Post # 5:
Title: TO BUILD A HOME
Choreography: Chris Jarosz
Music: “To Build a Home” – Cinematic Orchestra
Dancers: Katie Drablos, Chris Jarosz, Willis Johnston, Lauren Perry
MY DESCRIPTION OF THE DANCE MOVEMENTS & THE PIECE AS A WHOLE:
TO BUILD A HOME is heartwarming, tender, HONEST, HUMAN, emotional, LIVING, BREATH. There is such clear LIFE OF THE CENTER in this piece
GENERAL OBSERVATIONS:
The movement in this dance ALL comes from the center body. More importantly, however, the movement comes from the human heart. ENERGY MOVES throughout this dance as you SEE the inner and outer STRUGGLES of the dancers for each other and for LOVE and CONNECTENDESS. You see the PASSION of the dancers overflowing, unbounded, sheer JUBILATION. There is a REAL CONNECTION between partners, a FEELING of each other. The dancers dance WITH each other.
MY INTERPRETATION OF MESSAGE:
TO BUILD A HOME has at its roots, the subject of human romantic RELATIONSHIPS. These relationships bring forth the FAMILY and the HOME. Jarosz’s work TELLS THE STORY of building such a HOME, and the real STRUGGLES that accompany such a daring act of FAITH.
MOTIVATING LYRICS:
(PLEASE NOTE: Jarosz’s work begins in the music after the solid line and multiple asterics, and continues through the end of the lyrics.)
There is a house built out of stoneWooden floors, walls and window sillsTables and chairs worn by all of the dustThis is a place where I don't feel aloneThis is a place where i feel at homeAnd I built a homeFor youFor meUntil it disappearedFrom meFrom youAnd now, it's time to leave and turn to dust(Instrumental)________________________________________________***** Out in the garden where we planted the seedsThere is a tree as old as meBranches were sewn by the color of greenGround had arose and passed it's kneesBy the cracks of the skin I climbed to the topI climbed the tree to see the worldWhen the gusts came around to blow me downI held on as tightly as you held onto meI held on as tightly as you held onto meAnd I built a homeFor youFor meUntil it disappearedFrom meFrom youAnd now, it's time to leave and turn to dust
VIDEO CLIP:
TO BUILD A HOME video clip (filmed by Christine Harris)
FAVORITE MOMENTS:
.14 – look
.17 – hand clasp
.36 – Katie Drablos
.40 – Katie Drablos
.53-5 – Katie Drablos
1.15-.20 – Lauren Perry
1.23-.34 – Katie Drablos & Chris Jarosz
1.30-.39 – Lauren Perry & Willis Johnston
1.43 – Chris Jarosz
1.48 – Katie Drablos
1.53 – leap
2.02-.04 – Willis Johnston
2.09 – kiss
2.19 – Chris Jarosz & Lauren Perry (lift)
2.28-9 – Chris Jarosz & Katie Drablos
2.41-end – all interactions
Monday, December 1, 2008
Sunday, November 30, 2008
Post # 4:
Title: REPRIEVE
Choreography: Kimberly Lyons
Music: “Reprieve” - Ani DiFranco
Dancers: Louis Acquisto, Devon Adams, Albert Drake, Katrina Kutsch,
Leah Mitchell, Rachel Trippett
MY DESCRIPTION OF THE DANCE MOVEMENTS & THE PIECE AS A WHOLE:
Kym Lyons’s choreography in REPRIEVE is very ACCENTED, CLEAR, and STRONG. The movement quality in the piece is EVER CHANGING and interesting. From moment to moment, the movement quality changes from smooth, to quirky, to controlled, to contemplative, to ethereal, to curvy, to fluid, to inward, to breathy, to angy. Although the choreography is chalked-full of differing dynamic and mood qualities, it is constant that Kimberly’s dancers never fail to dance STRONG and bring NEW INNOVATION EACH TIME THEY PERFORM. Such INVESTMENT in one’s work is a DELIGHT to all who have the PRIVILEGE of witnessing such
ART.
