Dogtown Dance Theatre

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 6^th 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.

“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.

“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.

“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

Richmond Dance Festival 2019, Weekend Two: Exploring Facets of Modern Dance

Christopher McDaniel | May 10, 2019

Topics: Company | E, dance performances, Dogtown Dance Theatre, German Prieto, Karar Dance Company, LaWanda S. Raines, PrioreDance, Richmond Dance Festival

The second weekend of the Richmond Dance Festival at Dogtown Dance Theatre was different from the previous weekend, with major diverging forms of modern dance being prevalent throughout. The audience was still able to experience some diversity in dance, from one piece of contemporary ballet to one piece of salsa bachata, but the varying takes on modern dance made the lasting impressions that I took away from the weekend. In fact, one film and three dances were just the breaths of fresh air discussed as we left for the evening.

Here’s a discussion of all the pieces presented over the course of the weekend.

“Weightless,” directed by German Prieto, choreographed by Mateo Galindo Torres and Falciony Patiño

Creating a second layer within this film, the director captured choreography performed on ceilings, but with the camera upside down to disorient the viewer into confusing up with down. “Weightless” invites the viewer to an alternate reality, a reality where unbreakable rules are merely optional.

“Inappropriate Miss,” choreographed by LaWanda S. Raines, performed by Amil Giunti, Kelly Hamlin, Deedra Harris, LaWanda S. Raines, William Sterling Walker, Natalya Watts

Hosting an all-black cast of dancers, “Inappropriate Miss” was half modern dance and half performance art. The speaker, Raines, gave advice for a woman coming-of-age to the audience. This involved ideas of coming to terms with their body, and the negative ways outside judgment and influence affect the development of a young girl’s worldview.

“The In-Between,” choreographed by Kara Robertson, performed by KARAR DANCE COMPANY

Kara Robertson and her upcoming company, KARAR DANCE, have started to gain attention as they creep their way into several of this past year’s local modern dance performances. In this particular piece, each dancer entrances the audience with carefully chosen red garments and thoughtfully simple choreography. “The In-Between” also featured a strong, perplexing projection that the company dancers used as a backdrop, providing a multidisciplinary aspect.

“Casita (Excerpt),” choreographed by Robert Priore, performed by PrioreDance with Company | E

Relatively new in his company’s life, Priore is on to something with his modern, choreographic take. His moves are vivid and forward, so this excerpt of “Casita” was a treat to witness in Richmond. Borrowing company members of Company | E to perform, PrioreDance not only exhibited its connections with the industry, but demonstrated the skill to execute choreography with renowned dancers.

Be sure to make it out to Weekend Three of Richmond Dance Festival, this Friday and Saturday, May 10th and 11th, at Dogtown Dance Theatre, located at 109 W. 15th St in Manchester. Admission is $15 for students, $20 for the general public; tickets can be purchased at Dogtown Dance Theatre’s website.

Richmond Dance Festival 2019, Weekend 1: Things Get Diverse

Christopher McDaniel | May 2, 2019

Topics: Ajna Tribal, dance films, dance performances, Dogtown Dance Theatre, Dogwood Dance Project, Richmond Dance Festival

This past weekend, Dogtown Dance Theatre hosted the first weekend of its annual Richmond Dance Festival, a comprehensive three-weekend festival bringing together Richmond’s top local choreographers, alongside national and international dance artists, in the heart of historic Manchester.

The festival exists as an initiative for Dogtown Dance Theatre to support its mission of providing dance artists with the resources necessary to present their works to an audience, which they hope will ultimately lead to artistic and financial success and sustainability. This production creates common ground for diverse audiences and artists to come together to enjoy globally renowned dance art and dance art film in Richmond. In my own attempt to give each adjudicated piece what its due, I have created a superlative list for the ten performances of Weekend One:

Most Ethereal

“Soul Swept,” choreographed by Elsie Neilson

With a cast of young VCU dance students, Neilson created a dream. All dancers, at varying positions on the stage, held the arms above their head, wearing flowing outfits. This piece was light, peaceful, and dreamy; a perfect opener.

Best Richmond Culture

“Black Kings Dance Too,” directed by Kelly Hamlin and KrasH!Dance

In this film, Hamlin intentionally casts a litany of Richmond dancers and choreographers who identify as black males. From Jay Static at the Latin Ballet of Virginia to Rah Williams of Richmond Urban Dance, Hamlin has given a long overdue spotlight to a vibrant demographic through 18 different dancers. Each scene is a simple highlight of footwork and expression from each dancer, ending entirely with each dancer’s lips visibly saying the words “black boy.”

