Karl Anderson

Weaving Through the Grid

Karl Anderson & Rob Petres

Duet

Angier/Bingham Dance (D. Chase Angier and Robert Bingham)

Regardless

Regardless is a kinetic dance duet illustrating the stormy emotional life of its two characters.

David Appel

New Solo

Carisa Armstrong & Christine Bergeron

Obligatory Devotion

Obligatory Devotion is a work about the questions we ask ourselves in search for our faith. The choreographers, Carisa Armstrong and Christine Bergeron, explore the struggles of faith in a time when the Catholic Church finds turmoil and scandal. With music by Arvo Pärt, Harry Partch and Jack Body, this work expresses the confusion that people encounter when religion no longer answers their questions or gives them a sense of peace.

Eloy Barragán

Two Solos (Salve Regina & Grasp)

Both solos competed in the Finals for the 2006 Youth American Grand Prix, and performed at the 5th International Dance Festival in New York City.
Performers: María Eugenia Rosas (Salve Regina) & Karime Castillo (Grasp)

Andrea Beckham

While I Was Gone

The piece explores a surreal landscape where the line between lucid dreaming, memory, actuality, and fantasy becomes blurred. Work-in-progress, duet.
Original score: Ryah Christensen
Visuals : John Christensen
Choreography and performance: Andrea Beckham with Erin Lane

Katharine Birdsall

Two

Choreography: Katharine Birdsall and Ida Smith
Music: Raga Yaman with Zia Mohiuddin Dagar (on the rudra vina), Uday Bhawalkar and Yvan Trunzler (on tamburas)
Recorded by Nimbus Records

Blue Lapis Light

An Aerial Site-Specific Dance

music by Sermini, performed by Nicole Whiteside
....to be performed sometime during the day.....
......when the light is good.....

Francisco Carrera

Dentro: encuentro

Coreografía y diseño de iluminación: Francisco Carrera Compañía

The piece premiered at INBA-UAM's Premio Miguel Covarrubias, in November 2006. The choreography evoques those constant, universal and internal impulses that make of our life's journey and endless one, where there is always a force that inevitably makes us move, until the very last of our days.

Karina Cepada and Grupo de Danza Quinto Elemento

La Literalidad

Choreography: Alejandra Adame
Music: Gaetano Veloso
Dancers:Grupo de Danza Quinto Elemento: Victoria Aguilera, Juan Manuel Crisostomo Zamudio, Faustino Rios Temix and Deyanira Valladares

El amor no necesita más definiciones que las que el propio ser humano nos da afanosamente en el dia a dia.

Li Chiao-Ping

Crossing the Line

Crossing the Line, a new, more topical duet, which looks at borders and boundaries and that involves a collaboration with visual designer Kalpana Prakash, who is exploring the weight of plastic. The new work also integrates text and movement, and some manipulation of space.

Andrea Yugoslavia Chirinos/Mitrovica Danza Contemporánea

Vacaciones urgentes

Performed by: Lilian Coffen y Andrea Chirinos.
Since Mitrovica Danza Contemporánea was founded in New York, back in 1998, its goal has been to refine the body as an instrument until movement and costume correspond to the character. Using a wide range of movement, partly influenced by the variety of cultures and companies like Stanley Love Performance Nueva York, Anime Dance Japón and U.X. Onodanza México, Mitrovica thrives to communicate human behaviour in a playful way, very physical but, no less emotional. We invite you to travel to the happy concept of vacation, where we go with the certainty of deserving a reward for our hard efforts; in Mexico, spare-time is much appreciated, holidays, long vacations, escapades where we don't want even to unpack so we can explore our destiny...

"Frightful and exhilarated, the traveler enters foreign grounds with the moves of a cat. A cat himself, embarking upon his own jump, careful and soft adventure that derives right there where everything is new, where everything is something or someone else..." - Julio Cortázar, No olvidar comprar un souvenir

CICO

Juego o Muero

Juego o Muero reflects life as a game. Three characters inhabit a common space and an imaginary one. The first refers to the 'external' and the latter to the 'internal'. Characters play with different meanings of what it is to be alive. This game occurs through the relation with one another, with the object, space and symbol of creation/destruction.

