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Dancing With Myself: Reflections of a Community No Longer In Touch

Rachel Scott Everett | September 25, 2020

Topics: bachata, coronavirus, COVID-19, DJXtreme, Dogtown Dance Theatre, EVERGIB, Havana 59, RVA bachata, RVA Salsa, RVA salsa music, Salsa Connection Dance Company, salsa dancing, Tropical Thursdays, Yani Justina Photography

For the citizens of Richmond’s hidden world of salsa and bachata, opportunities for dancing and being in touch with one another is yet another casualty of the COVID-19 pandemic.

Last week marked six months since the initial lockdown in Richmond due to COVID-19. These days, face masks and social distancing have become second nature. And it seems everything from work to school to happy hours will be in a virtual format for the unforeseeable future. It’s a testament to the fact that life will, and must, go on.

Yet there’s one aspect to our new reality that we likely haven’t adjusted to: the loss of touch.

Human touch is essential. Research shows that beyond social bonding, it’s necessary for our happiness, mental health, and overall well-being. Not only do we need to connect with people on a basic physical level, we’re hard-wired to do so. In fact, “skin hunger” is a phrase denoting the biological need for human touch, whether we’re aware of it or not. (Source: Wired)

Nowhere is the power of touch more pronounced than in a group near and dear to my heart, the RVA salsa community. For many, social dancing is a way of life. In pre-pandemic times, Richmond’s hidden world of salsa and bachata aficionados could be found out dancing nearly every night of the week. 

Tropical Thursdays at Havana ‘59. Photo by Yani Justina Photography.

One of the city’s most beloved dance spots was Havana ’59 in Shockoe Bottom. Every week, the Cuban bar and restaurant hosted Tropical Thursdays, an evening of Latin social dancing that eventually turned into late-night freestyle. The music’s distinctive beats and energetic rhythms could be heard from blocks away – a siren song beckoning people to join in.

On a typical night, I’d enter from 17th Street Farmers’ Market, bypass the main restaurant and bar filled with the distinct waft of cigar smoke. Heading up the flight of steps, the music would grow louder. After chatting with the dutiful young man at check-in, I’d pay the $5 cover charge, climb a few more steps and then instantly be transported to another world. A world with no worries, no cares and no stress… just a place to be fully present and connect with others through music, movement, and yes, touch.

As of now, that world no longer exists. To say there’s a void in the lives of those who make up the RVA salsa community would be an understatement. An article on social dancing in the Washington Post states: “Of all the once-harmless human behaviors that are now potentially deadly, social dancing is surely near the top of the list. It’s easily one of the most dangerous activities we can do for the very reasons that it’s also one of the most glorious. The coronavirus preys on our humanity, and dancing brings that out in crazy plumes of joy.”

Knowing the loss I was experiencing, I figured others must feel the same way. I checked in with members of the RVA salsa community to see how they’re faring during this difficult year. 

Tropical Thursdays at Havana ‘59. Photo by Yani Justina Photography.

“We are social creatures and not having the ability to continue such an incredible feeling makes me sad,” says one salsa regular who typically went out dancing five times a week. “Salsa dancing was my main stress relief and form of mental rejuvenation,” remarks another. “It’s my passion, and not being able to share that with others has affected me.” 

Roberto Bisbal, who often taught the opening lesson at Havana’s, agrees that salsa dancing is the ideal outlet to relieve stress. “There’s nothing like one great dance to feel awesome and refreshed.” 

Yani Justina, a local photographer who has been salsa dancing her whole life, says she misses “the energy and excitement of a dance, the curiosity from new dancers to explore more… the camaraderie in general.” Since she began dancing in Richmond in 1999, she’s made close friends over the years. “I see this happening time and again with people who are new in town, college students, military personnel,” she says. “They come out to dance and enjoy the music, but they make friends, and suddenly, this city is not such a lonely place. This is the reason why this community is important to me. I found family… and I see how others find their flocks as well.”

The term “family” is often used to describe the RVA salsa community. James Davis, who’s been salsa dancing for a few years now, believes that’s an apt description. “It’s been incredible to see the community grow and develop over the years,” he says. “You have a group of people who have sweated, laughed, and created unforgettable memories together, all while expressing themselves.”

The author, Rachel Scott Everett, at Tropical Thursdays at Havana ‘59. Photo by Yani Justina Photography.

When Mary Beth Leone moved to Richmond, she was surprised to find a vibrant salsa community – one she felt was more active than the scene in Miami. “I made my first friends here by getting into the weekly salsa rotation – everyone was always friendly and welcoming. There’s a core group of people that you see at each venue, and they’re happy to get newcomers into the fold. Overall, the community is respectful and only out for the love of dance.” 

Julio Lopez, a long-time salsa dancer, agrees. As DJXtreme, he often played at Havana’s, and says the salsa community is important “for the simple fact that it allows you to meet new people. Dancing is a very strong outlet for those who have trouble meeting people.” 

In addition to the physical, mental, and social benefits, many say what they appreciate most about the RVA salsa community is its diversity. People span all ages, genders, ethnicities, sexual orientations, religions, backgrounds, and occupations – from students and retirees to blue collar workers and white collar professionals, and everyone in between. When it comes to dancing, people also span a range of skill levels, experience, and styles. 

