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By Marissa Aucoin
“As expected, the dance department showed up in full force for this year’s Scholars Day. This annual event supporting the creative and academic research of Brockport undergraduates, graduates, and staff showcased over twenty dance based presentations. This array of presentations included conference papers, lecture demonstrations, works-in-progress showings, poster presentations, and more, making dance one of the most represented disciplines of the day. As a 2nd year MFA candidate within the department of dance, I had the privilege of sharing my personal research in the form of a conference paper earlier in the day. The feedback and interest that both I and my fellow presenters received left me proud, not only of the work I had done, but of the community here at Brockport. Witnessing and experiencing how students, especially those from disciplines outside of dance, were able to engage with the research, further affirmed the importance of stimulating inquiry and interdisciplinary exchange.
This Scholar’s Day in particular was a very personal one for the department of dance. In “This dance exists in the present and the future, but not in the now” : Defining a dance, Associate Professor Maura Keefe shared a thoughtful yet gut-wrenching paper, documenting her process of creating a dance that never came to fruition. Our worlds were turned upside down after the unexpected loss of Christina Gorman this past October. Ms. Keefe along with myself and fellow dancers Marissa Subik and Maya Gonzalez had the honor of working intimately with Christina, creating a work to be presented in the department’s annual Danscore concert. With her passing, not only did we lose a cherished dancer, student, and friend, but we were left with the haunting of a dance that could no longer subsist in the way it was envisioned. Without Christina, without her presence, the dance did not exist. While, as a cast, it continues to live on in our minds, bodies, and memories, only those few who had the privilege of witnessing it know the work in its truest sense. We struggled with not wanting to leave the dance behind, all the while knowing that it would never be the same. Keefe’s presentation allowed us to share our struggle. Her presentation was our catharsis. Together, Ms. Keefe, myself, and fellow dancer Marissa Subik finally shared the fragments of the movement that remain.”
In addition to Marissa Aucoin’ s experiences at Scholar’s Day 2015, many other students in the Department of Dance and all around the Brockport campus shared their scholarly work. Take a moment to check out this short and sweet recap of Scholar’s Day: In 30 Seconds!
By Ian Heckman
The image of balloons conjures up visions of children, birthday parties, revelry, laughter, and joyfulness. It may even make you remember a particularly special birthday party you had as a child. But in Siwen Jiang’s MFA thesis, balloons take on a completely different tenor. Siwen Jiang, a third year MFA candidate at The College at Brockport, is from China and has spent the last three years studying dance in Brockport. Her thesis, which will be shown in Dance/Hartwell at SUNY Brockport at 7:30 April 9th through the 11th, transforms balloons into much more serious objects. Jiang transforms balloons into objects of emotion. Not emotions of merriment, but emotions of hope and potential loss. She shows us another side of balloons, apart from their usual associations with parties, a side where we look up at the balloon, above us.
The dance begins with two people on stage: one is Chinese, the other, American. The balloons are arranged around the space, at varying heights. They enter a movement dialogue with one another with the Chinese dancer beginning and the American dancer responding. This Chinese dancer and the American dancer are coming from two very different points of view, but they are trying to breach the divide between one another. Proceeding this movement dialogue is a series of people walking across the stage. The two dancers from the beginning are there, with a collection of others, some Chinese and some American. The dancers keep walking across the stage and eventually, I pay less attention to how the dancers are walking across the stage and my attention is drawn to the balloons themselves. I begin to notice how the balloons are swaying and moving as a result of the dancers walking across the stage. This is where it seems that the balloons are the key–the key to linking the cultures to one another.
The dancers then proceed to move with the balloons and then something happens: the dancers elevate the balloons far above their heads. And I am reminded of the space balloons occupy, above us. It is here, above us, where all of our hopes and dreams lie. But at the same time, if the balloons go too high, our hopes and our dreams may be ungraspable. Several times during Jiang’s thesis, as the dancers raise the balloons further above their heads, we are reminded of this unfortunate truth: Even though we are hopeful, we sometimes have to let our dreams and hopes go. The image of balloons becomes a dual symbol of both hope and loss. And this is a truth that transcends cultural differences. No matter where we are from, no matter what language we speak, we all still long for the fulfillment of our dreams, and sometimes those dreams get away from us.