Colectivo Independiente de Arte Acción Señorita Kometa

Los Límites en la Alteridad - Obra pluridisciplinaria en proceso

Our piece encompasses a dynamic process. It pretends to be coherent to the montage of art in plain action, with the idea that alter (philosophical concept that indicates the capacity of being someone else) works as a means to expand consciousness, meaning, it represents its very own limits. The black box shall then be dressed in an artistic and natural way, there will be freedom in the movement of the audience so as to create a sincere and human dialogue. Through post-modern dance, music and media, we will accomplish (as a challenge to be beaten) a consistent transfiguration; a new and original artistic work in the search of an alterity, as a vast example of human possibilities.

Mirla Criste

Drought - Adagio

New movement, theatre study in Contact Theatre. Contact Theatre explores the intersection of dramatic theater and contact improvisation (CI), and is the primary creative research topic of Mirla Criste. This movement study will be part of a larger work that utilizes, as its theme, water and the lack of it.

David De La Cruz (CANCELLED)

A N I M A L

Scenic exercise of the students in process.
Animality seen from Butoh's perspective is that which takes us back to a primitive essence, an ancestral place of man's that can no longer find its place in this overly technified world. This primal essence of men, which was their first discourse to relate to the world and with the other inhabiting beings, is losing the battle; it is being confronted with a tribu of mechanic component, of technical elements that frame man in virtuality of perfection. To think about animality immediately takes us back to that which we don't want to be, to that thing that we try ever so fastly to throw out from our bodies, as if the premise of this new world was that passions shouldn't be acknowledged, that those deep and basic desires are put aside just to be replaced by plastified, virtualized and technified bodies.

From this state of virtual bodies, we build ourselves into relations through our technical bodies, of computers that serve as people, as groups of friends that we have yet to know and that will be never meet, since they live at the other end of the world, love stories that are born in a keyboard, a phone... It is on these grounds of evolution where we step aside carnality, animality, aside touch, of a glance, a symbol, a code, aside being physically close to each other and aside the manifestation of the sensible, meaning, the relationship of the passional, hate, love, desire, fear, complexity.

From this viewpoint on relationships and that which holds them, we take on the starting point to unfold the human being. What we can only see, represented by animals, we shall seek with that which projects from the most intimate part, from the deepest part of our bodies which aren't yet only plastic, our bodies which still have some hint of humanity.

Kent De Spain

Solo

Susan Douglas Roberts

Fortuna

Fortuna (2007) is a collaboration between choreographer Susan Douglas Roberts and photographer Tuba Oztekin Koymen, set to music by Brian Banks, the resident composer at the UDLA. The dance was built around a common fascination with fortune cookies and Turkish "wish trees" and the questions: what happens when we hang our hopes and dreams on another? Where do our fortunes lie? and with whom?

Leslie Dworkin

Nearing

Elsewhere Dance Theater

Titled?/Untitled?

Elsewhere Dance Theater presents a new collaborative piece that focuses on the fine line between certainty and confusion. Often within the same moment, dance, art and life can contain immense clarity and huge unanswered questions. This work weaves harmony and chaos as one might find any day, anywhere.

Choreographers/Performers: Lisa Del Rosario, Alison Hart, Angie Johnson, Michel Scott, Lindsey Taylor, Nicole Whiteside and Matthew Young
Music: Do Make Say Think, Aphex Twin, Leann Rimes, Caribou, Juana Molina, Virgina Rodriguez, Nusrat Fateh Ali Khan, Ben Alison, Sigur Ros.
Sound Design: Matthew Young

Elsewhere Dance Theater

Duet

An improvisation with two people that wish they could dance together more often.
Performers: Alison Hart and Matthew Young
Music: TBA

Elsewhere Dance Theater/Lisa del Rosario

"The Assignment Song"

Music by: Nina Simone "The Assignment Song"
Choreographer: Lisa del Rosario
This dance piece is purely musically inspired.

Jane Franklin

Temporal Interference

Jane Franklin Dance explores the space memory occupies in Temporal Interference, a collaboration with digital artist Bryan Leister and composer Gina Biver. Using live video, electroacoustic software and a Theremin, dancers carve out an interactive environment of sound and color. The media installation will be available for audience interaction following the performance.