One person remarked that it was rare to find a social group as diverse, inclusive and welcoming as the salsa community. “It helps build unity and understanding of others in our society that is otherwise divided and segregated in many ways.” Indeed, from my own personal experience, seeing everyone out on the dance floor expressing themselves in different ways with different people always renewed my faith in humanity. My long-time dance friend once said to me, “If everyone knew how to salsa dance, we’d have world peace.”

Mary Beth Leone dances with her husband at Tropical Thursdays at Havana ‘59. Photo by Yani Justina Photography.

No doubt about it, the familiarity that salsa dance brings provides an automatic level of comfort, as well as a sense of belonging that’s not always easy to come by in social situations. One dancer says, “Even if I don’t remember someone’s name, I can usually recall a face or the way someone moves and in that sense, I feel connected to them. Dancing brings people closer… not necessarily in a romantic or even platonic way. It just makes you feel alive.”

Many agree that the non-verbal exchange in social dancing is unique. Sharing an expressive art form while connecting with other people is a beautiful act that can also be fun, liberating, and even healing. An insightful CNN article on how coronavirus has affected our most meaningful ways to connect states that “Of all ways we communicate, the roots of non-verbal communication run the deepest. To show it, and to know it, is part of being a human.”

It’s this truth that’s made the new normal particularly challenging, not just for social dancers, but for everyone. Many of the things we used to turn to that helped us get through the trials of life are simply not possible or available now. 

“Imagine a crowded bar with a crowded dance floor with loud music,” says one veteran salsa dancer. “Dancers are tightly connected, often bumping into others. Everybody is sweating. The music volume means you have to yell to talk. It’s the perfect setting for a ‘super-spreading’ event and about the least safe activity during a pandemic.”

A salsa dancing couple takes a big dip at Tropical Thursdays at Havana ‘59. Photo by Yani Justina Photography.

So what’s the solution? One dancer laments that “COVID is such a mystery that I think any precautions we take are just our best guesses. Salsa is so intimate in terms of space and physical touch. I don’t know how social salsa events could be done safely.” Another mentioned that “open-air events and small studio events with safety precautions” might be feasible options. While the general custom is to dance with many different partners, most agree that’s not realistic right now. 

“Personally, I’m not comfortable dancing with others until there is a vaccine out,” says a salsa regular who believes the only way to make social dancing work is to hold classes centered solely on shines [solo dance moves]. Another dancer in the community brought up a social dancing model used in Montreal, Canada. It required an outdoor venue, restricted guest list (to limit capacity), mandatory face masks, no partner exchanges, and designated spots for dancing on the floor. 

Salsa dance event organizers and husband/wife team, Ruddy Rivera and RachelMarie Kleinberg of RVA Bachata, have given the logistics a great deal of thought. “At this time, to be safe, the community has to adapt and go through a paradigm shift on how we relate to dance and to others on a social level,” says RachelMarie. “Physically, we can wear masks and use hand sanitizer, but psychologically, we need to look at how we interact with and care for each other within the community.” They think one of the ways to move forward in a post-COVID era is for individuals to find reliable and trusted dance partners. “When you have a partner in life, you can dance through COVID until the end of the world,” says Ruddy. “But not everybody is lucky enough to be married to their dance partner.” 

While they believe standard protocol, as well as a forthcoming vaccine, can help mitigate the current crisis, they acknowledge that these steps are also fragile when considering the next outbreak and its unknown set of challenges. Still, they remain optimistic. “Despite the tragedy of everything that has occurred, we hope we can come out as better people on the other side of COVID,” says RachelMarie. “As we become better people, hopefully that will make the salsa community stronger and the dance experience an even more positive one.”

Salsa dance event organizers Ruddy Rivera and RachelMarie Kleinberg at Tropical Thursdays at Havana ‘59. Photo by Yani Justina Photography.

Candice Deisher is co-owner of Richmond-based Salsa Connection Dance Company, which has been closed since mid-March. Earlier this month, they began teaching virtual classes, and just this week, they will be opening up 18 in-person spots for students. The classes will take place at Dogtown Dance Theatre in a large space upstairs (the main theatre) with high ceilings and plenty of air flow. COVID safety restrictions will also be in place. 

“We require masks and will be abiding by social distancing guidelines,” notes Candice. “Everyone has their own comfort level with COVID. We are not currently social dancing, as we feel partner dancing still poses too much of a health risk until the COVID situation is under better control.” Regarding the future of dance, Candice is hopeful that people will choose safety now, do their research, and let science guide their decisions. “When social dancing does return, I hope to see a newfound passion and appreciation for the arts and the many positive benefits they provide for each of us.”

Tropical Thursdays at Havana ‘59. Photo by Yani Justina Photography.

Like many of my salsa friends, I’ve turned to other forms of exercise and hobbies during this time, but nothing comes close (literally) to social dancing. 

Recently, on a long walk through my neighborhood, I heard the familiar sound of Latin beats in the air. It was coming from a trio of construction workers who were listening to salsa music while they worked. Instinctively, I broke into the basic salsa step – I was 30 feet away, but it might as well have been a thousand miles. Without the ability to touch, connect, or have any kind of physical contact, it just wasn’t the same.

