6/12/17 2017 ADF School DESCRIPTIONS of FOOTPRINTS and 6WS REPERTORY PIECES
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6/12/17 2017 ADF School DESCRIPTIONS OF FOOTPRINTS AND 6WS REPERTORY PIECES The following are descriptions of repertory projects whose auditions will be held during preview weeK. Read these descriptions carefully to choose which auditions to attend. If you are not cast in a piece during preview weeK – don’t fret! There will be many other performing opportunities, including the ICR concert, student concert, and faculty concert. FOOTPRINTS OVERVIEW In Footprints projects, choreographers make a new work for ADF’s performance season using ADF students. It is strongly driven by its basic parameters: a new work needs to be made in a short amount of time! This means that Footprints requires a serious time commitment: casts will rehearse Monday through Friday (Wednesdays included); one weekend rehearsal each week is permitted; and the last two weeks of the festival will be largely spent in tech and dress rehearsals in the theaters. In these respects, Footprints is a window into how dance gets made in the professional world. Note that if you are someone who wants to delve into all WFSS has to offer, Footprints casts will be unable to take full advantage of WFSS. Students in Footprints may not enroll in a repertory course. Due to scheduling conflicts, students in Footprints will be unable to participate in the Student Concerts or International Choreographers in Residence Concert. They may participate in the Faculty Concert. Gregory Dolbashian Born and raised in New YorK City, Gregory made his professional stage debut at the age of eight with the Glimmerglass Opera Company. Soon after, he was cast in the Philip Glass/Robert Wilson world tour of Einstein on the Beach. Gregory received his dance training at the Alvin Ailey School on a fellowship scholarship and then graduated cum laude from SUNY Purchase dance conservatory where he studied composition with Kazuko Hirabayashi. Since then he has gone on to dance and choreograph with a variety of artists, performing with PatricK Corbin, Nelly van Bommel, Sylvain Emard, and The Chicago Ballet. He was resident choreographer for both Chicago Ballet’s spring season in 2008 and CorbinDances in 2007. He was selected as one of four emerging choreographers in the Springboard Montreal intensive run by Alexandra Wells, where he created and premiered his first international worK. Dolbashian is a recipient of The Bessie Schoenberg Residency at The Yard, winner of The Pretty Creatives Competition for Northwest Dance Project, and of The Hubbard Street 2 International Choreographic Competition. He also placed second in Ballet Austin's New American Talent competition, and has received commissions from Atlanta Ballet, TU Dance in Minnesota, Northwest Dance Project, CityDance Ensemble in D.C, and was the Resident Guest Artist at The Hartt School for the Spring 2013 semester under the direction of Stephen Pier. He has created school commissions at SUNY Purchase, Point ParK University, University of Minnesota, DeSales University, NYU Tisch and the Juilliard School. He has held faculty positions at SUNY Purchase and The Hartt School. He debuted his own company, The DASH Ensemble, in December 2009 at JOYCE SoHo. The company has gone on to present works at the Skirball Center, DTW, The Gershwin Hotel, Guggenheim Works and Process Series, Jacob’s Pillow Inside/Out, The Sheen Center, Riverside Theater, Summer Stage Central Park, Joe’s Pub, MusiKfest presented by DanceNOW and The JOYCE Theater. The DASH received the audience award at NYC’s DanceNOW challenge at Joe’s Pub in 2013. The DASH also premiered “DAYWALKING”, a film at New YorK's Tribeca Cinemas in collaboration with fashion film director Charlie Wan and was a featured act in Dance at Bryant ParK summer of 2014. The company also participated in ABT Principal Daniil SimKin’s INTENSIO, collaborating on a worK with Gregory Dolbashian for principals and soloists of ABT which premiered at Jacob’s Pillow Ted Shawn Theater in 2015. In addition to his choreography, as a performer Gregory created a one man show titled AwKward Magic which had its debut at Joe’s Pub in 2014 and then was commissioned by American Dance Festival for the summer of 2015 performance series. Alongside Loni Landon, Gregory is the co-founder of The Playground, a choreographic initiative that was voted 25 to Watch in 2013 by Dance Magazine. For the Footprints piece I am trying to build a giant web of connection, movement, and vibrancy. I plan on working with between 18-20 artists creating intricate movement and partnering sequences that are challenging for us and movement and vocabulary that has so many different textures of punch and flow. I want the piece to function as a touchstone of triumph, showing how the characters thrive and progress because of their link and connection to one another and their movements capabilities. Learn more: https://vimeo.com/161927981 Shay Kuebler Shay has