In her thesis, Siwen Jiang evokes these ideas and emotions through the simple image of balloons rising. She shows us this much more serious side of the balloon, but the emotions are not exaggerated or overdone. My hope and fear while watching those balloons rise is subtle and quiet. They match a yearning which is not apparent or obvious, but reflects a more everyday concern with hope and loss. Jiang transcends cultural barriers through balloons, which are symbols for the hope and fear we experience on an everyday basis.
Be sure to catch Siwen Jiang’s thesis work as well as other student choreographed pieces at DANCE/Hartwell on April 9th-April 11th at 7:30pm in Hartwell Theatre!
By Christina Williams
Walking into yet another guest artist master class was a gift for me as a student. It’s often mentally challenging and physically demanding to allow your mind and body to constantly experience different dance forms, however it’s a privilege to take so many classes with such talented and experienced artists. More than ten guest artists have come to Brockport this spring, teaching master classes and setting work for Sankofa. We have had opportunities to learn varying contemporary techniques from guests ranging from Laura Peterson, who spent a week-long residency with us, to Alexandra Beller who taught one technique class and returns later this month, along with three candidates for a faculty position who taught multiple classes each over several weeks, among others. With so many guest artists in seven weeks, the minds and bodies of the dancers at Brockport experienced genuine exhaustion but also genuine exploration this semester so far. The most recent guest artist to visit Brockport was Darrell Jones, who brightened our Tuesday morning with a House dance-inspired Vogue aesthetic.
Jones, a Bessie Award-winning choreographer, received his MFA in Choreography and Performance from Florida State University in 1995. Having performed internationally with Min Tanaka, Bebe Miller, Ralph Lemon and Urban Bush Women, Jones’ diverse training in improvisation, Butoh, contemporary and traditional dance forms greatly informed his work with his rich, unique taste in movement.
Entering Jones’ class felt like walking into a new space after watching how he fiercely conquered it the previous evening. Seeing Hoo-Ha (For Your Eyes Only) performed the previous night on March 9th by Jones and two collaborating dancers, before taking his class was the ideal introduction for his work. There’s no better way to meet artists and their movement than watching them throw it all at you before you’ve even had a chance to say hello to them. Reading a description of his work would not have given me the appropriate illustration that I needed before trying it on myself.
If I had read a class description about ducking and whacking, I wouldn’t have been as excited for his class as I was after watching him own the stage with extended ponytails and confident struts. No words would have produced such an excited anticipation to learn from him than seeing his unbothered coolness pour throughout his quick-firing movements as well as the subtle details of his focus and hand gestures. His personality filled the room and flooded my mind with drive to try such a new attitude on myself. When the time came to take his class the next day, the dancers were filled with anticipation.
Beginning the class with a simple walk down the lines of the marley, a sense of personality and commanding presence immediately filled the giant palace of Strasser Studio. Quickly moving into more physically demanding movement, we found our limits and pushed them by testing how many steps it took us to cross the floor. We accessed muscles we’d never needed before through stylized gestures. We bent joints we didn’t know folded through intense transitions into and out of the floor. The comfort in our individuality that Jones planted inside all of us through a driving sense of community and motivation during this class made his seemingly impossible movement less intimidating. His insanely fast movement felt utterly foreign on my body because it required a self-knowledge about my presence that I had never accessed before. It didn’t feel as unmanageable and difficult as it would have, however, without the immense amount of positive energy and motivation filling the room. Darrell Jones gave us a brilliant show, fresh movement for our bodies, and really sore quads. Most importantly however, we were given inspiration as artists to try on a new dance form confidently, without self-judgment.
Written by Morgan Bernat (MFA candidate)
Based on an interview with Mariah Maloney (Assistant Professor)
As students we often have the pleasure of hearing about our professor’s lives outside of the university. I had the opportunity to sit down with Professor Mariah Maloney not once, but twice in the last year and a half to discuss her travels and experiences as a performer and educator. In the winter of 2014 Mariah traveled to the Theatre Academy Helsinki for three weeks to work with two different groups at their academy. This is the second time she has had the opportunity to travel to Finland for this particular program and she is deeply invested in a bi-annual trip to continue the development of this program.
Her first two weeks were spent with their MA students; spending each day deeply invested in somatic practices, technique, and finishing off with Trisha Brown Repertory. At the end of her two weeks, the students had the opportunity to perform for the college what they had learned thus far with Mariah. Her last week was spent with the academy’s pedagogy students, she had the incredibly rich opportunity to teach teachers using her work with Trisha Brown as a starting point.
