artist/audience connection. This one that is often nonexistent in American concert dance and reserved for commercial dance performances. The Ailey Company’s ability to effectively engage with audiences is a major contributor to their long-lasting appeal and success. After a short pause the concert continued with “Strange Humors.” The male duet was choreographed in 1998 by the Company’s new Artistic Director Robert Battle. According to Robert Battle, “This is a physically challenging duet containing influences of tango, Martha Graham, and hints of hip-hop and martial arts, with unexpected leaps and falls that break the viewer’s false sense of security. The title of this work was inspired by the writings of Maya Angelou.” The choreographer did not understate the piece’s physical demands. I felt like I was watching a full-out dance or Olympic marathon. Kervin James Boyd and Samuel Lee Roberts leaped on and off of their knees in perfect synchronization and red pants. In one section on of the men executed a high leap and landed on their back, reminiscent of a landing that may be found in today’s vogueing or club dance freestyling battles. The suspended knee and back drops caught the audience’s attention as they “ooed” and “aahed” their way through the piece. From a color standpoint, the red textured pants, subtle red wash of lighting, and the bold red strip of diagonal light stretched across the floor really set an intense mood for this piece. It was the icing on the cake for this courageous, gravity defying duet. Ailey’s Philadelphia concert ended with the signature finale and fan favorite “Revelations.” The piece was first choreographed by Alvin Ailey in 1960. It has since become an American Masterpiece and internationally-renowned hallmark of the Alvin Ailey experience. According to the concert program, “All performances of “Revelations” are permanently endowed by a generous gift from Donald L. Jonas in celebration of the birthday of his wide Barbara and her deep commitment to Alvin Ailey American Dance Theater.” Although I have seen “Revelations” on video, nothing compared to experiencing it live. The piece was broken into three main parts “Pilgrim of Sorrow”, “Take Me to the Water,” and “Move, Members, Move” with smaller sections in between. The soul-stirring gospel hymns combined with dynamic lighting and the natural progression of the movement really stuck with me. From the first group section “I’ve Been ‘Buked” the audience shouted out “Amen!” and ‘Hallelujah!” I felt like I was attending a Baptist church service and the Ailey Company was testifying through unison modern dance movement. The warm spotlight coupled with the clean, simplistic shapes, and the traditional Gospel hymn made this section a true standout. Another standout moment came during Alicia Graf Mack and Jamar Roberts’ duet “Fix Me, Jesus.” The music coupled with the beautiful contemporary ballet pas de deux and the dancers’ emotional expressions produced a moment in American dance that I will never forget. What I enjoyed most about Jamar Roberts was his strong partnering skills. He was dependable and captured his partner in every floor lift, aerial suspension, and counter balance. Roberts’ secure partnering alleviated the usual tension I feel when watching an intricate duet with lots of lifts. I felt at ease knowing that he would be there for his partner every single step of the way: literally. I also fell in love with Alicia Graf Mack’s grace, stage presence, lines, leg extensions and pointe. The soloist has had years of ballet training and has overcome serious injury twice. I feel that these 2 major life experiences have shaped Alicia Graf Mack into one of America’s finest dance artists. While I loved the music, props, costumes, and back undulations of “Wade in the Water,” the intimacy of “I Wanna Be Ready,” and the sheer athleticism, speed, and jazziness of the male trio “Sinner Man,” I was most drawn to the pieces big finale “Rocka My Soul in the Bossom of Abraham.” This piece depicted the African American church experience complete with church stools, fans, big hats and audience clapping and shouting.  The audience was so involved that their claps could have taken the place of the recorded music. The women’s fans, flowing dresses, hats, and fan kicks really came together nicely during the large group sections of the piece. Soon the Company men were added to the mix wearing nice dress clothes that complimented the women’s yellow color palette. The audience cheered as the dancers took their final pose on their knees with arms raised. The applause only got louder as the lights faded and came back up with the curtain. This concert produced one of the longest standing ovations that I have ever witnessed. It made me proud to cover the Philadelphia kick-off of Alvin Ailey American Dance Theater’s 2013 North American Tour.]]