|
"Residue” 2008
The first artistic creation in over 5 years began with a simple question: “What resides within us when we are spiritually separated or connected to God?” Intimate and emotionally wrought segments of movement investigate the complexity of the human condition that compels us to do everything without the help or need of a loving God. This work will be extended into a full length evening piece as part of the “By Local” series at the Annenberg Center in Feb 2010.
"Beyond Basquiat" 2003
Marked the first collaboration with Philadelphia filmaker: Leslie Rivera and Set Designer: Danielle Vardakas. A homage to the life and work of Jean Michel Basquiat, a charismatic painter who died in 1988. The piece uses harsh exactness and pedestrian gestures combined with abstract symbolism which moves dancer from the standing to the floor in seconds. Accompanied by the works of Terminal Sound System and audio excerpts from the 1996 film, this work is intense and thought provoking.
“Without Flight” 2003
Movement and characterizations of different types of birds inspired the creation of Without Flight. Studying birds develops a meditative process involving a keen sense of memory. This composition is broken down into four main sections. Each section reflects upon a particular class of bird for inspiration. The audience will not know which birds have been used for inspiration; rather they will see the movement that embodies the specific bird. The dancers do not represent birds, but rather embody the concept of a bird. The following are specific sections:
• Swallows - Fast with many changes of direction and the use of backwards motion. It is sporadic, un-rhythmic and involves risk-taking.
• Hawks - Precise with focus on parallel and open lines of the body. It is suspended, full, and makes use of all levels.
• Morning Dove - Dancers were given a particular sensation that they must use to create a shape along a diagonal line across stage, accompanied by the actual song of the morning dove.
• Redwing Blackbirds - Based on interchanging solos that express the joy, calmness and serenity one feels when watching birds.
“Hush” 2002
Movements delve into the very fabric of duality in oneself through highly expressive gestured phrases and rigid lines. The choreography is bound by the music of Amon Tobin and layers movement on top of movement into a canonized landscape of color, with costumes by Clyde Michael Hayes.
“Philadelphia
5’5 & Under”
“Small in Stature, Big in Artistry” – was the first production that did not feature the work of the company but rather the work of nine individual, local choreographers at the Philadelphia Arts Bank Theater. This creation was an opportunity for emerging artists to construct and show their own work in a more prominent Philadelphia theater. The only requirement was that all of the artists had to be the height of 5’5 & Under. Each piece was preceded by a one-minute film created by a local filmmaker, Scott Johnston. The films captured each artist talking about how they feel about making their work in Philadelphia and their philosophy about making dance. Sponsorship was provided by Melodyvision and grant funding by Leeway Foundation.
"Black Message from Red" 2000
The last in the trilogy of works based on Frida Kahlo, Black Message from Red takes an in-depth journey into seven personalities and emotions of the tortured artist. Each dancer has movements tailored specifically to the role they are playing, breaking away from traditional unison dance. Philadelphia artist Karen Breese, designed and created structured light boxes, which were housed within perimeter sculptures designed by artist Paul Loughney. The combination of light and boundary created an asymmetrical fluidity, which drew the viewer into a moving landscape. Ms. Breese’s main task in this project was to design and construct a 4 x 5 ft. linear pelvis, where dancer Rebecca Sloan, of the Bald Mermaids, could freely move inside this confined three-dimensional sculpture. The revealing backless costumes were the first collaboration with costume designer Clyde Michael Hayes.
"Self Portrait with Sky" 1999
The piece marked the first collaboration with Philadelphia artist Paul Loughney. Self Portrait with Sky is the second in the series of works about Frida Kahlo, which recreates the images seen in the painting the "Suicide of Dorothy Hale”. Choreographic patterns explore the depths of physicality by linking falling and suspended oriented movements with frantic running patterns. The motif for the work stemmed from the physical effect tragedy has on the human body. For this work, Mr. Loughney designed, shaped and dyed three fabric panels from velvet, which ranged in size from 4 x 4 to 4 x 18 feet.
“Milk” 1997
This work was constructed after viewing Picasso's painting "Massacre in Korea", which was originally inspired by Goya's work, “Third of May". The movements resemble the statue like figures within the painting and were transposed after extensive research about woman saints. Each one of the eleven dancers had a specific catholic saint chosen for them. A brief history and picture was supplied to each performer so they could explore their character emotionally and physically. Each section explored the perils that those with faith encounter. The music of Prokofiev, The Cure and Villa Lobos accompanies the movement.
“Frida’s Ceremony” 1996
The first in a triptych of works based on the painting "Broken Column" by the Mexican painter, Frida Kahlo. This work was based on Kahlo’s trauma of being involved in the trolley accident that caused her entire life to change. Her slow recovery lasted throughout her life, causing much emotional and physical pain. The movement goes from thrashing and hard-edged to meditative and butoh-like. The choreography writhes under the eerie and provocative industrial music of Wumpscut and Dive.
|
