kclifford

Katherine Clifford ’14 reviews the 2013 Spring Dance Concert “s[our]ce”

by

“s[our]ce,” Spring Dance Concert, 2013. Photo by Andrew Ribner '14.
“s[our]ce,” Spring Dance Concert, 2013. Photo by Andrew Ribner ’14.
The Spring Dance Concert, entitled “s[our]ce,” took place Friday, May 3 and Saturday, May 4, 2013in the Patricelli ’92 Theater, and featured works by dance majors Stellar Levy ‘15, Judy Lee ‘13, Miranda Orbach ‘15, Emily Jones ‘14, Tess Jonas ‘15, Harry Zhu, Nora Thompson ‘15, Min Suh ‘15, and Ibironke Otusile ‘15. The show was presented by the Wesleyan Dance Department and the Center for the Arts.

Each of the nine pieces was very distinct and reflected the unique styles and influences of the choreographers and the dancers. As a dancer myself, and having danced in the Spring Dance Concert in the past, it was interesting to see the final production of creative endeavors by members of the dance community that I know. Spring (and Winter) Dance is a cool process, since many of the pieces are choreographed through joint efforts by each of the dancers in a piece. I was able to see the styles and character of some of my friends infused in each of the pieces.

It is difficult to comment on all of the nine pieces, since they were each so special in their own ways.  I will instead talk about some poignant moments that really stuck out to me from several of the pieces. Stellar Levy’s piece, “Love You Infinitely” was interesting and endearing in that it featured many group interactions between dancers. It focused on the awkward and tender moments existing between people, featuring timid interactions, hugging, holding hands, and reaching out to other people. Tess Jonas’ piece contained both a powerful message and powerful movement. It opened with the dancers asking questions to one of the dancers on stage, ending with the question, “do you believe in God?” This question then launched the start of the dance with “God Bless America” playing in the background, and later, voices of kids and of newscast reports blended with the music. The dance delved into how one explores this question given the conflicting influences one receives as a child in school. Miranda Orbach’s piece was simply stunning. The dancers all wore bright red flowy pants; this uniform reflected the dynamism of the piece as well as the unity of their collective movement. In one section of the piece, each of the dancers was lying on their back in a row, with their feet up, while one of the dancers stood, manipulating and moving their legs up and down. This movement pattern resembled the movements of one’s fingers in sign language. Finally, Min Suh’s piece had cool visual effects in which a flashlight and a strobe light were used on an otherwise dark stage to illuminate dancers and to project and enlarge their silhouettes on the wall behind them. The use of darkness also had an interesting effect in that it created a poignant sense of the unknown; you didn’t know what was happening on parts of the stage that weren’t illuminated.

If you haven’t seen any dance events on campus yet, I urge you to do so. The dance community is so talented. Plus, there are so many different types of dance-related events, between Dance Department-sponsored events and performances put on by the many student dance groups on campus. Coming up is the West African Drumming & Dance Concert on Friday, May 10, 2013 at 3pm in the CFA Courtyard (rain location is Crowell Concert Hall). See you there!

Katherine Clifford ’14 reviews the Winter Dance Concert: “Impulse”

by

Katherine Clifford ’14 attends the Winter Dance Concert, “Impulse,” presented by the Wesleyan Dance Department.

Photo by Kim Ladd ’13.

The Winter Dance Concert, Impulse, took place on December 7 and 8, 2012. It featured works by dance majors Sally Williams ’14, Kim Ladd ’13, Elisa Waugh ’13, Jiovani del Toro Robles ’13, Elle Bayles ’14, and Naya Samuels ’14.

I was struck by the incredible diversity of the pieces: in their range of styles, their themes, and their influences. Winter Dance is choreographed by dance majors, in collaboration with the dancers in each piece [and under the direction of Adjunct Professor of Dance Susan Lourie]. In this way, each piece was shaped by the various contributions and backgrounds of each of the dancers. As a whole, the concert incorporated a wide range of media and interdisciplinary influences through the use of projected images, performed song, breakdancing, and AcroYoga (acrobatic yoga).

