Dance

Ritual, Health, and Healing: In the Classroom with Shira Engel ’14

by

A personal account by Shira Engel ’14 of “Ritual, Health, and Healing”, a course which is part of the Creative Campus initiative of the Center for the Arts.

Photo by Hailey Still.

“Ritual, Health, and Healing” is an interdisciplinary class that transcends disciplinary boundaries. It is cross-listed in Anthropology, Science in Society, and Dance. It is co-taught by Anthropology professor Gillian Goslinga and Artist in Residence Jill Sigman. Gillian Goslinga has an academic background in ethnographic research on ritual practices. Jill Sigman comes to Wesleyan from New York City, where she is a choreographer working in performance and installation, and directing her company jill sigman/thinkdance. She is currently engaged in her Hut Project. She also has a background in philosophy. The course is a true blend of the disciplines it is cross-listed in as well as the disciplines of the professors. As a student in the course, I find my mind being constantly expanded to think not in terms of a singular discipline, but to creatively combine them in ways that allows the material to sink in.

The course is divided into two segments. The first quarter of the semester, we learned about ritual, health, and healing and what these broad terms means to different cultures. This comprised the necessary theoretical component of the course that feeds into the service learning we are currently doing in Williamsburg-Greenpoint, Brooklyn (but I will let my lovely classmate Hannah elaborate on that in posts to come).

The course is also comprised of a three-hour seminar on Mondays and a movement lab on Tuesday evenings. On Monday, we discuss readings on the cultural and theoretical significance of ritual, health, and healing and on Tuesdays, we embody those readings and theories in movements that transcend the definition of dance.

Because we are constantly encouraged in this course to be self-reflexive, I will come out and say that I was attracted to this course in large part because on WesMaps, the description said that people without any dance experience are encouraged to apply. I do not consider myself a dancer and this course allows for a lack of labels. It allows for a blurring of the lines between disciplines, as well as a blurring of the lines between self-identified labels of artistic identity. After class, I talked to Jill Sigman about what makes this course creatively unique and she said, “This isn’t strictly a dance class. We may be using dance in the context of learning about other things, but there are people who are totally not here to learn to point their foot and that’s what makes it fascinating to me.”

This course shifts disciplinary boundaries in ways that make us – the students – uncomfortable, thrilled, challenged, self-reflexive, and on our toes. It challenges preconceptions of academic work, teaching us that it is inherently creative. Jill Sigman’s studio in Brooklyn is called “The Border.” In many ways, we exist on the border between disciplines, definitions of art, activism, and service in this course as we grapple with definitions of ritual, health, and healing. I am excited to see how these definitions will continue to unfold as we progress into the service learning, creatively translating the work we have done in the seminar and movement lab into practice, while realizing that all is part of the same process.

Ritual, Health, and Healing: In the Field with Hannah Cressy ’13

by

Hannah Cressy ’13 reflects on Ritual, Health and Healing, co-taught by Gillian Goslinga, Assistant Professor of Anthropology and Science in Society, and Jill Sigman, Choreographer and Founder of ThinkDance.

Photo by Hailey Still '12.

Last Saturday, our Ritual, Health, and Healing class took our first trip into Brooklyn to begin the service learning aspect of the course.  The class is cross-listed in Anthropology, Dance, and Service Learning, and during the month of April, we meet three times per week: once for a classroom seminar, once in a dance studio, and once in St. Nick’s community center in the heart of Williamsburg.  We have been invited to participate in a project with the citizen-activists of Greenpoint-Williamsburg that mixes community building, archival, art, and oral history, and found on Saturday that these three weeks will undoubtedly be more influential for our own ideas of community, activism, citizenship, art and democracy than we’d thought possible.

We arrived very early Saturday morning to St. Nick’s Alliance, and entered a former hospital basement and homeless men’s shelter that is now filled with the brilliant paintings of local children.  We were introduced to community members who’d lived in Greenpoint-Williamsburg their entire lives, and a few who’d just moved into the area.  Much like many post-graduate Wesleyan students, they were just beginning to learn what it means to live in the neighborhood.

Photo by Hailey Still '12.

We went around the circle to introduce ourselves; even in these first moments, we heard everyday people begin to tell their stories, naming lists of organizations they’ve been involved in for ten, twenty, or thirty years.  Issues faced by the community seemed endless, but so did the people and grassroots organizations that have long worked to better the area’s social and environmental climate.  Personal histories arose of unfair housing situations, families plagued by the same disease, identification with toxic sites—but never a hint that anyone wanted to leave.  This is their home, and they will stay and fight to make it safe.  Other community issues that came up in open-circle discussion included environmental justice, in reaction to a high density of waste stations in the area, fairness in education, the struggle to unify across ethnic, racial and income boundaries, gentrification and rising housing costs, and the loss of a community feel due to modernization.

Photo by Hailey Still '12.

