The Dance Center of Columbia College Chicago has been hosting The A.W.A.R.D. Show this week (A.W.A.R.D. standing for Artists With Audiences Responding to Dance). The premise is simple. Beginning Wednesday the 24th, every night there was a concert of dance from various independent artists and companies. At the end of the concert the audience voted on their favorites. Finalists advanced to tonight's concert where the audience will again vote to choose a winner. The grand prize is $10,000, which is no chump change to working artists. The finals are tonight at 8pm at the Dance Center (1306 S Michigan) so get out and show your support for htis awesome project. The A.W.A.R.D. Show is a great way to both support artists and encourage audience involvement. It also helps artists gauge what audiences will respond to most favorably. Make your voice heard and get out and vote tonight!
FINALISTS:
Lucky Plush
Jessica Miller Tomlinson
Allyson Esposito & Megan Schneeberger
Saturday, June 27, 2009
Wednesday, June 10, 2009
Brandon's Top 20 Controversy
Well, it's no secret that I'm a So You Think You Can Dance fan. My personal thoughts on how the show elevates the popular interest in dance and stands out as one of the only ways to get people excited about dance in a dismal landscape of undervalued arts can be saved for another post, as can my thoughts on whether these positive effects are negated by the tendency to pigeon-hole and insist on personality rather than artistry. That having been said, I do have some thoughts on Mr. Brandon Bryant.
Brandon has been the talk of the SYTYCD-followers for quite some time now. He was heralded as a shoo-in for the Top 20 after his audition in Miami, bringing Mary Murphy to tears. Yet, in Vegas he failed to impress judges Mia Michaels and Lil C. He did end up making the Top 20, but not without some controversy between the judges. Mia Michaels went so far as to say that she couldn't stand what Brandon brought to the floor as an artist and accused him of arrogance.
Brandon caught my eye right from his audition. However, it wasn't his dancing that got my attention (more on the dancing later), it was his music selection. I distinctly remember the first time that I was told that my performance was entirely forgettable because I didn't live up to my music, which in that instance was Claire de Lune. Brandon is only 19 years old, but he apparently never got the memo that you should never use music of a certain caliber. The music that he chose to dance to was O Fortuna from Carmina Burana. This particular piece of music has been so overused in popular culture to depict everything from drug addiction to the animal force of football that it is cliche when used outside of the concert hall. Furthermore, the power and drama of the music cannot be done justice by only one person. The sight of Brandon dancing to this highly revered classic by himself on a stage was, frankly, comical. But more than comedy, Brandon's choice does reveal a certain amount of arrogance in his belief that his dancing is a deserving accompaniment to this musical selection (because in this case he was definitely accompanying the music and not the other way around). I can't say that I've witnessed any other evidence of an attitude coming from Brandon, but Mia's accusation of a swelled-ego has at least some support in his audition.
Frankly, I'm surprised that no one has pointed out to Brandon that he made a huge mistake in his music. Perhaps my teachers were the odd men out in impressing on me the importance of carefully considering the impact that music will have on an audience. It seems to me, however, to be common sense to steer clear of music of legendary fame. How can someone focus on your dancing when they are swept up in the passion of the music? Especially since very few dancers as young as Brandon can capture the artistry of such selections and fully embody them.
Which brings me to my issue with Brandon's dancing. For starters, the choreography does not match the music. It is at times animalistic and powerful, suddenly bound and, briefly, humourous. This may or may not be Brandon's doing. But his execution of the movement is neither fully connected to the music nor the floor nor the audience. Does Brandon exhibit good coordination, balance, and technique? Yes. But in order for Brandon to truly be something to make us sit up and pay attention, he would have to show some suspension and reach, a sense of bringing himself into the movement. He does not lose himself in his dancing, rather he relies on his power to impress. He certainly has potential and we must not forget that he is very young and will probably grow into his artistry given the time. However, I must agree with Mia and Lil C when they say that they are not impressed. Nor do I believe that he deserves his spot in the Top 20. I would rather have seen it go to someone slightly more mature in their artistry. Brandon needs a few more years to grow. Although I will say that most of the dancers on SYTYCD fit into this category and I was slightly surprised to find such harsh criticism being directed to a dancer that is, as far as I can tell, a carbon copy of every other contemporary dancer the show seeks out.