How does one sum up movement through words, words that seem so static on the page? Each piece left me with a resounding feeling, reminding me of the power of dance to leave an impact on the audience and to make a statement. I think it will be sufficient to sum up the dance concert by saying a few words about what struck me in each piece. Hopefully, this will be a small testament to the incredible talent and creativity of the choreographers and dancers.

Sally Williams’ piece incorporated projected written word and a kissing motif, in which the dancers made sloppy kissing noises that reminded one of a loving grandmother. On a whole, her piece was interesting, provocative, and had a captivating quality of movement.  Kim Ladd’s piece had a strong group dynamic and a circular unity in the composition of the piece. The dancers started and ended in the same pose, serving as a reference point to the beginning of the dance and all that had passed. Elisa Waugh’s dance was interesting in that there were singers performing on stage, providing background music and context to the dance through song. I was captured by the thrilling music in Jiovani del Toro Robles’ piece, which reminded me of the soundtrack of an adventure movie. The dancers’ movements were bold and exciting and matched the music well. The piece even featured breakdance moves by dancer Dat Tien Vu ’15. Elle Bayles’ dance was beautifully composed and the dancers exuded strength and confidence. The dancers’ interactions with each other reminded me of the trust and support that occurs between close friends. Finally, I would characterize Naya Samuels’ dance by the fantastic contact made between the dancers and the great strength and trust required as the dancers lifted each other and supported each other’s weight in poses resembling AcroYoga. The dancing was fluid, with lingering between movements and shifts in weight, making the movements flow together.

As a whole, Winter Dance spoke to the amazing talent in the dance community. Each piece was remarkable in its own way, revealing the potential of dance to say so many things at once.

Katherine Clifford ’14 reviews the Fall Senior Thesis Dance Concert

by

Katherine Clifford ’14 reviews the Fall Senior Thesis Dance Concert, which took place on Friday, October 26 and Saturday, October 27, 2012 featuring two original works by Lindsay Kosasa ’13 and Kelsey Siegel ’13.

Kelsey Siegel’s piece, “Dynamical Systems” explored the intersection between dance and mathematics. Posts connected by strings were used as a visual prop and reference point throughout the dance. In the beginning of the dance, the posts were clustered in the center, and the dancers moved them apart to form a rectangle that framed the stage. The idea of space then was a crucial component of the dance; how the dancers seemed to be constrained by the space they were in, how they physically moved through space, and how they interacted with each other through space. The dancers also seemed to interact with the music, which was a combination of drums, violin, and spoken word, that fit the theme and mood of the dance as it progressed. The dancing itself was marked by stillness and pauses, which had the effect of making each individual dancer’s movement profound and with heightened effect. At times, the dancers would break out of the enclosed space confined by the posts and their connecting strings, and slam against the walls of the dance studio, as if impacted by momentum. The ending of the piece consisted of an explosion of energy in which the dancers moved the previously ordered posts into a jumbled chaos in the corner of the stage. The connecting posts, representing a system of equations, symbolized the constraints of logical thinking. This type of thinking, as the dance suggested, can have the effect of trapping one within a way of thinking, but true reality depends on experience. Thus, in order to experience the world, one must break out of the constraints of logic.

Lindsay Kosasa’s work, “Navigable Möbius,” explored the context of postwar Japan. The backdrop was a video projection, which began with footage of clear, moving water. However, food coloring and debris were slowly added, so that they swirled around and piled up, muddying the previously pure water. To this backdrop, the dancers were dressed in white and with hair in high buns, and moved with fluid, organic, and rounded movements. They often rolled on the floor and over each other, as if in a sort of fetal, protected innocence. In the end, the dancers moved slowly together, expressionless, and in a trance-like state to music that sounded angelic. This seemed to suggest that purity, innocence, and inner peace were maintained despite the figurative backdrop of a postwar state and the literal backdrop of raining debris. Water continued to course through the muddied debris, but it was not enough to clear up the destruction. Throughout the dance, there was a consistent theme of layers and texture. This texture was evident in the continuous accumulation of color and particles being added in the water footage, and in the movement of the dancers, as their story progressed in a linear fashion. This dance ultimately explored movement in a historical context with emphasis on the ideas of resilience and innocence.

Both works demonstrated the creativity and artistic talent of these seniors and how dance is a collaborative process between choreographer and dancers. The dance concert also highlighted how dance can form a powerful intersection with other academic subjects.