> http://philadelphiadance.org/blog/2013/02/02/review-alvin-ailey-american-dance-theaters-2013-north-american-tour/feed/ 0 http://philadelphiadance.org/blog/2013/01/22/review-koresh-artist-showcase/ http://philadelphiadance.org/blog/2013/01/22/review-koresh-artist-showcase/#comments Tue, 22 Jan 2013 19:30:51 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=9546 Passage to the Light. The rhythmic group number featured recorded drum snares that could be felt while sitting on the floor. I appreciated the repetition found in Rector’s choreography. It was not too much and certainly not too little. The repetition was just right. It allowed the audience to take in the intricate phrasing, musicality, and precision executed with each movement. Phrases were often repeated by the group on different facings while solos intertwined with duets. It would have been nice if the group moved a little less while the soloists performed in the front. It was hard to focus on the intricacies of both the solo and group choreography happening all at once. Next up was a trio choreographed by Liz Lyle. The all-female trio sported colorful, flowing dresses that meshed nicely with the warm lighting. While the piece went in and out of solos, duets, and hand holding trios, my eye gravitated towards dancer Caroline Butcher. Her clean lines, deep plies, and large jumps were hard not to watch. On top of that, she managed to maintain eye contact with the audience and seemed to internalize the choreography the most. Butcher bought Lyle’s choreography to life by dancing it as opposed to just executing it. In honor of the Sandy Hook tragedy, Sammy Reyes choreographed Crying Circle. This unconventional group routine featured contemporary hip-hop choreography to the classic song Ave’ Maria. While dancers tutted, took to their knees, and shifted in and out of intricate spatial formations, my attention immediately went to the music. Because Ave’ Maria is such a well known song, it was hard not to get lost in it. This stopped me from taking in all of the intricacies of the choreography. That is until the music shifted to a DJ-inspired track that was better suited for the hip-hop movement. The shift in music also had an obvious shift in the dancers on stage. They began to hit each movement with more aggression, precision, and stylization than previously shown. I wish that this section had gone on for longer. As soon as I got fully invested in the choreography, it came to an end. However, I appreciated the unique dance tribute to such a sad tragedy in American history. Melissa Rector returned with another piece. This time it was a solo set on her Koresh Dance Company colleague Asya Zlatina. This solo was certainly one of the showcase highlights. The soloist simply got lost in the movement, music, and the moment. You could hear Zlatina’s heavy breaths, witness effortless transitions, and see her muscles working together to reach each line’s extent. This solo showed off the vulnerability, strength, and grace that makes Zlatina a standout dance artist. It was also ironic that the solo was titled Be Still because Zlatina did anything but be still. Amy Harding’s Alchemy Dance Company performed Splendid Solis. The piece featured solos and group sections where the quartet alternated roles. In one group section Kaitlyn Clark was unexpectedly suspended on the backs of the dancers: while in a high arabesque.  Although she held the pose for almost 10 seconds, it felt a lot longer because of her long line. This was certainly a standout moment for the piece. The other standout came in the form of University of the Arts senior dancer Kevan Sullivan. His movement was organic, fluid, and tightly coiled all at the same time. Sullivan’s powerful deep second position plies into tight fifth position pencil turns were a sight to see. He is one of Philadelphia’ rising Philadelphia dance artists to keep an eye on. Melissa Rector’s third and final piece of the showcase was a jazz-inspired duet. The black, slick costumes complimented the ballet-inspired hair buns sported by the young dancers. Allison Cira and Sydney Donovan were in complete unison throughout the piece. It is rare to see two young dancers with such precision and musicality. I only wish that the piece was longer and featured some moments of solos, varying movement phrases, and timing to contrast with the strict unison exhibited in this showcase. Jocelyn Hrzic’s Vivace was a nice throw back to classical modern dance movement and formations. I appreciated the unique costume choice of black leotards and see through white