"Wake Up"...Justin Conte

Walk into any typical dance class, and you will inevitably hear the teacher say at some point, "I want you to FEEL the music." Ironically, for many dancers who have trained in a highly classical setting, the ability to breath and be moved by the rhythm and groove is challenging and foreign. Dancers of the traditional vein, are often educated in a way that actually diminishes their natural movement instincts for something more "aesthetically pleasing" or "technically correct." However, at the end of all discussion and debate, dance MUST be felt and experienced for it to truly come alive. Justin Conte's choreography pays tribute to the tradition of classical technique, yet highlights the priority of sensation above all else. Just like cooking, dance should be a highly sensual experience that engages the dancer's sight, smell, taste, sight and, in this case especially, TOUCH.


MUSICALITY: The idea of contact and touch is an intrinsic element of Justin's style. It is interesting to note, that with the exception of the theremin perhaps, all musical instruments involve tactile engagement between the musician's physical body (fingers, lips, feet, hands) and the actual instrument. If you watch at (0:29-0:30) Justin creates a metaphor that simulates the crack of a snare drum with the clasp of two hands. This motif is then expanded throughout the body and outer extremities. For example, look at (1:19-1:22) and notice how the accent is now translated into the upper torso and head, and then with an outward snap of the knees.

DANCER SYNC: The permission to let loose, be free and ride the beat FEELS delicious to a dancer. Look at (1:37-1:44) where the movement takes on a decidedly pendular quality, where the joints of the arms and spine are allowed to swing and sway. At the same time, Justin creates a beautiful balance to the release by adding moments of sustained, modulated stillness, as when the arms slowly rise skyward. This modulation between control and release, restraint and abandon, engenders a feeling of natural authenticity in the dancer's body that is visibly satisfying. Another aspect of Justin's choreography that is worth mentioning, is the focus and attention he brings to the dancers' subjective experience. Whether it is the slippery glide of wet paint on the skin, dancing underneath a shower of flower petals or the rough texture of a concrete wall, it is obvious that Justin wants his dancers to "feel something" visceral and sensual, instead of simply performing a pre-rehearsed sequence of steps. This immediate recognition of the present moment is one of the hallmarks of TRUE contemporary dance, an element that is sadly missing in many current incarnations of the genre.

AUDIENCE ENGAGEMENT: This piece was choreographed to create "awareness"...although, Justin does not articulate the direction or subject that the awareness was intended. However, this is not important when discussing the ultimate goal and his success in this effort. It is enough that the viewer is totally drawn into the moment and the fully sensual quality that Justin imagined. There is a beautiful contrast between the dusty, grainy group movement, and the more intimate, dripping, close-up shots of the hands. As if to explore the full spectrum of sensation, from wet to dry, from fast to slow, from loud to soft, the entire project forces the viewer to pay attention, thereby creating an urgent sense of awareness and attention to subtle details.

KUDOS to Justin for creating choreography that wakes up our senses, touches the skin and whispers to the heart.

"Read All About It"...Matthew Tseng

The merging of the passionate, virtuosic body with music that moves the heart is something of great appeal and beauty. For artist Mathew Tseng, “dance is a mixture of Athleticism, Emotion, and Movement,” which translates into what I see as physical inspiration. These qualities are not only embodied in Matthew’s rendition of “Read All About It,” but are brought beyond the expected performance realm of the Contemporary Jazz genre in a dance film combining beauty of scenery with beauty of expression. Out of the studio, off the stage, and on-location, Matthew takes his audience with him as he sculpts the dialogue between a narrative of friendship and the lyricism of choreography. Using film to convey the work really engages the audience within an experience that is not only readable and relatable, but also more intimate and sensitive than if viewed in a typical performance setting. The framing of the camera soaks the creation in nostalgia and enriches the qualities already inherent in the dance. Matthew has full control and it feels good to ride his perspective.


