CSULB 2021 Spring Dance Festival Program a Descriptor

2021 Spring Dance Festival Program A- May 7, 2021

CSULB 2021 Spring Dance Festival Program A Descriptor

Land Acknowledgement: CSULB is located on the sacred site of Puvunga. We acknowledge that we are on the land of the Tongva/Gabrieleñio and the Acjachemen/Juaneño Nations who have lived and continue to live here. We recognize the Tongva/Achachemen Nations as the first stewards and the traditional caretakers of this land. We thank them for their strength, perseverance, and resistance. We are grateful to have the opportunity to work and dance on this sacred site and to be reminded of the sacred and spiritual relationship that has always existed here at what we now call California State University, Long Beach.

To Us (Premiere) Choreography Teresa Declines in collaboration with Nao Aizawa and Jocelyn Magaña Music “Whiskey Waltz” by Ketsa Videography/Editing Teresa Declines Performance Nao Aizawa, Teresa Declines, Jocelyn Magaña Costuming Teresa Declines

Special thank you to Brenna Monroe-Cook and the Fall 2020 Composition II Class for their encouragement and support!

ABOUT: Teresa Declines’ To Us highlights feelings of nostalgia, hope, and connectedness despite being physically separated amidst the pandemic. Built in collaboration with Nao Aizawa and Jocelyn Magaña, this work also serves as a beautiful stamp in time to the growth the three have made in their unique individuality and through the strength of their friendship. Everyone has something to offer through their own stories, and together, we can create something that transcends limitations.

Environment: The piece begins with three panels of images laid out vertically- top- an exterior shot of a palm tree set against the sky and roof of a home; middle- an image of a wire wall picture holder with many photos and memory keepsakes; the bottom image is a white exterior double door with colorful holiday wreath. Interior shots with dancers consist of a plain white room with brown sofa, seen from many angles; another living area with tan walls with white artwork on the wall and grey sofa; another white living area with brown wood furniture- these are the living areas our dancers occupy and move in.

Costume/Makeup/Hair: Dancer 1- Nao Aizawa wears a black long-sleeved turtleneck with dark grey pants, her long, dark hair pulled into a low ponytail. Dancer 2- Teresa Declines wears an olive sleeveless shirt with khaki pants, her long, dark hair pulled into a low ponytail. Dancer 3- Jocelyn Magaña wears a soft pink, sleeveless button up tank top with black pinstriped pants. Her long, dark hair is pulled into a low ponytail.

2021 Spring Dance Festival Program A- May 7, 2021

Music Description: Audio begins with soft spoken word- followed by a dreamy tonal music that starts with xylophone slowly adding in its repeating melody the soft rhythm of drums and flowing cello and support strings. The dreamy vibe plays throughout in a repeating verse over and over, each instrument taking a step forward to carry the melody.

“Crucifixus” from Missa Brevis First performed April 11, 1958 at the Juilliard School of Music, New York City, New York by the José Limón Dance Company Choreography José Limón Music “Credo” by Zoltán Kodály, from Missa Brevis; By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner Staging & Direction Brenna Monroe-Cook Performance Robert Huerta Videography/Editing Gregory R.R. Crosby Camera Operation Artur Lago-V. Costume Design Kelsey Vidic Costume Technician Erika Hansen Lighting Design Stephanie Losleben Production Assistance Kenzie Butts, Valeria Resendiz

ABOUT: José Limón (1908-1972) is credited with creating one of the world’s most important and enduring dance legacies. In celebration of the 75th anniversary of the José Limón Dance Foundation, the four excerpts presented in this concert (“Crucifixus” from Missa Brevis, “La Patrie” from Dances for Isadora (Five Evocations of Isadora Duncan), “Sphinx” from The Winged, and “A time to keep silence, and a time to speak” from There is a Time) offer a glimpse into the theatricality, rhythmic vitality, and deep humanity of Limón’s body of work. Expressing a range of experiences from grief and perseverance, to animalistic ferocity, to passionate fervor, these pieces are a timeless part of our modern dance history.

Environment: Dark stage as seen from an audiences’ perspective. Lighting is crisp blue dim background with warmer lighting that sculpts and highlights’ the dancer’s movements.