Most Likely to Be Remembered in 100 Years

“(Bro)tha/Brother,” choreographed by Vania Claiborne

“(Bro)tha/Brother” is a duet between two black men in white tanktops and du-rags, which celebrates that same uniqueness and joy. In the final section, the dancers perform to a spoken word piece by Neko Williams called “Screen Protector.” The words heavy with weight, I found myself with tears in my eyes as the dancers held each other together, like a screen protector holding together shattered cellphone glass.

Most Shakespearean

“The Sun is God,” directed by Alice Pennefather and produced by Charles Haswell

Coming to us from London, this dance film tells the story of a woman left behind to wait and dream about her husband, who is fighting the first World War. Classical ballet is highlighted as phenomenal dancer Francesca Hayward seamlessly reminisces of place, of memory, of emotion and feeling through pointe. This project also hoisted the highest budget of the playbill.

Most Extravagant

“Tribal,” performed by Ajna Tribal

Ajna Tribal is a local dance company who specializes in improvisational belly dance, or tribal fusion dance. What is interesting to me, besides golden bells hanging from their hips, is that this style of dance is made-up on the spot, with one dancer leading and the others following. Often, the dancers switch places, taking turns between following and leading. They even have finger cymbals!

Best Structural Integrity

“Reset,” choreographed by Ryan Davis

Performed and choreographed by one person, Ryan Davis, he hit the stage to perform a whirlwind of a piece, tight and exhausting. “Reset” was short, but left Davis winded even after a minute or so. The image of him with his hands on the ground, using his core, pushing his body up with his pointed toes, will remain with me long after the conclusion of the festival.

Most Thought-Provoking

“Walls of Limerick,” directed by Arturo Bandinelli and performed by Máire Dee and Kathryn Cooley

Another historical dance film, “Walls of Limerick” tells the story, through dance, of civil strife in Ireland. This topic has echoes reaching back more than a century, and still reverberates to this day. The choreography was thought-provoking, exhibiting forms of ballet, modern, and aerial dance. Stylized in black and white, this film shed light on the Irish independence issue that had left my mind because it had left the media.

Happiest Feet

“A Piece,” choreographed by John Manzari and performed by Mary and John Manzari

“A Piece” is a duet set between siblings. The tap-dances this specific piece featured were some of the highlights of my night. The energy, the chemistry, and the tapping all played together for a delight. It’s not often tap is seen on a professional stage alongside ballerinas, but that’s what’s great about Richmond Dance Festival. The sister/brother combo had me looking up the prices of tap shoes when I got home.

Deepest Roots

“And So Say All Of Us,” directed and edited by Mitchell Rose

This dance film showcased the living history of modern choreography. In an overwhelming cast of dancers, the Ohio State University Department of Dance enlists dozens of highly-famous choreographers to participate in Rose’s film, including Meredith Monk, Nora Chipaumire, and Ron K. Brown. Each dancer showcases their skills while wearing some type of red shirt. Then after they’re done, the camera pans to a new dancer. The cuts are seamless, and the connection network is outstanding. Many of these famous choreographers have found themselves performing in Richmond at some point.

Best & Biggest Prop

“The River Runs Deep,” choreographed by Denise Purvis and performed by Dogwood Dance Project

Out of all the modern dance pieces performed during the first weekend of Richmond Dance Festival, Dogwood’s “The River Runs Deep” was the only work that featured a prop. Dogwood quite literally used an old, wooden rowboat to show the audience their riverteeth. Featuring Dogwood’s Youth Ensemble, this Richmond troupe proved that this is a city of dance as they rocked an empty boat back-and-forth.

Be sure to make it out to Weekend Two of Richmond Dance Festival this Friday and Saturday, May 3^rd and 4^th at Dogtown Dance Theatre, located at 109 W. 15th St in Manchester. Admission is $15 for students, $20 for the general public; tickets can be purchased at Dogtown Dance Theatre’s website.

Top Photo: “Tribal,” by Dave Parrish

“Simply Beautiful Ballet:” Stavna Ballet Awes and Delights at Dogtown Dance Theatre

Christopher McDaniel | April 26, 2019

Topics: ballet, choreography, Director's Choice, Dogtown Dance Theatre, Rachel Seeholzer, Sleeping Beauty, Stavna Ballet, Vanessa Owen

Earlier this month, Richmond’s Stavna Ballet brought top-quality ballet at an affordable price to Dogtown Dance Theatre.

