Funny Misconceptions About Dance

Having a dance career is a challenge to pursue. There's so much that goes into the life of a dancer: auditions, clothes for auditions, shoes for auditions, taking dance classes to keep the body active, paying for dance classes, traveling to dance classes, getting a variety of headshots, getting a variety of body shots, going to the gym, going to see performances, paying for pricey tickets to see the performances, getting good sleep, having fun, and of course, refraining from injury. The list can go on and on, but just from these few examples, one can agree it can get tiring and at times overwhelming. It's well worth it to pursue your dreams and what you love, so that's why I am in this challenging pursuit. But there are so many funny misconceptions from people who don't know much about the dance world.

1. I tell people I am a dancer.

What I think I do                                                                     What people think I do

http://www.dancetouringpartnership.co.uk/rumble/press.htm

Linda Celeste Sims
of Alvin Ailey American Dance Theater

2. I tell people I need to get tape.

What I get from the store                                             What people think I buy from the store

Office Tape!

Toe Tape!

3. I tell people I need tiger balm.

What I use on my aching muscles                              People simply ask "What is tiger balm?"

Huh?! Tiger What?

A dancer's best friend! Tiger Balm

Dance terminology and everyday factors of the dance world can easily be misunderstood by those who are not enveloped in dance or lack enough knowledge about dance in general. Bottom line: dance is more than what it may appear to be to the eye. Behind the scenes and before performing onstage, there's a lot of blood, sweat, and tears that go into great pointe work, effortless lifts in a contemporary piece, and perhaps flawless partnering in ballroom dance.   Just because someone says he or she is a dancer does not mean he or she can do a flip or do a head spin. Though I salute all different types of dance, from ballet, to Bollywood, to b-boying, one should not jump to conclusions and assume all dance genres are the same or have the same aesthetics! Also, there is a great span of body types that are accepted and displayed within the dance world. In other words, not every dancer is stick skinny and has 8-pack abs! There are beautiful dancers with great flexibility and talent that come in all shapes and sizes. We can laugh at these misconceptions, but we should also educate the public about what it means to be a dancer!

*mypointetaken*

Equity: Am I NOT Adequate?

Everyone deserves benefits, right? In the professional dance world, or any means of professional work, we all want benefits and protection, because reality is, we live in a "dog eat, dog world". So how are dancers protected in the industry? With equity! And what exactly is equity?

Disney’s NEWSIES The Musical (Photo courtesy Disney)
http://www.dancestudiolife.com/tag/casting-call/

Equity is a union for stage professionals, including actors, singers, and dancers, that has set regulations to protect such performers. For example, under an equity contract, rehearsals require a certain amount of time for breaks. Another example of protection is the amount of pay for each performer. And a great perk of equity is being guaranteed a chance to be seen by casting directors at auditions. In other words, equity is the bodyguard for stage professionals, who are often underappreciated by the public within the entertainment industry. There are a few ways to get an equity card: one of them is being in a Broadway production, because every Broadway production works under equity contracts. Sounds easy, but again, we live in a "dog eat, dog world", that happens to be very competitive and sometimes cut-throat when it comes to Broadway auditions. So it might not be the "easiest" thing to land a gig on Broadway, but you can also pay monthly fees for an equity card. But what if I cannot afford to pay for a card, and I haven't made my Broadway debut? What's so special about "equity-call" auditions?

In my eyes, equity-call auditions really mean "must have experience and must be better than any random dancer off the street". I feel that just because I have not yet landed a Broadway gig, does not mean I am a "bad" dancer or haven't had professional experience or haven't worked with recognizable dance figures. So, if I go to an equity-call audition, and I am not seen by casting directors because of my status as non-equity, I miss out on the opportunity to perform in that production. I was not adequate enough to audition because of the label "equity" rather than me proving myself through dance and performance skills. It gets pretty frustrating! I mean, you don't want to take away from those who have earned an equity card and have had grander experiences and absolutely deserve to have equity. However, what about those of us trying to get our name on the marquee? Any thoughts about equity auditions?

*mypointetaken*

Bada Boom!

