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.