Costume/Makeup/Hair: Robert is wearing a dark red sleeveless turtleneck tucked into black pants. He is barefoot, his dark hair close cropped and a light mustache on his face.

Music Description: Music is soft dramatic chorus of male and female voices, and organ playing in accompaniment- creating a sacred, heavy religious embodiment to the piece.

and she starts again (Premiere) Choreography Aisha Reddick 2021 Spring Dance Festival Program A- May 7, 2021

Music “Quiet Boy” by Micatone Videography Natalie Bojorquez Editing Aisha Reddick Performance Natalie Bojorquez Costume Design Aisha Reddick & Natalie Bojorquez Lighting Design Aisha Reddick & Natalie Bojorquez

ABOUT: and she starts again explores a body being sensual, but not sexual. How does one feel sensuality without the means of pleasing another? Choreographer Aisha Reddick explores this through repetition, combination, and variation of a single phrase, marinating the movement deep within the performer’s body.

Environment: Interior of home- light grey walls frame a short darker grey couch. A white door in the background is closed. A partial view of a white cabinet with holiday tree can be seen beside the white door. Light colored wood flooring is seen beside the couch.

Costume/Makeup/Hair: Natalie is wearing a short-sleeved olive colored scoop neck top that tucks into navy blue pants that tie at the waist. She is wearing white socks that reach up past her ankle. Her mid-length dark hair is tied into a low ponytail.

Music Description: Sensual and slow jazz music with female voice plays throughout, her vocals slide through the melody in relaxed fashion. Horns, keyboards and rhythmic beat of drum and cymbal groove through the dance piece, becoming more electric and taking over as vocals disappear.

Sad Clown and Other Oddities (1989/2021) Choreography Keith Johnson Music “Carny Theme” composed by Alex North, “Animal Husbandry” by Bahareh Ebrahimzadeh “Anytime, Anytime” composed by Ken Nordine and Fred Katz “Bearded Walk” by Bahareh Ebrahimzadeh “Carnival Bozo” composed by Alex North. Cinematography/Editing Gregory R.R. Crosby Camera Operator Artur Lago-V. Costume Design Keith Johnson Costume Coordination Kelsey Vidic Costume Technician Erika Hansen Lighting and Set Design Stephanie Losleben Performance Matthew Kindig, Breanna O’Neill, Keilan Stafford Production Assistance Jewell Curtiss, Julia Gonzalez, Matthew Kindig

Keith would like to acknowledge and thank the dancers for their creative contributions and Bahareh Ebrahimzadeh for the soundscapes. Bearded Walk was inspired by Joe Pitti and Karin Fenn.

2021 Spring Dance Festival Program A- May 7, 2021

ABOUT: Keith Johnson’s Sad Clown and Other Oddities observes the trials of the human spirit using circus themes and images for inspiration. Though originally choreographed in 1989, Johnson has fleshed out the dance work with the addition of two new sections.

Environment: A stage environment with black background and floor plays throughout each piece. A bare stage illuminated by warm lighting embodies the pieces with the man in grey suit for the first, third and fifth sections, a bright red glossy straight-backed chair with velvet seat accompanies him in the third section. A cool-lit stage with large blue circus wagon with gold filigree embellishments supports the stage for the second section, along with a bright orange short stool that is positioned is if in the to highlight the action on the stool. An imagined interior of a main arena circus tent with colored lights aloft for the fourth section. A line of brightly colored whoopee cushions is laid out as the imagined tightrope.

Costume/Makeup/Hair: Sections 1,3,5- Matthew is wearing a light brownish grey suit jacket and pants, white button up shirt and bright red silk tie. He wears black dance shoes. His face is clean shaven, his dark hair short.

Section 2- Breanna wears a full length nude unitard that is covered in brightly colored tattoos, a grey lace tulle ruffle around her neck. Her head is covered in a grey gas mask with a long grey ribbed tube that hangs down like an elephant trunk. She is barefoot and her hair is hidden inside the mask.

Section 4-Keilan wears a black lace corset with gold sparkly short shorts. He wears black fishnet stockings and gold frilly lace circles his calves. He is barefoot. A fake black beard is attached to his face that complements his light mustache and burgundy lipstick. False eyelashes frame his dark brown eyes that are brightened by soft orange hued eyeshadow. His dark curly hair is short and natural. A silver nose ring is paired with another ring in his right ear. A black lace umbrella finishes off his bearded lady costume.