Last weekend, I did not go to church, but perhaps I should have after seeing Simone Sobers Dance's event, "Visions of Grandeur: An Evening of Burlesque". Before seeing the show at Theater 54 at Shetler Studios in New York City, the little bit of burlesque that I knew about was from the 2010 film starring Cher and Christina Aguilera, titled, "Burlesque".  So, I knew there would be sexy attire and removal of clothing (not down to nudity of course), and sensual, yet tasteful dance choreography.

The show started with guest artists, Alisa Fendley and Marissa Maislen, with a very unique burlesque piece. The interaction between the two women had quite humorous moments, with one of them portraying a shy demeanor and the other being persuasively sensual. However, I felt that some of the movement was awkward and had awkward transitions. I felt more confused than excited. There was little removal of clothing, which was fine, but I just didn't know what to expect because of the jagged, abrupt movements. The mood changed with the main artists of the performance known as "Chocolate Decadence", with Titilayo Derricotte as Mocha Snaps, Epiphany Davis as Red Velvet, and Simone Sobers as Cinnabunz.

photo credited to:
http://www.facebook.com/events/180885322045348/

They performed as a trio three times throughout the performance, and overall, there movement seemed too "cutesy" rather than sexy. Not to say they needed to be erotic and over-the-top, but their upbeat, cute movement overbalanced their sensuality. It was still enjoyable to watch. However, I would have loved to have seen better facial expressions and interaction with the audience because of the incredibly intimate setting of the stage to the seats of the audience. I was also expecting more cohesive movement with each other. In other words, a little bit more of rehearsal time would have made the movement even more enjoyable. I was most impressed by guest artist, Kamaria Dailey, who danced to Beyonce Knowles' version of the ever-famous, "Fever". She had great stage presence and interaction with the audience and was effortless with her sensuality and transitions. I thoroughly enjoyed her piece, and she seemed to have been a professional burlesque dancer.

The solos performed by each member of "Chocolate Decadence" varied greatly and were each enjoyable to the eye. The most extreme removal of clothing came from Simone "Cinnabunz" Sobers when her piece ended with her wearing breast tassels. She fooled me for sure, because when she turned around, I honestly thought she was going to be topless! But it was done tastefully and very sexy. There were 3 lucky audience members who were involved with the finale piece and got to sit up close and personal to "Chocolate Decadence". There was even a number that was done with a black light and the girls wore white lingerie and gloves. Overall the performance's individual pieces varied from each other, and it was nice to see the women had technical dance training included with their sensual movement. Burlesque is always going to be sexy, so these women conquered the task of being sexy and giving a good performance.


*mypointetaken*

"Step Up" or Step Down?

Capturing dance on film is always a tricky endeavor. There are important factors to incorporate in order to please the eye and grasp the entire essence of the movement being performed. You can't zoom in when there's a soloist dancing, because you lose the big picture of his or her movements. You can't pan across a stage or set, because the dancers will run out of frame. So, yes it's certainly a task to film dance, but under the direction of Scott Speer, "Step Up Revolution" succeeded with the filming aspect.  However, the plot seemed so similar to previous "Step Up" films: there's a love interest and there's a controversial fighting basis. The best aspect of this film, was the camera work with great angles of the dancers from which viewers can appreciate and feel connected to the movement. And of course, the dancing and choreography was unbelievably impressive.

Photo credited to moviefanatic.com

Getting into the plot, we are introduced to the infamous, traffic-stopping, high-thrilling energy of the flashmob dance crew known as "the MOB" in the streets of Miami. The opening dance sequence was packed with dynamic hip-hop choreography that included dancing on cars, flipping on stilts, and really utilizing the environment of the street scene. On a personal note, I loved the diversity of dancers used in the scene. I am a supporter of different body types, heights, hair texture, skin color, and more when it comes to dancers. All that matters is how they move, and I was sold by the way the dancers moved. Leader of "the MOB", Sean, played by Ryan Guzman, meets Emily, played by Kathryn McCormick. With her beautiful dance technique and excellent training, she strives to become a professional dancer but seems to lack the extra character and drive the director of the company she wants to join expects from her. Emily's father threatens to destroy the historic neighborhood for his hotel expansion and ultimately displace thousands of people. Emily teams up with "the MOB" to voice their disagreement against her father through the means of dance. Without giving away the ending of the film, I will simply say, the plot is very predictable and is jam-packed with diverse dance sequences: from hip-hop, to contemporary, to tutting and locking. And along with great dancers came familiar faces throughout the film.