Smaller groups formed to address more specific issues with organizations such as GREC (Greenpoint Renaissance Enterprise Corporation) and OUTRAGE (Organization United for Trash Reduction and Garbage Equity), while others took the opportunity to hold one-on-one conversations with community elders and longstanding citizen-activists from Greenpoint. Three students, including Haley Perkins ’13, Val Pucilowski ’13, and myself, will be conducting further archival research at the Brooklyn Library on the history of the Greenpoint Hospital complex that now houses St. Nick’s, affordable housing, and a smaller homeless shelter.  The use of the remaining unoccupied space is highly contested, and neighborhood activists are currently battling real estate developers to reclaim a building to be used for a much-needed affordable senior home.

In class on Monday, we discussed the most striking idea we’d heard on Saturday: we agreed, nearly unanimously, that Jan Peterson summarized the day’s most personal and influential message: wherever you live, you must be involved.  “You can’t just have brunch.”  Because we are in a community, we must give to it.  We should know our neighbors.  We are lucky to have the opportunity to join this community for the next few weeks in helping to preserve its spirit and connect its population while ourselves learning what it means to be a neighbor.

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.

Bebe Miller discusses “History” with Katherine Clifford ’14 (Nov. 18-19)

by

Katherine Clifford ’14 interviews Bebe Miller, Artistic Director of the Bebe Miller Company. The Bebe Miller Company will present “History” this weekend: Friday, November 18 at 8pm; and Saturday, November 19 at 2pm and 8pm.

Q: What is History about? What does the piece seek to accomplish and what do you hope the audience gains from it?

This piece is a way to look at the history of this particular group of collaborators. Most audiences see the piece that’s created as a record of the research process, ideas and the exchange between collaborators. On the inside, we know that what is lost for the audience is the continuing creative conversation that goes on between pieces. This piece is an attempt to bring our history forward and to show creative interplay, which is something we can all recognize of anyone who is trying to make something with other people. In sum, this piece is about how our dance company functions: the kinds of ideas, the exchange of physicality, and the interactions between our two company dancers, Angie Hauser and Darrell Jones. I hope that the audience walks away with the sense of the complexity of the process of two people trying to figure something out while moving through periods of history over a 10-year span. All in all, this piece is an exchange about a creative process and about friends over time.

Q: How does media play into the dance and the collaborative process?

You’ll see the dancers wearing headphones through a lot of the piece. They are listening to and then retelling conversations and stories that we’ve mined from our archives that give another kind of window into what it is we’re doing. Not only are we seeing them as these two people whose bodies hold the information of dance-making, but we get to share it in another way as well. I’m interested in these levels of interchange, the incoming of technology as a step towards and a step away from something. We’re also working with a video artist who is representing her sense of what we do.

Q: In dance, there seems to be a distinction between representation and meaning versus aesthetics for purely visual appeal. As a choreographer, what do you focus on, and how do you reconcile the two?

As a human condition, we pass in and out of meaning. As a choreographer, I’m not there to demonstrate a meaning, but I want to take it on and live through it and digest it that way. You carry the context with you and that’s the lens through which you start making something. Instead of showing the story of our history, we look at our history and figure out what it is saying to us, what it feels like, what is really happening physically between Darrell and Angie that is both abstract and completely human. We get to understand something about their familiarity as well as look at what their bodies are doing. I feel like the aesthetics of our piece reveal something about how our human condition.

Q: Can you talk about the choreographic process?

This is research. I’m asking questions that I don’t know, rather than trying to show you something that I already understand. On good days, it’s not so much the flow of answers, but some really good questions come up. It’s helpful to think that we’re figuring it out in front of you.

The Bebe Miller Company presents “History” on Friday, November 18 at 8pm, and on Saturday, November 19 at 2pm and 8pm in the Patricelli ’92 Theater as part of the Performing Arts Series at Wesleyan University’s Center for the Arts.

Katherine Clifford ’14 reviews the Fall Faculty Dance Concert

by

Katherine Clifford ’14 reviews the Fall Faculty Dance Concert, “Probin’.”

“Probin’,” this years’ Fall Faculty Dance Concert, was an exhibition of dance as a story-telling form and probed into the concept of how environment shapes identity. Iddi Saaka, Artist in Resident and West African Dance instructor, and Clyde Evans, Visiting Instructor of Hip-Hop dance, were the two faculty members whose choreography was featured in the performance. Iddi Saaka performed on Friday and Saturday night along with Wesleyan student, Rachel Fifer ’12 and grad student Menherit Goodwyn. Clyde Evans performed in the Saturday night performance only, but fellow Hip-Hop dancers from his Chosen Dance Company of Philadelphia were featured both nights.

Iddi Saaka’s use of media, props, and costumes in his piece, “Out of Place,” was particularly strategic. This led to a rounded piece that was grounded in reality, while layered with metaphor and myth. Saaka used film footage from his village in Ghana to introduce different aspects of his dance and their underlying meanings. His message was a political and economic one; through interviews of people of his village and the manifestation of their ideas through movement, Saaka explored the disparity in wealth between Ghana and the West.

