Fundamental and Advanced Projects in Dance Performance and Repertoire Department of Theatre and Dance at the University of Texas at Austin (PDPR )
M/W 3:00-5:00, T/TH/F 3:30-5:30
TD212P #26190 Beckham, Anderson TD232P #26535Anderson, Sharir TD332P #26540Anderson, Sharir
Locations as scheduled weekly Fall 2014
Faculty
Charles Anderson Andrea Beckham Yacov Sharir
Co Artistic Director / DRT Co Artistic Director/DRT Co Artistic Director/DRT
(512) 512-471-3467 (512) 232-5332 (512) 232-5333 [email protected] [email protected] [email protected] Course Office: WIN 2.132B Office: WIN 2.132 Office: WIN 2.132 Description Hours: T/TH 2:30pm-3:15pm Hours: T/TH 11:00a - 12:00p Hours: Or by appt. Or by appt. By appt. This course is designed to integrate intermediate and advanced dance students into a professional, working environment in the performing arts. This includes participating in the audition, casting, rehearsal and performance processes. It also includes involvement in technical aspects of production and rehearsal directing. Students will learn new dance works staged by faculty and guest artists and will experience fully the significant role of the working artist in relation to the field of dance. Casting of dance works for the semester will occur in the first class week.
The performing component of this course is known as Dance Repertory Theatre (DRT). Participation in DRT fulfills the lab component of this course and requires significant time commitments beyond the classroom schedule. Not all students enrolled in this course may necessarily perform or tour with DRT. It is required that all students enrolled in this course also be concurrently enrolled in at least one of the following dance majors technique courses: 312C, 322C, 312D, 322D, 322E, 312F, 322F, 312G, 322G, 322J. Exceptions will be considered only on a case-by-case basis. Enrollment in the course is by audition and consent of the instructor(s). Because some projects begun in the Fall will carry through academic year 2014/2015, students enrolled in any PDPR section in Fall 2014 are expected to also enroll in PDPR in Spring 2015. Students are assigned to a section of PDPR based on degree requirements.
Course Objectives
• To relate the student’s work in technique class to a rehearsal situation. • To expose the student to a range of approaches to the creative process. • To experience audition processes and learn how to prepare for an audition. • To experience rehearsal processes, which may include observation and participation in creating new work or the reconstruction of existing choreography. • To work at the highest technical and artistic ability in rehearsal and performance situations. • To further understand the standards of behavior and dedication that are placed on dancers in professional settings. • To provide students with artistic, mental, and physical challenges. • To provide students with the tools needed to become strong performers.
Fall Semester Repertory and Activities (subject to revision)
Fall 2014 Important Dates Dance Repertory Theatre represents an important professional performing component of the Department of Theatre and Dance and the Dance Program, and students may be asked to perform on relatively short notice for functions internal and external to the University beyond what it outlined below. It is expected of all students that they make themselves available to the extent possible within their academic schedules when performance opportunities arise.
Fall For Dance Works: • New Work by Christian Von Howard • New Work by Ellen Bartel • “Through the Mountain” by Andrea Beckham • “Seethe” by Charles O. Anderson • Student Work TBA Auditions: Thursday, August 27 and Friday, August 28th (except Christian Von Howard- his audition will be Friday, September 19th)
Guest Artist Residencies: Christian Von Howard (see bio on page 8)- September 19 – September 26, 2014 Requires weekday evening and Saturday/Sunday rehearsals during the residency period
Sidra Bell (see bio on page 10)- Workshop and Audition- December 1-3, 2014
DRT Performances Thursday, September 25: Director’s Council Showing 3:30-4:15 Friday, October 10: Informal (and very rough) run-through of Fall for Dance (works should be at least ¾ complete Fall For Dance – November 14-16
Performances will be in the Oscar Brockett Theatre: http://www.utexas.edu/finearts/tad/about/facility/oscar-g-brockett-theatre
NOTE: Monday, November 3 will be the beginning of tech. This will require nightly technical rehearsals in the theater. Keep your evenings (and the weekend) the entire week of November 3.
Students will be asked to sign an agreement, separate to this syllabus, that states the following: Awareness concerning intellectual property rights is an increasingly important issue for faculty and researchers. Works created during this course are the sole property of the choreographer. Any unauthorized copying or other use of the video recording or photographs by any party is strictly prohibited. The use of any technological device to transfer archived documentation of the rehearsal or performance process of a dance work is considered “work made for hire” and subject to licensing.