Katherine Clifford ’14 previews “visible” (Saturday, October 6)

by

Katherine Clifford ’14 provides us with a preview of “visible,” a dance piece presented this Saturday, October 6, 2012 at 8pm in the CFA Theater.

Jawole Wllla Jo Zillar and Nora Chipaumire’s piece “visible” will be performed at Wesleyan this Saturday, at 8pm in the CFA Theater. The two choreographers were on campus on Monday, October 1st to speak to a group of students and dance and arts faculty to preview their work over a lunch and discussion. During this talk, the artists spoke about their backgrounds in dance, their collaboration, and what “visible” is about. The conversation illuminated several important themes central to their work, sparking excitement to see the creative outcome and movement behind their ideas and stories.

Both Jawole and Nora were attracted to the idea of “advocacy through dance.” Nora, from Zimbabwe, a graduate of University of Zimbabwe’s School of Law as well as of Mills College (in CA) where she studied dance, drew a parallel between dance and the law. She spoke about how through dance, one can get “immediate advocacy,” whereas in the legal world, “it takes longer to get immediate impact.” This immediate impact is due to the physicality of dance; Nora remarked, “The power of dance is that we’re physically doing it. It has a way of changing the person who connects to it.” It is also a way to change oneself. She discussed how she “felt compelled to explore her inner landscape:” her roots in Zimbabwe, during her time at Mills College, which she described as “amazing dance, but so American.”

Jawole founded the company Urban Bush Women in 1984, under the theme of using “cultural expression as a catalyst for social change.” She spoke of the influence of the Black Arts Movement during her college years, which she said was instrumental in “dismantling the hierarchy of what dance form was supposed to be.” She was thus interested in the idea of advocating for a dance based on personal experience, a dance that dealt with “pedestrian movement,” and one that was truer to her African American identity.

Thus, both Jawole and Nora were interested in making a distinction between white, “American” dance and a dance influenced by their own cultures and identities. This translates to the central theme behind “visible” of the idea of migration and how that relates to identity and visibility. Both artists spoke of the idea of romanticizing a place and how that can be problematic. Nora discussed her story of immigrating to America from Zimbabwe and her imagined future based on the myths of America as a land of “milk and honey” and as a place of true democracy. In the U.S., Nora struggled with the idea of how she could be visible in this new place, and the difference between an identity as African versus as African American.

Jawole discussed the influence of jazz on her work, where everyone can have a distinct voice. This translated into an attempt to “bring in the mother tongue of all the dancers [in her company] and to learn to communicate in order to find each other.” In fact, the cast performing on Saturday is very international, with artists from Burkina Faso, Guadeloupe, Jamaica, Holand, Japan, and Washington D.C. Most of the dancers thus have different migration experiences to New York. These dancers are united by the idea of shifting identity upon entering a new place, and by their different experiences as compared to romanticized myths. The combining of these migration stories and experiences of identity and visibility of the dancers and choreographers combine to form the piece “visible,” the exploration of these experiences through dance. As Nora elegantly said, “It isn’t possible to separate who you are from what you dance.”

Don’t miss this provoking and culturally rich performance this Saturday, October 6th.

Katherine Clifford ’14 reviews ZOOM by ZviDance

by

Katherine Clifford ’14 shares her experiences with ZOOM, a piece by New York dance troupe ZviDance that made its Connecticut Premiere at the CFA Theater, last Friday, September 14.

ZviDance, a New York City-based dance company directed by Zvi Gotheiner, kicked off Wesleyan’s Center for the Art’s Performing Arts Series this weekend, September 14th and 15th, with its integrative and captivating piece, ZOOM.

This was the only performance I’ve been to where I could overtly use my cell phone during the performance, without feeling rude about texting. In fact, the audience members were urged to participate in the performance by taking cell phone pictures of the dancers and texting them to the number projected on the screen. These pictures were then integrated into the piece by being posted on the screen behind the dancers in a type of multi-media live-feed. There were also moments when the audience could text the dancers on stage. The texting conversations were projected on the screen as the dancer typed witty replies to text messages with his computer. At one point, the dancers even called the cell phones of several audience members who had submitted texts and invited them to come dance with them on stage.

