MFA Thesis Premieres This Weekend in DANCE/Strasser

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.

Bethany Thesis

(Rehearsal photo from Bethany’s MFA thesis process)

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Dance Works: A Passionate Evening of Explorations

Dance Works

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.

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Dance Awareness Days 2015 & Hip Hop Residency

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.

Hip Hop

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An Inside Look at SDO’s Guest Artist: Laura Peterson

fourth-position-jump-bright-for-dnaPhoto by Steven Schreiber

Written by Emily Gerst

(Guest Artist Committee Chair, Student Dance Organization)

This week, we are proud to welcome Brooklyn-based choreographer Laura Peterson to Brockport as part of the Student Dance Organization’s annual guest artist residency. The residency, which began last Friday, will culminate with a lecture-demonstration on Thursday, February 12th, and features an exciting array of opportunities in between.

Laura’s background includes a throng of teaching experiences, as well as several choreographic ventures. She currently teaches dance at Mason Gross School of the Arts at Rutgers University in addition to studios throughout New York City. Her work has been presented at various performance venues including The Kennedy Center for the Performing Arts, Lincoln Center Out-of-Doors, and Jacob’s Pillow Dance Festival Inside/Out among others. Laura is also a recent recipient of the 2014 Bogliasco Foundation Fellowship in Italy, where she was supported in the making of her new work, Il Futuro. Laura states that as a dance maker, she is “deeply influenced by visual art and seeks to explore changeable relationship we have to the body’s limits and limitless of human imagination.” (

During her week here, she is teaching various technique and improvisation classes spread out over the course of five days. These classes will take place during regularly scheduled dance-department classes, thus exposing numerous students to Laura’s pedagogy and artistic sensibility.

Alongside her scheduled classes, Laura is also setting an original choreographic work on Brockport students. Auditions for the work were held this past weekend, with rehearsals succeeding on both Saturday and Sunday. The dance-making process continues this week, as students will continue working until showing at the lecture demonstration on Thursday. With two casts, a large handful of students have the opportunity to participate in her creative process. In addition, the work will become part of the Brockport repertory, which allows future opportunities for students to perform.

During the lecture demonstration on Thursday evening, students will also have the chance to observe Laura take on the role of performer and interact with her in an open forum. Laura will be performing her newest solo work, Il Futuro, alongside the newly created piece. A forum lead by moderator Allison Bohman will follow, in which students will have the chance to ask questions and gain insight on Laura’s experiences as a choreographer and her process with creating both her new work and Il Futuro.

We are incredibly excited to be hosting such an intelligent and creative artist, and even more excited to provide students with this exciting opportunity. Catch a glance of this rousing process by joining us this Thursday February 12 at 7:30pm in Rose L. Strasser studio and witness a truly exhilarating night of dance.

Visit Laura’s website for more information about her work.

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Chamber Ballet Brockport Dancing in Rochester


By Nicole Woodcock (Chamber Ballet Brockport Dancer)

Chamber Ballet Brockport (CBB), directed by Vanessa VanWormer, is honored to be included in a special production of Stone Soup: A Classic Tale Retold at Hochstein Performance Hall in Rochester, NY this coming weekend.  Stone Soup is part of a larger event at Hochstein called “HOC Loves ROC,” that brings art into the Rochester community.

The world premiere of Stone Soup is this Saturday at 6:30PM at Hochstein Performance Hall in Rochester, NY and YOU should be there.  It is a performance that blends the storytelling aspects of dance, music, and magic, and is sure to please audience members both young and old.

It is our first year as a touring ballet company based out of The College Brockport and we were very excited to hear about this opportunity to share dance. CBB is committed to community outreach and dance literacy, and values opportunities such as this to bring dance to all different kinds of audiences.