While a similar program could have been just as fulfilling within the United States, it was the Finnish people that she found to be so incredible. Mariah reflects on their deep thinking, quiet demeanor, and profound sense of themselves within the world. It was within the intensive environment sans interruption that she found a deep fruitful experience that brought her back to The College at Brockport feeling refreshed and excited.
Mariah was then invited to attend the FIDIC IV Festival Internacional de Danza Cocoa in September of 2014 in Argentina; an invigorating way to kick off the school year. This trip, however, differed from her trip to Finland in that she was traveling as a choreographer and was able to perform her own work. Along with performing four of her own pieces, she was able to teach for part of her day as part of the festival incorporating her work as well as Trisha Brown’s influence. What was immediately apparent in speaking with her about this trip was the excitement and spark the performance experience had given her. The four pieces were solos that she had made over the last five years. Three of those four solos were based on a structured improvisation; one dance leading into the next. When asked what was the most challenging part of performing four solos in a row, Mariah spoke of the mental transition between each piece as well as the vital need to be present on all levels; physically, mentally, spiritually, emotionally.
Another difference that Mariah found interesting to navigate was the language barrier that was not present when traveling to Finland. In Argentina she had a translator present everywhere that she went. This proved to be an interesting teaching experience; however, she felt lucky upon realizing her translator in the classroom was a somatic practitioner.
As a student of Mariah’s for the last six years of my life, I’ve learned that while words are important, it is your physical body that speaks the loudest. I find her experience to be a direct example of how true this is and lucky that as her student, I get to continue learning from her even in her absence.
(Photo from Irish Solo)
By Marissa Subik
On Wednesday March 11th, 2015 a group of Brockport dancers and faculty traveled to the American College Dance Association Conference (ACDA) which was held at West Chester University in Pennsylvania. Jordan Lloyd’s solo “Pieces of Intention,” Andrea Montez’s duet “Rockaway,” and my group piece “Switching Gears” were all invited to present at the conference alongside over 20 regional colleges and universities. Our adventure began by going to see a concert promoting and sharing current Philadelphia artists and choreographers works. Witnessing these diverse works was a wonderful way of kicking off the conference.
Thursday morning the group shuttled over to the campus and participated in classes from 8am to 6pm. Being able to choose from at least five or six classes in each block was amazing and a great way to meet new people, see familiar faces, and learn to take class from different people. I began my day with a contemporary technique class taught by a faculty member at Lockhaven University. The class was a great introduction to the conference and also a nice transition into dancing with new bodies in new spaces. There is something invigorating about taking class with people you do not know because it forces you to dance with different bodies—it makes you step out of your comfort zone and challenge yourself, and it allows for different perspectives to develop in the ways in which you view dance.
After chatting with my fellow peers from Brockport, I was curious as to what they thought about these experiences. Sometimes, taking a class that maybe does not fit your idiom, helps engage your mind and body in a different way. Learning how to take class from different instructors is informative in the sense that you learn how to take class for yourself. Knowing how and when to listen to your body is a really important skill for a dancer to have. Witnessing different approaches to how the instructors taught their classes really informs you of which teaching method works for you and what does not. For me, this conference felt like research in the sense that all of us were seeing and doing and it was all informing our relation to dance and how we can articulate the way we talk about it to people who may not be so familiar with it.
My favorite part of the conference was the concerts we were able to see. I must have seen at least forty or more pieces and each and every one informed my ideas and research about dance in a different way. I was able to see works that shared similarities with mine and works that were completely different. I witnessed different musical choices and costume designs, lighting choices and choreographic choices that I would have never even thought about before. These performances opened up a whole new world to choreographing for me because I saw what I liked and what challenged me to think about dance. I was able to discuss what I was seeing with my peers and learned how to talk about it, which only made us more confident in our articulation later on in the conference. I also was able to sit in on one of the feedback sessions for the adjudicated concerts and listen to the feedback and information the three adjudicators gave for each work in that specific concert. Listening to how these adjudicators used their language and talked about what they saw only taught me how to see and discuss dance better.
The American College Dance Association Conference is an incredible opportunity to experience and be a part of. Being able to watch my fellow Brockport peers perform, sharing my own work, and witnessing all of the creative and extraordinary talent throughout the conference is a gift. There is something really special about the dance community; we all have this common and admirable respect for one another, an endless support system. Although our work may have different aesthetics and qualities we appreciate and relate to sharing art with the community. I, along with my fellow Brockport peers, feel so grateful and so blessed to partake in this conference and witness all of the amazing art that took place.