Program Note Brian Leister: There is a common perception that the physical and the virtual exist at polar opposites. Things are either real or virtual. Implicitly this relationship is of a shadow to reality, an imitation to the real thing, superior to inferior.

And yet, there has always existed a human desire to see and admire the image, even finding ways of getting inside and experiencing the virtual from within. This desire and ultimately the embodiment of the digital is a central theme in Leister's paintings, animations, installations and interactive performances.

Through digital processes, virtually any kind of reality can be created using the same kind of formulas found in nature itself. Winds and fluids can be simulated digitally and brought to the surface through simulations of light and shadow. Movements of corporeal bodies can be translated into sound and image. By simultaneously pulling the viewer into a piece and pushing the digital process out into the physical Leister is negotiating for a space somewhere in between.

Abril Ghandi

Quetzalcóatl vendrá del mar

Original idea, choreography and dancer: Abril Ghandi
Musical direction: Alejandro Vega
Music: Gandharva
Alejandro Vega: Sitar, trompeta de quiote (incus utop check), percusiones, ambientaciones, eucarinas, caracol, jymbarda, voz.
Jerónimo Serna: Tabla, huéhuetl, ambientaciones.
José Pablo Jiménez: viola da gamba, flauta triple, canto armónico, trompeta de madera (incus utop check), eucarinas, jymbarda.
Costume design: Pending
Jewellery design: Patricia Hume

Ground Zero Dance Company

Poor Edward

In 6 movements, haunting, elegiac, Poor Edward was inspired by the story of Edward Mordrake, a man who was born with a second face on the back of his head, and by the song 'Poor Edward' by Tom Waits.

Ground Zero Dance Company

Epoch

Epoch is defined as a phase in the development of the universe with distinctive properties. It is about universal connections.

Ground Zero Dance Company

Río Abajo Río

Río Abajo Río is based upon a South American folk tail. It is a solo.

Jane Hawley/Luther College

You Are Not My Enemy

This duet is built upon movement patterns and directions specific to adult/child interactions. These instinctual patterns are transposed onto adult bodies, and we see an evolution of movement that is at once sensual, feral and deeply spiritual. Is this how children perceive the world?

Karen Jensen

Sacred Space

In order to be in an interdependent relationship with one's self, others and the environment, the individual must choose to cultivate and become attuned to the sacred space in their everyday life. This work is about being in the moment and interacting with the relationship of the sacred space found within self and the surrounding environment.

Tina Kambour

Hanging in the Balance

Hanging in the Balance explores the idea of maintaining balance and safety in one's life. The score includes sound bites from daily life and from global news items

Sandy Lacy

Inevitable

Choreographer: Gabriel Masson
Performer: Sandy Lacy
Music: Concerto for Violin & Orchestra by Phillip Glass
The dance was made in response to Gabe's father's death.

Karen Langevin

Osea (me pesa la boca)

Solo improv part of Atlas Consentido, a full-evening work intending to relate bones, skin, muscles, organs and nerves to rest, time, and over stimulation.
Music mix by Jorge Castro (Bombay 1- More than Everything and recordings of Karen's home).

François-Joseph Lapointe

OGM

In this piece, I am interpreting my own DNA, using only four movements corresponding to the different nucleotides of the genetic code. Members of the public are asked to enter the space (the cell) one by one, and to read for me the movement sequences representing my genetic signature. I am dancing, non-stop, as long as someone keeps reading me the sequence. Test tubes containing my own DNA are then given to each participant, along with my gene sequence.

Sue Lauther

Repertoire

Choreography by artistic directors Barbara Magee and Sue Lauther, and guest artist Suzanne Oliver. Work is evolving at this point. The piece involves partnering dance with interconnectedness/cause effect/a little political/social consciousness flavor, we hope. Surreal couples dancing; women dancing with mops or men or women? Tango music and sensuous balletic dancers, yet to be explored. Haute Fashion may be a facade. Rufus Wainright circus music helps these beauties expose their hidden selves. Suzanne Oliver's work will be set in February.