Famous Italian Renaissance painter Michelangelo once said, “To touch can be to give life.” But right now, touch has the potential to harm, or even take away, life. This week, the U.S. hit the 200,000 mark for coronavirus deaths and there’s currently a global surge in cases (Source: The New York Times). If we’re among the fortunate who are healthy, we should simply focus on being thankful for that. After all, social dancing will eventually come back, but for some, their health may not. 

So, we’ll have to wait. And when post-pandemic salsa freedom finally arrives, let’s make sure we never take the power of touch, dancing, or our health for granted. Until then, save me a dance.

For a glimpse of the RVA salsa community in action, check out the scene at Tropical Thursdays last year at this time.

Top Photo: Tropical Thursdays at Havana ‘ 59. Photo by Yani Justina Photography.

All photos were taken pre-pandemic.

Dogtown Dance Theatre’s Virtual Dance Festival

Kieran Cleary | June 15, 2020

Topics: Ash & Elm Dance Co., Cara Thomas, Company | E, coronavirus, covid 19, Dogtown Dance Theatre, Dogwood Dance Project, Elsie Neilson, Joi Brown, Karar Dance Company, Kayla Xavier, Luisa Innisfree, RADAR Dance, Renay Aumiller, Richmond Dance Festival, social distancing, tedted performance group

With social distancing making gathering in one place for the annual Richmond Dance Festival an impossibility, the dances were instead hosted online, where a dozen performers responded to our current isolation with thought-provoking movement.

This May, Dogtown Dance Theatre hosted their annual Richmond Dance Festival (RDF) in a video format, since they cannot currently use their beautiful theatre due to social distancing requirements. The chosen theme, Isolation to Creation, prompted 12 different dancers from the region to explore and respond to the amount of space social distancing has required: “six feet.” The creative performances from the virtual festival premiered online on May 12, and I reviewed them in the order that I watched them on Vimeo.

Located in a beautiful old building just south of the James that looks like the school from Matilda, Dogtown Dance Theatre hosts a community dance school and is a professional performance center. It even makes a beautiful reception venue. In the Fall of 2019, the successful non-profit program presented an interpretive dance production set to Pink Floyd’s Dark Side of the Moon, which sold out for all three performances. Major productions help to fund year-round operations, which provide performing artists a beautiful space for continuing studies.

I feel sure the artists miss the community aspect of their festival. When I attended RDF at Dogtown Dance Theatre in 2019, I found myself in a casual, Socratic classroom setting where all feedback from friends and family were equally welcome. That day, I saw an amazing group made up of Hungarian women both young and old. With heads held high, balancing swords atop heads dressed in colorful turbans and sparkling coin headdresses, they beamed at us. Their dazzling performance contrasted with the more modern style utilized by most performers, who wore muted street-clothes costumes and performed solo. Some dancers incorporated spoken word, custom tracks, or documentary video.

Like last year, modern dance was the predominant style at 2020’s RDF, and dancers met the challenge of sharing screens and filming their own performances from home. Resident performer Kayla Xavier “looks forward to this festival every year,” and in her performance, made a “hilariously fun discovery of a small and unexpected location.”

Kayla Xavier, from “Toilet Humor”

“Toilet Humor” by Kayla Xavier: Count on Xavier to incorporate humor into her personal pieces. She brings levity to situations, like being in the bathroom, or being hung over, and chooses popular music for accompaniment. This performance is inspiring and fun. I’d aspire to devote this much energy to my morning routine. As a direct response to the coronavirus pandemic and social isolation, I think this dance is forward-looking and optimistic.

This video reflects modern social media culture in the way we communicate with our loved ones. We share pictures and videos of our private lives when we are apart. This fun, choreographed performance in the bathroom reminds me of TikTok videos that my middle-school-age neighbor likes to make at the park with friends. Xavier wants to inspire self-confidence in others with her work. Through her brightness, she wants to show people that even if you are in your underwear, when you are having fun and feeling good, it makes a lasting impression.

The dance is primarily meant to capture the way we, as a nation, have collectively laughed at our real fear in response to the prospect of toilet paper shortages. I liked the way the toilet paper rolled gracefully into the sink; I always cringe when my TP is at risk of getting water on it, so Xavier made me jump a little. Her dance is a little playful. Her horizontal arm movements and leg stretches complemented the geometry of the bathroom and she used the whole small space. I’d probably hurt myself if I tried to mimic her athleticism, and I know my shower curtain wouldn’t survive a handstand attempt. “My toilet paper!!!” “Let go of the toilet paper!” “Work that toilet paper!”

“Backyard Dance” by Joi Brown: This performance, set to the sound of birds and crackling leaves underfoot, cuts out and resumes at one point, giving the impression that it’s a free-flowing, continuous dance sequence. It emphasizes the process and practice of dance, perhaps showing how a quiet, natural setting can feed artistic expression. The repetition of a twisting, blooming hand motion originating from the abdominal region reminds me of holding an energy ball during Tai Chi. The dancer stretches her balance over her feet, and flows from one movement to the next, with archness and deftness. I’ve enjoyed my access to the outdoors during the coronavirus pandemic lockdown, and have been reminded of a psychological study that associates natural areas with mental health.