(Pictured above: Jordan Lloyd in his solo “Pieces of Intention” at ACDA 2015. His piece was selected for the Gala Performance.)
“You don’t have to put yourself in the dance, you’re already there. You are enough.”
-An informal interview with guest artist Laura Peterson by Christina Williams-
Brooklyn-based Laura Peterson was warmly welcomed into our department a few weeks ago as our annual guest artist through the Student Dance Organization. Currently teaching at Mason Gross School of the Arts at Rutgers University, Peterson also teaches in various studios around New York City. Having performed at Lincoln Center Out-of-Doors, The Kennedy Center for the Performing Arts, Jacob’s Pillow Dance Festival Inside/Out and recently funded by the 2014 Bogliasco Foundation Fellowship, her work has made its way around the world. For one week, we were privileged with her teaching and dance making here in Brockport, NY. Through several master classes during the week as well as a lecture-demonstration of original work she set on some of our dancers, Peterson left her artistic mark on the minds and bodies of the better part of our entire department.
During my trek to Hartwell through a few feet of stubborn snow to audition for Laura Peterson’s guest residency piece, I was not aware at the time that the woman I was about to meet would soon influence my thinking and moving in just six days. What I thought was going to simply be a short amount of time to make a long dance, became an exposure to an artistic process that opened my mind. Having such an available mind herself, walking into an foreign department and working with these hungry, unfamiliar college students for a week, provided us with an inspiration to not fear the unknown of a situation. Giving us a sense of gutsy stamina with her work, we became a stronger group of dancers through our dancing but also with our processing. She selected eighteen dancers to work with and we all benefited from her gift of confidence in our dancing and our minds as artists through this intense week. She believed in us and our ability to create this exhilarating piece of work and in return, we finished the week reciprocating that sense of advancement in ourselves. Our brief time together resulted in a sixteen minute dance; a rich breadth of unique information that would not have been possible without Peterson’s cheerfully quirky, inspiring and inimitable presence.
As the incredible week was wrapping up, and the first public showing of the work had passed, I was curious how this residency had resonated with Peterson and how her time here might have an affect on her work on a larger scale. I conducted an informal interview with her in a casual chat in the seats of Strasser Studio before her last class.
Christina Williams: With your residency here, what goals did you have for this week and how have they changed, if you had any at all?
Laura Peterson: I’ve done these choreographic residencies before and I love them, I really do. And you can confuse yourself if you have a set idea because when you walk in, you meet these people with all different skill levels and experiences to bring to it, and you have this set thing and you ask yourself how can you possibly fulfil this? These are different kinds of people so I think it’s helpful if you remove all expectations and you walk in, you’re open, and you see who is in front of you, and meet them. I think that’s for any kind of choreographic project, that you create the dance for the dancers who are in the room with you. You listen to their artistic voice and watch their artistic interpretation of a concept or a task. And you let that piece shape itself.
CW: How does your process with your company and with your solo work differ from your process here at Brockport?
LP: The people that I work with are a lot more experienced, they’re older, they’re professionals and generally around 30. I think that’s important to me; I guess that working professionally and working with people with a lot of experience can bring different viewpoints to the work. And I think that when you’ve had your body longer, not that dancers are more or less mature when they’re 30 but when you’ve been with yourself longer, there’s a sense of how to work efficiently that you just gain over time. It’s not dissimilar from working here, I mean I’m the same person, but the dancers contribute a lot more conceptually. Also we work for a long time, around eight months, and we make a lot of material and a lot of it gets thrown out. But we do more talking about it and I come in with a concept already versus when I just meet you guys here I think, “Well really can I walk in with a concept?” Because I don’t know these people in front of me. I could think about bringing something in but I don’t know how many people there will be, or maybe I go somewhere and they’re not as good as you guys are here, I mean the expectations are the main difference.
CW: How have your personal goals changed throughout your career as an artist, as a person or as a dancer?