GENERAL OBSERVATIONS:
The use of FOCUS in this dance is ABSOLUTELY PHENOMENAL. THE FOCUS, brings this dance to LIFE. The dancers’ expressions of deep concern, unbelief, abhorrence, disgust, and fearless confidence take the audience’s breath away. BREATH itself is another key component of this dance. Breath fills the strong accents, extended movements, skitter-skatters, violence, and moments of utter softness. Because of the dancers’ ability to utilize their physical breath, the dance BREATHS and REPRIEVE IS ACHIEVED.
MY INTERPRETATION OF MESSAGE:
The three words I choose to describe this dance are as follows: FEAR, WONDER, EXCLAMATION.
Kimberly Lyons’s work is overflowing with EMOTION, particularly LOUD FRUSTRATION. The piece is SHOUTING, trying SO HARD to EXPLAIN – TO TELL A STORY of a TRAGIC SITATION.
MOTIVATING LYRICS:
Below I included all of the lyrics for Ani DiFranco’s REPRIEVE. I CAPITALIZED the words I felt were of STRONGEST meaning:
“MANHATTAN IS AN ISLANDLike the women who areSurrounded by children in the carSurrounded by cars
Or Manhattan was a projectThat projected the worst of mankindFirst one and then the otherHas made its mark on my mind
It's sixty years later near the hypo-center of the a-bombI'm standing in the middle of HiroshimaWatching a twisted old eucalyptus tree waveOne of the very few lives that survived and lives onRemembering the day it was suddenly thousands of degreesIn the shade
And what all of nature gave birth toTERROR TOOK in a blinding raidWith the kind of painIt would take cancer so many years just to say
Oh to GROW UP GAGGED AND BLINDFOLDEDA great big mans world IN YOUR LITTLE GIRLS HEADTHE VOICE OF THE GREAT MOTHER DROWNED OUT In the constant honking haunting the accident scene up aheadOH TO GROW UP HYPNOTIZED and then try to shake yourself awakeCAUSE YOU CAN SENSE WHAT HAS BEEN LOSTCAUSE YOU CAN SENSE WHAT IS AT STAKE
Yeah it took me a few years to catch on THAT THOSE DAYS I CATCH EVERYONE’S EYE CORRESPOND WITH THOSE NIGHTS OF THE MONTH
WHEN THE MOON GLEANS LIKE AN EGG IN THE SKYAND MEN USING A SENSE THEY DON’T EVEN KNOW
THEY HAVE JUST TO WATCH ME WALK BYAnd me, I'M SUPPOSED TO BE SENSIBE, LEAVE MY ANIMAL OUTSIDE TO CRYBUT WHEN ALL OF NATURE CONSPIRES TO MAKE YOU HER GLORIOUS WHOREIt's cause IN MY BODY I HOLD THE SECRET RECIPE OF PRECISELY WHAT LIFE IS FOR and the PATRIARCHY THAT LOOKS TO SHAME ME FOR IT
IS THE SAME ONE MAKING WARAnd I've said too much already but I'll tell you something moreTO SPLIT YOURSELF IN TWO IS JUST THE MOST RADICAL THING YOU CAN DOSo girl if that shit ain't up to you, then YOU SIMPLY ARE NOT FREECause from the sunlight on my hair to which eggs I grow to termTo the expression that I wear, ALL I REALLY OWN IS ME
I mean to split yourself in two is just the most radical thing you can doGODDESS FORBID THAT LITTLE ADAM SHOULD GROW SO JEALOUS OF EVEAnd in the face of the great FARCE of the nuclear ageFEMINISM AIN’T ABOUT EQUALITY, IT’S ABOUT REPRIEVE.”
VIDEO CLIP:
(not posted yet... sorry.... hopefull soon..... I'm working on it.)