“New Light” by Cara Thomas: More storytelling elements and more creative cinematography in this piece. A dancer is shown in several different places practicing outside the studio: a cement square (maybe outside Dogtown Dance Theatre), on a brick floor in front of a mirror with lots of natural light, and in an empty domestic room with hardwood floors. Set to dramatic, meditative violin music, the dancer, along with other dancers who have smaller performances within the video, release their troubled minds with reaching, twisting, and leaping movements. My favorite camera angles were the shot of the primary dancer’s foot as she reached down to the floor with each stretched toe, and the way she almost looks like she is falling backwards with each step as she backs away from her square at the end of the performance. In “New Light,” dancers boldly face challenges.

“Burden” by Company E, Washington D.C.: This is a piece from an original stage production. It could depict a love triangle or new girlfriend joining a family. The male in the trio seems to be the center of conflict. The original score by Gavin Stewart is brooding and kind of dark. The faces are set and the dance is confrontational. It picks up momentum, and at the end, the dancers, who have been exchanging places and coming together on different sides of a coffee table posing in a sequence of conflicts, all find a position on different sides in a powerful triangle. Their coordinated movements and fierce eye contact made me forget about the table for a moment. I think “Burden” reflects current side effects of social distancing, specifically the amplification of domestic conflicts since there are fewer social outlets.

“lost and lonely” by Luisa Innisfree: Luxe, bright sounds from Swamp Dogg, a velvet chair, a Persian rug, and red wine. This dance is strong and a little funny, even though it starts with a worrisome kind of vulnerability – a girl drinking heavily, alone in the dark. Somehow the emphasis on her shoes make the dancer seem vulnerable. She performs burlesque moves and is somewhat transported to daylight and the outdoors. The end of the video shows a series of athletic dance moves that feels more like a workout or practice than an emotional release. I’d call the performance an exhibition of several elements of the artist’s inspiration.     

“Empty” by tedted Performance Group: This performer intends to transport viewers from their homes with their video art, which features hand and head movements choreographed to spoken word, as well as light and shadow art made with a projector (I think). The execution of the video was provoking and cool, and I think the speaker’s use of repetition worked well with their choreographed hand movements. Simple color scheme, egg and triangle shapes, and tricks with light remind me of French avant-garde silent movies. Dreams and self-perception are major elements.

Renay Aumiller, from “Release Me”

“Release Me” by Renay Aumiller: I really enjoyed this outspoken environmental video. The pop song choice and the presentation were simple and did not limit the audience. The skirt is striking and cool, and as the performance progressed, I was drawn to look at the labels on the artful white strip of bags: Hobby Lobby, Dominos, Target, Goodwill… At first, the performer looked like a conductor in a grand symphony, but her movements became more expressive and powerful as the song progressed. First I saw a person, then the skirt, then the dance. Finally, the skirt began to make noise and fluff and bundle, and I became aware of a specific statement about plastic bags and our environment.

Both Aumiller and Xavier express a possessive relationship with their consumables. Aumiller’s brief artist statement begins: “Plastic Ocean. Recycled dreams.” At times, the giant skirt seems to be limiting their movements. (Oh, “Harrison Bergeron!”) I’d certainly be afraid if I was trying to swim amidst all those bags. But a detectable vein of humor is present in this, as the performer jealously holds the bags close, even while “drowning” in them. The performer reminded me a little of my cat who used to go crazy for an open paper bag on the floor. “Release Me” made me remember one of the 2019 RVA Environmental Film Festival selections, “Drowning in Plastic,” and I watched it all the way through to the funny ending.

“Virtually Intertwined” by Dogwood Dance Project: I think this was my favorite performance as a direct response to the coronavirus pandemic and social isolation. The gentle music, the title, and even the name of the company all resonate, reminding me of springtime and delicate growth, making me feel calm. I liked the way my eye was drawn from screen to screen when all the company members were shown together, as if on a zoom chat screen. And I liked how at times, all the dancers were dancing with shadows of themselves. The many different settings on the screen at once — kitchens, yards, bedrooms etc. — didn’t overwhelm. I was reminded of home, safety, and how crisp, beautiful, and abundant nature is during springtime.   

“I Dreamed of Solace” by Elsie Neilson: The performer wishes to express “the reality of being [a dancer] confined in an unconventional space.” I felt like this performance was most belonging on stage, at odds with its surroundings rather than embracing them. The dancer’s eyes were cast beyond the kitchen ceiling and row of decorative plates to the rafters over her imaginary stage and the big velvet curtains. And yet, certain movements, the rocking of arms and swaying back and forth, were enhanced by the delicate china plates and the baby gate (which could of course also be for a dog). I felt like she was one of the little porcelain ballerinas in a box in her childhood home as she turned deftly, without fear of striking the wall. Bravo!

“Post” by Kara Robertson of KARAR DANCE COMPANY, original score by Ryan Davis: Both artists meditate on isolation. The dance’s emphasis on feet, hands, and the ground reminds me of the idea that we are pared down to essential business and interactions. For this dancer, it seems like what she has are fundamentals. This is kind of what modern dance in general communicates to me. The setting, sunset in a field, and the music are both beautiful. The chosen title is simple and emotive. I like the way the ending of this video draws attention to the setting. The aerial shot of the grassy field with the dancer in white, a distant speck, looks beautiful. 