There were cameos by Mia Michaels, Stephen "Twitch" Boss and of course Kathryn McCormick from "So You Think You Can Dance", Adam Sevani, and choreographer/dancer Luam Keflezgy. It was great to see so many familiar faces of the dance world in one film! I could not help but smile at every familiar face I saw. Overall, it was a pretty good film with a lot of great dance flare. Kudos to choreographers: Christopher Scott, Jamal Sims, Chuck Maldonado, and Travis Wall for capturing the spirit of dance and life on film. Am I hoping there will be another "Step Up" film? Not at all, but these dancers are greatly talented and did a superb job with the film. I will leave with this statement: It may be time for "Step Up" to just "step down".

*mypointetaken*

A Summer Soiree

Sobers & Godley hosted their summer Dance Soiree at Ailey Studios on Saturday, July 21st. It was certainly a soiree of versatile dance performances from emerging choreographers. And as a dancer myself, I was physically moved by each piece and had the desire to get up and dance throughout the entirety of the performance. I could not have been happier as a spectator. These emerging choreographers truly emerged with a BANG in one of New York City's finest dance facilities. A very intimate, yet grand setting, of one of the larger studios allowed a close connection between the audience and dancers. With this showcase, I hate to use the word "favorites", because I truly did enjoy the ten pieces of the performance. However, there were 3 pieces of the night that had me over the edge and emotionally fastened.

Photo credited to Richelle Gribble
Pictured:  Sage Caprice Abowitt, Allison Beler,
Sean Hatch, Katie Philp, and Rachel Rizzuto

"Elleman-O-P (NY Premiere)" was a unique and intriguing piece with comedic puns that kept a smile on my face from start to finish. The piece was choreographed by Mari Meade Montoya of the Mari Meade Dance Collective and featured music from...well, the dancers! With each letter of the alphabet, the dancers' full commitment to their characters, which appeared to be a dad, pregnant mother, and 3 kids, had executed different sounds and recognizable themes. The dancers: Sage Caprice Abowitt, Allison Beler, Sean Hatch, Katie Philp, and Rachel Rizzuto should be commended for their superb acting in addition to the movement throughout the piece. Their acting and deliverance was believable and had me completely connected. The bright-colored costumes and cartoonish makeup heightened the humor of the piece. I was eagerly waiting for each letter's comedic presentation, and I loved it from A-Z!

Photo credited to Richelle Gribble
Pictured: Khadija Ahkmaddiyah, Ashley Chavonne,
Angel Chinn, Kayla Hamilton, Nathalie Thomas, Tiffany Webb

"Pluto", choreographed by Angel Chinn of the Nonalee Dance Theatre, definitely took me on a trip with its dynamics and high intensity. There was a strong, quick start to the piece that demanded the audience's full attention in order to keep up with the pace of the dancers. Featured dancers: Khadija Ahkmaddiyah, Ahley Chavonne, Angel Chinn, Kayla Hamilton, Nathalie Thomas, and Tiffany Webb took full control of the floor with athletic movements and powerful execution. Each dancer had a strong use of her core, with great transitioning from a quick leg tilt to a contraction movements in the back. There appeared to be elements from multiple genres, including Horton, African, ballet, and contemporary. Overall, the movement was interesting and captivating to the eye and had me fully connected from their entrance to exit of the stage.

Photo credited to Richelle Gribble
Pictured: Jacqui Defranca, Bahareh Ebrahimazadeh,
Renee Kester, Devin Oshiro, Lavinia Vago

Lastly, "A slant to the right", choreographed by Mike Esperanza of BARE Dance Company, had me on the edge of my seat and eager to dance with the performers. Featured dancers, Jacqui Defranca, Bahareh Ebrahimazadeh, Renee Kester, Devin Oshiro, and Lavinia Vago
were a collectively strong female unit, with passion and devotion to Esperanza's intent in the choreography. The piece started off with a rocking motion from each dancer and evolved into impressive and interesting movement that seemed spider-like and animalistic at times. Esperanza's choreography included a sense of inverted movement that reminded of contortionists as well as jagged and twitchy motions that perked my attention. The dancers had a great awareness of each other with intertwining moments and cannons of dance sequences. Each female had outstanding body control, leg extensions, and were blessed with gorgeous feet! I was intrigued by the interesting movement and wanted more choreography. This was truly a well-done piece.