Brandon has been the talk of the SYTYCD-followers for quite some time now. He was heralded as a shoo-in for the Top 20 after his audition in Miami, bringing Mary Murphy to tears. Yet, in Vegas he failed to impress judges Mia Michaels and Lil C. He did end up making the Top 20, but not without some controversy between the judges. Mia Michaels went so far as to say that she couldn't stand what Brandon brought to the floor as an artist and accused him of arrogance.
Brandon caught my eye right from his audition. However, it wasn't his dancing that got my attention (more on the dancing later), it was his music selection. I distinctly remember the first time that I was told that my performance was entirely forgettable because I didn't live up to my music, which in that instance was Claire de Lune. Brandon is only 19 years old, but he apparently never got the memo that you should never use music of a certain caliber. The music that he chose to dance to was O Fortuna from Carmina Burana. This particular piece of music has been so overused in popular culture to depict everything from drug addiction to the animal force of football that it is cliche when used outside of the concert hall. Furthermore, the power and drama of the music cannot be done justice by only one person. The sight of Brandon dancing to this highly revered classic by himself on a stage was, frankly, comical. But more than comedy, Brandon's choice does reveal a certain amount of arrogance in his belief that his dancing is a deserving accompaniment to this musical selection (because in this case he was definitely accompanying the music and not the other way around). I can't say that I've witnessed any other evidence of an attitude coming from Brandon, but Mia's accusation of a swelled-ego has at least some support in his audition.
Frankly, I'm surprised that no one has pointed out to Brandon that he made a huge mistake in his music. Perhaps my teachers were the odd men out in impressing on me the importance of carefully considering the impact that music will have on an audience. It seems to me, however, to be common sense to steer clear of music of legendary fame. How can someone focus on your dancing when they are swept up in the passion of the music? Especially since very few dancers as young as Brandon can capture the artistry of such selections and fully embody them.
Which brings me to my issue with Brandon's dancing. For starters, the choreography does not match the music. It is at times animalistic and powerful, suddenly bound and, briefly, humourous. This may or may not be Brandon's doing. But his execution of the movement is neither fully connected to the music nor the floor nor the audience. Does Brandon exhibit good coordination, balance, and technique? Yes. But in order for Brandon to truly be something to make us sit up and pay attention, he would have to show some suspension and reach, a sense of bringing himself into the movement. He does not lose himself in his dancing, rather he relies on his power to impress. He certainly has potential and we must not forget that he is very young and will probably grow into his artistry given the time. However, I must agree with Mia and Lil C when they say that they are not impressed. Nor do I believe that he deserves his spot in the Top 20. I would rather have seen it go to someone slightly more mature in their artistry. Brandon needs a few more years to grow. Although I will say that most of the dancers on SYTYCD fit into this category and I was slightly surprised to find such harsh criticism being directed to a dancer that is, as far as I can tell, a carbon copy of every other contemporary dancer the show seeks out.
Friday, June 5, 2009
Laboratory Dancers
What's the point of having a blog if I can't use it to promote my own stuff, right? :)
I've been working since January with a group of fellow Columbia grads/students to put on a show at Links Hall. We call ourselves the Laboratory Dancers because we're interested in creating, experimenting, and thinking. We've put on a couple of small performances at galleries and loft spaces doing everything from magic tricks to improvisations to work-in-progress showings. There has been a lot of laughs, a lot of sweat, a fair amount of winging it, and plenty of hours logged in rehearsals. Our show finally goes up this weekend with two full-length pieces (one explore the power of memories and the other questions the value of pro-life/pro-choice debate). I have learned a lot about the logistics of putting together a professional show and, to be frank, I'm amazed at the two choreographers. We've come a really far way and I'm very proud to be a part of this. I believe that the questions raised by these pieces are worthwhile, and that the choreographers have done their best to explore these issues fully. Of course I want everyone to come see a show that I'm in. But more than that, I think that with time and resources the Laboratory Dancers have a promising future. This will definitely not be the last that you see of us.
Laboratory Dancers at Links Hall June 5 & 6 @ 8pm and 7 @ 7pm. $5.
