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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

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

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

Photo: Dave Parrish Photography

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

Photo: Dave Parrish Photography

“(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

Photo: Mike Keeling

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

Photo: Kate Prunkl

“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

Photo: Mike Keeling

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 3rd and 4th 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

Ground Zero Dance & FDANCE Bring Talent And Edgy Humor To Richmond Dance Festival

Marilyn Drew Necci | May 6, 2014

Topics: Dogtown Dance Theatre, FDance, Ground Zero Dance, Richmond Dance Festival

I don’t know too much about modern dance. I know it exists, I support the idea of it happening here in RVA, but before last weekend, I had never seen any of it in person. Therefore, taking a trip south of the James to Manchester’s Dogtown Dance Theatre last Friday for the second weekend of the Richmond Dance Festival was an adventure into unknown territory.
[Read more…] about Ground Zero Dance & FDANCE Bring Talent And Edgy Humor To Richmond Dance Festival

Richmond Dance Festival Kicks Off This Weekend At Dogtown Dance Theatre

Marilyn Drew Necci | April 25, 2014

Topics: dance, Dogtown Dance Theater, FDance, Ground Zero Dance, K Dance, Movement House, Rattlemouth, Richmond Dance Festival, Ruckus Watusi, RVA, Unheard-of Practices

In a city filled with active arts communities, Richmond’s modern dance scene has often flown under the radar. However, a group of dance companies and choreographers hope to change that with this year’s first annual Richmond Dance Festival. Bringing together dancers from multiple generations and highly varied backgrounds, the Richmond Dance Festival will take place at the Dogtown Dance Theatre in the Manchester district, over a series of weekends in April and May.
[Read more…] about Richmond Dance Festival Kicks Off This Weekend At Dogtown Dance Theatre

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