Over the last three months I have had the privilege of working under the direction of Brockport MFA candidate, Allison Bohman, for the “Salt and Pepper” portion of this collaborative show. In our first rehearsal, we were assigned a role, either a salt or a pepper. Together with our “spicemates” we came up with a short list of words that we felt described the essence of our seasoning. Using these words, we began to brainstorm some solo material that Allison included alongside the rest of her personal choreography, giving each individual spice a chance to shine.

In our rehearsals, Allison encouraged us to allow our movement to reflect and embody each spice. For example, some moves are light and even like salt, while others are punchy and sassy like pepper. Bringing us back to the bigger concept of our role in the soup as a whole, the swirling, spiraling, and swiveling movements we embody help us to imagine ourselves stirring in the pot. With these elements combined, and special effects performed by Nickle VanWormer, this show is sure to entertain the audience.

Created by Sarah Andreacchi, Hochstein dance department co-chair, Stone Soup is sponsored in part by In addition to CBB, the show will feature choreography by several local artists, who are also alumni of The Department of Dance at Brockport, including Sarah Andreacchi, Kathy Diehl and Heather Roffe.

The original score is by Andrew Alden with live music by Nedla String Quartet. Nickle VanWormer is the illusionist and the show includes dancers from all over the Rochester area including One Dance Company, KDiehl Danceworks, Nazareth College Dance Program, and Chamber Ballet Brockport, directed by Vanessa VanWormer.

Tickets are $5/$10 family max and there is a free soup reception with the performers to follow.

We hope to see you there!

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Mark Your Calendar For a Season of Dance!

Welcome back, everyone! With the start of the new spring semester, The Department of Dance at Brockport has a lot of exciting dance performances coming up. Mark your calendars now for these outstanding shows and events that are just around the corner.

Mark Your Calendar!

SDO Guest Artist –Laura Peterson   

Thursday, February 12th at 7:30pm, Rose L. Strasser Studio (free)

Informal showing of student work and performance by Laura Peterson

Careers in Dance Alumni Panel  

Thursday, Feb 19, 6:00 pm, Hartwell Dance Theater (free)

Dance Awareness Days (SDO)  

Friday-Saturday, Feb 20 – 21, Dept. of Dance, Hartwell Hall (free classes)

DanceWorks Concert (SDO)  

Sunday, Feb. 21 7:30 pm, Union Ballroom


Thursday –Saturday, March 5 – 7 at 7:30pm, Rose L. Strasser Studio

Guest Artist – Darrell Jones  

Week of March 9 – activities/performance TBD

Scholars Day  

Wednesday, April 8 on Campus (classes cancelled)


Thursday – Saturday, April 9 – 11 at 7:30pm Hartwell Dance Theater

 SUNY Undergraduate Research         

Friday, April 10 on Campus Conference

 Chamber Ballet Concert  

Friday – Saturday, April 24 -25 Rose L. Strasser Studio (donations accepted)


Thursday – Saturday, April 30 – May 3 at 7:30 pm

Matinees: Sunday, May 3 at 2 pmHartwell Dance Theater

Dime-a-Dance (SDO)  

Wednesday -Thursday, May 6 & 7 at 7:30 pm,Rose L. Strasser Studio

Graduation Dances

Friday, May 15 at 6:30 pm & 8:00pm, Hartwell Theater (donations accepted)

For more information, check out The Department of Dance website here and follow us on Facebook!

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Injury Prevention Initiative

By Bethany Fagan Good

(with guidance from Stevie Oakes)

As dancers, our bodies are our greatest assets. Even knowing this, we are often beating up our bodies, pushing them beyond unconceivable limits, and then asking for more. What makes this never-ending cycle possible is devotion to the care of our bodies. Often our bodies are simply telling us to rest, take it back a notch, limiting movement in order to prevent detrimental injury. Unfortunately, these signals present themselves during the busiest of times, typically after some damage has already occurred – be it from over-working or sometimes ignoring. So what can we do in preparation? How can we focus on the care of our bodies as routine, rather than recovery?