MUSICALITY: It is lovely how Matthew paints the vocals and illuminates the instrumentation of the song while carrying emotional context. The clarity of how the movement and music partner one another is so satisfying as a viewer. At (00:34-00:37) ones sees three different visualizations of the lyrics “come on.” First the arm swirls above the head and the dancers drop to the floor. Then they jump into second with a sweep of the arm. Lastly there is a sweeping fouette, the leg matching the rhythm in the wording. One will also note that each rendition of “come on” also finds a lingering or accented movement of the lower-body, which syncs with the chords of the piano. The connection to the lyrics may be more noticeable, but look further and one sees the piano in the footwork. A particularly noticeable example of this is at (0:40-0:56) when one hears “you’ve got the light to fight the shadows.” “You’ve got the” is seen articulated in the movement of the leg. The piano is seen in the out-in action of the feet on “light to.” The sounding of “fight” is visible in an attitude turn. Ever so poetically, “shadow” is found in a dynamic drop in body level. He is utilizing the entire body as a vessel of musicality. Yet, the upper-body to lyrics and lower-body to instrumentation is seen throughout as the passion of the dancers carry the song within. The layering within the choreography is another means he brings visual to the music. Taking notice of the material relatively early in the phrase work at (0:22-00:26) one sees a succession beginning with the female in the front being dropped into a split by her partner (ever so buoyantly and elastic, at that!). Next, the female in the back explodes into a jump. After the two girls connect in a roll to the ground, the male rolls his head. The trio becomes an accumulative orchestra of bodies accenting musical cues, allowing the song to be painted across the space dynamically. Matthew has clearly opened his ears and tailored his athletic and passionate movement to compliment the track in a variety of ways. The effect is quite enjoyable for the viewer and the breathe in the flow of the movement shows a fluid connection to all components of the song.

DANCER SYNC: Here at SERVINGCHOREO, we are always on the lookout for choreographers, who are considerate of the bodies that they are actually working with. For the purposes of this analysis, DANCER SYNC is a commentary on a choreographer’s ability to compose work compatible with his dancers’ abilities and comfort zone. All of our bodies are different and have various strengths and weakness, all of which are beautiful and valid in their own right. It is nice to see that Tseng not only keeps his dancers safe throughout the work, as seen in the partnering, but also gives the dancers space to express their own variations within the choreography. There is never a moment during the dance film that I worry for the dancers. One can see their comfort in the movement in their ability to hit musical cues while also living in an expansive, emotive state. In terms of partnering safety, at (1:30-1:36) one clearly sees the male figure supporting the female through a lift sequence. He smoothly and appropriately places his hands to provide the support she needs to move her body in space and allow her the freedom to express freely. I never have to worry that he will drop her or that his hand placement is misinformed. Audience and dancers are at east, which is ever more so noticeable when at the end of the sequence the female launches forward nearly out of his arms. The male is still there to support her daring escape as they seamlessly meet in his embrace, showing a strong connection between the partners and allowing the choreography to be accomplished injury-free. Partner safety is also seen during the male duet around (1:57-2:11). This section is really engaging, especially due to how weight is managed. The male dancers are able to suspend, lift, and share the weight of one another with fluidity and safety in the joints. A scary moment in the choreography could be one of the many sudden drops to the floor when the dancers fold down upon their legs. If done improperly, the dancers would be knocking their bones painfully into the floor or be at risk of more than a few bruises. Yet, the dancers do not collapse within their bodies, even as they collapse to the floor. They have the core strength and proper approach to land softly. At (1:12) the camera allows one to perfectly view how the dancers smoothly lower their bodies to the ground, following the flesh on the side of their leg and never for a moment compromising their knee. Matthew shows true compassion and understanding for his dancers at (0:47-0:48) when the choreography calls for an extension of the leg. One will notice that each dancer’s leg is at a different level, showing personal range of motion. The freedom Matthew gives to each dancer at this time is what I like to call a “gold star moment” because each dancer accomplishes the choreography as an individual and the audience witnesses the personal beauty of each dancer without an inclination to judge and compare. The height of the leg is not the priority and I thank Mathew for valuing his dancers enough to give them room to dance without sacrificing technique.

AUDIENCE ENGAGEMENT: There is something about viewing dance in real time, being in the space with the movers. Nothing can replace live performance. However, film enables Mathew to highlight the humanity within the work and guide his audience in a way that would not be an option if the choreography were to be performed upon the stage. Through both the perspective of the camera and the particular framing of the action, one witnesses human connection within the actual phrase work and a story that parallels the contemporary jazz movement. As much as I love pure movement, I am really drawn towards choreography’s ability to investigate the human condition. Plus, I am especially appreciative of the expressive capability of the hands. Matthew accomplishes both! At (1:57-2:11), during the male duet, Matthew rekindles a friendship that was broken at the onset of the work. This is seen with a close-up of their hands meeting. It is so powerful how the one hand brushes down the arm of the other, pulling the other dancer back into relationship and pulling at your heartstrings. The close-up of the hands joining references the “letting go” at (0:14). It is a little difficult to not be impacted by the uplifting nature of the gesture. And relationships are a ubiquitous experience for us all on a very basic level. The significance he brings to these interactions and the ways he using film to capture the dance makes for a relatable and inspiring piece.