BONUS PIECE: One of the showcase's directors, Gierre Godley had choreographed and performed in "II. Twins" and "III. Misfit" from "Project 44". "II. Twins" featured Godley and dancer Nile Baker, in which they demonstrated great unison. They had an individual aesthetic in how their bodies took the choreography, in which they looked different but performed the same movement. The choreography worked well with the music and had moments of working against the music, creating a pleasant contrast to the piece's overall character. There were unexpected but beautiful leg extensions and a penche moment that was picture perfect. The choreography transitioned well with "Misfit", which featured soloist Patrick John O'Neill. He proved to have great ballet training, with his battement going up beyond his head. Godley incorporated great moments of stillness, great floor choreography and use of space, as well as contrasting O'Neill's movement to the "twins" solidified gestures. The dancers performed in socks, which enhanced the transitions across the floor and with lifts. The piece was well performed, and I would love to see it again!

As I mentioned earlier, I could not have been happier as a spectator to this performance. The arts are truly an important factor to society, which sometimes gets overlooked and under appreciated. Godley commented on the festival's mission, saying this is an "outreach to each other and the audience"  and going further to say, "emerging dancers and choreographers need to stick together". I am in full agreement and support of Sobers & Godley's mission.

Be sure to support and look for upcoming showcases by visiting http://www.sobersgodley.org/.
And for more pictures from the show click on "Dance Review Pix & Vids".

This was a soiree to remember, and I look forward to the next showcase. Sobers & Godley is on the right track of promoting the arts and educating the community through the media of dance.


*mypointetaken*

So People Vote for the Wrong Reasons (SYTYCD Top 20)

Last week's results of "So You Think You Can Dance" were quite interesting. After Tabitha and Napoleon's group piece, choreographed to "Beautiful People" by Marilyn Manson, they announced 4 dancers would be going home:  2 male, 2 female. It sounds like a harsh number, but after all, this was the 2nd week the top 20 performed without elimination. Though I had a few favorites of the night, this post is really about covering my pros and cons of the show, which might make sense for why there are "favorites" and why those who get eliminated REALLY get eliminated.

pictured: Alexa & Daniel
photo credited to realitynation.com

Pros of "So You Think You Can Dance"
1. A variety of dance genres on the show educates the public of different styles.
     -Having different genres allows for different tastes and promotes that one style isn't necessarily "better" than another, but simply different!
2. There is great exposure to great choreographers.
3. The show helps flourish dancers in all genres, which develops well-rounded dancers.
4. Honest opinions and feedback from professionals in the dance world allows for constructive criticism from which to grow for dancers and choreographers on the show.
5. This season, dancers are being "saved" by judges, rather than voted off for "not being good enough".

Cons of "So You Think You Can Dance"
1. Dancers are getting voted off by people who are voting for looks, personalities, and tricks in the choreography!
     - Non-dancers are easily impressed by dance pieces that are flashy and have tricks. They may not appreciate the beauty of a piece with simplistic character, movement, or emotional commitment, nor understand different types of dance with different means of technique and standards for that specific style. Therefore, if a choreographer on the show isn't showcasing "wow" turn-sequences, "bam" leg extensions, and "uhhh-mazing" flips and lifts, voters don't "like" the piece and won't vote.

The beauty of dance is the array of styles, choice of music or use of silence, different body types, and the list goes on and on. But I feel like viewers are instantly connected to dancers on the show who have an interesting life-story and are emotionally drawn to them. Or they are attracted to the personality of a dancer who is funny, outgoing, and is handsome or pretty with a nice physique. Agreed, this might enhance a dancer's overall persona, but I feel like voters are forgetting about dance ability and are giving up too quickly on well-trained dancers with mounds of potential. Opinions are opinions, so I'm not mad at those who vote: I just wish they were more aware of what factors to consider when they pick up the phone, text, or click online for the dancers they want to stay in the competition. Granted, all the dancers on the show have talent and deserve growth and exposure, but there's a lot more to the dance world outside "So You Think You Can Dance" that most people may not be aware of.