Stavna Ballet hosted the second production of their performance season, Director’s Choice, on April 12 and 13 at Dogtown Dance Theatre, and it was a treat to see. Stavna Ballet is a nonprofit dance company founded in Richmond that aspires to give local artists an outlet for artistic expression by giving dancers a chance to perform, and bringing top-quality ballet to the Richmond area.

Shannon McConville, founder of Stavna, translates the word “Stavna” to loosely mean “simply” or “simply beautiful” ballet. The juxtaposition between the words “simply” and “beautiful” was thought-provoking, yet easily explainable after watching the opening night of Director’s Choice.

During the first of two acts, Stavna began with extended excerpts of a production still in-works: Sleeping Beauty. Each of the company’s five members all played a different role in the plot of the beloved classic. This act contained three pieces, totaling twenty or so minutes, and it was full of brightly colored classic tutus on the Dogtown stage — a stage which does not usually find itself hosting ballet.

The typical Dogtown audience was in attendance, and many found themselves stunned at this high-art performance brought down to a reasonable price. It’s great to see a ballet company besides the Richmond Ballet drawing an audience in Richmond.

The second act featured contemporary works of ballet, and it was in this act that I found love. Simply, the ballerinas of Stavna showed the dance community that breathtaking choreography can happen, and indeed is happening locally, on a grassroots level. Homegrown and passionate, I saw unheralded emotion as the dancers performed full company pieces, duets, or solos.

Notable performances came from guest choreographer and dancer Vanessa Owen, on her solo “A Misunderstanding.” Owen, a world-renowned dancer currently based in Old Fort, NC, also co-choreographed the group finale piece, “To Know You,” with her partner Gavin Stewart. Another impressive and passionate performance came from the duet “Proclivitas,” performed by Madison Case and Eric Robinson.

My favorite work of the night, however, was a solo performance entitled “Douleur.” The soloist, Rachel Seeholzer, captivated the feeling that founder McConville spoke on: simply beautiful. The raw emotion seen from her performance was the highlight of my night. Her costume was simple, yet her movements spoke louder decibels than the theatre speakers. An image, one of Seeholzer staring into the side stage as bright lights bathed her and on her tip-toes, is still as clear to me as the hands in front of my face. I saw confidence and self-awareness. Simply beautiful ballet.

Stavna Ballet has not announced their next performance, but you can keep an eye out for it on Facebook, or their website. Doing so is highly recommended.

Top photo by Bella Ella Photography

Snap Soup Dance’s “Dance Film Animation” is the Product of a Broken World

Christopher McDaniel | April 8, 2019

Topics: choreography, dance, Dance Film Animation, Dogtown Dance Theatre, inflatable tube man, short films, Snap Soup Dance

In their first showcase, Richmond’s Snap Soup Dance mixed choreography and film to create a moving representation of the post-collegiate struggle.

On Friday and Saturday, March 29 and 30, Snap Soup Dance held “Dance Film Animation,” their first showcase of modern dance, choreography, dance film and animation, at Dogtown Dance Theatre in Manchester.

It is a good time in Richmond for dance. In addition to Snap Soup Dance’s performance, the weekend also saw Starr Foster Dance hold their 17^th Annual Mid-Atlantic Choreographer’s Showcase at the Grace Street Theatre. Meanwhile, K Dance held “Shorts 2019!” at Firehouse Theatre, and Richmond Ballet wrapped up its annual Studio Two performances within its own studios. Dance, like many artistic expressions in the city, is thriving as one community in Richmond.

Back at Dogtown Dance Theatre, Snap Soup Dance left the small audience impressed and elated with a tight show. Under the helm of the group’s Artistic Director and Founder, Callie Moore, the show presented several pieces in succession, with a quick 60-minute run time.

Snap Soup Dance’s mascot, the kind of inflatable tube man you’d see at a car lot, gas station, or state fair, appeared on the performance poster, in the first dance film, and as a live debut during intermission. The symbolism of the tube man, rising and falling, stuck with me throughout the duration of the night.

Having previously seen pieces of Moore’s work performed individually, this was my first experience of seeing her work in succession. As a young professional like Moore, I deeply connected with each piece of the night’s show, whether it was her intention or not. As a VCU graduate, I related to the constant reminders and images of life in the River City, as gritty and depressing as it can be, as well as a feeling of control and ownership.

“Dance Film Animation” began with a film titled “Tight Quarters.” In this piece, four dancers unveiled subtle choreography in an extremely small apartment kitchen. The subtlety was the key in depicting the way four roommates could operate in their own devices while coexisting with others who operate under different devices. One dancer would wash the dish, one dancer would put the dish away, one dancer would sweep the floor, while the final dancer ate cereal among them. In the plot I watched unfold, dance was used as an escape from day-to-day tedium.