KUDOS to Matthew for paralleling human experience and contemporary jazz in a creative film context: producing a work that is both relatable and uplifting.

Reviewed by Natalie Deryn Johnson

"Young And Beautiful"...Mayo Alanen

For most hardcore contemporary dancers, a show like "Dancing With The Stars" holds little potential for the deep subtleties that are the hallmark of somatic work. For most, ballroom dance has a long association with flashy costuming and passionately presentational competition style dancing. Very few would look to the world of ballroom for deeper exploration beyond technical footwork, fake tans, and megawatt smiles. But for every "rule" there is an exception. This piece, by Mayo Alanen, is a "contemporary ballroom" work, that illustrates that the key to authenticity lies in the execution and the intention. For every ballroom choreographer that chooses the traditional route, there is a Mayo digging into the possibilities of a road less traveled.


MUSICALITY: It comes as no surprise that Mayo exhibits an almost instinctual sense of musicality and rhythm. Ballroom dancers are expected to know the rhythmic peculiarities that differentiate the foxtrot from the quickstep, the samba from the tango, and demonstrate proficiency among all. For this reason, Mayo hears music in a manner not unlike a drummer or tap dancer, paying attention to the long and short beats, the syncopation, and the rests between beats. I was particularly drawn to the choreographic shapes that Mayo used to accentuate the words "I know you WILL" throughout his musical scheme. The first time we see this idea is (1:15-1:22), where the female dancer emphasizes the "will" with a side-tilt develope and a battement derrier, before snaking to the ground like a serpentine switchback. In an effective use of theme and variation, Mayo again alludes to this same sequence at (2:21-2:28) but with a different set of shapes. Another moment, that illustrates Mayo's deft musicality, is the almost imperceptible mirroring of the strings at (2:12-2:14) which shows his attention to even the smallest of details.

DANCER SYNC: For the purposes of this blog, the "dancer sync" condition typically refers to the choreographer's ability to create movement that is safe and feels good for the dancer. As a master partner, and seasoned pro, Mayo is an expert at providing a stable foundation for his partners to rely on. For a simple example of the trust that is placed in Mayo's hands, watch (0:55-0:57) where the female dancer literally falls into his cradle, never hesitating for an instant. There are also numerous places where he literally lofts her skyward and makes us believe that she is lighter than air, in danger of floating out of his grasp.

AUDIENCE ENGAGEMENT: Mayo has a profound understanding of the professional ballroom world, having been a world finalist and a featured partner on Dancing With The Stars. But this time around, working with Colby Massanari, he is creating a compelling new argument as to what ballroom is capable of communicating. From the very beginning, he sets the mood, not with steps or "moves," but with the ephemeral wisps of fog and smoke. This simple metaphor paints an engaging picture of beauty that is as temporal as mist, here today and gone tomorrow. Notice how he bookends the work with this wind-swept motif, ending the piece just as it began (2:45-2:53). I also felt that Mayo has constructed a high-quality structure for the work, by slowly introducing the more traditional ballroom, instead of aggressively hitting us over the head at the beginning. Observe how long he waits before "pulling" his partner and the audience, into the ballroom element at (1:30-1:32). Prior to this, the movement quality is far more nuanced and textured, and serves as a perfect prelude to the traditional partner work. Also, from his background in the competition world, he has mastered the art of shape and posture. If you look at (2:15-2:16), he imbues the entire moment with a sharp sense of isolation and emptiness, by simply turning away on the word "nothing."

KUDOS to Mayo for framing ballroom in a new and invigorating context, allowing us to see a traditional art form in a poignantly new light.

Please visit mayoalanen.com for more info about Mayo's work.

Robert Hoffman: Creating TRUE Contemporary Work

If there is one question that currently arouses hot debate within the dance industry, it most certainly is "what is contemporary dance?" As a competition judge and choreographer, I often ask this question to gauge how deeply the media has infiltrated the mass consciousness. Many times, pop culture drives this tendency to categorize and label "what is" and "what is not." Because of this, one typically hears generalizations such as "its just ballet mixed with hip hop" or "a fusion of all styles." However, these are naive attempts to frame contemporary dance within a rubric of "moves" or "steps," when in fact, contemporary dance is reaction based by its very nature. This is why Robert Hoffman might actually be considered one of the most truly "contemporary" choreographers working in the industry today.