dresses. The dresses worked well because they caught the light, gave the movement more “flow,” and allowed the audience to still see the line of the legs through the dresses. I also was stricken by the intricacy of the ever-changing spatial formations and the quick speed of the choreography. I prayed throughout the piece that no one slipped or bumped heads as dancers turned, leaped, and ran through the small space at what seemed like warp speed. My prayer was answered! I was also blessed by the stage presence of Ellen Kim. While dancing she maintained a look of joy and confidence on her face. Kim is a natural performer with a lot of potential. She is another rising Philadelphia dance artist to watch out for. The feel-good showcase ended on a high note, or should I say high tap, with Micah Geyer’s Me and My Shadow. The tap duet featured Geyer dancing with his young, private tap student Stoyan Angelov. The two tapped to the music of Frank Sinatra and Sammy Davis, Jr. The music, argyle sweaters, and unison tap phrases came together and created a few minutes of magic. When Angelov broke out in his short solo, complete with exaggerated facial expressions, the crowd went wild. I would have liked to see more solo moments from Angelov. The short solo he executed was stronger than his unison work. However, this piece was a great way to end such a strong showcase. I look forward to the next one taking place on March 23 and 24.]]> http://philadelphiadance.org/blog/2013/01/22/review-koresh-artist-showcase/feed/ 1 http://philadelphiadance.org/blog/2013/01/19/jaamil-olawale-kosoko-thoughts-on-building-audiences-for-performance-in-philly-and-nyc/ http://philadelphiadance.org/blog/2013/01/19/jaamil-olawale-kosoko-thoughts-on-building-audiences-for-performance-in-philly-and-nyc/#comments Sun, 20 Jan 2013 03:33:50 +0000 Roger Lee http://philadelphiadance.org/blog/?p=9521
By Roger Lee for The Dance Journal Jaamil Olawale Kosoko is the definition of a 21st century artist. His work transcends the genres of performing, visual, and literary arts. This creative chameleon’s work also spans across  Philadelphia and New York City.  Jaamil is currently the Co-Director of Kate Watson-Wallace | Jaamil Kosoko | anonymous bodies [...]]]>
By Roger Lee for The Dance Journal Jaamil Olawale Kosoko is the definition of a 21^st century artist. His work transcends the genres of performing, visual, and literary arts. This creative chameleon’s work also spans across  Philadelphia and New York City.  Jaamil is currently the Co-Director of Kate Watson-Wallace | Jaamil Kosoko | anonymous bodies and the Producing Associate at New York Live Arts. Jaamil caught up with The Dance Journal and shared his experiences working in Philadelphia and New York simultaneously and creating art for diverse audiences in both cities. “I don't believe that anything is new, but I do believe that ideas can be creatively re-imagined and re-contextualized to create a different outcome, perhaps one that is more connected to the present moment” says Jaamil. He approaches his performance work and curating from a historical context. Jaamil digs deeply into history and asks the imaginative question “what if this happened instead?” This sets the foundation for some really innovative, creative work that resonates differently with each audience member. It gives them a personal connection to Jaamil’s work. With a mixture of different historical references, props, costumes, and lighting, each audience member is bound to find at least one part of the abstract work to connect with. They may end up connecting with one of the diverse artists featured in Jaamil’s work. He takes the time to select just the right artists for each project. “There is no one prescribed way to select an artist,” admits Jaamil. “I think it's a mixture of personal mission, vision, creativity, instinct, and inspiration. Also, both parties must be equally invested in the work.” The artists Jaamil selects are always invested in his work and this commitment is bound to resonate with audience members. The experience of audience members is very important to Jaamil. “I don't think one can enter this field without considering the audience.  The viewer is the life-blood of the work,” he says.  The audience members are what take the hard work of rehearsal and turn into live art. According to Jaamil, “It's not art until it is seen.” So what has been Jaamil’s experience creating work for audiences in Philadelphia and New York City? “There are some amazing artists in Philly. I really enjoy feeling the sense of community and support from Philly artists,” says Jaamil. “It's a great place to make work.” He sees New York audiences as very outgoing, experimental, and open to trying out new artistic experiences. “The hard part, particularly in Philly, is getting people to see your work.”  