With that said, the pros clearly outweigh the single con! So, yes the show is definitely still worth watching, but for all the voters out there: know WHO you are voting for and WHY.

I thought the results of last week's episode were quite interesting, because I was surprised at the dancers who were sent home. There were 4 great, strong, technical dancers that were the first to be eliminated, despite the fact a few of the remaining dancers had weaker performances but prevailed on the show. The dancers sent home were two girls, Janaya and Alexa, and two boys Nick and Daniel. I wish them nothing but the best with their dance careers. So for all the voters out there, don't vote for the wrong reasons for upcoming episodes of "So You Think You Can Dance". Your vote affects the future of talented dance hopefuls: it's no game show, it's the epitome of "live, laugh, & dance"!

photo credited to: ohyeahsytycd.tumblr.com

*mypointetaken*

Latin Flare: Muy Caliente!

To view a set of dance performances through a means of cultural empowerment is truly a beautiful experience. From July 12th-15th at the Dance New Amsterdam Theatre in New York City, The Latin Choreographers Festival celebrated its 5th Anniversary, dedicating the season to the memory of Mexican choreographer, Jose Limon. After hearing the title "Latin Choreographers Festival", a major question popped into my head: is this a Latin event solely presenting Latin dances? However, after looking into the festival's background, I discovered the set of performances was an opportunity to highlight a versatile group of Latin choreogrpahers with pieces that varied immensley from each other. This set of performances, and the goal of the festival in general, break away from Latin stereotypes of just Latin-based dance. I believe these choreographers have pulled from their culture and heritage and immersed their individual personalities into their work.

The run of the show included two sets of programs: program A, which featured Limon Company's dancer, Daniel Fetecua Soto on opening night. and program B. Overall, both programs featured works that were aesthetically pleasing to the eye and greatly displayed variety. Each piece was memorable for its own reasons, and I wish I could talk a little bit about each piece! However, with limited space, I'll cover the top 5 pieces, of the two shows combined,  that really stood out to me in a positive light and had me emotionally connected.

Photo credited to Rachel Neville

Pictured: Katia Garza and Sebastian Serra

"Ojala" was choreographed by Ana Cuellar and featured dancers, Katia Garza and Sebastian Serra. Cuellar's pointe work was performed beautifully by Garza, with great strength and body control. There was a great level of difficulty in the technique through solo moments as well as the partnering, which was done effortlessly; it was smooth like butter, but had the perfect touch of spice with dynamic jumps and movement. Cuellar enhanced the choreography with the great depiction of presenting the relationship of the dancers. I could see the sense of not wanting to leave each other through Garza and Serra'a emotional commitment to the piece, and I commend them for drawing me into their emotional journey. There was a chic, simplistic look with the costumes and lighting, and I also loved the use of a Latin song to salute the theme of the festival. Overall, the piece was well- choreographed and performed.

Photo credited to Rachel Neville
Pictured: Steven Gray

"Tree" was choreographed by Eloy Barragan and performed by Steven Gray. This piece legitimately had me melting in my seat. It started off with Gray in a center spotlight, all the way downstage, with his arms outreached to the side and his back to the audience. A strong start eagerly had me waiting for what was to come next. Gray is quite a tall dancer, and I must say, most tall people with long limbs do not know how to use their body very well. Gray proved me wrong: he had total control and awareness of his body as he moved elegantly across the intimate setting of the stage. He had beautiful leg extensions, gorgeous attitude turns, and great commitment to Barragan's movement. Gray had moments where he released his neck and threw his head back, and when he did, I felt so connected. I was breathing for him and with him as he danced. I was so mesmerized, I could barely write during the piece! I commend Gray and Barragan for a successfully graceful piece.