“Collective Disdancing” by RADAR Dance: I was very excited to recognize Portuguese music. It’s a light and relaxed song choice, but maybe wistful. RADAR Dance shifts from dancer to dancer, one domestic scene to another, sometimes by cutting, sometimes by handing off movements. Whether they dance in a garden, a laundry, while window-watching or in a triangular attic space, dancing in a jacuzzi, on the couch, on the stairs — these ladies are inspired during their isolation by making the most of their daily movements. Sometimes, solitary work can be thought-provoking, or heavy. In another direct response to isolation, these performers present themselves as sharing, and their actions and locations are made more complete when observed together. One of the movements they seem to be focusing on looks like a mortar and pestle grinding, or a robot arm on the assembly line, which could be an interesting comparison of cultural domestic labor. Thoughtful performance! 

“The Bunkbed Chronicles: Part 1” by Ash & Elm Dance Co.: The allure of bunkbeds. They are like playground equipment. The title of this piece had me thinking about the fictional Peter, Susan, Edmund, and Lucy, bored when they were stuck inside at their Uncle’s house, bunkered down during London aerial bombings. It also reminded me of the Hamm brothers, the twin American Olympians who began their careers swinging from the rafters together in their childhood barn. I thought the dance charmingly resembled child’s play the way the dancers balanced their movements, and sometimes mimicked each other, but were still focused on themselves and discovering on their own movements.  

You can see all of these performances for yourself by going to vimeo.com/dogtowndancetheatre.

Top Photo by Dave Parrish

Essentially Invisible: The Impact of COVID-19 on RVA’s “Non-Essential” Businesses

Rachel Scott Everett | April 6, 2020

Topics: Another Limited Rebellion, Cade Martin, Cadence Theatre Company, Coffee At A Distance, coronavirus, covid 19, CreativeMornings RVA, Dancers of RVA, Dialectix Consulting, Dogtown Dance Theatre, EVERGIB, Familiar Creatures, Fighting Gravity Fitness, Gianna Grace Photography, K2 Custom Tees, Kate Thompson, Kate Thompson Photography, Keep Calm And Nom Nom, Minima, Nico Cathcart, noah scalin, nonessential business, OnHoldAtHome, Palindrome Creative, quarantine, richmond va local business, rva together, Sacred Heart Center, Shapes & Colors, Spiritual Flow Yoga, stay at home order, Studio Two Three, Tania del Carmen, The Creative Now, Think, Urban Hang Suite

All sorts of businesses around Richmond are trying to survive in the midst of quarantine; coming up with survival strategies has been even tougher for those deemed non-essential.

With Governor Northam’s recent issue of a mandatory lockdown, it’s clear business won’t be getting back to usual anytime soon.

In the last couple of weeks, there’s been a big push (rightly so) to support local restaurants and breweries. Online delivery and curbside pickup are now the norm, and potentially the only way for these businesses to survive. It’s been amazing to witness the community come together and rally behind these establishments who’ve made our renowned culinary and craft beer scene possible. After all, eating and drinking is essential – not only to our survival, but to our enjoyment of life as well.

But what about the people working in business deemed “non-essential?” From entrepreneurs and artists to retail store owners and fitness instructors, these are the individuals who provide services that, during our current crisis, may not be “essential” for our survival. However, their income (or lack thereof) is directly tied to their survival.

This is the case for my husband and me as we run our own creative studio, EVERGIB. Within a few days, we felt the impact of the COVID-19 pandemic with the immediate loss of a brand launch project for a new restaurant. As independent creative professionals, we know all too well that when the economy takes a hit, we’re among the first to be affected. Now, no one is immune. As we self-isolate in our respective homes, we decided to reach out to friends and colleagues working across a variety of fields to learn what their life, and their livelihood, looks like during this challenging time.

The author, Rachel Scott Everett, and her husband, Brian Gibson, are Co-Founders & Creative Directors of EVERGIB, a nomadic creative studio. Photo by EVERGIB.

“Fear and uncertainty” are top of mind for Jason St. Peter, owner of Think, a fellow independent creative services agency in town. Like us, he’s experiencing a decrease in workflow, but trying to keep things in perspective, adding that “the drama happening with the rest of our country’s workforce and health is far more concerning.”

Matthew Freeman is founder of Dialectix Consulting, which offers facilitation and training around diversity, equity, and inclusion. “Almost every single project I had has been cancelled or postponed,” he states. The work is “both high-touch, in-person work and not a priority for organizations when their survival is at stake.”

Kate Thompson, of Kate Thompson Photography and Palindrome Creative, is feeling the crunch as well. A commercial photographer specializing in interior design and hospitality who recently completed work for Quirk Hotel Charlottesville, her focus has now turned to concerns about delayed income and loss of business, since photography is generally viewed as a “luxury” item. To stay hopeful, Thompson says, “I’m reminding myself that this, too, shall pass.” 

Katrina Boone, owner of Gianna Grace Photography and creator of Dancers of RVA, shares similar thoughts. “I never in a million years believed I would lose a whole month’s worth of work that has been scheduled for almost a year… I am now aware of just how fragile best-laid plans can be.”