He has performed in Philadelphia since moving here 8 years ago. While audience members have come and gone, Jaamil still struggles to build audiences in the City of Brotherly Love. One of his solutions for the city’s dwindling performing arts audiences is to develop strategic partnerships with other groups. “It's any opportunity to share audience and resources to realize a show,” says Jaamil. In a rough economic economy, sharing resources and audiences has definitely become a popular strategy used throughout out the performing, visual, and literary arts field. Jaamil also suggests taking the time build an authentic relationship with audience members. “It takes an equal investment from both the audience and artist. It is a relationship,” he argues. After experiencing low audience turnout for his shows, Jaamil decided to take direct action.  “I took this as a clear signal that it was time to re-strategize my process for creating work as well as the platforms I use to show my work,” he admits. “All of these signals have led me to more of a visual art aesthetic of presentation where audience have free license to observe and move as they see fit.” Jaamil also spent a lot of time analyzing the notion of popularity and how it translates into selling show tickets. “I am not popular (nor do I want to be), but it seems that in order to fit into the American framework of success, one must be popular to move a certain number of units or tickets,” he explains. “Dance Place in D.C., C.E.C. Meeting House Theater in Philly, Kelly Strayhorn Theater in Pittsburgh, and Joyce SoHo and Dance New Amsterdam in New York City are the few presenters who have taken a risk with programming me with my own evening.” Jaamil tries to always use these venues and platforms are ways to create new opportunities for other artists.  Almost always, I use these platforms as a way to create performance and creative opportunities for other artists. So what does Jaamil have happening in Philly in early 2013? He is closing out January with a performance in Falls Bridge, a new movement, improvisation, and performance festival by Curt Haworth and Nicole Bindler. Falls Bridge brings together the improvisation, performance art, and University of the Arts communities for performance, movement exploration, and collaboration. Jaamil will then spend the spring performing with anonymous bodies. They will perform at Scratch Night at Philly Lives Arts in March and collaborate with Team Sunshine at Christ Church Neighborhood House in May. For more news and upcoming events for Jaamil Olawale Kosoko, please visit his social media pages. He loves hearing from audience members and have an open dialogue about art, learning, and life.]]> http://philadelphiadance.org/blog/2013/01/19/jaamil-olawale-kosoko-thoughts-on-building-audiences-for-performance-in-philly-and-nyc/feed/ 0 http://philadelphiadance.org/blog/2012/12/13/spotlight-on-carols-in-color-a-regional-dance-tradtition/ http://philadelphiadance.org/blog/2012/12/13/spotlight-on-carols-in-color-a-regional-dance-tradtition/#comments Thu, 13 Dec 2012 19:46:10 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=9337
by Roger Lee for The Dance Journal Since 1992, Eleone Dance Theatre has been presenting its regional holiday classic Carols in Color. The high-spirited production fuses African American dance traditions and gospel music with the St. Matthew’s retelling of the birth of Jesus Christ. This urbanized alternative to The Nutcracker makes a great holiday gift [...]]]>
by Roger Lee for The Dance Journal Since 1992, Eleone Dance Theatre has been presenting its regional holiday classic Carols in Color. The high-spirited production fuses African American dance traditions and gospel music with the St. Matthew’s retelling of the birth of Jesus Christ. This urbanized alternative to The Nutcracker makes a great holiday gift for the entire family. Eleone founder, E. Leon Evans grew tired of seeing The Nutcracker each holiday season. The creative Renaissance man dreamed of having a holiday classic that celebrated African American culture right in his hometown of Philadelphia, PA. Thus, Carols in Color was born in 1992. The debut was held at The Painted Bride, featured 20 talented dancers and vocalists from the city, and an original script, musical arrangement, and choreography by Evans himself. The memorable debut also featured a packed, engaged audience that is still faithful to this day. After Evan’s passing in 1998, Shawn-Lamere Williams assumed the role of Artistic Director. He expanded the cast and added new choreography to modernize Carols in Color. “We always