Brockport’s Department of Dance has a tremendous reputation leading in dance science scholarship dating back to faculty like Sondra Fraleigh, Dr. Natalie Goodhartz and Susannah Newman and maintained more recently by Jacqueline Davis and William Evans, to name a few. Our beautiful facilities – from the glorious studios with sprung floors and open spaces to the well-stocked conditioning lab and health pool – are further testament to the value placed upon healthy practice. The emphasis on wellness and awareness in the body has certainly been preserved in somatic practices and teachings of our current faculty. Assistant Professor Stevie Oakes builds on this legacy with the development of an injury prevention initiative and its related education.

Stevie is a welcomed and appreciated resource for the care of our bodies during her Kinesiology for dancers course and individual meetings, she is taking another step towards the fuller initiative this coming semester with a Conditioning Injury Prevention course. This one-credit lab course will workshop stretching and conditioning techniques focusing on targeted regional anatomy as well as general biomechanics. Each student will have the opportunity to identify personal dance fitness goals and develop an appropriate individualized program.

In the future, Stevie plans to set up a robust Injury Prevention Program students will undergo a “pre-season” screening based upon an internationally implemented surveillance program, IPAIRS (International Performing Arts Injury Reporting System). Students will become aware of lateral discrepancies in strength and flexibility or other factors. From this screening, dancers will receive a personalized exercise program to follow during their first semester in the dance program, enabling them to address any “red flags” that have been linked to injury patterns in dance and sport.

Here’s a note from Stevie in regards to other details to be included in this program: “I hope to increase communication between athletic training department and dance faculty so that restrictions and rehabilitation timelines are clear in the event of an injury. Offering alternatives to technique observation and brainstorming the instruction of appropriate modifications for participation seem pivotal in promoting dancer health. To round out the program, I hope to offer periodic brown bag discussions – informal lunches aimed at answering questions and providing resources on various health and wellness topics like nutrition, meditation or strength training.”

Injury prevention and empowerment through information benefit our graduates as they enter the dance world in performance, choreography and education. All of our dance majors who bring their talents to other disciplines are also served by this arm of their education, encouraging efficiency in body and overall health for longevity.

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New Dancers Showcase 2014

By Samantha Johnson

I had the absolute pleasure of coordinating this year’s New Dancers Showcase alongside artistic director, Karl Rogers. In hopes of reflecting on this stunning performance more vividly, I asked our first year graduate students (and this year’s New Dancers Showcase choreographers) to reflect briefly upon their experience working with our 32 new dancers. Here is just a sampling of their responses.

Briana Kelly:

“Choreographing for the New Dancers Showcase was such an incredible experience. My dancers are so dedicated and they made my job as choreographer easy and enjoyable. My piece turned into quite the hodgepodge; mixing tap, modern, jazz and even some Brazilian influence. It has been fascinating watching my dancers bring the choreography to life.!”

Emmie Hatfield:

“It has been a privilege to work with such bold, talented young artists. As a choreographer, I opened up rehearsal as a time and place for suggestions and ideas from the artists.  I found they were oozing with possibilities.  What made this process rewarding was the fact that each dancer made significant contributions to the piece. Specifically, a large movement phrase from Nate Diaz, music by Matt De Luca, and titled by Glenna Kelehan.  The other artists offered suggestions in rehearsal that literally formulated the dance. I became interested in the way each dancer could convincingly dance hip hop and then switch to something different immediately.  We explored turning types of movement on and off.  We also explored underlying themes involving how we as human beings feel the need to “turn on” during certain interactions, and then when do we feel comfortable enough to ‘turn off’?”

Chiquita Limer:

“My piece titled ADHITTANA means perseverance in the language of Pali Buddhism. I think this word describes me well in my current experience of being thousands of miles away from home and trying to adjust and adapt with the circumstances here. My experience was distinctively new and exciting because I could work with amazing dancers from a different culture!”