Jess Burgess is Artistic and Executive Director at Dogtown Dance Theatre, a home for performing artists. Photo by Gianna Grace Photography.

Small business owner Jolinda Smithson of Shapes & Colors used to rely heavily on in-person meetings to generate new business. She’s adapting by connecting and expanding her network virtually. As host of CreativeMornings RVA, she’s particularly mindful of inclusivity within the community, reminding us that “businesses of color will be intensely impacted. It’s important to elevate those stories so folks get the support and resources they need to stay afloat.”

Kristen Ziegler, owner of Minima, a professional organizing and minimalist business, has also had to adapt. “Our business model is based on face-to-face organizing services in our clients’ homes and businesses,” states Ziegler. “Over half of our clients have asked to postpone their sessions. We’re losing at least half of our anticipated revenue as of now, and I only imagine things will get worse as the situation progresses.”

Ashley Hawkins is in a similar situation with her non-profit community arts studio, Studio Two Three. She’s dealing with a substantial loss of revenue due to program cancellations. Therefore, she’s ramped up her studio’s online shop, offering custom prints, shirts, tote bags, and other items for sale. “It’s a great way of supporting the studio and also getting something beautiful to remind us that we are all in this together.”

At Dogtown Dance Theatre, Jess Burgess, Artistic and Executive Director, is not only concerned for the future of her company, but the small staff she employs. Since 2010, Dogtown has been a staple for independent artists and community-based dancers. “In the wake of the COVID-19 crisis, we’ve been forced to close our doors, closing off access to the classes, performances, and workshops that keep our region culturally vibrant.”

Burgess remarked that on top of the loss of income, the loss of community has been particularly difficult. “Nonprofit organizations, rooted in the community, cannot afford this hit, both to earned and contributed revenue, and the long-term effects it could have on programs and services offered to the public.”

Laine Satterfield is Director of Education at Cadence Theatre Company, an independent theatre. Photo by EVERGIB.

That type of devastating ripple effect translates to the theatre world as well. Laine Satterfield is Director of Education at Cadence Theatre Company, a small, independent performing arts theater. They’ve had to postpone all performances and community events indefinitely, putting the entire close-knit cast and crew in limbo. Ironically, its spring production, Small Mouth Sounds, tells the stories of strangers seeking to find themselves through isolation.

Like countless others, Sonja Stoeckli, owner of Spiritual Flow Yoga, has had to rethink ways of doing business. She and her teachers are offering online classes through Zoom for a reduced fee. “I have to pay my teachers as otherwise, they have no income as well,” she says. “I try to charge a little bit for our classes. It’s hard, as many people are not able to pay anymore because they lost their jobs.” 

Audrey Bonafe, owner of Fighting Gravity Fitness, is faced with similar challenges, and trying to see the bright side of things. “There will always be something to learn and grow from. We will become stronger and wiser. We are all being forced to offer online classes now, and that was something we needed to do anyway.”

That notion of being forced into action seems to be a common theme for everyone. Social entrepreneur Kelli Lemon of Urban Hang Suite, among other ventures, is also trying to take a more positive spin. “We are all in this together. We truly have the opportunity to look at things differently.”

Sonja Stoeckli is owner of Spiritual Flow Yoga, offering vinyasa flow and restorative classes of all levels. Photo by EVERGIB.

They say constraint breeds creativity. And therein is where the solution for the survival of “non-essentials” may lie. It’s about finding creative ways to get through this together. Most likely, the success of our professional lives depends on the support of people. And in times of crisis, we need each other more than ever (that goes for our personal well-being too). It’s up to all of us to find ways to lift each other up, to help create more awareness of the different challenges we face, and to understand that despite our differences, we all share this same burden of uncertainty together.

Already there have been inspiring acts of kindness and selflessness from “non-essentials” leveraging their skills and expertise to help the community. Dustin Artz and Justin Bajan of local ad agency Familiar Creatures created Keep Calm and Nom Nom, a one-stop online shop for purchasing gift cards to support RVA restaurants.

Artist Nico Cathcart and other Richmond muralists designed custom tee shirts that are now for sale on RVA Together. Each purchase provides a donation to Feedmore. Similarly, artist Noah Scalin of Another Limited Rebellion has a limited edition tee shirt for sale, for which all profits will go to support the Sacred Heart Center. Both initiatives are in collaboration with local print shop K2 Custom Tees.

Nico Cathcart is a muralist and painter whose work addresses social issues and inspires activism. Photo by EVERGIB.

Photographer Cade Martin has developed The Creative Now, featuring interviews with creative professionals sharing their experiences about what they’re doing to stay creative. Tania del Carmen, another local photographer, created #OnHoldAtHome, a photography series that aims to shine a light on how, despite the different challenges we face during COVID-19, we’re all connected in a shared vulnerability.

While we’re all justifiably concerned about our individual livelihoods, these examples show the benefit of looking outside ourselves. If we’re feeling invisible, chances are that others are feeling the same way too. Perhaps the best way to help ourselves is by first helping others. There is power in being proactive and taking some kind – any kind – of action.