Music Description: Section 1- Bright and energetic showtime entertainment style music plays- strongly supported by horns and calliope. Section 2- Dark and environmental background of ambient circus life. Faint crowds, workers calling out in distance, the cry of elephants and circus music all overlaid. A deep trilling rumble is heard with the dancer’s breaths through the mask, adding to the soundscape. Section 3- Happy jazzy music with bass and flute plays until a man’s voice takes over- the music fading out to come back at the end. The man’s voice is deep and regretful. Loud, cackling laughter of a woman is heard throughout. Section 4- Soft ambient audience and distant circus parade music is heard as if from a distance. Enthusiastic audience murmurings can be heard in reaction to a variety of farting noises of whoopee cushions. The piece ends with raucous applause. Section 5- Eerie, stilted clown music plays. Bassoon, and flighty flute tease with calliope sounds to envelope tilted manic underscore. A buildup of strings that is not quite sad but wandering acts as an interlude before the eerie circus tune reappears, a little more manic as it culminates to its end.

2021 Spring Dance Festival Program A- May 7, 2021

“La Patrie” from Dances for Isadora (Five Evocations of Isadora Duncan) First performed December 10, 1971, Cleveland Museum of Arts, Cleveland Ohio by the José Limón Dance Company Choreography José Limón Music Polonaise No. 4 in C Minor, Op. 40 No. 2, by Frédéric Chopin Staging & Direction Brenna Monroe-Cook Performance Rivka Villanueva Videography/Editing Gregory R.R. Crosby Camera Operator Artur Lago-V. Costume Design Kelsey Vidic Costume Technician Erika Hansen Lighting Design Stephanie Losleben Production Assistance Kenzie Butts, Valeria Resendiz

Environment: A large stage with blue lit background and warm lighting in the perspective of an audience.

Costume/Makeup/Hair: Rivka is wearing a sleeveless bright red dress that is gathered in at the waist and flares out to mid-calf- reminiscent of a Grecian goddess. Her mid-length pink tipped brown hair is down, soft waves around her face. She wears light makeup and is barefoot. A large red cloth accompanies her in her dance, worn at times like a cloak.

Music Description: Dramatic and lyrical piano plays to support the emotional journey of the dancer- soft and dramatic to vibrant and emphatic, to dip and swirl to melancholy and reflection.

Icarus (Premiere) Choreography Ashley Misanga Kayombo Music Adagio for Strings by Samuel Barber Videography Samantha Mujinga Kayombo Editing Ashley Misanga Kayombo Performance Ashley Misanga Kayombo Costume Design Ashley Misanga Kayombo

ABOUT: 2021 Spring Dance Festival Program A- May 7, 2021

Inspired by the Greek myth “Icarus and Daedalus,” Ashley Misanga Kayombo’s Icarus takes the viewer on an arduous journey toward ascension.

Environment: A small studio room with white wall on left, mirrors on the right, light wood flooring and a brick exterior wall with wide windows covered in white transparent curtains. Inside the room, a tall silver pole attached from floor to the tall ceiling can be seen to which the dancer uses. Soft lighting warms the space from above.

Costume/Makeup/Hair: Ashley is wearing a ivory bikini style top and bottom and is barefoot. Her dark curly hair is tied up in a loose, low bun, soft wispy curls frame her forehead.

Music Description: Soft strings orchestrate a process of lamentation and loss. Violins carry a long mournful melody as lower strings accompany, lifting and increasing the tension at the search for and of a discovery of what is lost- to ascend in passion and need, to conclude in soft and mournful reflection.

“Sphinx” from The Winged First performed August 20, 1966 at the Connecticut College American Dance Festival by the José Limón Dance Company Choreography José Limón Music Original score composed by Jon Magnussen; Performed by members of the Juilliard Orchestra, directed by David Briskin Staging & Direction Brenna Monroe-Cook Performance Mia Clark Videography/Editing Gregory R.R. Crosby Camera Operation Artur Lago-V. Costume Design Kelsey Vidic Costume Technician Erika Hansen Lighting Design Stephanie Losleben Production Assistance Kenzie Butts, Valeria Resendiz

Environment: A bare stage with dark amber background from the top, as viewed from the audience. Stage lighting bright and white to accentuate the dancer.