True contemporary dance is the exploration of the "now" and the present state. When a dance is truly contemporary, it must take into account all the feelings and sensations that the dancer is experiencing in that exact moment. It is for this reason, that European contemporary masters rely heavily on the art of improvisation to create honest and authentic movement. True improvisation taps into the unique set of environmental factors that are present at any given point in time. This is the reason that many people find compelling contemporary dance "edgy" or "relevant." If a dancer is being genuine in their exploration, there is the opportunity to fail and the possibility for someone to wonder "is this good or crap?" However, the irony is this: if we deem something to be "good" then it immediately becomes a past reference and no longer exists in the "contemporary moment." In a society that revels in past accomplishments and building a repertoire of "classics," this aspect of contemporary dance can be frustrating to grasp. In essence, just as you reach your "success" you are asked to let it go.

And here is the kicker, the only way to truly access these "past references" in a contemporary context, is to view them with self-awareness and understanding that they are literally "of the past." It is for this reason that Robert Hoffman is actually creating "contemporary" work with this piece of video satire. He is expressing his "current state" of observation with regard to the subject of CONTEMPORARY DANCE. And in providing a humorous self-awareness, he demonstrates a reaction-based experience to the feeling we have when we watch this SYTYCD-style, media-defined, mass-produced, market-promoted "thing" that has been labeled "CONTEMPORARY DANCE." We all know, on some level, that what the American public THINKS is "contemporary dance" is actually a glossy, hyped-up, performance that is referencing a past idea or pre-conceived shape. And because these are shapes that are so easily recognizable, Robert's contemporary reaction hits the nail on the head and achieves his critique brilliantly.

In the early days of hip hop, the pioneers of the movement always referred to the EXPERIENCE of "breaking." However, the media always attempts to synthesize an experience into a commodity, so that it can be mass-produced and consumed. This happened before in hip hop, and is now happening within the world of contemporary dance. To hold and smell a real flower is a sensory experience and is very different than seeing a photo of a flower on a magazine page. In all probability, the original flower is probably dead and destroyed by the time you see it on the page. In the same way, true contemporary dance must be experienced in the moment. Someone could perform a "contemporary dance" on SYTYCD, die the next day, and the episode will still air one week later. And this effectively disqualifies it as being "contemporary" since it is no longer "of the now." But since experiences have little to no shelf life, corporate executives need an artificial stand-in that will give television audiences the "flavor" of contemporary, without the actual meat.

So for this moment in time, Robert Hoffman is my featured contemporary artist…because he is actively engaged in the current state of affairs. He alludes to past references with a knowing and observant eye, and makes relevant and accurate comments about the misinformation that has been fed to the American public. Robert understands that the executives at shows like SYTYCD are in the mass-produced entertainment business, and if the word "contemporary" sells advertising dollars, then they will milk that cow dry. But the experience that I felt, while watching Robert's satire, was authentic and totally present in that moment. It is for this reason that I deem it incredibly contemporary work. Interestingly though, now Robert's video itself has now entered into the realm of my own past references….and so goes contemporary dance.

"Daydream"...Joshua Pelatzky

I have spent the summer globetrotting to and fro. However, I am returning to my regular blogging schedule and am excited to bring you the work of Joshua Pelatzky. This piece touched me in a number of ways, primarily since I have a strong, personal connection to Italy and the dance community there. I wanted to highlight the work that Joshua is doing there and they manner in which Italian heritage and sensibility influenced this piece.


MUSICALITY: Taking inspiration from Chopin's Nocturne #2, I found Joshua's interpretation fascinating and nuanced. As Wiki explains, "This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato." With the key feature here being the element of "senza tempo," how does a choreographer imbue a sense of rhythm and musicality, when the music is intentionally languid and wandering? In analyzing the movement, it becomes clear that the dancers are relying heavily on synchronized breathing to communicate in a cohesive way. Observe the extended partnering sequence from (1:25-1:45) and pay attention to the way the dancers "feel and breathe" their way through the movement, rather than "hit their marks." This is a very advanced skill within the dancers' bag of tricks; to be able to dance in a fully present, fully tactile, fully sensory manner.

DANCER SYNC: I greatly appreciate the movement choices that Joshua has included in his exploration of the space. Rather than filling the simple landscape with overly expressive gestures or awkward technicality, he wisely allows the movements to grow out of a place of simplicity and genuine experience. Noticing that the physical space features multiple levels, curved arches, and a variety of surfaces (wood, stone, earth), he created choreography that blends the human body with these elements in a harmonious union. I love the moments when the female dancer "walks" along the diverse perimeters (0:44-0:46) and (3:13-3:17)...nothing technically tricky, but simple and completely effective.