Reach out. Check in. Start conversations. Don’t just ask people to write a positive testimonial and/or review for your business – do the same for them in return. Refer people’s work and services to those who may have a need for it, particularly those fortunate enough to be maintaining a stable income. If someone refers you, thank them for taking the time to do so. Create a list of the people you know who should know one another, and make introductions for future reference. This is also a great time to become a mentor, or to search for one. Initiatives such as Coffee At A Distance connect experienced industry professionals with graduates, many of whom are entering the job market for the first time.

As we depend even more on our virtual interaction, online and social platforms is where we can particularly make an impact. Tagging, liking, commenting, and promoting people’s work or services may seem insignificant, but can often make a big difference in keeping everyone visible.

OnHoldAtHome is a photography series created by Tania del Carmen documenting the lives of Richmonders during Covid-19. Photo by Tania del Carmen.

Right now, we might not have a lot of control, certainty or peace of mind. But we may have a lot of time. Let’s use it wisely.

Top Photo: Ashley Hawkins is Executive Director and Co-Founder of Studio Two Three, a non-profit community arts studio. Photo by EVERGIB. All photos were taken with the necessary precautions and from a distance of 6+ feet.

Everything’s Black & White: the 2019 Dogtown Presenter’s Series Brings Us “Circadian”

Christopher McDaniel | October 23, 2019

Topics: Circadian, Crux Scenica, Damion Bond, Dogtown Dance Theatre, Fan Ho, Hong Kong Yesterday, Kara Robertson, Karar Dance Company, Ryan Davis, Weston Corey

Circadian, a performance by Karar Dance Company inspired by Fan Ho’s photography of 1950s Hong Kong, will light up Dogtown Dance Theatre this weekend with performances in the round.

This past weekend and this coming weekend, Dogtown Dance Theatre is hosting its annual Presenter’s Series. This year’s featured artist is Kara Robertson, the Artistic Director of Karar Dance Company of Richmond. Robertson was selected to present “Circadian,” the company’s first evening-length production, and the fourth iteration of the Series.

The production is a collaborative feat of Richmond artists, featuring Robertson’s choreography, Weston Corey’s lighting design, Ryan Davis’s compositional score, Crux Scenica’s stage design, and Damion Bond’s costuming. “Circadian” is a 39-minute show with no intermission that encourages you to consider all perspectives of the work.

The most dynamic facet of this performance is its use of non-conventional seating. Usually, several rows of chairs will stack high in bleachers or auditorium formats as they face the stage; this form of seating, known as proscenium seating, is found in over 90% of dance showings. However, “Circadian” is performed with the audience seating surrounding the stage on all sides, colloquially known as “in the round.” I have had the opportunity to see the production from two angles, and it truly conducts like two different strings of choreography from each perspective. Robertson has crafted a unique and interactive concert to break boundaries across tradition, space, and time.

Photo by Mike Keeling

Inspired by Hong Kong Yesterday, Fan Ho’s black and white photography collection documenting 1950s Hong Kong, Robertson clad her five dancers in black outfits with white undertones. As they emerged for the beginning sequence, they began to walk the perimeter of the stage. The embodiment of personality from each characterized dancer, telling their story within a story, was an astounding accomplishment. When the dancers had each shown their face through miniature solos, unison walking and dance began, alongside a major shift in the orchestral score. A roaring cello guided edge-to-edge sprints and dream sequences of lucid movement. Dancer Haley Wall personally mesmerized as she conveyed and confessed her role to a boxed-in audience.

Crux Scenica’s set design featured a giant wooden structure hung above the stage in front of the theatre’s brightest lights, casting converging lines across the floor; an impressive object to be looming above the room. This design played on the tight, diverging streets of the bustling photos from Ho’s collection, among Robertson’s literal interpretation of some. Mimicking poses shown from active movement in Hong Kong citizens, the integration of the two projects was seamless. One of my favorite aspects of this collaboration was Davis’s original composition. Finding similar inspiration from Chinese sounds in orchestra, he composed the work after seeing the choreography being developed, piece by piece and second by second.

Photo by Dave Parrish

Robertson and Karar have created a special experience for dance lovers, and I can’t wait to see what their next show might be.

“Circadian” runs three more times this weekend, on Friday, October 25 at 7pm, and on Saturday, October 26 at 3pm and 7pm. Tickets are $20 general admission and $15 for students, available on Dogtown’s website.

Top Photo by Kate Prunkl

RVA Dance Collective Moves Through Four Seasons

Christopher McDaniel | June 6, 2019

Topics: Danica Kalemdaroglu, Dogtown Dance Theatre, Four Seasons, Jess Burgess, Kayla Xavier, RVA Dance Collective

RVA Dance Collective capped off their 12th season with a striking performance at Dogtown Dance Theatre. Christopher McDaniel tells us all about it.

On Friday May 31 and Saturday June 1, RVA Dance Collective held their twelfth annual concert, entitled Four Seasons, at Dogtown Dance Theatre. The concert encapsulated their twelfth season as a professional modern dance company.

The company’s Artistic Directors, Danica Kalemdaroglu and Jess Burgess, not only choreograph original pieces on the dancers every year, but they invite new choreographers to set new work on the dancers, as well. Four Seasons featured work from Burgess and Kalemdaroglu alongside pieces from company members Shannon Comerford, Kayla Xavier, and Desmin Taylor. The guest choreographers for RVA Dance Collective’s 2018-2019 season were Kevin Jones, Artistic Director of CLAVES UNIDOS, and Kelly Hamlin, Artistic Director of KrasH!Dance.