I've been working since January with a group of fellow Columbia grads/students to put on a show at Links Hall. We call ourselves the Laboratory Dancers because we're interested in creating, experimenting, and thinking. We've put on a couple of small performances at galleries and loft spaces doing everything from magic tricks to improvisations to work-in-progress showings. There has been a lot of laughs, a lot of sweat, a fair amount of winging it, and plenty of hours logged in rehearsals. Our show finally goes up this weekend with two full-length pieces (one explore the power of memories and the other questions the value of pro-life/pro-choice debate). I have learned a lot about the logistics of putting together a professional show and, to be frank, I'm amazed at the two choreographers. We've come a really far way and I'm very proud to be a part of this. I believe that the questions raised by these pieces are worthwhile, and that the choreographers have done their best to explore these issues fully. Of course I want everyone to come see a show that I'm in. But more than that, I think that with time and resources the Laboratory Dancers have a promising future. This will definitely not be the last that you see of us.
Laboratory Dancers at Links Hall June 5 & 6 @ 8pm and 7 @ 7pm. $5.
Friday, May 29, 2009
StealThisDance.com – Examining Intellectual Property Through Dance
The intellectual property debate has affected everything from rap mix tapes to illegal downloads. As part of their new work, Punk Yankees, Lucky Plush Productions of Chicago have created a website that (rather humorously) examines this debate as it exists for dancers. In an art form where creation can often be largely comprised of a reordering of known material, the lines between sampling and stealing can be quite blurred. Where is the line between appropriate borrowing and stealing? How do you steal respectfully? Lucky Plush explores these and other questions on their new website: StealThisDance.com
The site features many videos that explore various forms of appropriation. Some particularly interesting selections explore the idea of teaching an impersonation of a re-choreographing of a remembering of a phrase (a true brain teaser). This convoluted method of developing material rather puts one in mind of the game of Telephone. The end result is quite different from the original, which itself is questionable in integrity because it is remembered rather than created. These videos make the viewer question the originality of the newly-developed material.
The most memorable video shows a dance that is a mash-up of different iconic moments of dance in the media. The piece is set to Beyonce’s song-of-the-moment, “Single Ladies.” The song’s music video has gained notoriety because it features Beyonce performing a routine that is heavily influenced by Bob Fosse, making "Single Ladies" an excellent music choice for a dance that focuses on appropriating movement. The finished product is entertaining and, oddly enough, puts me in mind of the days when I would watch and re-watch TRL every afternoon until I had the moves to “Bye Bye Bye” down pat. At the same time, the piece gets me thinking about the difference between an homage and appropriation. Fosse’s material is well-known enough that it doesn’t really need to be specifically cited in order for people to know that it is his. However, use of any material without proper acknowledgement of the original author is generally considered plagiarism. Did the “Single Ladies” choreographer, whoever s/he is, pay tribute to Fosse or steal from him? It’s a question I’m not sure I can answer, but I will say that given a choice between Lucky Plush’s Single Ladies (Stole This Dance) video and the new iconic-dance-moments-mash-up movie Dance Flick, I would much rather watch Lucky Plush.
The highlight of the site, however, is the Moves Boutique. Various movers (including Peter Carpenter and David Roussève) donated video-recorded moves and suggested a price at which the moves can be purchased. Of course, as the website acknowledges, it is up to the individual whether or not they will pay the full price, a portion of the price, or steal the moves instead of paying. While this is obviously a humorous spin on the concept of stealing movement, the idea of putting a dollar value on a given movement really gets me thinking about what the value of dance is in this society and who gets to decide which dances are move valued than others (in terms of dollar amounts).
The only criticism of the site that I have is that there is no discussion forum available to the visitor. I would love to discuss some of the questions that these works raise for me with others. However, I’m sure that Lucky Plush is receiving reactions to the site, thanks to an open invitation to share any work that includes moves, bought or stolen, from the website. There’s a lot to explore on this site, all of it thought-provoking and entertaining. I highly encourage everyone to check it out.
Punk Yankees is set to premiere in October of 2009 at the Dance Center of Columbia College Chicago.
Tuesday, May 26, 2009
Removing the Veil of Fantasy
The most recently updated copy of my Capstone paper (an analysis of Orientalist tendencies in Western approaches to belly dance) is available at the following link. Feel free to leave comments and let me know what you think!
http://docs.google.com/View?id=dcvvs22n_0dtxwg2hk
http://docs.google.com/View?id=dcvvs22n_0dtxwg2hk
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