The use of cell phones can often be a distraction and cause disengagement with one’s present surroundings. However, this piece was interesting, because using one’s phone actually allowed one to be engaged with the artistic and creative process. By texting photos and seeing my own photo projected on the screen, I felt like I was contributing to the performance, even if only in a minimal way. This was different than the typical mode of silently watching a performance in front of me; instead, a more participatory role was open to me as an audience member.

Through this backdrop of integrative media, there was brilliant dancing by seven company members, linking movement to various themes of technology and communication. According to Zvi Goetheiner in the pre-performance talk, the dancers were asked to improvise on different kinds of theoretical environments in constructing the piece; such as moving through a magnetic field, moving through cyberspace, and reflecting on the body as an extension of machine. This piece was “modern” in multiple sense of the term: in the style of dance and fluidity of the movement, in terms of integrating modern culture through the themes of technology and communication, and through the industrial-sounding, rhythmic beats of the music.

This deliberate incorporation of texting, technology, and media served the purpose of exposing the question of how technology affects communication and how modern relationships are transformed through texting and social networking. The last duet of the performance, for example, was about missed connection, and failed communication through texting. However, Zvi Gotheiner said in his pre-performance talk that this was not a commentary on whether technology and social networking makes us more or less connected than before. Instead, the goal was to reflect, rather than to judge, and to let the audience take away whatever message they want.

During the Q&A following the performance, an audience member brought up the point that she felt comfortable texting the dancers from the safety of her seat, but when she was called up to the stage, she felt uncomfortable. One of the dancers replied by noting that texting and social networking creates boundaries and barriers that we can hide behind, but it becomes scary to engage in real life. We are thus protected behind our phones, the internet, and digital information, but actual human contact can be frightening. The exploration of modes and quality of communication through movement and interaction with the audience was thus effective in stirring dialogue about these important themes impacting our modern time.

Katherine Clifford ’14 reviews the West African Drumming and Dance Concert

by

Katherine Clifford reviews the annual West African Drumming and Dance Concert, held on Friday, May 11, 2012.

The West African Drumming and Dance Concert was held on Friday, May 11, 2012 in the CFA Courtyard. West African Dance classes I, II, and III, taught by Artist in Residence Iddi Saaka, performed traditional West African dances with the accompaniment of the West African drumming class, taught by Adjunct Professor Abraham Adzenyah. The CFA Courtyard was filled with Wesleyan students supporting their friends, as well as professors and their families, on this warm Friday afternoon, the first day of reading period before finals. The upbeat music and dancing was the perfect anecdote for the stress accompanying impending final papers and exams.

The dances performed by the West African Dance classes were traditional dances from different ethnic groups of Ghana. These dances traditionally served different purposes; some were originally performed on special social occasions such as weddings or funerals, at times of war, or as harvest dances. The emphasis on tradition was also revealed through the attention to elaborate and colorful West African costumes.

The dances were composed of series of rhythmic movements set to the beat of the drums. Together, the dancers created a pulsating, collective energy that was contagious. Indeed, the audience cheered on the dancers and drummers, creating a supportive and energetic atmosphere. Although each dance was quite different, the style of West African dance consistently uses a lot of hip movements, stepping, and rhythmic motions. It also engages geometric patterns, in which the dancers moved collectively in circles and lines in series of repeated movements. The dances were largely about group movement to create certain feelings suited for the purpose of the dance. This was accomplished through mutual experience through movement. However, the individual was also showcased through solos and duets. Each dance contained twists and surprises that held the viewer’s attention against the backdrop of the sustained rhythm of the drums.

The ensemble of dancing, drumming, and chanting created a culturally rich and dynamic experience. The performance was a fun and engaging way to end the semester; and both the Music Department and  Dance Department’s events, as well as to showcase the hard work of all the students in these classes.

Katherine Clifford ’14 interviews performers for the Spring Senior Thesis Dance Concert

by

The Spring Senior Thesis Dance Concert will be on Thursday, April 5 through Saturday, April 7, 2012*, and will include new works by the senior dance majors. Come support the seniors and the culmination of all the incredible work that went into their theses. Katherine Clifford ’14 asks each performer about their individual theses.