AUDIENCE ENGAGEMENT: One of the challenges for choreographers working in an online video format, is the inability to translate sensory information via digital mediums. When you watch a live performance in a theater, the audience can see, feel, hear, smell, taste the effort and artistry of the dancers. But when you watch a dance online, some aspect of the experience is inevitably lost. However, every once in awhile, a choreographer like Joshua, will choose images, movements and sequences that have the capacity to wake up and engage our collective sense memories. When I watch this video, I am immediately transported to that palazzo, I can feel the breeze and smell the dust. As a dancer, I can imagine the cool touch of the stones on the soles of bare feet, and I can taste the salty sweat of dancing al fresco.

KUDOS to Joshua for giving us the opportunity to travel to Italy and vicariously experience a private moment with a woman and her dance. Click here to learn more about Joshua's background.

Review of "Human Metabolism"...Rhapsody James

REVIEW OF "HUMAN METABOLISM" BY RHAPSODY JAMES:

The course of human life is a study in cyclical formation and destruction. The fact that human beings enter the world helpless and vulnerable, only to one day return to this state, is a transformative process that affects everyone, regardless of race, gender or background. It is this equalizing nature of humanity that is explored in Rhapsody James' new show, "Human Metabolism," currently presented at Dixon Place Theater in SOHO.

As I was sitting in the theater waiting for the show to begin, I curiously searched the term "metabolism" via Wikipedia. Although I remembered the concept from high school science, I wanted to refresh my memory and see if Rhapsody's choice of title might offer any clues as to what we were about to see. In essence, metabolism is the process by which a life form changes matter into energy, a shift of state from food to fuel. Employing enzymes as a catalyst for conversion, this metabolic process happens quickly, efficiently and consistently. So what change then, does "human metabolism" represent and what is driving it?

The structure of the show was a four-part construct, in much the same way that a classical symphony or concerto is composed of musical movements. Herein, Rhapsody's company, R.E.D. (Rhapsody En Dance) would expand on the notion of "temptation," "lust," "illusion," and "rage/ascension." It stands to reason that these loaded guns of emotion are the metaphoric "enzymes" that propel the human experience towards maturity. They are all moments which exist in everyone's life, and once someone has been touched by "temptation" or "rage" they are permanently altered.

Therefore, "human metabolism" is the manner in which an innocent human infant gradually learns who and what they are. They begin to take in experiences and sensations, eventually creating a fully-formed picture of maturity. In order to achieve this effect, Rhapsody's choreography was highly engaging as a fusion between the contemporary modern world, and the vernacular of street-style, urban commercial dance. I felt that her aesthetic paid homage to many of the traditions of hip hop (formations, frontal presentation, isolations, ticks, waves) yet still challenged the audience to dabble with elements outside their comfort zone.

At one point in the show, a solo female dancer performed a fluid, dance-hall inspired seduction for a group of inanimate busts. These blank faces were constantly being manipulated to gaze in her direction, except for one. This "person" would not consent to her siren dance and all of her undulations were in vain. Try as she might, she could never quite break through and make a connection or get "his" attention. I wanted to highlight this moment for two reasons. First of all, for many audience members, an abstract performance like this would typically be described as "weird-ass, hippie shit" or "crunchy granola modern." However, Rhapsody inhabits a very unique place with the NYC dance hierarchy. She possesses the commercial and "flash" credits that enable her to have a legit voice and loyal following, but also has an uninhibited mind and wild sense of creativity. She creates a trust among her dancers and audience, and presents avant guard concepts in a way that is both challenging AND accessible.

The second reason I found this moment compelling, relates to the idea of vulnerability. More than anything, this young woman, who was so desperately seeking approval and validation, allowed us to see her in a state of free-fall, out of control and grasping for something stable. Another moment in the show, entitled "Broken," explored a young man on the brink of isolation and disenfranchisement. By the end of the piece, the dancer is reduced to tears, loneliness and fear. In total silence, Rhapsody asked for complete emotional nakedness, stripping the emotions raw, real and painful. As visually satisfying as the tightly choreographed sections were, these "other" moments are the ones I remember most. They were the moments that choked my throat, punched my gut and forced me to feel a visceral, "human" reaction.

On a side note, I thought that it was interesting that Rhapsody asked her company dancers to perform barefoot. In a community where status and style are frequently conveyed through "sneaks and snapbacks," asking dancers, who are primarily hip hop trained, to dance barefoot, is revelatory in itself. Again, it requires the dancers to shed the "protection" of a shoe, and open themselves up to the potential of hurt and injury. This notion flies in the face of typical b-boy battle culture, where, under no circumstances, would you let your opponent see you cry….or quiver…or break. But Rhapsody is far from typical. In fact, within the metaphor of "human metabolism," Miss James herself is catalyst for change, transforming the lives of every person she meets along the way.