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PDPR / DRT Personnel Infrastructure
A. Auditions Every day is an audition. How you conduct your self in rehearsal, in technique class and in the department has an effect on casting. See this as the opportunity it is and develop a healthy and positive attitude and perspective
B. Casting All casting decisions will be made and/or approved by the artistic directors of PDPR / DRT, Charles O. Anderson, Andrea Beckham and Yacov Sharir subject to consultation with participating choreographers. As the course progresses, the artistic directors may change casting decisions.
ALL students will learn at least one dance work and are required to participate fully in all scheduled rehearsals. Some members of one cast may also be cast in alternative or understudy roles.
Roles in DRT / PDPR:
1. Rehearsal assistant - A person who earns this role acts as an aid to the choreographer, assisting in documenting and teaching material, setting up necessary audio and visual equipment prior to the beginning of each rehearsal, keeping track of cast members' absences or tardiness. This is a VITAL component to the successful rehearsal process. These students must attend all rehearsals, technical rehearsals and performances of the works he/she is responsible. 2. Dancer - If cast in a work, this person acts as an aid to the choreographer, providing a rich fountain of feedback both physical and mental. This is a VITAL component to the successful rehearsal process. These students must attend all rehearsals, technical rehearsals and performances of the works he/she is cast in. It is the expectation- not the exception- that a dancer will be FULLY committed to the creative and rehearsal process of the choreographer. Failure to do so can result in a failing grade.
3. Alternate / Understudy - This person acts as an aid to the choreographer, providing a rich fountain of feedback both physical and mental. This is a VITAL component to the successful rehearsal process. These students must attend all rehearsals, technical rehearsals and performances of the works he/she is cast in. Failure to do so can result in a failing grade. - It is not guaranteed that understudies/alternate cast members will perform the work. However, they are entrusted with the responsibility of integrating into the learning/creative process fully and to be prepared for the possibility of last-minute rehearsing and performing. It is expected that if selected as an understudy, the dancer will be fully committed to the creative process and positively contribute to the rehearsal process.
4. Production Coordination Assistant (New Position) - This is a new, but very vital role. Production Coordination Assistants (PCA) assist in the coordination of the logistical aspects of a dance production. In effect they deal with a number of non-artistic aspects of a production. - The PCA is responsible for enabling the artistic ideas of the Choreographer and Artistic Directors to happen, within the technical boundaries of the theatre or performance space and the budget. They will work directly with the Artistic Directors, choreographers and 3 Projects in Dance Performance and Repertory Syllabus – Fall 2014
rehearsal assistants on the different ‘behind the scenes’ aspects of a dance production including lighting, costumes, scenery, sound, video projection, rehearsal scheduling and stage management.
- Rehearsal Scheduling Tentative Rehearsal Schedule (Until October 10)- THIS IS SUBJECT TO CHANGE: Beckham: MWF 3-5 *Bartel: MF 3-5 Student: TTH- 3:30-5:30 Anderson: TTH- 3:30-5:30 (some W/F rehearsal) Von Howard (post-residency): W-3-5 **Choreolab: TBA * Ellen Bartel’s will have some Wednesday rehearsals. You will be notified at least one week in advance ** Throughout the semester, PDPR will have rehearsal workshops in preparation for Spring. Participation will be voluntary, but it will be noted who participates (and who does not) in terms of casting decisions in the spring (Workshop guests will include Sunny Shen, Student Choreographers not selected for FFD, emerging guest choreographers.)
Every effort will be made to maintain a consistent rehearsal schedule until October 10th where we will have an informal showing of all works in progress, but short-notice changes may be made. Based on the showing on October 10th, rehearsal schedules may shift to ensure all works are given opportunity to be completed and adequately rehearsed. Therefore- it is expected that students will not schedule other activities during PDPR class time until the schedule is set. It is the student's responsibility to be updated. We will contact students by e-mail when possible. All schedules will also be posted on Blackboard at least 24 hours in advance. IT IS ESSENTIAL THAT ALL STUDENTS CONSULT THE PDPR/DRT SCHEDULE BOARD DAILY, PRIOR TO REHEARSAL.
Requirements
• Attendance -- There are NO "excused absences" except those made on an individual, emergency basis. Please refer to the attached departmental policy. Absence from this class may cause your immediate dismissal and a failing grade. • Promptness -- Students are expected to be present, dressed and warmed up at the time rehearsal begins. Please refer to the attached departmental policy. • Attitude -- An open, supportive, energetic and positive rehearsal attitude is essential for a positive work environment and best productivity. • Work at the highest level, always. • The retention and refinement of the movement material presented.