2021 Spring Dance Festival Program A- May 7, 2021

Costume/Makeup/Hair: Mia is wearing a sleeveless unitard that covers just one shoulder- it is marbled orange velvet with ochre fringe wrapping around the legs and torso. A light golden stripe of fabric lines one back leg, with a fluid bright orange transparent piece of fabric along one side of her back that billows like a wing when she moves. A dark gold band stretches upward in a diagonal from her right hip to under her left arm. Small round golden jewelry accents are sewn into the top of her unitard near her collar. Her curly, long, dark auburn hair is pulled back loosely into a series of holders to create a loose but bound ponytail that accentuates her curls and fluid movements as it moves. Her makeup is natural with a slight accent of eyeliner suggesting cat eyes.

Music Description: Vibrant, shrill and darting violin is highlighted- creating a wild melody with orchestral backup with horns and bass drums. A sinuous slinking of flutes slither through the air, gathering up to an energetic race of spastic strings and flutes, piccolo piercing in punctuated peals throughout, culminating in a call of horns to end the piece.

I love dancing (Premiere) Collaborators Kensaku Shinohara and Martina Mattar with Nao Aizawa, José Argueta, Rafael Austria, David Bernal, Brianna Brosnan, Dani Burd, Teresa Rose Declines, Maggie Doty, Ceylon Harris, Eduardo Hernandez, Robert Huerta, Jocelyn Magaña, Chloe McClure, Sam Minnifield, Yukiko Nimura, Breanna O’Neill, Kaelie Osorio, Derrick Paris, Natalie Peart, Aisha Reddick, Gabriela Sanchez, Lizeli Sanchez- Reyes, Elizabeth Smith, Keilan Stafford, Melissa Valenzuela, Clara Vigil, Rivka Villanueva, Bethany Wolfman

ABOUT: I love dancing is a 15-minute video experiment, directed by Kensaku Shinohara, interested in pushing the boundaries between performers and viewers in public spaces, inevitably considering the influence of the pandemic in these distant yet distinct interactions. In contrast to a formal theater setting, which these times have condemned, the proposed exposure to an accidental audience reveals the height of risk and vulnerability between dancer and spectator. The video collects the subjective perspective of 28 dancers experiencing the wounded public space and ultimately poses the question, “What makes performance?”

Environment: Multiple scenes play throughout the dance as each dancer provides a backdrop where they are. They play in short bursts to give us a glimpse of their spaces.

A park with scenic overlook of the city in the distance, an indoor mall in front of a restaurant, an outside city street in front of a jeweler, a busy street with a bus parked beside, a busy city street corner with traffic and a crosswalk, another city street corner with a planter and restaurant in the background, a long and expansive dirt path with hills and trees in the background, a large public stair case in an near a large grey building, another staircase in an open area city with modern style metal building at the top of stairs and blue sky above, an open area bridge with locks on the railing, sailboats masts in the background, a city park with trees and grass and buildings in the background, another park with children play lot, a city street with brick sidewalk, an outdoor mall with cement colored floor and curved walls, 2021 Spring Dance Festival Program A- May 7, 2021 another city street with crosswalk, an indoor mall seating bench area with flowers and bright lighting, another outdoor park with many trees and grass, nighttime city scape street corner with lit buildings in the background and street lights in foreground, another outdoor nighttime city street corner with barricades and blinking red light, night time public space with dimly light orb sculpture and restaurant in background, city sidewalk with bistro tables and yellow umbrella, indoor public space with large beige tiled walls and giant artwork of large amber white-tipped wings, an airport seating terminal with rows of seats and a few people occupying them, a long beach drive with sand and people walking, biking, skating by.

Costume/Makeup/Hair: Dancers wear everyday street clothes that vary according to their local and movement.

Music Description: Underscored by sounds of the environment created by the world around us.

The Last Poets (Premiere) Choreography Samantha Mujinga Kayombo Sound “Whitey on the Moon” by Gil Scott Heron Videography Akili Nkosi Performance Samantha Mujinga Kayombo

ABOUT: Samantha Mujinga Kayombo’s The Last Poets is her physical embodiment of Gil Scott Heron’s poem “Whitey on the Moon,” a critique of the U.S. government’s role in racial inequality and economic priorities.

