Yep…took me long enough to get some of this video on my performance page, but here it is. Segments from works by Bebe Miller’s “How to Remember” and Susan Hadley’s “Blue Grass”. Watching the performances made me itch to dance live again soon. Check out other performances on my Performance page.
“Blue Grass” Susan Hadley, Dance Downtown 2009
“How to Remember” Bebe Miller, Dance Downtown 2010
“Widows, Temporarily” is a dance film I directed and choreographed with a group of current military spouses stationed in Vicenza, Italy. The film is continuation of my military arts work I have been exploring since May 2011. The work will be presented at the national Artist, Interrupted performance “Initial Impressions” on March 23, 2012 at the Sugar Space in Salt Lake City. Two performances that evening at 6:00 p.m. and again at 7:30 p.m.! If you are in Utah, please support the A.I. artists!
I re-set “The People’s Evolution” for Brigham Young University’s DancEnsemble concert, March 16-17, 2012. Resetting work is always a bit surreal simply because artistic style and ideas change over time with experience. It is often amusing to review old work and rediscover why and how the work was created. The cast of six dancers at BYU worked exceptionally fast and performed the piece well. The work will be presented again at the “Cover the Night” on April 20th, 2012.
Along with setting my work, I taught master classes for two different technique classes. BYU has stellar technical dancers so I tried to offer some new perspectives to dance training and performance by focusing on the following elements in my master classes: violence, thrust, propulsion, body problems, and risk. After a few classes I saw many of the students access a rawness and efficiency in their movement that allowed them to increase their range and break limits of their dance habits. It was a very rewarding teaching experience. A special thanks to Pam Musil and Marilyn Berrett for arranging my wonderful guest artist experience at BYU!
“Dancers dart through shafts of light on an empty stage in “Gray Matters” by guest choreographer Kristen Jeppsen Groves. A military wife interested in the current political unrest in the Middle East, Groves uses explosive movement and dynamic partnering to explore social media as an agent for social upheaval or mindless complacency.” – Ohio Wesleyan University
Ohio Wesleyan to Present ‘Orchesis 2012’ Dance Performance.
“Gray Matters” will be presented at Ohio Wesleyan’s Orchesis 2012 Dance Concert at OWU’s Chappelear Drama Center next week, March 2 and 3, 2012. Here are a few images from my week-long guest residency. With my move to Italy and spending a lot of time in the military community, most of my work now has revolved current crisis of the Euro zone and military conflicts. The work explored crucial “action/reaction” moments of individuals and how those can relate to actions/reactions of governments, economies, and militaries. The students were exceptional to work with and I was very happy with the outcome of “Gray Matters”. Good luck to Orchesis as you prepare for your concert!
The past week and into this week I have been busy working with two university dance groups. I recently returned from Ohio where I set Gray Matters on Ohio Wesleyan’s new Orchesis company. It was an extremely rewarding experience to work with dancers from OW and Gray Matters will premiere at the spring concert in March. Pics and video to come.
This week I am setting my work The People’s Evolution at BYU for the DancEnsemble Winter Concert as well as teaching master classes to BYU dance majors. I am also setting a work Second Future at Copper Hills High School for the CHHS Dance in Concert this spring. I’ve loved having a quick trip to the states to dance, create, and continually learn more about choreography and teaching.
Photos from my M.F.A. thesis, “[ME]thod”, explored the curiosity and concentration of problem-solving and negotiation while seeking the embodied humanity behind political processes. This piece was one of my favorites with three sets of different characters: the representatives, the workers, and the citizens. The piece delves into the way these three composite characters work in order to accomplish policy acts. And the challenges of negotiating with a group when it seems that everyone is out for themselves. This work incorporated highly physical choreography, with moments of humor about policy language and writing, as well as challenging conflicts among relationships and space.