-Fall Semester Required Dates (subject to change): Guest Artist Residency • Christian Von Howard – IF CAST or assigned – then: o September 20 and 21: 12-6 pm and September 22-26: 3pm-5pm/3:30-5:30 and 6pm-9pm; Fall For Dance The DRT performance week Monday, November 3- Friday, Saturday, November 7 through Sunday, November 8, 2013 November 7, 2014 Evenings 6-10:30pm Evenings 6-10:30pm
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Evaluation/Grading
Artistic directors and guest artists, throughout the course of the semester will conduct ongoing assessment of the following requirements.
Progress -- individual: technical skill, expanded movement vocabulary: 40% Exhibits ongoing technical and artistic growth throughout the rehearsal and performance process. Works at full energy at all times. NO MARKING, unless the choreographer specifically instructs to do so. Comes fully prepared to each rehearsal, with material reviewed, memorized and mastered.
Participation -- group: rehearsal process, discipline, initiation of work: 50% Attends ALL required studio and theatre rehearsals and performances, and/or; 1) submits all known conflicts in writing to the artistic director for approval at the beginning of the project, and 2) reminds the choreographer and artistic director of approved conflicts at the beginning of rehearsal. Is in the studio, warmed-up and prepared to begin at the onset of class Works at full energy at all times. NO MARKING, unless the choreographer specifically instructs to do so. Understands and integrates corrections and changes. Listens to, acknowledges and complies with all requests from the choreographer and stage manager during all rehearsals and performances. Plays a positive role in creating, supporting and maintaining a working environment that respects the needs and talents of everyone in the theatre
Reflection -- individual: assessment of the processes engaged in by the working artist: 10% Written reflection on artistic process, choreography and creativity, Guidelines and due date will be distributed separately. Verbal reflection and engagement in intermittent class discussions on artistic process, choreography and creativity,
A, A- Mastery of Progress, Participation and Reflection, B+, B, B- Consistent achievement of Progress, Participation and Reflection. C+, C, C- Occasional achievement of Progress, Participation and Reflection D+, D, D- Little achievement of Progress, Participation and Reflection F No achievement of Progress, Participation and Reflection
*Students participating in this class do so at their own risk. As with any physical activity, there is always the chance of personal injury occurring during the normal conduct of classes. The instructor or guest artist is not responsible for student injuries or accidents, which may occur during the normal conduct of classes.
* Dance is a physical art form, which often requires physical contact with others. At times, the instructor may give corrections for alignment or muscular awareness through gentle, physical contact, so as to help the student understand proper placement and avoid injury. It might also be used in an artistic way when dancing with other students. If you are uncomfortable with physical contact on any level, tell the instructor immediately. These concerns are perfectly acceptable and will in NO WAY affect a student¹s grade.
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Grade Definitions These evaluative criteria are adapted from criteria developed by Dr. David Barndollar, Chair of the English Department, UT Austin
A Grade Demonstrates unusual competence: • an ability to avoid the obvious or literal and thus gain insights that are individual and often illuminating • a capacity to develop ideas or movements flexibly and fluently, yet with control and purpose • a special concern for the bon mot, even if it entails manipulating a step or phrase that the technical language or instruction does not provide • an ability to use dynamics and phrasing rhetorically, using it for effect as well as for clarity • a willingness to be inventive with shapes, structures and nuance in order to produce a clearly identifiable style, even though at times the efforts may be too deliberate or may fall short of the dancer’s intentions B Grade Demonstrates competence: • an ability to absorb ideas and experience and to interpret them meaningfully in a context of the dancer’s own conception • a capacity to develop an idea, movement or phrase with a clear sense of order • a capacity to execute dynamics and phrasing adequate to express the dancer’s own thoughts and feelings • an ability to use mechanics as an integral part of the meaning and effect of the technique • a capacity to consider alternate ways of expression as a means of making stylistic choices possible C Grade Suggests competence: • a tendency to depend on the self-evident and the clichéd and thus for the dancers to generate rote execution of a step or phrase • a tendency either to make the organization obvious or to dance aimlessly without focus • a limitation in the execution of rudimentary vocabulary and thus a lack of flow within a phrase and the limited ability to add a personal intent • an ability to use mechanics correctly or incorrectly in proportion to the plainness or complexity of the style • a general unawareness of choices that affect style and thus an inability to control the effects a dancer may seek D Grade Suggests incompetence (F: Demonstrates incompetence) • a tendency to exploit the obvious either because of a lack of understanding, inability to execute, failure to grapple with vocabulary or a phrase, or in some instances a lack of interest; substance of work ranges from superficial to barren • a tendency to wander aimlessly because of a lack of overall conception or in some instances to have a semblance of form without the development that makes the parts a whole • a tendency to play safe with vocabulary, placing obvious limits on variation of expression • either a tendency to play safe by avoiding the exploration of elements that may invite error or a tendency to overly convolute ideas, vocabulary and phrases without consideration of the overall effect • a frequent inability to make careful distinctions between phrasings and between dynamics, although some dancer’s in these categories can execute effectively if the structures are kept simple
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DRT Performance Arc this season:
Under the direction of Charles O. Anderson, Yacov Sharir, and Andrea Beckham, Dance Repertory Theatre is going “Downtown” this season by presenting contemporary works in Oscar Brockett Theatre inspired by New York City’s “downtown dance” scene.