LP: They change all the time, they really do. Sometimes I really want to have residencies, so maybe I’ll start applying for things that are directed that way for a while, or maybe I’ll shift my interest every couple of years, but when I was really young I think I was pretty confused. I had some peculiar expectations of myself that were not in line at all with reality and I don’t feel like I was particularly prepared when I left school to deal with the way New York City really is, the way dancing really is. When I was in school, nobody said to you “Okay, here’s what auditions are like, here’s what it’s like and here’s what it isn’t like”. So I felt very mixed up. So I was thinking “Should I be in a big company, but I also want to choreograph, so how would I go to an audition, am I good enough?” Just judging myself all the time. So as I got older those things fell away and I tried to focus again on what was most important to me. I remember I was in a weird situation that led me to be in that movie Across the Universe and I had this tiny dance part and I had this weird hair and I was thinking to myself should I work in commercial work? Should my goals shift to that and then I thought “No that was a fluky thing, that’s not really artistically interesting to me to be in a show”. And then I got a call to audition for this Vegas water show and I was down to the last four people, it was me and these 5’8” blondes and I asked myself again “Are those my goals really?” It would be nice to be paid really well, but I’m not going to be artistically satisfied. My goals get confused, they shift and that’s okay. I think it’s okay to shift your goals all the time.
CW: If you could give all of the students here, who range from late teenagers fresh out of high school to students in their twenties about to be set free in the dance world one piece of advice, what would it be?
LP: If you really, really, really want to dance, you can. You can make your own dances. But dance is really hard and it takes a really long time. And I would say my advice is don’t stop. Eyes on the prize. You just keep looking forward and have a short memory, so that means let go of things that were negative behind you and look straight ahead towards what you want, what your goals are and just keep doing it. And you’re going to fail and people are going to reject you all the time but if you keep your eyes on the goal, those things can just fall away, they can. It’s really hard and it takes a lot of grit, a lot of determination and perseverance to be a dancer, but if that’s the most important thing to you, you can do it, you absolutely can. But if there’s something else that you’re kind of interested in where you might actually have a job, you might want to think about how you could transition into something that would actually pay you… if you don’t really want to dance. If you don’t really, really, in your deepest part of you, really want to do this thing more than anything else, then try other things, the world is big.
Our time with Peterson was indeed short but inarguably well spent. With the laughter filled-long rehearsals, and a rigorous creative progression, the eighteen dancers are proud of our collaboration with Peterson. And proud to have represented the Department of Dance. Keeping her values of grit and perseverance in mind, it’s clear to see that she saw that drive in all of us through our high speed but crystal clear movement. She provided us with an unmatchable experience not to be forgotten when she leaves. For a taste of what Peterson and eighteen smart dancers here have created, our piece titled “Silvery” will be performing on Scholars Day on April 8th, 2015.
Photo: The cast of “Silvery.”
By Sara Caplan
Third-year MFA candidate Bethany Good will premiere her choreographic thesis in Spring DANCE/Strasser. Friends of Brockport Dance Blog sat down to chat with Bethany about her work.
What themes are you exploring in your work?
Bethany: In terms of process I was interested in somatic practice and how that practice could inform movement generation. I was also interested in anatomical information and how that information and experience could lead to and affect movement. Compositionally, I was exploring the building of momentum and how that momentum settles out.
Can you discuss the process of working with your dancers?
Bethany: I have been working with 5 dancers. We started with a lot of breathing exercises and we spent a lot of time tapping into the sensation of somatic practices. I was interested in the kinds of feelings that came up during these bodily experiences and what those feelings inspired. We also played with anatomical structure. For example, I had my dancers pair up and use the structure of the scapula and shoulder joint to physically move each other. From that experience, we improvised using the information we had gathered and created phrases from those ideas.
What has been your favorite thing about working on your choreographic thesis?
Bethany: I think my favorite thing has been the playfulness of the process. I didn’t necessarily enter this process with an end goal and because of that I have had the luxury of exploration. It allows me to feel comfortable with changing things throughout the process.
What has been most difficult for you about this work?
Bethany: In the same sense that it has been great being able to change things, it has been frustrating making changes that just don’t work out. Trying to figure out what is missing has been a little difficult.
What are you hoping to show the audience?
Bethany: I didn’t go into the process hoping that my audience would see specific things. As I’ve gone through this process I’ve realized that I’m hoping the audience will experience the juxtaposition of this world that I’ve created with their own world.
In addition to Bethany’s thesis, sinksizzlesimmersync, DANCE/Strasser will feature works by undergraduates Skyler Bell, Melissa Froats, Emily Gerst, Cammie McCarthy, Andrea Montez, Marissa Subik and Baylee Simpson, and graduate students Marissa Aucoin, Allison Bohman and Samantha Johnson.