The second piece of the night, “Smell My Feet,” incorporated Soundcloud hip hop with contemporary dance, and I saw a struggle — one much like the rising and falling of the inflatable tube man.

My favorite dance film of the night, “Where to from here?” showed a dancer performing in the sun, poised in front of the Richmond skyline. The dancer, Kara Robertson of KARAR Dance Company, moved with an expressionless face, and yet again, I was reminded of the struggle and grind young artistic professionals experience.

The performance’s final piece, “A Pathetic,” was a modern dance trio that I believe encapsulated the themes of the night. This finale had each dancer embracing one another in dark lighting. Dance held them together in an overwhelming world, and it left me feeling awed at the way experiences and feeling can be translated for an audience in the most unexpected ways.

Photos via Snap Soup Dance/snapsoupdance.com

In Fifth Year, Richmond Dance Festival Brings Together Local and National Artists

James Robinson | May 4, 2018

Topics: dance, Dogtown Dance Theatre, Richnmond Dance Festival

As The Richmond Dance Festival enters its fifth year, organizer and dance artist Jess Burgess took a quick break from her preparations to sit down with RVA Mag and highlight some of the best national and local artists performing in this year’s edition of the annual event.

The project of Manchester-based Dogtown Dance Theatre is a celebration of diversity and talent across multiple genres and disciplines. “I hope that every show offers something for everyone… even if the show has a piece you don’t like, it has two you do like,” said Burgess of the festival.

Burgess seeks to serve two audiences: Dance fans and local artists who need venues and performance spaces. She accomplishes that with a special free series, called the informal showcase. ”It’s open to anyone to submit any genre of art. We’ve had dancers, writers, poets, film artists show work.”

Including ballet, modern contemporary, hip hop and film works, the festival holds a variety of performance genres and talent here in Richmond. Featured companies include KARAR, Mamluft&Co, RADAR, and Agua Dulce. With all the national talent at this year’s festival, Burgess wanted to highlight the newer artists, saying they were shining just as brightly as the more well-known performers. “All the work in the Richmond Dance Festival this season, even the work that set on students is really smart,” she said. “And it’s cool to see Richmond have such a strong artistic voice alongside some of these national artists.”

For this weekend, RDF will feature a showcase from University of Richmond’s assistant dance professor, Alicia Diaz and her company Agua Dulce. Mamluft&Co, who Burgess calls an “insanely strong” modern dance company, stars in their own showcase as well. Alongside performances by Nina Simone and Eric Mullis, the English National Ballet will feature their film work directed by Jessica Wright. The final weekend show on May 11 & 12 will feature groups such as RADAR, Turning Key, KARAR and RVA Dance Collective with films by Nick Zoulek and Dylan Wilbur.

No automatic alt text available. — Photo By: Dave Parrish Photography

For the show on May 5, there will be a special matinee performance titled, RDF Next Generation. A brand new addition to the festival, the showcase will feature high school students having the chance to perform in a professional setting, something that Burgess hopes will help aspiring dance students. “They also get the opportunity to see Richmond Dance Festival, the professional performances that weekend as well,” she said. “I’m working with Appomattox Regional Governor’s School and they’re coming in the first weekend and I’m going to give them a tour of the building and talk about Arts Administration and other opportunities in the field for dancers and what you can do with a career, and they get to take a master class with one of the visiting artists and they perform in the second weekend.”

Although RDF is their big annual event, Burgess also wanted to point to the daily work at Dogtown as something to watch. “More and more I find I’m inspired by the artists that are coming in and out of this building as I progress in my career,” she said. “There’s just so many types of movement vocabulary out there and it’s cool to see them all have a home they can live in.”

On the 5th anniversary of the festival, Burgess said she was proud to see the ongoing growth both in the show and the talent. “It’s getting bigger every year, actually we increased the overall number of choreographers this year and got the additional funding for the Next Generation Performance,” she said. “So yeah, it’s definitely gaining traction and showcasing really cool work. It’s a mix of a lot of Richmond artists and then some national artists and then a lot of the film artists are international actually – the dance film that we’re showing. So, it’s a really cool show.”

This year, Richmond Dance Festival will showcase the work of 18 choreographers and nine film artists. The festival’s shows will continue to run on May 4-5 and 11-12 at 7:00 p.m. Tickets are $15 and can be purchased here.