Photo credited to Rachel Neville
Pictured: Charli Brissey and Felix Cruz

"Other Side of Someday" was choreographed and performed by Felix Cruz and featured Charli Brissey. The piece started off with Cruz, wearing a loose-fitted tank top and underwear, downstage center in a dim light with Brissey starting upstage and walking from the shadows towards Cruz. The music reminded me of buzzing mosquitos and with little movement onstage, I was curious to know how the piece would develop. Well, it certainly developed when Brissey abruptly pulled Cruz's hair and yanked his head back as he fell to the ground. There were violent gestures of throwing Cruz around the stage, slapping him across the face, and Cruz even slapping himself across the face. It had to hurt! I had never seen a piece quite like this. People in the audience began to laugh at the self-mutilation, but I didn't feel comfortable to laugh because of the uncertainty about the piece's meaning. The piece completely shifted when Cruz turned toward the audience and lip synced "Somewhere Over the Rainbow". It was a provocative piece that evoked many emotions and kept me guessing through its entirety. The piece made a huge statement and was most certainly memorable. I would say it was in a category of its own and was one of my favorites of the night!

Photo credited to Rachel Neville
Pictured: Manon Parent and Manuel Vignouelle

"In A Box" was choreographed and performed by Manuel Vignoulle and featured Manon Parent. This piece was "best in show" for my taste! The piece started off with great suspense: no lights and the sound of breathing through the speakers. Soon after, with the lights still off, the breathing turned into a spoken word segment. Parent was in a center spotlight with movement that paralleled the spoken word about being in a box. She then opened her "box" and movements and allowed Vignouelle into her kinesphere as he entered the stage. There was great unison of choreography, a beautiful connection between the two, and admirable control of the body. The dancers were not afraid to breathe onstage; it was as though, the breath was choreographed into the movement and heightened the energy of the piece. They also proved to be fearless of making noise with their feet as they took advantage of the stage and fully embodied the movement. I appreciated the fact my seat shook from their moments of exaggerating their stomps across stage. There was a great quality of movement of fluidity with moments of sharp, jagged motions. Parent's raw energy and movement  reminded me of  Leigh Lijoi, who performed Nicole M. Corea's "Conversations of One", featured in program B. Both Lijoi and Parent shared great technique, emotional connection, and full embodiment of the two different pieces. I commend them both! But in all honesty, Vignouelle's "In A Box" stole the show. I felt like crying, smiling and dancing when the piece ended. A job well-done.

Photo credited to Rachel Neville
Pictured: Sevin Ceviker, Ahmaud Culver, and Nejla Y. Yatkin

Lastly, "2 Long 2 Love" was choreographed and performed by Nejla Y. Yatkin and featured Sevin Ceviker and Ahmaud Culver. This piece had an elegance and visual set up that was captivating to the eye. The rose petals over the entire stage were a tangible establishment of love and connection. I had goosebumps watching the leg extensions and strength in Ceviker's body. She was in total control of that stage, emotionally and through technical execution. The duet between Ceviker and Culver had beautiful lifts and grace and intertwined perfectly when Yatkin joined in the movement. There was a great balance of solo moments and group choreography. The piece was certainly delightful and very mesmerizing to watch.

As a bonus piece, "Hidden Souls", choreographed by the festival's founder and director, Ursula Verduzco, and featured dancers Lucia Campoy and Jorge Fuentes, with Laura DiOrio, Shannon Maynor, Kelli Youngman, Mary Susan Sinclair, and Saki Aoyama was another great work. The sound of cathedral bells echoed from the stage at the start of the piece, with Fuentes dismissing the pleading motions of Campoy. She wore a black dress and had a black veil over her head, covering everything but her eyes. She appeared to be searching for freedom, especially freedom of speech. Fuentes pushes her away as she visually cries out to him. Verduzco's choreography displayed strong movement and had a great use of the stage. Campoy brought out the other five female dancers, similarly dressed, as Fuentes exits the stage. The choreography was set very well and wasn't overwhelming with the six women on the relatively small stage. As an audience member, I can see the sense of wanting to speak and the piece ended with Campoy being carried offstage by the other females dancers overhead, as though it were a funeral march. Perhaps Campoy was able to speak but speaking out was the death of her. The piece was well choreographed, and I was quite impressed.

My "pointe" is that overall, the Latin Choreographers Festival's 2012 season was a success and receives  4/5 stars from me! Be sure to support and get more information by checking out their website. http://www.thelatinchoreographersfestival.org/

And get more pictures from the show by clicking on "Dance Review Pix & Vids" under pages. Great set of performances, and I look forward to next year's season!

*mypointetaken*