Legitimate Bodies Dance Company (Nick Bryson & Cristina Goletti)

Make something wrong and I'll fix it

This is a visually uncluttered duet that allows an ongoing sensory experience to reign over choreographic construction. Movements are danced so much that the dancers are in no danger of forgetting them. Movements act as an anchor in the sea of possibilities. When viewed by the audience, repetition becomes the means by which the eye is pulled in. It is the accumulation that becomes the persuasive argument as the two dancers fall over each other to assert their common language.

Legitimate Bodies Dance Company (Nick Bryson & Cristina Goletti)

Lingering on a Diagonal

"...Words and motion were in perfect balance..." - Michael Seaver, The Irish Time

Lingering on a Diagonal draws on Nick Bankes's 30 years experience in psychotherapeutic counseling. He has listened to many people talk about their relationships. On stage a scenario for a unique relationship is framed between an Italian woman, Cristina Goletti, and an Irish man, Nick Bryson, who have recently moved in together. The choreographic sequences, danced to live music and song, end up submerged under the compelling narrative of their threatened love and need for personal negotiation in what acts as 21st audience-interactive, cross-cultural romance!
This piece was premiered at the Dublin Fringe Festival 2007 with a great success of audience and critics.
Since then it has toured to Ireland, Italy and the U.K.
Live music and Narration: Nick Bankes
Dramaturgy: Talal Al-Muhanna

Vicente Leyva Maldonado

360° + 1

The piece has as pretext a coffee mug, quotidian elements almost always present in determinate spaces; the guiding light of a conversation, or simply a pretext to repose and enliven the body, the mind, aside from what it might contain.

Barbara Mahler

Solo

Heather Maloney

Fragile

Fragile looks at our acceleration towards separating ourselves from the world around us. This story is told through the question, how do we have faith in our next breath, our possessions, cars, and houses, yet are disassociated with the extreme changes of the natural environment around us? Have we abandoned the spaces inside that sense these changes? Are our lives so compartmentalized that we have abandoned the survival instincts that feel the weight of these changes? Where are the solutions? Do they rest in witnessing the simple faith that the system of the body will take its next breath?

Lydia Margules/Teatro-UDLA

Amor, ciego loco...

A work in conceptual terms that departs from various Shakespearean texts, essays of his work, around love and his sonnets.

Ulises Martínez Martínez

Instantes del deseo

The show begins with the death of the character who attends his own funeral. He speaks to the audience and exposes some of the instants of desire he had while being alive.

Zap McConnell

CONCEPT: the basic structure of the idea is to make connections, and to tell stories. I want to work with dancers, visual artists, biologists, historians and musicians. For the installation itself, it has 4 parts: the web, the bridge, the circle of light and the maps of knowlege. The performance will have a day show and a small nightly event.

THE WEB: we will make literal, visual connections of most of the areas with trees and plants on campus with over the head high strings, yarn, ribbon and long thin pieces of cloth tied together and all connecting to the nexus of the network: the pond and the trees which circle it. These connecting threads will never block passage ways to people, cars, or machinery and the will be attached in such a manner as to leave the trees unscathed. they will help map out the campus in a way that focuses on the living things. they will also help in drawing peoples attention to the center of the project and place of perfrmance: the circle surrounding the pond, the pond itself and the island.

THE BRIDGE: by the time the festival starts, we will have built a floating bridge made entirely out of recycled plastic water bottles collected on campus before hand. they will be tied together and safely fastened to the island itself , circling around it until the performance where it will be drawn to shore. students will be unable to have access to it, and it will be secured in such a manner as to not jepardise the duck population.

THE CIRCLE OF LIGHT: we will make lamps out of found materials and hang them from all the trees that cicle the pond. during the 2 weeks of the festival, at every sundown, the lights will be turned on in a short daily performance.all of the cords will be managed in a way that makes it safe for students and ducks alike. the lamps themselves will be donated to a local art organazation after the festival in order for them to sell and make money to support their community enriching endeavours.

THE MAPS OF KNOWLEDGE: we will pull from many departments a sharing of knowlege and manifest this in the way of maps. maps and stories.student volunteers will be asked several questions: - what are the other living things on this campus? - where did these plants and animals come from?- what is the history of this actual land? - how do you create a map of this campus from the perspective of mapping out all the other living things? - how do you create a map of this campus from the perspective of all the layers of history underneath it? how do you map yourself? designs from this brainstorming will be printed on paper recycled from the university's offices and penned up in certain locations where the strings makes webs. some of these maps will be scavenger maps, encouraging students to participate in exploring their own campus with new eyes.