DANCE/Strasser opens on Thursday, March 5 with additional performances on Friday, March 6 and Saturday, March 7. All performances start at 7:30pm.
(Rehearsal photo from Bethany’s MFA thesis process)
By Chloe London
This Saturday, the Student Dance Organization (SDO) presented their second annual student-choreographed show: Dance Works. Having the opportunity to present it in The Union Ballroom, SDO decided to create a four-sided theater, leaving the idea of “front” open to interpretation. This unique viewing experience layered with moody lighting and informal transitions kept an intimacy that connected each piece.
Starting the evening was a solo I choreographed on Alanna Ackert titled “Beautiful.” Dressed in a man’s polo shirt embellished with an American flag and a bald eagle, Ackert began by quickly smearing red lipstick over her face and haphazardly throwing the tube into the audience. As she went on seemingly unaware of her actions, the tune of “Beautiful Girl” from Singin’ in the Rain narrated the piece. Ackert trampled around the stage flashing smirks that morphed into dramatic yawns, a verbal tantrum, and spurts of clunky movement. Being contorted by the music, her personality shifted with the female-stereotyping lyrics, creating an obvious sense of irony for the amused audience. In a deep curved stance with both arms out in front as if lost in the dark, Ackert left the stage with another increasingly growing yawn. As the music ended, she suddenly stood upright and walked out in an unaware bliss of the mayhem she just created.
The next solo had a smoother tone to it, yet kept a presence that pierced all four-sides of the space. “Pause” started with dancer and choreographer, Lynea D’Aprix in a regal upright pose, carving the space around her and sending it spiraling down her body. Circular twists were prominent, with a suspended back-bend visually arcing her negative space into two distinct parts. As she transcribed the choreography in a diagonal pathway, the intensity of her far-off gaze kept me intrigued. She translated her body’s yearnings into an external intensity coupled with swirling and pushing motions contacting with her surrounding space. D’Aprix then suddenly ended the dance. Satisfied with the traces of her movements smoldering in the air, the audience stayed engulfed in a fiery essence.
Choreographed by Sarah Elardo, the duet “Harmonious Solicitudes”swung into motion. Danced by spunky movers Nicole Grigonis and Andrea Montez, the piece opened with a blast of gestural arms and legs that took their stoic torsos along for the ride. Playing with relationships, Elardo had the two bodies continue to alter their emotional connections ranging from warm smiles to internal concentration. These varying presences were painted over by swells of pulsating phrase work and spatters of running that kept them transforming every inch of the stage. Although their bodies swam through multiple facets of dynamics, the strong bond Grigonis and Montez shared illuminated their unison moments and fluctuating proximities.
As the duet came to a close, Skyler Bell’s trio “Suspended Focus” took charge. Alanna Ackert and Emily Copeland accompanied Bell for this visually satisfying dance. This work had a striking framing of three technical bodies cleanly performing musically inclined movements. The driving high-pitched female voice helped to spotlight the suspensions between their high kicks and grounded lunges. With a clear vocabulary codified in this dance, Bell structured a duet versus solo format engulfed in the timing of movement phrases. The slicing clarity of Bell’s choreography kept me visually pleased, captivated, and constantly questioning my visual capacity.
As three ladies left, five took their place in an equally ferocious world of virtuosity. Brooke Armstrong, Emily Gerst, Nicole Grigonis, Andrea Montez, and Christina Williams performed “In Execution (Excerpt)” created by Jordan Lloyd. Intrigued by the human body submitting to daily commands, Lloyd used a tense sound score ranging from alarming rings of noise to fluid strings of harmony. Each musical layer controlled his dancers’ entrances, exits, and transitions between movements. Lloyd’s decision to keep the five diverse movers in almost complete unison enabled me to understand how one set form of choreography reacts to being placed on varying physical aesthetics. Watching each mature mover tackle the manipulation of both the movement and music was a beautiful and startling experience.