stay true to Mr. Evans’ vision, keeping it at the foundation and source of inspiration for our work each year,” says Williams. As artistic director of Carols in Color, Williams works to maintain a delicate balance between tradition and innovation. “Mr. Evans sowed the seed and we watered it,” he adds. Williams makes additions to the concert each year by bringing in established vocalists and guest dance artists from popular, neighboring companies such as Philadanco. Williams’ artistic additions coupled with Evans’ distinct vision has turned Carols in Color into a renowned, 20-year-old holiday tradition that is performed in 600-seat theater venues by approximately 90 performers. In a Philadelphia Inquirer article, writer Miriam Seidel proclaims, “Carols in Color has become a Regional holiday tradition, and it’s hard to imagine a more rousing and uplifting one.” In today’s economic climate, having a religious-themed dance musical production last for 20 years is an outstanding accomplishment and a true blessing. Although the beautifully trained dancers, soul-stirring vocalists, and vibrant costumes keep the audience on their feet, it is the audience’s experience that keeps them coming back for more. Just what kind of experience can audiences expect when attending Carols in Color? They can expect the same experience found in many African American churches across the country. That experience entails clapping, stomping, shouting, dancing, and singing along to the gospel-inspired production. The audience can also expect to be acknowledged, thanked for their attendance, and invited into the Eleone Dance Theatre family. This goes a long way with supportive audiences that have stood by this production for the past two decades. Simply put, the Carols in Color audience return each year to be inspired, entertained, and uplifted through guaranteed live gospel music, praise dance, and the retelling of the birth of Jesus Christ. Carols in Color provides a church-going experience for people of all backgrounds and faiths in the comfort of a traditional theater venue. According to Williams, “When our audiences are leaving in a great mood, happy and smiling, we know that we have dance our job well!” Eleone Dance Theatre presents Carols in Color Saturday, December 15, 2012 at 3:00 pm and 7:00 pm Sunday, December 16, 2012 at 3:00 pm and 7:00 pm Monday, December 17, 2012 at 11:00 am (School Matinee) The Kurtz Center for the Performing Arts at The William Penn Charter School, 3000 West School House Lane, Philadelphia, PA 19144 Tickets: $30 for General Admission, $27 Senior Citizens, Students, and Children Dancers: Eleone Dance Theatre, Eleone Connections, and Eleone Dance Incorporated  ]]> http://philadelphiadance.org/blog/2012/12/13/spotlight-on-carols-in-color-a-regional-dance-tradtition/feed/ 0 http://philadelphiadance.org/blog/2012/12/05/10-triumphant-years-at-the-performance-garage/ http://philadelphiadance.org/blog/2012/12/05/10-triumphant-years-at-the-performance-garage/#comments Wed, 05 Dec 2012 21:14:45 +0000 Roger Lee http://philadelphiadance.org/blog/?p=9304
Felicia Cruz in Caged, choreographed by Meredith Rainey, (c) 2012 Bill Hebert By Roger Lee for The Dance Journal On December 8, 2002, the Performance Garage had a grand opening complete with a ribbon cutting ceremony, live dancing, and crisp winter weather. Last night the Performance Garage celebrated 10 triumphant years with lots of friends, [...]]]>
Felicia Cruz in Caged, choreographed by Meredith Rainey, (c) 2012 Bill Hebert By Roger Lee for The Dance Journal On December 8, 2002, the Performance Garage had a grand opening complete with a ribbon cutting ceremony, live dancing, and crisp winter weather. Last night the Performance Garage celebrated 10 triumphant years with lots of friends, performers, and beautifully warm weather. I could feel the love and support at the Performance Garage’s Tenth Anniversary Celebration from the moment I stepped foot inside the space. I observed as each attendee was greeted with a warm smile, a free coat check, and an efficient box office representative. In the spirit of The Oprah Winfrey Show, each attendee left with a nice gift bag full of dance-themed goodies. More importantly, people left with a resounding message that hard work, dedication, and collaboration can turn major dreams into reality. This formula helped take the Performance Garage from an ambitious dream to a popular, vibrant center dedicated to dance and the performing arts in Philadelphia. The celebration kicked off with a social mixer where attendees saw familiar faces, made new connections, and enjoyed a delicious display of food and beverages. Accompanying the socializing was an eye-catching slideshow of