Choreography by Naadu Bentsi-Enchill ’12, James Gardella ’12, Nik Owens ’12, and Hsiao-Tung Huang ’12 will be performed Thursday, April 5 through Saturday, April 7, 2012 at 8pm in the Patricelli ’92 Theater.

Left to right: Naadu Bentsi-Enchill, James Gardella, Nik Owens, Hsiao-Tung Huang, Elena Georgieva.

*Elena Georgieva’s Interactive Presentation Bridging Science and Dance will be on Friday, April 20, 2012 at 6pm in the Bessie Schönberg Dance Studio, 247 Pine Street.

Here’s what the seniors had to say about their theses:

Naadu-Bentsi-Enchill:

“My piece explores the different levels of existence as a person, body, and mover in space. It’s a very internal dance that concludes my movement research on audience perception and choreographer relationships.”

James Gardella:

“My thesis addresses the Yoga Sutras, which is the foundational text of the philosophy of yoga, one of six major schools of thought in Indian philosophy. I critique the Sutras’ assertion that mental stillness is a prerequisite to self-realization and freedom. In the fall I created still mystery, a site specific work performed by an ensemble of five dancers in the CFA lawn. Once the performance ended, viewers were left unexpectedly with a resounding quiet, the very thing my research rejected. My upcoming spring piece embraces the unknown and accepts stillness as a valid, and potential, state of being. I return to the theater to perform a deeply personal and also highly conceptual solo titled Indelible. Indelible may be viewed as a dance of reclamation, and/or a metaphor for the philosophy of yoga itself, as I yearn for freedom through movement.”

Nik Owens:

“I am interested in looking at how behavior is reflected through dance performance and translated to and by an audience. This thesis topic originates from an interest in and hyper-awareness of how I change my behavior to match whatever context I’m placed in. For example, when I’m with my friends I’m very energetic, charismatic, loud and funny, where as when I’m at work I’m more quiet, reserved, mature, and knowledgeable. Now I’m sure this is the case for a lot of people, but the extent to which I shift is considerably more drastic than others in my opinion. So I wanted to investigate this phenomena and I decided to use dance performance as a proxy.

Additionally, since the link between dance performance and behavior can be interpreted in so many different ways, I chose to look at this link through a pedagogical framework; meaning that I’m investigating how social mores and values are established and taught through dance performance and then later translated into behavioral patterns that are context specific. I’ve chosen three (really four) distinct areas of dance performance that vary from each other. The first is looking at Nigerian Yoruba and Cuban Santeria ritual dance performance, particularly their dances that praise their gods. The second is Vogue dance in the ballroom scene of Harlem, New York during the ’70s, ’80s, and ’90s and the role that vogue battles play in establishing social framework and hierarchy at the ballrooms. Lastly I will be looking at how Merce Cunningham and his use of chance procedures on the proscenium stage evoke new notions and behavioral relationships with modern dance amongst the audience members that have watched his work.

For the final chapter of my thesis I will investigate my own two-semesters worth of choreography, culminating in two different pieces, and how these choreographic processes have helped to give me insight into answering the question: how is behavior reflected through dance performance and translated to and by an audience?”

Hsiao-Tung Huang:

“My thesis is on Pina Bausch and Tanztheater Wuppertal Pina Bausch, her dance theater company in Wuppertal, Germany. I am most interested in how history and culture (she grew up in postwar [West] Germany) influenced her as a person as well as how these influences are reflected in her choreographic works. My piece is a personal experience in developing a deeper knowledge of Bausch’s creative process as well as understanding Bausch as a dancer and choreographer.”

Elena Georgieva:

“While historically science and dance have been indelible from our understanding of the world, nowadays they seem to be more dichotomized than ever. To address this misconception, in my thesis I study how dance and science inform each other in the fields of education, research, and performance to make something called science choreography, a novel term describing the embodied connection between the two. In my research process I look mostly at all science-dance intermediary work that has emerged in the last 20 years and I explore some of it through movement. Thus I hope to better understand what science choreography is and how it works, with which I am aiming to define the status quo of the field and lay out a base for future research. In addition, by stressing the importance of developing this emerging field, with my own work I hope to popularize the concept of science choreography among the broader audience.”