"Give Me Love"...Kyle Hanagami

Kyle Hanagami represents the next generation of hip hop choreographers, a new breed of dancers who are open-minded and curious about all forms of movement and styles. One minute, Kyle can be seen throwing down fatal beats and accents, and then switching things up smooth and fluid. And then, as if to challenge anyone's doubt as to his versatility, he creates a video like "Give Me Love." This piece is pure, contemporary beauty, with a sophisticated eye for detail and nuance. There are truly only a hand-full of choreographers who have such a solid range of skills, working with equal ability across multiple genres.


MUSICALITY: Sometimes a musician is asked to play a note for all its worth. This level of intensity is known as FORTISSIMO, and the opposite quality is known as PIANISSIMO. These two extremes are the bookends of a musician's spectrum, sometimes they play it LOUD and sometimes it is soft to the touch. In a similar way, dancers have this same range of intensity within their movement. If you are dancing for Justin Timberlake at Madison Square Garden in front of 30,000 screaming fans...your movement will probably be big, loud, bold, and FORTISSIMO. However, this video explores the softer, more intimate end of the spectrum. Look at (2:56-2:58) where Kyle translates the lyrics into simple hand contact that moves up the body from the knees, to the hips, to the chest, and finally to the sky. Its neither brash or presentational...but simply alive and floating on top of the breath. Also, many hip hop choreographers feel the need to choreograph every beat possible. Notice the effective pictures that Kyle creates simply using the first beat of the 6/8 time signature (3:01-3:14) and how it helps spotlight the quick tempo change we see at (3:15-3:17). To vary the tempo in this way, is an excellent example of Kyle's keen musicality and choreographic maturity.

DANCER SYNC: This aspect of SERVINGCHOREO is based on the ability of a choreographer to work within his dancers' physical and technical limits. If a someone were working with a wheelchair non-walking dancer, and asked them to do a split jump...we would say that the choreographer doesn't understand the concept of synching the movement to the dancer's body and ability. This is an important point to make when discussing Kyle's work. The majority of the dancers in this video demonstrate a high pedigree of hip hop talent and vocabulary. This training emphasizes body control and precise isolation, instead of the extreme flexibility and extension that is typical in ballet or lyrical. And yet, Kyle is still able to create a complex, layered texture that is beautiful and authentic within the specific skill set that this group of dancers possess. Look at (1:49-1:50) and notice the round sweeping leg move. In classical ballet we call this a "ronde de jambe en l'aire" (which is French for "round of the leg in the air"), and it is typically executed at or above hip height, with a perfectly straight leg and fully arched foot. The point is, in this context the "classical" or "correct" form of this element would not have served these dancers. Whether it was a stylistic choice, or dictated by physical, technical limitations, doesn't matter. The important point is that Kyle chose a modified version of "ronde de jambe en l'aire" that best served the dancers' body type and ability. It was perfect synchronization!

AUDIENCE ENGAGEMENT: I truly believe that dancers have the ability to say those things that words can never express. There are many times when I experience a situation or emotion which are ambiguous and undefined. However, in those moments of inarticulate writer's block, a physical expression through dance can provide lucid clarity. I felt that the prologue of this video did an excellent job showing the set up and purpose of this project. Dancers who are able to transcend the music-video-commercial-mentality and utilize their talent for a social cause, is uplifting and exemplary. As someone who is active in the fight against breast and ovarian cancer, I have nothing but humble gratitude and appreciation for Kyle's work.

KUDOS to Kyle for honoring human struggle through a deft and touching piece of art. For more info, check out Kyle's Website.

"Primo"...Lisa Brasile

While Italian hip hop culture has a deep and undying devotion to the roots of urban NYC street artistry, there has been a recent movement towards contemporary hip hop fusion. I credit this shift to the confluence of American pop importation and the open-minded curiosity of European sensibilities. Choreographer Lisa Brasile, of Florence's Meltin' Pot Company, is a perfect example of this new amalgamation. She represents a bridge between these two aesthetics and her work is fundamentally situated in the crosshairs of both.


MUSICALITY: The opening sequence of this video immediately demonstrates something peculiar to most hip hop works. Unlike most commercially sampled music that relies on a steady drum loop, Lisa's musical begins with slow acceleration of tempo that requires all the dancers to hear this gradual rise in unison. By the time the beat drops at (0:40) the entire group has been brought to tempo simultaneously and starts to shuffle in time with the percussive groove. The most lovely aspect of Lisa's musicality lies in her ability to distinguish between different rhythmic textures. Whether it is at (0:57) when we see her dabble with a series of dub step whirls and clicks, or (1:49) with her petite footwork representation of the electronic tremolo effect, she is always listening carefully to the musical messages encoded in the track.