FAVORITE MOMENTS:
.20 – Albert Drake
.27-9 – Devon Adams
.44-5 – Devon Adams
.48-9 – all
.55-7 – “to say”, face expressions
1.06-.07 – Katrina Kutsch, face expression
1.21-.22 – Leah Mitchell, shake
2.06-.12 – Leah Mitchell & Devon Adams
2.13 – Leah Mitchell, fall to floor
Title: REPRIEVE
Choreography: Kimberly Lyons
Music: “Reprieve” - Ani DiFranco
Dancers: Louis Acquisto, Devon Adams, Albert Drake, Katrina Kutsch,
Leah Mitchell, Rachel Trippett
MY DESCRIPTION OF THE DANCE MOVEMENTS & THE PIECE AS A WHOLE:
Kym Lyons’s choreography in REPRIEVE is very ACCENTED, CLEAR, and STRONG. The movement quality in the piece is EVER CHANGING and interesting. From moment to moment, the movement quality changes from smooth, to quirky, to controlled, to contemplative, to ethereal, to curvy, to fluid, to inward, to breathy, to angy. Although the choreography is chalked-full of differing dynamic and mood qualities, it is constant that Kimberly’s dancers never fail to dance STRONG and bring NEW INNOVATION EACH TIME THEY PERFORM. Such INVESTMENT in one’s work is a DELIGHT to all who have the PRIVILEGE of witnessing such
ART.
GENERAL OBSERVATIONS:
The use of FOCUS in this dance is ABSOLUTELY PHENOMENAL. THE FOCUS, brings this dance to LIFE. The dancers’ expressions of deep concern, unbelief, abhorrence, disgust, and fearless confidence take the audience’s breath away. BREATH itself is another key component of this dance. Breath fills the strong accents, extended movements, skitter-skatters, violence, and moments of utter softness. Because of the dancers’ ability to utilize their physical breath, the dance BREATHS and REPRIEVE IS ACHIEVED.
MY INTERPRETATION OF MESSAGE:
The three words I choose to describe this dance are as follows: FEAR, WONDER, EXCLAMATION.
Kimberly Lyons’s work is overflowing with EMOTION, particularly LOUD FRUSTRATION. The piece is SHOUTING, trying SO HARD to EXPLAIN – TO TELL A STORY of a TRAGIC SITATION.
MOTIVATING LYRICS:
Below I included all of the lyrics for Ani DiFranco’s REPRIEVE. I CAPITALIZED the words I felt were of STRONGEST meaning:
“MANHATTAN IS AN ISLANDLike the women who areSurrounded by children in the carSurrounded by cars
Or Manhattan was a projectThat projected the worst of mankindFirst one and then the otherHas made its mark on my mind
It's sixty years later near the hypo-center of the a-bombI'm standing in the middle of HiroshimaWatching a twisted old eucalyptus tree waveOne of the very few lives that survived and lives onRemembering the day it was suddenly thousands of degreesIn the shade
And what all of nature gave birth toTERROR TOOK in a blinding raidWith the kind of painIt would take cancer so many years just to say
Oh to GROW UP GAGGED AND BLINDFOLDEDA great big mans world IN YOUR LITTLE GIRLS HEADTHE VOICE OF THE GREAT MOTHER DROWNED OUT In the constant honking haunting the accident scene up aheadOH TO GROW UP HYPNOTIZED and then try to shake yourself awakeCAUSE YOU CAN SENSE WHAT HAS BEEN LOSTCAUSE YOU CAN SENSE WHAT IS AT STAKE
Yeah it took me a few years to catch on THAT THOSE DAYS I CATCH EVERYONE’S EYE CORRESPOND WITH THOSE NIGHTS OF THE MONTH
WHEN THE MOON GLEANS LIKE AN EGG IN THE SKYAND MEN USING A SENSE THEY DON’T EVEN KNOW
THEY HAVE JUST TO WATCH ME WALK BYAnd me, I'M SUPPOSED TO BE SENSIBE, LEAVE MY ANIMAL OUTSIDE TO CRYBUT WHEN ALL OF NATURE CONSPIRES TO MAKE YOU HER GLORIOUS WHOREIt's cause IN MY BODY I HOLD THE SECRET RECIPE OF PRECISELY WHAT LIFE IS FOR and the PATRIARCHY THAT LOOKS TO SHAME ME FOR IT
IS THE SAME ONE MAKING WARAnd I've said too much already but I'll tell you something moreTO SPLIT YOURSELF IN TWO IS JUST THE MOST RADICAL THING YOU CAN DOSo girl if that shit ain't up to you, then YOU SIMPLY ARE NOT FREECause from the sunlight on my hair to which eggs I grow to termTo the expression that I wear, ALL I REALLY OWN IS ME
I mean to split yourself in two is just the most radical thing you can doGODDESS FORBID THAT LITTLE ADAM SHOULD GROW SO JEALOUS OF EVEAnd in the face of the great FARCE of the nuclear ageFEMINISM AIN’T ABOUT EQUALITY, IT’S ABOUT REPRIEVE.”