Jessica Moore:

“Choreographing for the New Dancers Showcase was a fun and rewarding experience. Seeing the students grow throughout this process into receptive, accomplished, captivating performers was truly priceless. Serving as a mentor, pushing the students to tap into their creative and physical potential developed a bond and friendship that I hope will continue to flourish for the next several years. I can’t wait to see what they will become throughout the remainder of their time here at Brockport.

My work INTERtribal was an expression of my personal interests in movement generation. The piece was inspired by integrating Native American characteristics common among my own cultural, with elements of contemporary and hip hop dance. The music, a hybrid of traditional Native American music and dup-step, electronic dance music, served as the driving force of the work. The dancers truly embraced my way of moving and performed with all of their fierce, warrior-like energy. I couldn’t be more proud!”


We could not be more thrilled with the work of all of our new undergraduate and graduate students. I, personally, am honored to have worked with each individual and am excited to welcome them to the Brockport Dance family!

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Living Through Watching

by Sara Palmisano

Amid the lights, music, and movement of a dance concert, an audience member begins to see beyond the superficial as these aspects begin to fade away and the person allows what he sees to be transposed to what he feels. Without realizing how, a person becomes lost in the world that a choreographer creates. Those little details blur together as we become engulfed within the emotions that a dance evokes in us. When we give over to these emotions, dances have the ability to give us the opportunity to view the world in a new light by means of another’s movement. Danscore, November 13-15, 2014,was comprised of multiple dances capable of transporting the audience to another world. Artistic Director, Kevin Warner, assembled a unique show that took the audience on a journey through a variety of emotions.

The show opened with Grewingk, choreographed by Mariah Maloney. The dancers wove in and out of one another in a continuous stream that mirrored waves lapping up onto the sand. It evoked a sense of peace and ease. Joy of music was then presented by Khalid Abdul N’Faly Saleem in his original piece entitled Djembekan (It Started With a Pulse). Saleem invited his audience to participate in his song and to participate in the happiness that music can bring us. The beat of his drum lead way to the live accompaniment for Vanessa Van Wormer’s Shade Unfolding (Part I) – Chamber Ballet Brockport’s premier performance. Violinist, Aimee Lillienstein, and cellist, Nadine Sherman, coupled with the beautiful movement, offering a lightness that made one appreciate the joys of watching dance. Then Juanita Suarez showed us that sometimes the greatest understanding we come to is realizing that we lack understanding. At times, the best part of a dance has to do with the feelings we cannot put to words.

This wonder was brought to rest by Rhythms of the Earth choreographed by William Evans. Evans, similar to Saleem, used the music created by the body as the music to the dance. These layered rhythms reminded us of the complicity of life, but that beauty lies within that complexity. Jim Hansen also touches upon this idea in his duet Clash. As his two dancers moved across the space, the audience could feel the complexity of the interplay that two bodies have in even the most minuet ways. These choreographed interactions have a striking resemblance to those we experience in “real life”. The interactions showed a truth about how we live.

This truth translated to Karl Rogers’s backhanded, as well. Rogers created a quirky dance that invited smiles throughout the audience. The show as a whole brought the audience on a journey through a wide variety of movement. It represented dance as an art form, as a means to evoke and relate to the humanness of life. We are all human and, therefore, all have something in common. Dance seeks to manifest these commonalities and allow them to grow so that we can live through the movements of another.

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Danscore 2014

The Department of Dance at Brockport will present Danscore 2014 Thursday 11/13, Friday 11/14 & Saturday 11/15 at 7:30pm.  All shows will be performed in the Hartwell Dance Theater featuring the gorgeous dancing of our talented graduate and undergraduate dancers.  Works by faculty Mariah Maloney, Vanessa Van Wormer, Juanita Suarez, James Hansen and Karl Rogers will be performed alongside a work from guest artist William (Bill) Evans.  Music specialist Khalid Saleem will also perform an original work.  Click here to  purchase tickets.

Danscore poster

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