been an independent dance artist in the city of Vancouver and Montreal for the past 8 years. Along with his successes as a collaborator and co-director, he has had the honor of performing and creating his own worK for international dance festivals and dance companies across Canada. As a performer, he’s performed with Kidd Pivot, Holy Body Tattoo, Animals of Distinction, and The 605 Collective. As a choreographer he’s worKed with Les Grands Ballet Canadiens, Citieballet, Decidedly Jazz DanceworKs, L’Ecole de Danse du Quebec, Simon Fraser University and London Contemporary Dance School and as a co-founder of The 605 6/12/17 Collective, he co-directed and co-choreographed 3 projects with the company. With a foundation in the martial arts, he is constantly searching for how physical performance can be finely tuned yet retain an instinctual and raw quality. As a dance artist, whose professional performing and choreographic career has spanned the disciplines of Tap, Hip Hop, neo-classical Ballet and Contemporary, Shay also looks at how all techniques can reinforce and strengthen each other. That technique, when used in an instinctive manner, can be integrated into any other form – creating cross-disciplinary worKs that have a greater capacity to affect and reach audiences. The Footprints piece will be built upon the idea of momentum and the momentum of one idea, one individual that can carry over and build to create a societal movement. This collection has the ability to identify us and connect us, yet also has the ability to separate us through our own individual expression or identity within this group movement. Eventually, individual expressions leads to separation and the conflict of opposing groups and collectives. My worK has strong foundations in martial arts and urban dance, which combines with my bacKground in other forms of dance to create my contemporary dance form. This worK will look to build off of human/pedestrian movements, that grow and build in momentum to turn into monstrous and dynamic movements. The piece will looK to tightly weave individuals into a collective movement that eventually splits into smaller groups/sects that compete against each other for space and presence. The works looks to speak towards how ideologies and value systems can grow and alter from their origins to become a way of life that further separates us rather then connects us. Gesel Mason Gesel Mason is Artistic Director for Gesel Mason Performance Projects and an Assistant Professor at the University of Colorado Boulder. She was a member of Liz Lerman Dance Exchange and Ralph Lemon/Cross Performance Projects. Her solo performance project, NO BOUNDARIES: Dancing the Visions of Contemporary Black Choreographers, has featured the worK of Robert Battle, Rennie Harris, Dianne McIntyre, Donald McKayle, Bebe Miller, David Rousséve, Reggie Wilson, Andrea E. Woods Valdéz, and Jawole Willa Jo Zollar. NO BOUNDARIES recently received a National Endowment for the Arts grant to support the live final performance and a new commission by Kyle Abraham. Mason utilizes dance, theater, humor, and storytelling to bring visibility to voices unheard, situations neglected, or perspectives considered taboo. Her most recent choreographic project, antithesis, collides the genres, bodies, and cultures of postmodern and erotic dance in order to challenge how female sexuality is perceived, performed and (re)presented. antithesis is a 2015 Map Fund recipient. For Footprints, I am creating an original group worK based on themes developed in antithesis. The project, which builds upon poet Audre Lorde’s essay, "Uses of the Erotic," is an embodied attempt to explore and mine the erotic as a source of power and creative possibility. The intent is to craft a worK that embraces the sometimes messy, gritty, tactile, growling, chaotic, passionate, and tender edges of human expression; what Lorde refers to as “the yes within ourselves.” Experimentation, risK, and collaborative investigation are a part of my creative process. Vulnerability, humor, and visceral physicality are hallmarks of my worK. My movement vocabulary includes solo, group and partner worK that encompasses the intimate and rhythmic, the sensual and percussive, the gestural and sweeping, and the recognizable and unpredictable. I often play with physical and cultural markers in ways that transgress and transcend identity. I'm interested in a performer's ability to be human whether they are standing, speaKing or moving fully. Lucinda Childs (staged by Jorge Pérez Martínez) Lucinda Childs began her career at the Judson Dance Theater in 1963 where she choreographed thirteen worKs and performed in worKs of Yvonne Rainer, Steve Paxton, and Robert Morris. Since forming her dance company in 1973, she has created over fifty worKs, both solo and ensemble. In 1976, she collaborated with Robert Wilson and Philip Glass on the opera Einstein on the Beach, as principal performer and choreographer for which she received a Village Voice Obie award.