Come see the dance performances, Thursday, April 5 through Saturday, April 7, 2012 at 8pm in the Patricelli ’92 Theater; and Friday, April 20 at 6pm in the Bessie Schönberg Dance Studio, 247 Pine Street.

Katherine Clifford ’14 interviews choreographer Camille A. Brown (Mar. 10)

by

An interview with choreographer Camille A. Brown by Katherine Clifford ‘14. Camille will be teaching a master class at 1pm on Saturday March 10 in the CFA Dance Studio. She is the 2012 winner of the Mariam McGlone Emerging Choreographer Award, which she will receive that evening. Her company, Camille A. Brown & Dancers, will be performing three pieces at the DanceMasters Showcase Performance on Saturday, March 10 at 8pm in the CFA Theater.

"The Evolution of a Secured Feminine", Camille A. Brown

Q: What is your background in dance, and how did you come to be where are you are now?

A: I first started in gymnastics and dance, but I was terrified by the balance beam, so that negated gymnastics. I loved dancing. I also played the clarinet when I was younger. I didn’t love it like I loved dance, but I think it’s one of the reasons why I’m known to be very musical. I got into dance by watching Michael Jackson and Janet Jackson videos, Broadway shows, and musicals. My mom saw that I loved it, and she put me in dance school on the weekends. I didn’t know it was something that I could pursue as a career until I got to high school. I attended LaGuardia H.S. of the Performing Arts and the Alvin Ailey School. Having the opportunity to be around the Ailey dancers helped me to discover that dance could be a career and that I could be paid to do what I love to do. I continued my studies at the University of North Carolina School of the Arts. There, I started getting into choreography. At the time, I was heavier than I was now; and when I first got there, wasn’t always chosen to be in the performances. So like any human being, I cried a little, but then I decided I was going to make good use of my time. So I dedicated all my energy into my comp studies, and that’s where I found a love for my choreography.

Q: Can you tell me about the works you will be presenting at the DanceMasters Showcase Performance?

A: City of Rain is about my friend who passed away. He had a debilitating disease that caused him to be paralyzed from the waist down. The piece is his story, his struggles, his obstacles. He was a dancer as well. As dancers, we do this every day because we love it. We never imagine that one day you can’t get out of bed and walk, and do one of the things that you love the most, so I wanted to dedicate the piece to him. It’s not only his struggles and obstacles, but my own too. As a friend, you can be there for him the best that you can, but since you’re not going through it yourself, there’s only so much you can do. So the piece is about the pain on my end, not knowing what to do for my friend.

The Evolution of a Secured Feminine is my signature solo. It’s about a woman evolving into a secured woman, as the title suggests. I don’t want to ruin it.

The Real Cool is from a fairly new solo from a work in development called Mr. TOL E. RAncE. It’s based off a show by two African-American minstrels, Bert Williams and George Walker, called “Two Real Coons.” The solo is talking about the skin underneath the black face, what is really going on with these performers as human beings. They are stepping into these caricatures of themselves, putting on this black face and putting on a role and smiling, but behind that there was a lot of pain, so the solo explores that concept.

"City of Rain", Camille A. Brown & Dancers

Q: How do your supporting dancers contribute to your pieces? 

A: The dancers don’t contribute movement, but they contribute choices about how they approach movement. Most of our work is character-based, so I ask them to play around with their characters and make choices within the work and the structure of the movement.

Q: How do you incorporate theater and other art forms into your choreography?

A: In my work, there’s no separation between dance, music, theater; it’s all combined.

Q:  What can people expect of your DanceMasters Master Class, which will be held on March 10?

A: I love having a class that’s fun, where people are able to release and leave whatever is going on on the outside and either bring it into the space or leave it out. My movement is a fusion of all styles: Modern, Tap, African, Ballet. I structure the class based on who’s in the room, what the vibe is. It’s kind of like structured improvisation.

Camille A. Brown & Dancers will be performing at the DanceMasters Showcase Performance on Saturday, March 10 at 8pm in the CFA Theater. Tickets can be purchased online.