VIDEO CLIP:
(not posted yet... sorry.... hopefull soon..... I'm working on it.)
FAVORITE MOMENTS:
.20 – Albert Drake
.27-9 – Devon Adams
.44-5 – Devon Adams
.48-9 – all
.55-7 – “to say”, face expressions
1.06-.07 – Katrina Kutsch, face expression
1.21-.22 – Leah Mitchell, shake
2.06-.12 – Leah Mitchell & Devon Adams
2.13 – Leah Mitchell, fall to floor
Saturday, November 29, 2008
Post # 3:
Title: ENDLESS CYCLE
Choreography: Gregory King
Music: Airto Moreira
Dancers: Charlotte Gleason, John Mingle
MY DESCRIPTION OF THE DANCE MOVEMENTS & THE PIECE AS A WHOLE:
I describe this dance as “QUIRKY, UNUSUAL, CURIOUS, CONTORTED, AND SENSUAL.”
GENERAL OBSERVATIONS:
My number one observation of this piece is the immense amount of PARTNERING work. The partnering has very angular movements, mixed with the extreme pliancy and flexibility of Charlotte. There is contrast in the piece between the jerky movement that both dancers display at times and the moments when Charlotte’s body goes completely limp. The piece has an ANIMALISTIC MOVEMENT QUALITY. There is a lot of touching, feeling, and discovering each other in the partnering work. All of this is danced in a very sensual but not in a necessarily or at least blatantly sexual manner. The interesting, tribal-like music and the red & black costuming reinforce the animalistic quality of the dance.
MY INTERPRETATION OF MESSAGE:
This piece is as if man (represented by John) is discovering woman (Charlotte) for the first time. Charlotte also participates in this journey of discovery: investigating John, struggling against him a bit, and eventually surrendering to him. At the end of the piece, John is confident; he has attained and subdued his delightful object of discovery.
VIDEO CLIP:
ENDLESS CYCLE VIDEO CLIP (filmed by Christine Harris)
FAVORITE MOMENTS:
.24 – lift
.41 – leg extension
1.03 – partnering
1.22-.233
3.44 – John opens doors
Title: ENDLESS CYCLE
Choreography: Gregory King
Music: Airto Moreira
Dancers: Charlotte Gleason, John Mingle
MY DESCRIPTION OF THE DANCE MOVEMENTS & THE PIECE AS A WHOLE:
I describe this dance as “QUIRKY, UNUSUAL, CURIOUS, CONTORTED, AND SENSUAL.”
GENERAL OBSERVATIONS:
My number one observation of this piece is the immense amount of PARTNERING work. The partnering has very angular movements, mixed with the extreme pliancy and flexibility of Charlotte. There is contrast in the piece between the jerky movement that both dancers display at times and the moments when Charlotte’s body goes completely limp. The piece has an ANIMALISTIC MOVEMENT QUALITY. There is a lot of touching, feeling, and discovering each other in the partnering work. All of this is danced in a very sensual but not in a necessarily or at least blatantly sexual manner. The interesting, tribal-like music and the red & black costuming reinforce the animalistic quality of the dance.
MY INTERPRETATION OF MESSAGE:
This piece is as if man (represented by John) is discovering woman (Charlotte) for the first time. Charlotte also participates in this journey of discovery: investigating John, struggling against him a bit, and eventually surrendering to him. At the end of the piece, John is confident; he has attained and subdued his delightful object of discovery.
VIDEO CLIP:
ENDLESS CYCLE VIDEO CLIP (filmed by Christine Harris)
FAVORITE MOMENTS:
.24 – lift
.41 – leg extension
1.03 – partnering
1.22-.233
3.44 – John opens doors
Friday, November 28, 2008
Post # 2:
Title: 6 DEGREES
Choreography: Louis Acquisto and Morgana Phlaum
Music: “Where Do I Begin” – Chemical Brothers
Dancers: Louis Acquisto and Morgana Phlaum
MY DESCRIPTION OF THE DANCE MOVEMENTS & THE PIECE AS A WHOLE:
I would describe the movements in this dance as having GENTLE but BOLD STRENGTH. There is also a sense of CONTROLLED LIGHTNESS. Both Louis and Morgana move with intriguing grace and eloquence. Lastly, in my opinion, the best and most prominent quality of their movement is the loving TENDERNESS of their movement, especially when interacting with each other.