THE PERFORMANCE: as the installation is being built, so will be the performance, utilizing dancers and musicians and others. performers and artists will be informed and enfluenced by each other during the whole project. it will rock.

Laurie McFarlane

Ted's Day

Ted's Day is a dance-theater piece which uses costume, props and sound to tell the story of a working man and his typical day, with all its secret pleasures and little heart breaks.

MonstaH BlacK

Skipping Backwards

"Explores gender complexity in U.S. Society through the eyes of an androgynous, black, queer growing up in the dirty south. With original music ranging from Afro Punk, Drum and Bass, Soul and House Music, Monstah Black weaves vocals, movement, text and fashion together with seamless precision."

North Carolina Youth Tap Ensemble (NCYTE)

The company presents an incredibly uniqe performance, featuring cutting edge contemporary choreography and traditional rhythm tap as it was danced in its prime. Imagine Stomp, Riverdance, Vaudeville, Fred Astaire and BringIn Da Noise all on the same stage - Thant's NCYTE! The style of percussive dances includes South African Gumboot, sand dancing, buck and wing, a salute to Vaudeville, body percussion, jazz, and much more. The music featured may be Blind Boy Fuller, Brubeck or Mozart. This non-stop percussive dance review is a trip through time and into the future of an American art form.

Rubén T. Ornelas

El Camino Cierto

In El Camino Cierto, I build an altar; dance to a recording of distorted and intelligible voices; parade through the audience with a photo of grandma in her coffin; show people a small metal heart in the palm of my hand; dance with flowers and throw chocolate kisses into the air. At the conclusion of the dance, audience members are invited to visit the altar.

Ania Páez & Leilani Maciel

(De denodarse).

Collaborators and performers: Ania Páez & Leilani Maciel
Music: Arvo Pärt (Summa Theologiae Já Descartada); Björk (Pearl); Sigur Rós & Hilmar Örn Hilmarsson (Odin's Raven Magic Chapter 3)
Music editor: Diego Ayala

Denise Posnak

Used to be Gorgeous

A work exploring the many faces "she" puts on (or tries to put on). Transiting from 'staring the audience down' to playing the stereotype, five women engage with performance in its traditional confines and its contemporary options. Antagonistic partnering dismantles the appearance of 'together' and soloists expose physical limitations.

Jill Priest

Roots in Red Dirt

I am currently choreographing a new dance work based on a 1975 audio recorded interview with my late grandfather, Rex Isbell who was born in 1907, the year of Oklahoma Statehood. On the farm, his Father had staked in the Cherokee Land Run of 1893. The interview was conducted by former Phillips University professor and Oklahoma historian, the late Bill Snodgrass. The content of the interview ranges from stories passed down to him from his father and grandfather about their experiences making "the run" to personal narratives of his experiences growing up in a newly established state. This contemporary choreography project will incorporate original dance choreography, music from Oklahoma composers and musicians, and excerpts of the original audio recorded interview. The project will communicate to the audience through a collage of artistic and historic dialects unique to Oklahoma.

Scott Putman

Small Corners in Dark Spaces

Solo performance that takes place in a very minimal space on the stage. The piece systematically builds in order to transcend the space energetically and physically. The title makes reference to our ability to look for the light inside the vast darkness that we tend to find ourselves in socially, politically and at times emotionally.

Alejandra Ramírez

Fuga (seres en extinción)

A piece based on the search for freedom. The one which is believed lost. Therefore, we look for a way out, an answer to engage in flight and freedom.

Rodanza

Sempiterno

Julie Rothschild

Resolve

Andee Scott

All the Stories You Have Been Telling Me

(Excerpt)
Music: Beethoven: Sonate für Klavier und Violoncello in G-minor
Choreography and Direction: Lenka Flory, Simone Sandroni
Created and Performed By: Andee Scott
Costume Design: Lenka Flory
Special Thanks: Teatro Comunale di Tuoro sul Trasimeno, Lorenzo Borgis, Angelo Billi
All of the Stories You Have Been Telling Me was created during a one month residency in Ferretto, Italy.