Katherine Clifford ’14 talks to Artist in Residence Hari Krishnan about the Spring Faculty Dance Concert (Mar. 2 & 3)

by

Katherine Clifford ’14 interviews Hari Krishnan, Artist in Residence at Wesleyan University, on the Spring Faculty Dance Concert: March 2 & March 3, 2012 at 8pm in the CFA theater. Hari Krishnan is teaching the Bharata Natyam and Repertory and Performance classes this spring. The Spring Faculty Dance Concert will feature the U.S. premiere of “Quicksand” and the world premiere of “Nine.”

inDANCE. Photo by Miles Brokenshire.

The Wesleyan dancers performing the world premiere of “Nine” will include Abigail Baker ’12 and Aditi Shivaramakrishnan ’12 (both performances); Arianna Fishman ’13, Allison Greenwald ’14, Christian Lalonde ’13, Francesca Moree ’14, Cristina Ortiz ’15, Sarah La Rue ’12, and Rachel Rosengard ’14 (March 2); and graduate students Taylor Burton and Natalie Plaza, Dawanna Butler ’15, Arin Dineen ’13, Jessica Placzek ’12, Claire Feldman-Reich ’12, and Tess Scriptunas ’14 (March 3).

Q: Tell me about the piece “Quicksand,” which will be performed in the Spring Faculty Dance Concert; what does it explore, and how does your work combine South Indian Classical Dance, or Bharata Natyam, with contemporary influences?

A: Both pieces are about the search for identity, the search for selfhood. This is the overarching theme that binds the pieces together. “Quicksand” is a piece that I choreographed in March 2011 for a high profile dance festival in Canada. The work I do usually challenges dominant discourses about culture. I try to subvert popular culture, and I try to challenge stereotype and cliché. “Quicksand” is a prime example of this prominent theme. The inspiration of the work came from nine archetypal emotions popular in Indian classical dance. These nine emotions are usually hyper-exaggerated and done in a specific way by a classical dancer, usually female. I decided to subvert that popular depiction by using nine contemporary male dancers, and by creating a postmodern interpretation for those nine emotions.

“Quicksand” is like a metaphor for my life; my name is Hari Krishnan, my ethnicity is Indian, I teach Bharata Natyam and contemporary dance at Wesleyan. I have a dance company that does a whole range of work in Toronto, Canada. I choreograph and perform around the world: in Europe, Malaysia, Singapore, and India. Wherever I go and perform my work, some of the comments I get are that my work is not Indian enough, it’s too Western, or that my work is not Western enough, it’s too Indian. All those opposite reactions to my work put me in an interesting location as a dance artist and in terms of my identity. I use “Quicksand” as a metaphor to demonstrate that complexity; it is a personal meditation on identity and selfhood. From a dance point of view, it is an engaging, physical, high-energy work by nine top Canadian male dancers who are going to showcase a new, unique movement vocabulary that blends Indian classical gesture and contemporary dance body movements.

Q: What inspired your other piece “Nine,” and how does it further explore these themes?

A: As a parallel story to “Quicksand,” the Repertory and Performance class at Wesleyan will do the same interpretation as “Quicksand”, but in a “classical” mode, using nine dancers and the same nine emotions. By “classical,” I mean a classical Indian style of movement, but with contemporary presentation in terms of lighting design, spatial dynamics, and the dancers’ relationships with each other.

Q: What is unique about the show and how do the two pieces come together to form one coherent meaning?

A: What’s unique about this show is that it’s one idea, nine emotions, and two interpretations of this idea: one postmodern and one classical, which are displayed through radically different works. It is the culmination of my own artistic, research, and pedagogical practices. It also allows me to blend my two worlds; I’m artistic director of inDANCE, the Toronto-based dance company, and I’ve been at Wesleyan for over ten years now.

Q: What do you hope people will gain from the show? Why should people come see it?

A: This show is for anyone who is interested in dance, design and music. We have a U.K.-based composer who composed the music for “Quicksand.” He has combined electronic and computer-generated music with music from popular culture. “Nine” consists of an amazing Indian classical dance call, which is very lush and rich. Visual design and costume design are also very strong; “Quicksand” is a multimedia work. The lighting design for “Nine” has been specially lit by Theater Professor Jack Carr.