DANCER SYNC: At (2:39) we see a moment where the dancers slide to the floor with such grace and ease, that we glimpse Lisa's recognition of the need for choreography to support the well-being of the dancers. Working on concrete could spell problems for choreographers who are not intelligent enough to think through the transitions. However, I know that Lisa is adept with breaking technique and has incorporated many of the sequences bboys use to go from top rock to down rock into her fusion choreography. Over years of dancing on the street, bboy culture has developed an ad hoc technique for moving to the floor safely and efficiently, and Lisa takes full advantage of this knowledge and works it into her choreography easily. Furthermore, her costume design for this piece also serves to support her dancers comfort. The choice of clothing a choreographer expects a dancer to use, is often a contentious point within the creative process. But Lisa understands that ease of movement and comfort is an integral part of "how" the choreography looks and flows on the dancer's body.

AUDIENCE ENGAGEMENT: Because many hip hop choreographers work within the commercial world of film and TV, the majority of their works are somewhat frontal and presentational in terms of formation and blocking. But Lisa likes to work in 360 degrees and plays with all the conventions of typical hip hop choreography. From (3:02-3:12) her dancers break off into duets and trios, working on oblique angles, diagonals, and multiple levels of high and low. Far from being homogeneously cookie cutter, Lisa's work is hip hop at its most complex. Her work is simultaneously architectural, mathematic, and three-dimentional.

KUDOS to Lisa for her reinvention of what hip hop movement implies and what it can be.

"Asking Too Much"...Lexi Dysart

After seeing her work at Rhapsody James' SIREN showcase, I was extremely excited when Lexi Dysart decided to translate her stage choreography onto film. It can be a tricky dilemma when a choreographer tries to animate spoken word poetry through the body. It is either spot on on far from the mark. However, Lexi has found a way to echo the wordplay perfectly, focusing on the nuanced cadence and dramatic pauses. The final product is a lighthearted, uplifting piece that allows the audience to peek into a girl's mind, vicariously experiencing her nervous hesitation and emotional probing.


MUSICALITY: When analyzing Lexi's piece, its important to remember the significance of punctuation. In much the same way an elementary teacher reminds students to avoid run-on sentences, Lexi's material is a case study in respecting the punctuation of a movement phrase. A choreographic sequence is very similar to a sentence, in that, it expresses a complete idea and then ends with a period, question mark, or exclamation. When we view Lexi's work in this manner, you notice the care that she has taken to preserve this naturally occurring rhythm. At times she uses the movement equivalent of a comma, like at (0:50-0:52) where the dancers suspend the word "cheek," allowing the viewer to digest that moment, before reinitiating the movement. On the other hand, sometimes it is an exclamation mark, like at (1:26-1:28). However, the majority of the punctuation marks, are thoughtfully placed periods, full stop, as we see at (1:43-1:47) on the words "god" and "you."

DANCER SYNC: The first thing that came to mind when I saw this piece, was how much fun the dancers seemed to be having. I immediately had the impression that the movement was perfectly tailored to the dancers' natural movement style and inclinations. In addition to this, safety is of prime importance when discussing dancer sync. For the video, Lexi has chosen to incorporate the natural landscape of the park and benches. The transitions have been modified and calibrated to allow the dancers to move from level to level safely and efficiently. Also, in the original version of the piece, the choreography called for a floorwork section. However, due to the wet conditions of the concrete, Lexi opted to create an alternate phrase that took advantage of the rear bench, with the two girls working in tandem.

AUDIENCE ENGAGEMENT: I have always been intrigued by creative people who can think in "big picture" terms. This refers to the ability to see "the parts" as well as the "the sum total" of the end product. In Lexi's case, for her "big picture" to make sense, every moment of the choreography needed to support the final moment. Consequently, all of her movement choices and phrases indicate that there is a conclusion on the horizon; a final answer to her string of unending inquiries. Therefore, her choreographic structure not only mirrors the spoken prompts, but compels the viewer to stay tuned in until the end. Since the subject of Lexi's questioning is not revealed until the final moments, the audience is locked into the action from start to finish.

KUDOS to Lexi for transporting us into the private thoughts of an every-girl, letting us spy on an intimate corner of someone's quiet quandaries.