Rachael L. Shaw

Sulphur-Tinted Study

Based on Charlotte Perkins Gilman short story, "The Yellow Wallpaper," Sulphur-Tinted Study explores the slow deterioration of one woman's psyche and its eventual breakdown into psychosis. The duet is representative of both the actual woman and the "woman trapped behind the wallpaper." Through spiraling movement and reflective partnering, the piece will investigate whether or not the "woman" and the "wallpaper" have separate identities in/and of themselves or if they are one and the same.

David Silva Carreto

Lazos Rotos

Physical theatre (dance, pantomime and theatre). The theme is indifference towards violence against women. The spirits of those women look for answers, they find themselves in a limbo where they go through all those different stages of violence, without ever knowing the reason of the aggression.
Creation and direction: David Silva Carreto, Beca FONCA Estatal, 2005

Laura Silva Cervantes/KOSMODANZA

Historias para no olvidar

Historias para no olvidar shows how nostalgic the past can get, up to the point where the halo of the human being is a component of what we are today, without ever forgetting our essence, our origin in one simple and profound song.

Lou Sturm/TEMPESDANZA

When What Dreaming

Solo, improvisation

Lou Sturm/TEMPESDANZA

Living on Sugar

Living on sugar, la dolce vita, what is it, really? Is it everything that's sweet that is not bitter? We always look for happiness, sweet sensations, avoiding unpleasantness and pain, but what about that incredibly low feeling that comes afterwards?
Performers: Guiedana López, Ixchel Pérez and Lou Sturm
Music: Eavesdropper, Bratsch, Cri-Cri and Glücklich

Aureliano Castillo & Lou Sturm/TEMPESDANZA

Living on Sugar

Dance video

Marila Velloso

Measuring

Solo inspired on vitruvian aureal proportions. It explores possible articulations between what is accepted in terms of measure and control in a chaotic organization.

VIA Dance Collaborative

When it gets dark enough you can see the stars

Choreography by Katie Swords
Performed by Janice Lancaster, Katie Swords, Adrienne Westwood & Dawn Poirier
Music by Zoü Keating

VIA Dance Collaborative

Film: Work in progress, by Janice Lancaster and Adam Larsen

Sally Wallace

Land Ceremony

This work is developed from the spiritual energies of Chaco Canyon. Two dancers, shape shifting with paint and transformative energy, depict some of the energetic experiences that can be felt when visiting this sacred site.

Taja Will

THIS IS (your six o`clock news)

The starkness and bombardment in this solo dance urges awareness about the patterns of society. The choice of complacency in society can be challenged by the realization of both hopes and nightmares. THIS IS was created to encourage discomfort, defined as free from the socially constructed comfort zone.
No/YES
LOVE/hate
War/PEACE
We're all FREE

Mary Williford-Shade

Blight Yellow Blossom

Choreographer: Christi Nelson Salas
Performer: Mary Williford-Shade
Music: Yo-Yo Ma

Jesse Zaritt

Akedah

This solo explores concepts associated with sacrifice. I have based my movement studies on the Biblical story of the Binding of Isaac. I prefer to tell this story through movement and energy associations, rather than through a recreation of the literal narrative. Physically, I am most interested in investigating how multiple energies can act on the body simultaneously. I'm interested in how a body can be both in and out of control, can come to represent both the victim and the aggressor, Abraham and Isaac.

Mark Moti Zemelman and Camille Renarhd

Center Edge

Mark Moti Zemelman and Camille Renarhd explore the edges of perception in this improvisationally-based duet using vulnerability and limitations as their spyglasses. The moments that we become most aware of an edge are what some chaos theorists call the "tipping point". These avalanches of awareness lead to changing conditioned responses both physically and emotionally. Whatever limits arise in the dance become a sacred key to unlocking power, stability and new pathways. Moti and Camille take a walk into the wilderness of embodiment and improvise their way along the cliff looking for home in the center of the edge.

"There can be no vulnerability without risk; there can be no community without vulnerability; there can be no peace, and ultimately no life, without community."
- M. Scott Peck