Downtown Dance Defined:
Essentially, “downtown dance” is a label used in NYC to describe work that is in the lineage of modern dance, comes after the postmodern movement of the 1960s and ’70s, and doesn’t belong to an established (i.e. classical) technique. It is also known as experimental dance. Downtown dance historically pushes the boundaries, embraces movement for movement’s sake and is rooted in experimentation and improvisation. These characteristics, however, are elusive, which is one reason why geography—the movement was born south of 14th St in Manhattan—is seen as the most concrete thread uniting the genre’s choreographers. Makers of downtown or experimental dance attempt to create new dances for the new moment. They believe that the forms of the past, though instructive, no longer speak to our dynamic and changing world. Experimental dance takes no one form or style.
So much of the media with which we interact tells us how to respond to it, providing cues for our reactions. Experimental dance operates outside this system; it serves no one social purpose. Its form and content aren’t laced with one rarified interpretation or meaning locked inside a terpsichorean puzzle. Rather, experimental choreographers create experiences a viewer can imagine “in parallel to.” In other words, there is nothing to “get,” but there is everything to experience. Experimental dance can awaken you to yourself and to the unique way in which you think and empathize. In turn, the revelation of that intelligence and emotional connection can help you understand why you are you, and what makes the universe the universe.
Downtown/Experimental dance offers new models of thinking about our complex world. It also stretches our ability to empathize with others by engaging our brains in complex and unfamiliar choreographic situations. Dance is uniquely able to give form to the squishy untidiness of experience, and dance’s impermanence is its most essential meaning. Experimental dance, in particular, reminds us that the universe isn’t made of objects, but is woven of infinite processes.
About the Guest Choreographers: Fall For Dance:
CHRISTIAN VON HOWARD is the Artistic Director of the VON HOWARD PROJECT. Born on the Island of Oahu in Hawaii and nurtured in the Big Ole state of Texas, Christian is an international performer, teacher and choreographer. His professional career began as a teenager at Ballet Concerto, under the Artistic Direction of Margo Dean. He would later become a founding member and Assistant Director of JAADE Dance Theatre under the direction Keisha Breaker-Haliburton. In Texas, Christian also performed with Contemporary Dance/Fort Worth, Darryl B. Sneed (Former Assistant Director of Dallas Black Dance Theater), the Irving Ballet, Denton Civic Ballet, North Central Ballet, Dancers Unlimited, Mary Kay Industrials, Dian Clough West, NOVA Dancing Company and many others. Overseas in the mid 90's, he graced the stage with Ballet Trier (Germany) and Let's Dance/Teatro de Reggio (Italy). In 1997, Christian co- founded 1*4*8 The Collective, a collaborative dance and theater company of seven artists creating work in the NYC area. From 2000-2003 he served as the Artist in Residence at Columbia College (SC) and the Associate Director of The Power Company. As a concert performer, Christian has worked with such artists as Doug Varone, Fernando Bujones, Douglas Becker, Mark Dendy, Randy James, the Fred Benjamin Dance Company, Daniel Gwirtzman Dance Company and the Alpha Omega Theatrical Dance Company. In 2006,
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Christian was awarded a Choreography Fellowship from the New Jersey State Council of the Arts. His choreography has been produced in various venues across the globe including Trier, Germany, Joyce SoHo, Dixon Place, DanceNow/NYC Festival, d.u.m.b.o. arts festival, the Ailey School and the Spoleto Festival (SC). He has set works on various colleges and universities, which included Columbia College (SC), University of Illinois Urbana-Champaign, Jacksonville University, Texas Christian University, Winthrop University and various other schools of dance across the country. Christian has been a member of the dance faculties of Texas Christian University, Morris County Academy of Visual & Performing Arts, Mason Gross School of the Arts - Rutgers University, Interlochen Arts Academy, Virginia Commonwealth University where he was an associate professor and he continues to teach at the Ailey School where he has been on faculty since 1998. Christian holds a BFA from Texas Christian University and a MFA from Tisch School of the Arts, New York University. In the fall of 2014 he joined the dance faculty at Monclair State University as an Associate Professor of Dance & Choreography.