This is for anybody interested in movement and high-energy physicality. It is about celebrating diversity and experiencing humanity in various hues, colors, and tints. It is a bizarre look at life, and a fun, accessible, and engaging evening of dance. The dance department reflects the concert in terms of its openmindedness and the eclectic dance courses we offer in the dance department: from Javanese to Ballet to Modern to Bharata Natyam to West African. This is the kind of concert that can really thrive at Wesleyan, and it’s a testimony to the open-minded, progressive attitude at Wesleyan.

Finally, I tell people that it is a must see for “anyone interested in dangerous liaisons and delicious diversity.” I hope that the audience will come in with an open-minded attitude, and not expect either Indian or contemporary dance; this is “Wesleyan dance.”

Spotlight on Seniors: Katherine Clifford ’14 interviews dancer Nik Owens ’12

by

An interview with Nik Owens ’12 on dance at Wesleyan by Katherine Clifford ’14. Nik is a Dance major and an Environmental Studies Certificate candidate.

Nik Owens '12

Q: How long have you been dancing and what is your background in dance?

A: I’ve been dancing for about 5 years now. I was a gymnast for 14 years before I started dancing. Before I came to Wesleyan, I danced for a year, during my senior year of high school. I started with jazz classes, then I moved to ballet classes, and I started modern when I got here. When I was younger, while I was still doing gymnastics, I did a lot of hip hop and a little tap. Now I do a lot of modern. I still do hip hop and I still take ballet classes when I can.

Q: What is your involvement in student dance groups on campus?

A: I’m co-director of Precision Dance Company, which is both Precision Troupe and Precision Ensemble, both of which I’m in. [Precision Troupe performs hip-hop pieces once a semester, while the other half, Ensemble, puts on a show choreographed by its members which includes a variety of dance styles]. I’m also a Terp [Terpsichore] Core member. [Terp Core is responsible for organizing the student-choreographed Terpsichore show that occurs every semester.]

Q: What is the process of doing a senior thesis for dance?

A: The base requirements for a senior thesis are 60 to 100 pages of writing and two semesters of choreographic work that you produce. I choreographed a piece last semester called “Mirr(or) Reality”. Generally, dance majors aren’t allowed to be in their own pieces, they just choreograph them, but I petitioned to be in mine. This semester, I’m doing a duet with Sally Williams ’14, who is also a dance major. My thesis is looking it audience and performer dynamics and relationships in different dance contexts.

Q: What dance events should the Wesleyan community look out for, besides of course, your Senior Thesis concert?

A: Yes, the Thesis Concert is a big one (the weekend of April 5-7). Also, you should look out for the Terpsichore Performance: April 13-14, the Precision Ensemble show, which is April 20, and the Precision Troupe show on Friday, May 4. Also, Chunky Move, an Australian-based company is coming to Wesleyan on March 30 and 31 to show their piece, “Connected.” That’s not to be missed. DanceMasters Weekend is also something to look out for [March 10-11.]

Q: What is distinctive about dance at Wesleyan, and how has dancing here shaped your experiences?

A: You get a variety of things in terms of dance here. I believe in the philosophy that everyone at Wesleyan should take at least one dance class or be involved in at least one dance-related show or aspect. Being able to explore your body in that sort of format is something that is very intuitive and special. Dance is something that everyone should participate in at least once and then decide if that’s something they like. It’s a better way to know yourself, and to discover how you think of things and how you process things, so I think dance can be really powerful in that sense.

Q: What is it like being a male dancer, a somewhat rare breed?

A: We need more male dancers! Right now, I only know of three male dancers who are really involved in the dance community; including myself, Matt Carney ’13 (also a dance major) and Cole McNamee ’15 (who is involved in the student groups X-Tacy and Precision Troupe). Those are the only other two male dancers that are consistently involved in dance on campus, and I’m graduating in the spring, so we really need more male dancers to get involved. I would say that if you’re interested in a dance major, they love male dance majors and people who’ve never danced before in their lives. It’s a lot of fun; you get to meet some cool people.

Q: Any further thoughts or advice on dancing at Wesleyan?

A: Just get involved in the dance community; either participate yourself or support your friends who are involved. Dance is pretty big on campus; there’s a lot going on. I think to go through your whole Wesleyan career and not participate in dance in any way is a shame.