Performance Garage concert photos captured by beloved dance photographer Bill Hebert. Once everyone was seated, a video on the history and evolution of the Performance Garage was projected onto the stage. The video, by Carmelia Vassor-Johnson with excerpts provided by Jorge Cousineau, captured the ribbon cutting ceremony, construction, and growth of the Performance Garage in a few short, touching minutes. The first performance of the night came with much anticipation. It was none other than “Syrinx,” an excerpt from the former Jeanne Ruddy Dance Company’s 2011 PIFA concert MonTage à Trois. The company’s mini-reunion featured two pairs of dancers. Alexei Borokov and Christine Taylor waited in patient stillness while Rick Callendar and Janet Pilla began their duet. Each duet featured the female dancer pushing, sliding, slipping, and sticking to their male partner who faced the back of the stage in a strong, supportive pose. While staying in complete synchronization posed a few problems for the two female dancers, the effortless handstand sequences and commitment to the movement made up for their slight glitches in timing. It was also nice to see some members of the company return with their memorable, bright colored tights and leotards from MonTage à Trois. The next piece was “forget me sweetly,” a collaborative work choreographed and performed by Subscircle’s Niki Cousineau, Christy Lee, and Scott McPheeters. It was hard to forget this piece because of the string light bulb hanging from one of the stage’s beams. While the mellow music played and Cousineau indulged in a grounded, intricate movement solo, my eyes could not help but wonder to the light bulb. Christy Lee soon joined in the moving sequence that turned into a duet with Cousineau. After longing to see how the light bulb would be used in the piece, Scott McPheeters came to the rescue! He turned on the light bulb and began dancing what soon turned into a trio. The piece alternated between a series of different solos, duets, and trios which presented a nice contrast to the long, droning musical selection that seemed to never end. The dancers were draped in dark dress clothing that seemed to match the mood of the music. The intricate, grounded, and innovative movement vocabulary ended when the last soloist turned the beloved light bulb off. Next up was Felicia Cruz dancing Caged, a Carbon Dance Theatre solo choreographed by Meredith Rainey. The piece kept things interesting by featuring poetry by Maya Angelou, narration by Rainey, and a hauntingly beautiful rendition of Ave Maria. While the sound selection was captivating on its own, the intricate cage bird costume, designed by Rainey and crafted by Heidi Barr, was a site to see! It was reminiscent of pop music superstar Lady Gaga’s head-turning ensembles. However, the most memorable thing about Caged was the soloist. Cruz went through a range of movement sequences from strong, deliberate, slow steps across the stage, to diagonal pencil turns downstage, and moments of complete stillness. It was in these moments of stillness that the audience could focus on Cruz’s outstanding stage presence. Her look of desperation, longing, and determination on her face coupled with the intricate contemporary ballet choreography of Rainey made this solo come to life. Breaking up the performances were short speeches made by Philadelphia Dance Projects Director Terry Fox and Performance Garage President Emeritus Kathryn Keeler. Fox presented a photo slide show that captured Philadelphia Dance Project’s work with the Performance Garage over the years. Keeler made a touching dedication to the Performance Garage founders, Jeanne Ruddy and Victor Keen, and presented them with a special scripted, commemorative brick that will soon be added to the outside of the space. Closing out the celebration was “Dansa from Mall”, a Kulu Mele African Dance and Drum Ensemble piece choreographed by Cachet Ivey. The piece began with generations of drummers sitting side by side across the back of the brightly lit stage. The audience could not help but smile at the child drummer. The young boy had his own small drum in hand and played it with as much conviction as his adult male musical colleagues. Before I knew it a large ensemble of African dancers came out from all angles of the stage, stomping, clapping, and cheering each other on as solos, duets, and small group work flooded the stage. Beautiful white and gold African garbs draped the athletic female dancers. Bright blue costumes were selected for the two male dancers who took to the stage towards the end of the piece. They danced with such athleticism, musicality, and showmanship that the audience instantly began clapping along with the dancers. As one female dancer lost her head piece during a fast paced, jump filled solo, her dancing colleague went out of her way to pick it up while continuing to execute her intricate steps. This small gesture was a living testimony to the true spirit of community, family, and group accountability that is Kulu Mele. There performance ended in loud applause and standing ovation while signifying the bright future of the Performance Garage. Here is to at least ten more years of dance and performing arts magic taking place at the inspiring Performance Garage!  ]]> http://philadelphiadance.org/blog/2012/12/05/10-triumphant-years-at-the-performance-garage/feed/ 0 http://philadelphiadance.org/blog/2012/11/14/flyground-works-with-first-person-arts-to-present-street-grace-series-native-portals-of-lynching-and-love/ http://philadelphiadance.org/blog/2012/11/14/flyground-works-with-first-person-arts-to-present-street-grace-series-native-portals-of-lynching-and-love/#comments Wed, 14 Nov 2012 12:22:54 +0000 Roger Lee http://philadelphiadance.org/blog/?p=9120
by Roger Lee for The Dance Journal FlyGround, Lela Aisha Jones’ movement performance company, joins forces with First Person Arts to present “Street Grace Series: Native Portals of Lynching and Love.” This socially-conscious production features six movement artists as they explore their exposure to America’s dark history of lynching while asking themselves “What would it [...]]]>
by Roger Lee for The Dance Journal FlyGround, Lela Aisha Jones’ movement performance company, joins forces with First Person Arts to present “Street Grace Series: Native Portals of Lynching and Love.” This socially-conscious production features six movement artists as they explore their exposure to America’s dark history of lynching while asking themselves “What would it take for me to fall in love with the United States?” Two FlyGround movement artists sit down with The Dance Journal to discuss the upcoming concert from their perspectives. According to FlyGround movement artist Deneane Richburg, “The work is comprised of three portals and memoir, movement, text, and intense imagery as it navigates the often time tumultuous relationship between the concept of home and a traumatic and oppressive cultural history.” “History doesn’t go away and we still carry those scars with us even when we weren’t physically there to experience them first hand,” confesses FlyGround movement artist Saroya Corbett. She explains that internal investigation, self discovery and brutal emotional honesty were major components of the rehearsal process for the upcoming concert. “Lela (the choreographer) has taken the time to place our perspective in the center of her work and privilege our perspective. I believe this is what makes the work so needed and relevant,” adds Corbett. While choreographing “Street Grace Series: Native Portals of Lynching and Love,” Lela Aisha Jones had the movement artists improvise movement to help comprise a series of brief solos for the concert’s first portal. “Lela would catch specific movement and moments, structure them, and give each of us a focus based on the five senses,” explains Richburg. She also had the movement artists examine postcards with photos of lynched beings from the pre-antebellum, antebellum, Jim Crow and civil rights eras.  This historical examination was followed by a related free writing exercise. Both movement improvisation and historical analysis were driving forces behind the concert’s choreographic process. So what can audiences expect when attending the concert? “Most of the work is quite heavy and intense. There are lighter moments; however, these moments beg the audience to question their own personal relationship with this tumultuous histoy in very subtle and subversive ways. As a result, the entire show really keeps audiences on their toes,” says Richburg. According to Corbett, “Street Grace Series: Native Portals of Lynching and Love” is a fully multi-dimensional work. The audience can expect moments of being uncomfortable and they may possibly feel overwhelmed. It’s a full and rich work and audiences can expect to experience the fullness of it.” “Street Grace Series: Native Portals of Lynching and Love” FlyGround presented by First Person Arts Thursday, November 15, 2012 at 7:00 PM Friday, November 16, 2012 at 7:00 PM Christ Church Neighborhood House, 20 N. American Street, Philadelphia, PA 19106 Tickets: $15, $12 First Person Arts Members Dancers: Saroya Corbett, Lela Aisha Jones, Peaches Jones, Oiya Lowe, Maritza Ogarro, and Deneane Richburg]]> http://philadelphiadance.org/blog/2012/11/14/flyground-works-with-first-person-arts-to-present-street-grace-series-native-portals-of-lynching-and-love/feed/ 0