Von Howard Project Choreography Reel (features both work on his company and students): https://www.youtube.com/watch?v=0ur61FUh3bc#t=95
ELLEN BARTEL received her B.A. in Liberal Arts from S.U.N Y Potsdam and her M.F.A. in Dance at the University of Texas focusing on the pedagogical methods of contemporary dance and choreography of site- dance. She is the artistic and executive director of Ellen Bartel Dance Collective (formerly known as SpankDance), a project-based contemporary dance performance group. In two decades of dancing in Austin, Ellen has managed a small dance studio (‘97-‘06), directed a slow-motion improvisation group (’95-’01), directed non-profit Spank Dance (’00-’13), created 47+ new dance works, directed 55+ butoh improvisations, spearheaded community dance events such as the annual Dance Carousel (’04-’12), Big Range Austin Dance Festival (’08-’12), Hot September Flurries (05-07), and co- founded the Austin Independent Choreographers. She has choreographed for T. V. commercials, theater, fashion shows, as well as Performance Art events, and has collaborated with local composers: Graham Reynolds, Andy Hadaway (now NYC), Adam Sultan and Peter Stopschinski among others. Ellen has danced in 20 original new works from local choreographers including Ariel Dance Theater who she performed extensively with until 2001. Ellen's choreography has been shown in many venues in Austin, and also Houston, Dallas, Waco, San Antonio, Edinburgh, Scotland, and in Brooklyn, NY. Ellen has been most recently been accepted into the City of Austin's Creative Ambassador program, and been called a Dance Mobilizer, Dance Phenomenon, chosen for Austin’s Fortunate 500 for several years, nominated for Best Dance Concert and Best Choreography for numerous Critics Table Awards, Best of the Fest in HPT’s Frontera Festival, and a chosen for many Top Ten Dance Events. Ellen has been awarded scholarships for education, funding to create new work, generous contributions from members of the Austin community, and, also gets invited to fancy art parties now and again.Ellen’s new work will integrate pedestrian movement with Humphrey/Limon technique and partnering work to develop a new work for DRT inspired by zombies that conveys a sense of urgency and humor.
Fall For Dance will also feature work by • A selected Student Choreographer TBA
• Andrea Beckham, Senior Lecturer of Dance and Coordinator of the Pilates Lab: Andrea offers an exciting re-imagining of the critically acclaimed "Through the Mountain", a work inspired by a profound moment in The Epic of Gilgamesh, an epic poem from Mesopotamia. It is an athletic, technical modern dance exploration of the journey through utter darkness one experiences when one feels great loss, but maintains faith in unknowing set to an original score by Billy Wolfe, winner of an Austin Critic Table Award for Best Original Composition.
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• Charles O. Anderson, Associate Professor of Dance and African and African Diaspora Studies: Anderson is setting a new work entitled “Seethe” that draws upon a hybrid style of African and African American movement and contemporary dance to explore the emotional state of being on the verge of emotional outburst.
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A Look Ahead: MOVE! Guest Choreographers:
SIDRA BELL is currently a Master Lecturer at the University of the Arts (Philadelphia), was Adjunct Professor at Barnard College (Columbia University), and has a degree in history from Yale University and an MFA in Choreography from Purchase College Conservatory of Dance.
She was awarded a 1st Prize for Choreography for Grief Point. at the 15th Internationales Solo Tanz Theater Festival in Stuttgart, Germany (2011). She was awarded the Patricia Kerr Ross Award for Choreography from New York Foundation for the Arts in 2005.