Environment: Small studio space with white wall behind, large brick wall with windows framed by long grey curtains, pulled open to let in natural light. A green painted wall can be seen to the left. A single dark brown stool sits in the center of the room on a white floor.

Costume/Makeup/Hair: Samantha wears an orange short-sleeved button up shirt and untucked over black dance shorts. She wears ochre-colored socks. Her dark hair is pulled onto a tight, low ponytail that puffs out above her collar.

Music Description: Spoken word by Gil Scott Heron with deep sonorous voice who speaks in prose, drums supporting the rhythmic cadence. Background live audience can be heard reacting to the words throughout.

Can You Send Me the Link? (Premiere) Choreography Natalie Bojorquez Music “Touch” by Mattia Cupelli Videography Aisha Reddick Editing Natalie Bojorquez 2021 Spring Dance Festival Program A- May 7, 2021

Performance Aisha Reddick Special thanks to Aisha Reddick for being so open to the process of creating this piece and making it such an enjoyable experience, and to Keith Johnson for your continued guidance and knowledge.

ABOUT: Can You Send Me the Link?, created by Natalie Bojorquez, explores the daily experience of Zoom overtaking our lives and the negative effects of relying on a “thumbs up” as the most prominent form of non-verbal communication (is this how we truly feel or how we think we should feel?). Bojorquez drew inspiration from the monotonous culture of Zoom classes and calls, her fellow classmates, and her mother who now works at home (otherwise known as people who spend most of their days in a Zoom box, muted, with a thumbs up as their main form of communication).

Environment: Living area of dancer- a bedroom with bed behind the dancer with white bedspread and brown pillow, mirrored closet doors behind show a ceiling fan and windows in front of dancer, who is seated at an unseen desk under the window. In the background to the right, a white door is closed with a hanging rack with jackets and purses hanging from it. On the wall beside the closet, artwork in circle and square frames are hung. A leafy plant in pink pot sits beside the desk.

Costume/Makeup/Hair: Aisha is wearing a reddish pink zip up fuzzy jacket that has a high neckline. She has her hair short, and face is natural with little makeup and a nose ring and earring in the right ear. Later she wears a dark long-sleeved turtleneck, black pants and black socks in black and white imagery. Later she wears a black hoodie, pulled tight over her head.

Music Description: Solo piano in staccato single melody plays slowly adding depth to the melody with harmonizing piano as she moves in her space and works through her emotions- to expand and then slow down to return to a solo melody once more.

“A time to keep silence, and a time to speak” from There is a Time First performed April 20, 1956 at the Juilliard School of Music by the José Limón Dance Company Choreography José Limón Staging & Direction Brenna Monroe-Cook Performance David Bernal & Jocelyn Magaña Videography/Editing Gregory R.R. Crosby Camera Operation Artur Lago-V. Costume Design Kelsey Vidic Costume Technician Erika Hansen Lighting Design Stephanie Losleben Production Assistance Kenzie Butts, Valeria Resendiz

ABOUT: José Limón (1908-1972) is credited with creating one of the world’s most important and enduring dance legacies. In celebration of the 75th anniversary of the José Limón Dance Foundation, the four excerpts presented in this concert (“Crucifixus” from Missa Brevis, “La Patrie” from Dances for Isadora (Five Evocations of Isadora Duncan), “Sphinx” from The Winged, and “A time to keep silence, and a time to 2021 Spring Dance Festival Program A- May 7, 2021 speak” from There is a Time) offer a glimpse into the theatricality, rhythmic vitality, and deep humanity of Limón’s body of work. Expressing a range of experiences from grief and perseverance, to animalistic ferocity, to passionate fervor, these pieces are a timeless part of our modern dance history.

Environment: Bare stage in perspective of the audience, a black background with brightly lit stage with purple tones accenting the stage and dancers.

Costume/Makeup/Hair: David is wearing an ivory short sleeved top and voluminous blue pants that have silver and grey accents inside the leg seams. His dark brown, curly hair is short on this sides and longer on the top, allowing for tight curls to rest over the top of his forehead. He is barefoot.

Jocelyn is wearing a dark red long-sleeved V-neck shirt that tucks into her tan pants. She is barefoot. Her long dark hair is pulled into a sleek and low bun.