GENERAL OBSERVATIONS:
The message of SIX DEGREES clearly has as its focus, a human relationship. The unique, innovative partnering includes very intertwined and coordinated movements. As the majority of Louis’s and Morgana’s movements are different, the moments when the two dance in unison, (such as when they both stand still, legs in second, arms down at the sides, and backs to the audience, while scanning the skyline with their heads & eyes) are very powerful moments of especial strength. These more rare moments when Morgana and Louis dance the exact same movements, are particular accents in the work which command particular attention. The piece ends in an unexpected, delightful explosiveness. I feel the energy start to really build as Morgana and Louis calmly walk away from each other towards the end of the piece. You don’t necessarily expect that the next movement will be explosive, as is so, when both dancers then RUN to each other, resulting in a powerful lift. For me, what makes this dance EXTREMELY engaging is that both dancers are clearly and completely INVESTED in both their own movements, their movements with each other, and in their relationship as dancers and more importantly, their relationship as human friends, which they are aiming to convey to the audience. Such SINCERITY of movement can only DRAW AN AUDIENCE INTO THE STORY at hand, which is absolutely the effect that this dance has on me.
MY INTERPRETATION OF MESSAGE:
LIFE is just SO MUCH, that when reflecting on it, we often think: “Where do I start? Where do I begin?” BUT, the WONDERFUL thing is: we’re NOT ALONE here – we have each other! SIX DEGREES is unlike a majority of man-with-woman duets because it is not necessarily about a romantic relationship. Rather, the relationship represented between Louis and Morgana, is one of FRIENDSHIP, one of BEING THERE for each other. It is quite beautiful, really.
MOTIVATING LYRICS:
“Sunday morning I'm waking up Can't even focus on a coffee cup Don't even know who's bed I'm in Where do I start Where do I begin”
SIX DEGREES video clip (filmed by Christine Harris)
FAVORITE MOMENTS:
0.39-.42
0.51 – “coffee cup”
1.25-.29
1.47-.49
1.55 – hand stand
3.19
3.35
COMMENTARIES OF CHOREOGRAPHER(S) & DANCERS:
1) What would you say your piece is ABOUT?
“The piece is about how when everything in life gets chaotic and you feel alone and think that everyone else has their lives together, you actually find out that everyone else is really feeling the same way you do. When we feel this way it is nice to know that we can rely on other people for support. Going through things in life by yourself is difficult and having someone right there with you through the whole thing is amazing.”
~ Morgana Phlaum
2) How would you define/describe the STYLE of dance represented in your piece?
“It is a mixture of modern and contemporary ballet. My choreography was more contemporary ballet and Louis' was more modern.”
~ Morgana Phlaum
3) Please comment on the TOTAL EXPERIENCE: (in choreographing, choosing dancers, auditioning toget in, setting the piece, polishing/revising the piece, and performing the piece).
“It was difficult to work together at first because our styles are so different. All of my training is in classical ballet and Louis is more of a jazz/modern/hip-hop dancer, so it was hard to find a happy median where the choreography was able to fit both of our styles. Once we got past that, it was much easier to work together. It brought us closer together not only as fellow choreographers, but as friends as well. It was amazing that our piece got in! We had worked so hard on it and we are very proud of our work.”
~Morgana Phlaum
Title: 6 DEGREES
Choreography: Louis Acquisto and Morgana Phlaum
Music: “Where Do I Begin” – Chemical Brothers
Dancers: Louis Acquisto and Morgana Phlaum
MY DESCRIPTION OF THE DANCE MOVEMENTS & THE PIECE AS A WHOLE:
I would describe the movements in this dance as having GENTLE but BOLD STRENGTH. There is also a sense of CONTROLLED LIGHTNESS. Both Louis and Morgana move with intriguing grace and eloquence. Lastly, in my opinion, the best and most prominent quality of their movement is the loving TENDERNESS of their movement, especially when interacting with each other.