According to Ghanaian myth, at the beginning of civilization, Africans were distributed wealth by God in a hat, whereas Westerners received their allotment of wealth in a large burlap sack. Saaka portrays this myth through dance, demonstrating the large economic disparity, which results in feelings of resentment and competition. It ultimately leads to the exploitation of the Africans by the Westerners who insert themselves into and dominate African commerce and business. Rachel Fifer, who represents Western business, carries an abundance of metaphorical wealth in a huge burlap sack that is too heavy for her to carry. Fifer exploits Saaki and Menherit Goodwyn, who are desperate for money, to carry the bag for her. Fifer’s dance style is more lyrical than the others’; she moves freely in her prosperity while Saaki and Goodwyn move tightly and rhythmically, weighed down by the burden she has created for them until they finally collapse under the weight. This was a fun dance set to upbeat and rhythmic music, but it was similarly laden with heavy meaning. There were two major threads: the exploration of the connections between the West and Ghana economically and politically, and Saaka’s own struggle with identity as he moves from Ghana to America.

Clyde Evans’ pieces were interesting stylistically in conjunction with Saaka’s dance. Although from two different dance backgrounds, the two artists share a similar personal story of immigration to the U.S. (Evans is originally from Trinidad), which shapes their conceptualization of identity, and subsequently, their choreography. Evans’ “Egyptian Ballet” was a fun piece that merged cultures and styles of movements, inserting poses inspired by Egyptian Hieroglyphics into a Hip-Hop number. His work “Bros. Duet” exhibited two friends dancing together, representing the spontaneity, improvisation, and collaboration in Hip-Hop. “Don” ended the show with an explosion of pure, fun movement, showing the athleticism, creativity, and freedom of movement in freestyle dance.

 

Submit your art to Swerved by October 26

by

Swerved is an online communal database of Wesleyan creativity, and starting this November 7 they will be hosting an exhibition at the Zilkha Gallery. Students are encouraged to submit any kind of art for the show. All forms of creativity are welcome, such as video and sound, 2D/3D art, photography, prose and poetry. The deadline for submissions is Wednesday October 26. You can enter by submitting your work to the Swerved website, at which point it will be automatically considered for entry.

To submit, email your work to hello@swerved.org or to emailSWERVED@gmail.com. They ask that submissions be under 10MB and that your include your name, class year, the dimensions of the piece, the title and the medium. Submitters whose work is chosen will be informed by email, and a hard copy will be requested for display.

 

Barbara Fenig ’11 reviews Dewey Dell’s “Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti”

by

Barbara Fenig ’11 reviews Dewey Dell’s “Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti”.

Dewey Dell: Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti. (Left to right): Sara Angelini, Agata Castellucci, and Teodora Castellucci. Teatro Palladium, Rome, Italy. October 2010. Photo by Demetrio Castellucci.

The final performance in Dewey Dell’s two-week residency at Wesleyan University concluded with the American debut of Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti. The title, which translates to “Roaring Forties, Furious Fifties, and Shrieking Sixties”, evokes the names of three westerly winds that haunt the Antarctic seas. The piece charts the story of a ship as it becomes cloaked by the winds. Against the silver and black backdrop of the set, which depicts the depths of the ocean, the ship grows into an enormous organism whose borders are blurring, corresponding with the winds, the sea, and the world as prescribed by Dewey Dell’s trio of dancers.

Dewey Dell’s creativity was well received by the packed audience at the sold out show. Siblings Teodora, Demetrio, and Agata Castellucci along with Eugenio Resta formed Dewey Dell in 2007. Teodora serves as the group’s choreographer, Demetrio as the composer, Eugenio as the light and set designer, and Agata as a leading dancer. As the performance progressed, Teodora, Agata and guest performer and friend Sara Angelini became representations of the boat, enveloped by their environment: their bodies synonymous with the elements as they danced around the Center for the Arts Theater stage.

Sponsored by the Center for the Arts and the Theater Department as an Outside the Box Theater Series event, Dewey Dell’s performance created a striking portrait of the world of the sea. The dancers wore costumes, which affirmed them as ethereal beings—a mirage of black costumes and white face paint, framed with black squares on the core of their faces—hiding their identities. The trio wore padded voluptuous hips, a confirmation of their feminine connection with nature, and thus the cinquanta urlanti quaranta ruggenti sessanta stridenti. In the question and answer following the performance, the trio also remarked that their authoritative hips remind them of the form of the boat and the temptation of sea sirens.

The performance’s electronic music was symbiotic with its commentary about nature as it replicated waves crashing, reacting to the boat, and the overall power of nature. The music’s aggressive vibrations mimicked the deadliest of waves, which were followed by the shrieking crew, cracking wood, and the buzzing hum of the moments between each dramatic wave, which provided melodic reprieves for the audience. Each time a wave would strike, it ripped the dancers back into the swirl of nature’s power.  The performance maintained a constant comparison between the bellowing of the crew and the murmur of the ocean.

During Dewey Dell’s residency, I heard about the brilliance of the group: how they were interacting with Wesleyan students, generously cooking Italian meals in Juniors’ LoRise apartments, roaming around campus, and teaching bits of Italian. This intriguing contrast is evidenced in Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti as Dewey Dell is at once burgeoning talent and prophetic genius.