Her critically acclaimed company and choreography has been seen throughout the United States and internationally in Denmark, France, Austria, Turkey, Germany, China, Canada, Aruba, Korea, Brazil and Greece. The Company was lauded in the Pittsburgh Post Gazette's 2010 Best in Dance for ReVUE, and in the 2012 Year in Review in ArtsATL’s notable performances for Nudity. Bell has received many commissions for new work from internationally renowned companies and institutions around the world. She has worked with break-dancers to ballet dancers and everything in between.
She has received numerous commissions nationally and internationally for new work. Notably with BODYTRAFFIC, Ballet Austin, Sacramento Ballet, The Juilliard School, River North Chicago Dance Company, Ailey II, LEVYdance, Robert Moses’ KIN, Alonzo King’s LINES Ballet School, Uppercut Dansteater (DEN), Motto Dans Kolectif (TUR), Drew Jacoby, Peridance Contemporary Dance Company, Tisch School of the Arts, University of Utah, August Wilson Dance Ensemble, Point Park University, University of Michigan, The Ailey School, Barnard College, New York Live Arts, Dance Theater Workshop, Kelly-Strayhorn Theater, Tribeca Performing Arts Center, Stella Adler Studio of Acting, Springboard Danse Montréal, The Duo Theater, Purchase College Conservatory of Dance, National Choreographer’s Initiative, Mystic Ballet, Visceral Dance Company, University of the Arts, The Five College Dance Department, and Houston Metropolitan Dance Company.
Most recently she was commissioned as the choreographer for the feature film TEST set in San Francisco during the height of the AIDS crisis in 1985, which focuses on a prestigious dance company dealing with the spread of HIV and its effects on the lives of its performers. The film, directed by Chris Mason Johnson (Ballet Frankfurt/White Oak Project) and shot on location in San Francisco, has premiered at Seattle Film Festival, the historic Castro Theater in San Francisco, and Outfest Los Angeles. It was awarded two grand jury prizes from Outfest for Best Screenwriting and Outstanding U.S. Feature.
Bell is a sought after master teacher and her alternative approach was featured in Dance Teacher Magazine (2012) and Dance Studio Life Magazine (2013). She has taught her unique creative practice of movement, improvisation, and technique entitled Contemporary Systems — An Interior & Material Approach at major institutions for dance and theater throughout Canada, Europe, South America, and the United States. She has been a pilot artist for such progressive educational and commissioning programming as the Movement Invention Project (NYC), Dance Cycles & Sophomore Project (University of the Arts, PA), and AMP Residency (San Francisco with LEVYdance).
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Work Samples: http://www.sidrabelldanceny.org/videos.html A recent interview with Sidra: https://www.youtube.com/watch?v=ExOYz6sLHpY KATE WATSON-WALLACE is a choreographer and visual artist based in New York and Philadelphia. She has received numerous awards for her choreography including: A Pew Fellowship in the Arts in Choreography, two Map Fund Grants and a Doris Duke Exploration grant through Creative Capital, multiple grants from the Pew Center for Arts and Heritage through Dance Advance, The PA Council on the Arts, The Independence Foundation and Penn PAT. She has choreographed music videos for: Black Dice and Animal Collective. Recent Commissions include: Ballet X, Hotel Monoco/Kimpton Hotels, RedBull Art-of-the-Can, and Meredith Rainey/Carbon Dance Theater. She co-directs anonymous bodies with performance artist, Jaamil Kosoko. They have shown work at venues nationally, including: The Philadelphia Live Arts Festival, Joyce SoHo, Dance Theater Workshop, Dance Place, ODC Dance, Velocity Dance, Movement Research at Judson Church, and Kelly Strayhorn Theater. Kate creates site-based installation. Works include HOUSE, a performance for 15 audience members inside an abandoned row home, CAR, an audience for 4 audience members who sit inside a moving vehicle, STORE, a performance installation inside an abandoned mega-store, and Everywhere, a participatory on-line dance experience, and contest. She is currently creating Mash Up Body, a new installation under the Mentorship of Miguel Gutierrez that will premiered in Pittsburgh’s Kelly Strayhorn Theater in the spring of 2013, where she is in residence for the year. Samples of her work: http://www.anonymousbodies.org
MOVE! will also feature choreography by Dr. Yacov Sharir, Professor Emeritus of Dance, Jun “Sunny” Shen, 2nd Year MFA Candidate in Dance and a selected undergraduate student choreographed work (via the proposal process). More information in Spring 2015.
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