While each number of the night had its own flair, a few stood out to me for their artistic merit and excellence:

Photo by Kate Prunkl

“Dissolution”
Choreographed by Jess Burgess, Performed by Marissa Barber, Shannon Comerford, Amil Giunti, Erika Hahn, Kelly Hamlin, Monte Jones, Michelle Koppl, Lindsay Benson Garrett, Katy McCormack, LaWanda Raines, Jasmine Tubach, and Kayla Xavier.

I have become such a fan of larger group works that highlight the capacity of awesome effects from 15 people moving on stage — sometimes in sync, but oftentimes not. When this piece began, each dancer stood huddled facing the audience, moving one at a time, like a breathing organism. The theme ran throughout the number, juxtaposing partners with mirrored parts. Special shout out to all of the costumes and score for the production.

“B.F.F.”
Choreographed by Kayla Xavier, Performed by Marissa Barber, Jess Burgess, Erika Hahn, Michelle Koppl, Lindsay Benson Garrett, and LaWanda Raines

The most lighthearted piece of the night, “B.F.F.” was an extended group piece set to a live recording of a jam session from Phish. With imagery mimicking The Breakfast Club, friends slept and partied and showed true individualistic personality through dance. Choreographer Xavier made something special that remains my favorite of the night. I would like to see more works like this being made.

Photo by Dave Parrish

“And Again”
Choreographed by Danica Kalemdaroglu, Performed by Marissa Barber, Jess Burgess, Shannon Comerford, Erika Hahn, Michelle Koppl, Lindsay Benson Garrett, Katy McCormack, LaWanda Raines, Jasmine Tubach, and Kayla Xavier

By far the most complex dance of night, “And Again” is an ode to the relentless force of struggle. Set to a score from Vivaldi, the dancers were angry and showed their discontent through interactions with other dancers. The costuming was split into two colors, and was the glue that held the piece’s themes together for me. Just when you think it’s over, they start dancing again. And again.

Dogtown Dance Theatre’s next large event will be National Dance Day, Saturday July 27. On this day, every single class is offered for free and everything is available to take. More info can be found at dogtowndancetheatre.com.

Top photo: “B.F.F.” by Mike Keeling

Richmond Dance Festival 2019, Weekend Three: A Night Of Solos

Christopher McDaniel | May 16, 2019

Topics: Allen Xing, Dhol Tuason, Dogtown Dance Theatre, Kayla Xavier, Michelle Koppl, modern dance, performance art, Richmond Dance Festival, Sayaw! Diversity

For the 6th annual Richmond Dance Festival’s finale, the third weekend’s performance on May 10 and 11 sported heartwrenching and joyous solos. The first show incorporated many different forms of dance, and the second show strongly hosted a majority of modern duets and company pieces. The final weekend differed only in terms of the number of people performing on stage, and was the strongest weekend yet, featuring some of my favorite solos to date.

Photo by Dave Parrish

“A Solo for 206 Performers,” Choreographed and performed by Michelle Koppl

With a title that tips its hat to the exact number of bones in the human body, Koppl made me uncomfortable in the most pleasant way possible. In Koppl’s words, her solo “explores the relationship between the mind and the body in motion,” and I could feel her breathe as she performed. At one point, she turned to the crowd and slowly scanned the audience with wide eyes and an open mouth; a haunting scene still vivid as day.

Photo by Michael Keeling

“Shape in Water,”Choreographed and performed by Allen Xing

Xing is a one of those dancers you imagine when you picture a dancing career. He has travelled and studied in various parts of the globe, and he has performed in many more. Currently based in Baltimore, Xing brought this immersive solo to Richmond. It is a performance reminiscent of water, lit with five blue spotlights at alternating spots on the stage, giving the image of Xing dancing underwater. His most spectacular move was a jump split with a four-foot vertical.

“Midnight Margarita,”Choreographed and performed by Kayla Xavier

This half performance art/half modern dance solo was served to the audience as comic relief. Most audiences and even dancers can have an air of pretentiousness about them, and Xavier tears it all down with one piece. Acting as an intoxicated partygoer who just arrives home, the dance was full of laughs as Xavier mimed pouring herself another glass, vomiting, and literally spinning out of control. Her entire performance was lit by a lone spotlight, and it just felt right.

Photo by Dave Parrish

“Singkilan,”Choreographed by Dhol Tuason and performed by Sayaw! Diversity

Taking a reprieve from the solos of the final weekend of the 2019 Richmond Dance Festival, the production’s final piece of the night was a group piece featuring over 20 performers. “Singkilan” is a traditional Filipino dance, broken into three sections comprised of three sets of performers. From young to old, Filipino men and women showed Richmond a rich culture that rarely gets the spotlight. More of this please.

With the conclusion of the Richmond Dance Festival, Dogtown Dance Theatre’s annual programming comes to a close. The 2019 Dogtown Presenter’s Series will take place this September, and it will be feature one local choreographer, who has yet to be announced. Find out more at dogtowndancetheatre.com.

Top Photo by Dave Parrish

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