"Waiting"...Terence Then

Throughout history, artists have been the catalysts for social progress. They are the free-thinkers, whose minds are liberated from the box of conformity and limitation. Singaporean choreographer, Terence Then, is a good example of an artist using his craft to initiate change and progress. I had the great pleasure of chatting with Terence about his project "Waiting," which was a collaborative effort with INVADERfilms, a local video production unit. While the narrative structure of this piece is simple and relatable, I found that Terence's artistic goals as a choreographer are broad and expansive. I am anticipating great things from this young talent, who, far from waiting, is actively promoting change through his art.


MUSICALITY: Terence is blessed with a very sensitive ear when it comes to hearing subtle details in a track. Whether its the incidental guitar riff being synthesized into a quick footwork sequence(1:06-1:08) or the kick-drum/high-hat combo accents at(1:27-1:29), Terence has a keen way of translating musical elements into visual lines and movements. When I asked him about his relationship to the music that inspires him, he said, "Most of the time the music inspires me. I will find the music first mainly for in-class choreography. But when it comes to concerts and productions, I will think of the concept that I want to portray first, then find a song that will help portray the concept the way I want it to be. Before I choreograph I would always listen to the song many, many, many times over and get the feeling, the layers, the rhythm, the lyrics and create pictures in my head on how I want to portray it before I actually start on choreographing it." With this in mind, it is really no surprise that Terence's choreography is so intrinsically connected to the beat, melody, and breath of the music.

DANCER SYNC: Terence is a very well respected member of the Singaporean dance community, due in large part to his insistence that the movement fit the dancer, not vice versa. With that being said, I found it interesting when he said, "I feel it is VERY important for a dance to portray EXACTLY what you want it to be as a choreographer. I used to think that a dance must have fancy moves of difficult execution for it to be good. However, over time and experience, I realized that what is the most important, is the portrayal of how the music makes you feel. Therefore, in every piece that I create, it is largely based on how the music makes me (or the dancer) feel, or a message that I wanna bring across, not through words but by my body language." In other words, for Terence, the idea of "dancer sync" is two-fold. Not only does he seek to find movement that fits the dancer physically, but also emotionally, mentally, and spiritually. And to this end, Terence has a very open-minded approach as to the constitution of genre. Instead of excluding movement choices that might be outside the traditional norm of hip hop vocabulary, Terence actively looks to other genres (ie modern, contemporary, tap) for inspiration. He explained, "there isn't any genre of dance better than another. Dance is movement and we should respect all forms of dance. Dance is like Lego, it doesn't matter what color the Lego pieces are, you are still able to build an amazing Lego structure with many many different pieces and colors of Lego blocks."

AUDIENCE ENGAGEMENT: The structure of this piece follows a classical journey of discovery. We see the everyman engaged in the most banal, wasteful gluttony, and then the channel-changer is brought into focus as a symbol of initiating shift in perspective. The choreographed portion of the video then reveals the inner monologue of the central character, as he struggles with the responsibility that social consciousness engenders. The arc of the journey is complete when we see the protagonist's final choice and resolution. When I asked about the film's potential for biographic interpretation, Terence replied, "There will always be stereotypes that will see things the way how the majority sees it. But i can only say that dance changed my life. It changed me into a better person, it gave me purpose, it gave me life, it gave me meaning to why I wake up everyday. I have personally seen dance heal a person's soul, I have seen dance create unbreakable bonds and families. Dance is and will forever be AMAZING to me and I hope the people who think otherwise try harder to understand the art, because dance is so much more than just dance. It's bigger than that." Upon each multiple viewing of Terence's work, I felt increasingly connected to his mission of social change through dance. That his motives are so altruistic and pure, makes him a unique and powerful choreographic voice for the next generation.

KUDOS to Terence applying his gifts and talents to the greater good, he is an excellent role model and sets a stellar example for others to follow.

P.S. Terence also had this special advice for aspiring choreographers, who are looking to make their mark on the dance world..."I've always tried to be myself as much as I can. I believe that is very important as a dancer and choreographer, to be yourself, to have an identity you can call your own. I do not watch alot of YouTube so I would not be influenced in my creation of pieces. I wish through my art, that I get to inspire people to be themselves and not follow in the footsteps of someone else just because the trend is there. I wish I get to share all the knowledge I have as a dancer and as a person to all my students I really hope one day they are able to be a better teacher and dancer than me. I have learnt alot from my teachers when I started dance at 18 and now that I'm a teacher, I would want to give back even MORE than what I have learnt from my amazing teachers."

If you care to watch more of Terence's work, please visit Terence on YouTube.