GENERAL OBSERVATIONS:
The message of SIX DEGREES clearly has as its focus, a human relationship. The unique, innovative partnering includes very intertwined and coordinated movements. As the majority of Louis’s and Morgana’s movements are different, the moments when the two dance in unison, (such as when they both stand still, legs in second, arms down at the sides, and backs to the audience, while scanning the skyline with their heads & eyes) are very powerful moments of especial strength. These more rare moments when Morgana and Louis dance the exact same movements, are particular accents in the work which command particular attention. The piece ends in an unexpected, delightful explosiveness. I feel the energy start to really build as Morgana and Louis calmly walk away from each other towards the end of the piece. You don’t necessarily expect that the next movement will be explosive, as is so, when both dancers then RUN to each other, resulting in a powerful lift. For me, what makes this dance EXTREMELY engaging is that both dancers are clearly and completely INVESTED in both their own movements, their movements with each other, and in their relationship as dancers and more importantly, their relationship as human friends, which they are aiming to convey to the audience. Such SINCERITY of movement can only DRAW AN AUDIENCE INTO THE STORY at hand, which is absolutely the effect that this dance has on me.
MY INTERPRETATION OF MESSAGE:
LIFE is just SO MUCH, that when reflecting on it, we often think: “Where do I start? Where do I begin?” BUT, the WONDERFUL thing is: we’re NOT ALONE here – we have each other! SIX DEGREES is unlike a majority of man-with-woman duets because it is not necessarily about a romantic relationship. Rather, the relationship represented between Louis and Morgana, is one of FRIENDSHIP, one of BEING THERE for each other. It is quite beautiful, really.
MOTIVATING LYRICS:
“Sunday morning I'm waking up Can't even focus on a coffee cup Don't even know who's bed I'm in Where do I start Where do I begin”
SIX DEGREES video clip (filmed by Christine Harris)
FAVORITE MOMENTS:
0.39-.42
0.51 – “coffee cup”
1.25-.29
1.47-.49
1.55 – hand stand
3.19
3.35
COMMENTARIES OF CHOREOGRAPHER(S) & DANCERS:
1) What would you say your piece is ABOUT?
“The piece is about how when everything in life gets chaotic and you feel alone and think that everyone else has their lives together, you actually find out that everyone else is really feeling the same way you do. When we feel this way it is nice to know that we can rely on other people for support. Going through things in life by yourself is difficult and having someone right there with you through the whole thing is amazing.”
~ Morgana Phlaum
2) How would you define/describe the STYLE of dance represented in your piece?
“It is a mixture of modern and contemporary ballet. My choreography was more contemporary ballet and Louis' was more modern.”
~ Morgana Phlaum
3) Please comment on the TOTAL EXPERIENCE: (in choreographing, choosing dancers, auditioning toget in, setting the piece, polishing/revising the piece, and performing the piece).
“It was difficult to work together at first because our styles are so different. All of my training is in classical ballet and Louis is more of a jazz/modern/hip-hop dancer, so it was hard to find a happy median where the choreography was able to fit both of our styles. Once we got past that, it was much easier to work together. It brought us closer together not only as fellow choreographers, but as friends as well. It was amazing that our piece got in! We had worked so hard on it and we are very proud of our work.”
~Morgana Phlaum
Thursday, November 27, 2008
In this Fall 2008 Brown Bag dance performance blog, I am expressing my (Christine Harris’s) observations of and responses to four pieces in the Fall 2008 Brown Bag dance series performance at Southern Methodist University. For each dance caption/post, I will include the following: the title of the piece, the choreographer(s), the music, the dancers, my interpretation of the dance style, what I believe to be motivating lyrics of the movements (if the piece’s music has lyrics), a video clip of the piece (filmed by me), and my favorite moments in the piece (which I will give the specific seconds/minutes in the music when these moments occur so that viewers may also take a interested look at these great moments). Also, I will include any commentaries that I have from the choreographers and dancers themselves about their pieces. I hope you enjoy the Brown Bag blog experience!!!
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