Music Description: The piece is performed in silence, except for staccato clapping accompanying Jocelyn’s own clapping.

Daydream Believing (Premiere) Choreography Andrew Vaca Music “Concerto in D Major for Guitar and String Orchestra: Movements I and III” by Antonio Vivaldi Camera Operator Gregory R.R. Crosby Editing Gregory R.R. Crosby Costume Coordination Kelsey Vidic Costume Technician Erika Hansen Performance José Argueta, Tatiana Beverly, Akina Cameron, Sami Flores, Kat Giannini, Kylie Kaneshiro, Kaylee Kollins, Mary Leopo, Natalie Lovan, Sam Minnifield, Hitomi Misawa, Reese Radanovich, Damian Sanchez- Hernandez, Rachel Stanfield Production Assistance Cindy Lopez, Natalie Lovan, Reese Radanovich Special thanks to Gregory R.R. Crosby, Don Nichols, Stacey Pauly, and Kelsey Vidic; and Stephanie Losleben for everything, including getting us all on campus!

ABOUT: Daydream Believing, choreographed by Andrew Vaca, is an exuberant ride (via the lens of filmmaker Gregory R.R. Crosby) through the CSULB Dance Center Courtyard, highlighting the cast’s (and choreographer’s) excitement about the prospect of returning to dance in the beloved Dance Center this coming fall.

Environment: Outdoor patio with brown and grey benches with green walls and yellow handrails, a dark blue pyramid is seen in the background. Stairs in red lead to a courtyard that wraps around to a larger open courtyard space between a green building that slants like an inverted pyramid, and a large rectangular red building with many windows and doors for offices. Yellow benches and bushes sit in front of the red building, yellow and green tables 2021 Spring Dance Festival Program A- May 7, 2021 scattered around the courtyard. At the far end of the courtyard an orange building with three floors stands, a small concrete and curved stage area in front of it, surrounded by desert plant life that thrives.

Costume/Makeup/Hair: Dancers wear street clothes in varying degrees of colors and whites and black, easy to move in- as if it is just a normal day on campus. All wear sparkling masks of gold or blue with black trim. Some dancers carry white backpacks with the words “CSULB Dance Machine” in blue letters.

Music Description: Music is vibrant and energetic orchestral with stings and guitar playing off one another to create a jumping, twirling, enthusiastic score in celebration and invigoration.

2021 Spring Dance Festival Production Support

Choreographers Natalie Bojorquez, Teresa Declines (with Nao Aizawa and Jocelyn Magaña), Keith Johnson, Ashley Misanga Kayombo, Samantha Mujinga Kayombo, Rebecca Lemme, Eliza Loran, Tiffany Martinez-Delgado, Yukiko Nimura, Aisha Reddick, Andrew Vaca, and special guest choreographers José Limón and Kensaku Shinohara

Concert Director Andrew Vaca Production Coordinator Stephanie Losleben Video Coordinator Gregory R.R. Crosby Music Director Don Nichols Accessibility Team Jordyn Apostolache, José Argueta, David Bernal, Tatiana Beverly, Natalie Bojorquez, Akina Cameron, Kendall Chatham, Morgan Dragsbaek, Isabella Farris, Deven Griffith, Erika Gutierrez, Natasha Gyulnazaryan, Nichaela Hall, Ashley Misanga Kayombo, Aubrey Kendler, Alyssa Levy, Tiffany Martinez-Delgado, Emily Pillittere, Julia Russell, Damian Sanchez- Hernandez, Makhissa Sano, Gretchen Thompson, Cynthia Topalian, Victoria Vertiz, Jennifer Vieweg, Bella Zeddies

©1996, José Limón Dance Foundation, Inc. These performances of excerpts from There is a Time, Missa Brevis, The Winged and Dances for Isadora, Limónsm Dances, are presented by arrangement with The José Limón Dance Foundation, Inc. and have been produced in accordance with the Limón Stylesm and Limón Techniquesm service standards established by The José Limón Dance Foundation, Inc. Limónsm, Limón Stylesm and Limón Techniquesm are trade and service marks of The José Limón Dance Foundation, Inc. (All rights reserved) These performances of excerpts from There is a Time, Missa Brevis, The Winged and Dances for Isadora are part of the José Limón Dance Foundation’s 75th Anniversary Celebration.