Changing the tone, Andrea Montez’s “Previously Benched” came on with a bang. Danced with palpable sass, Mia Martelli and Logan Mitchell grooved on and off a bench to “Down with the Trumpets” by Rizzle Kicks. Manipulating their shirts and sweaters with the movement patterns, the two powerful bodies flung themselves into falls and extensions throughout the space as if immune to gravity. With the two never breaking their teen angst personas, the dance highlighted both Martelli and Mitchell through solo moments that seamlessly transitioned into powerful unison sections and swift partnering. The space continued to transform with both dancers indulging in the bench, moving me into a world of two teenagers showing off in a public park. Montez tried to take risks with her choreographic abilities, and using a prop was a gusty move. To me, she succeeded by keeping the bench connected to the dancer’s performance practices and clearly creating an imagery-stimulated scenario.
As we left that groovy world, Marissa Subik winded down the space in her tranquil solo “Untitled.” Skimming the ground with the qualities of a tumbleweed, Subik elegantly crafted her work to a somber monologue from the movie American Beauty. Although influenced by the emotions the narrative raises, Subik’s merciful presence kept me wrapped around her fluid body that presented a calm connectivity her focus rejected. “Untitled” was built around the motif of a limping wave towards the sky with Subik’s body contorted in an oddly satisfying backbend. Seeing the world she lives in mirrored back at her, sorrowful warmth encompassed her delicately grounded movements, evoking an eerie sense of comfort.
Lastly, Roberta Guido’s “Opening” commenced as she casually walked on to the stage with a notebook in hand and placed it in front of her kneeling body. Guido experimented with being fully connected to performing in an improvisational context. Her body reacted to spoken phrases she picked from her notebook prior to the event. The organic beauty of watching the favoring and rejecting of certain words on a physical platform educated me on the difference between emotional wants and kinesthetic wants. By discovering an unknown dance experience with the audience at her side, Guido gifted me with the purest form of performance. Her truthful demeanor left me craving to explore my own personal connections between the verbal and the physical.
As the evening came to an end, my eyes, mind, and dancing body were stimulated with a swarm of information. The variety of movers that took the stage in performance and choreography at this year’s Dance Works was a great representation of the numerous intellectual and physical inquiries the dancers here at The College at Brockport are creating and exploring.
By Jordan Demetrius Lloyd
What better way to bring about awareness for dance, then to dance! Dance Awareness Days is an annual event hosted by the Student Dance Organization (SDO) to bring forth some Awareness towards dance and all that it has to offer. The purpose of the event is not to disrupt the school day or curriculum, but to allow students of the department, campus, and surrounding community the opportunity to explore different movement styles and gain valuable experience within the art of dance.
The event also serves as a recruiting tool for high school students and is conveniently held during most high schools’ winter break in our area. The faculty, grad students and guest artists are all given the opportunity to teach a technique style that may not be offered normally. This could be a technique of specific interest to the faculty member/ guest artist, which would benefit those who will attend this event. With hopes that everyone leaves the event feeling both physically and artistically satisfied, Dance Awareness Days is an event that SDO looks forward to every year. Check out this year’s schedule (above) for a list of which guest artists will be teaching at Brockport!
By Baylee Simpson (in collaboration with Juanita Suarez)
The NDEO Brockport Student Chapter (National Dance Education Organization) in collaboration with SDO (Student Dance Organization) and Dance Awareness Days is excited to announce a tri-university Hip Hop Dance Residency featuring guest artist, Rodney Hill, company manager for Rennie Harris Puremovement (RHPM). Rodney Hill will be flying to Brockport from Philadelphia to offer a Hip-Hop master class Saturday, February 21st in Strasser at 10:00 – 11:30 am, which will be followed by an informal discussion about Hip Hop. Hill will discuss his childhood experience as an African-American in inner city Philadelphia and his journey from the streets to a professional hip-hop company. College at Brockport students will have the opportunity to take a fun class and afterwards, ask questions about what life as a Hip Hop artist may be like. Rodney’s residency will be shared with dancers at the University of Buffalo (February 20th, 10:00 am – 12:00 pm) and the University of Rochester (February 20th, 3:00 – 4:30 pm).
Hip Hop is an art form that embraces diversity and gives voice to a new generation. Emerging from inner-city African American and Latin communities, Hip Hop has expanded racial and economic boundaries. RHPM’s rich, cultural movement deconstructs the perception of hip-hop while expanding its boundaries. The Hip Hop movement logically developed out of a trajectory of expressive dance development as established by Break Dancers who creatively addressed oppression in the Bronx (1960′s). Like Break Dancing, Hip Hop maintains its’ competitive edge in a way that is fruitful and celebratory, yet daring and political.