By Imagine it is the end of last August and the fall 2016 university semester has just begun. You have been inspired by a personal experience, aspects of history — or even by the human mind.
You gather your peers to work with you for four months choreographing an audition piece for the spring 2017 student dance concerts. Just for fun, let’s add another formal audition process with the chance that your work may not get chosen.
This is the process that Cal State Long Beach department of dance majors go through when they decide they want to audition their own choreography for the spring student concerts. This year, out of the several student pieces that were auditioned, twelve were chosen to be showcased in the two 2017 CSULB Contemporary Dance Concerts.
Starting off the two concerts is Program A, with performances Feb. 16-18. This evening of diverse works features original choreography by CSULB undergraduate choreographers Ashley Allen, Alice Amano, Kathryn Giometti, Nathaniel Gonzaga, Tanner Miranda, Haley Richartz and Jack Taylor. The six dances being presented draw upon a wide range of dance styles, musical inspirations and artistic collaborations.
Three of the dances presented in this concert have been chosen by the department of dance faculty to represent CSULB at the 2017 American College Dance Association Baja Region Conference. “Neither, Nor,” “Eromenos,” and “One’s Reality of Figments” were selected for the strength of their choreography and the outstanding performances of their casts.
“Neither, Nor,” co-choreographed and performed by seniors Alice Amano and Jack Taylor, explores the idea of disappearing and reappearing. Highlighting the moment when something slips out of focus but its presence is still among us, Taylor and Amano’s choreography mixes staccato and lingering movement creating a unique aesthetic. Both choreographer’s performances are elusive as they create a world of “now you see me, now you don’t,” with their syncopated movement vocabulary.
“I feel we are both inspired by each other, and for us it was two heads was better than one,” Amano said about working with Taylor. “Every idea was bouncing off one another. No one ever shut down ideas, and if it was a bad idea it was a mutual, ‘Nah, let’s not do it.’”
Drawing inspiration from Ancient Greek architecture and sculpture, the male duet “Eromenos” was choreographed by Tanner Miranda to an original composition by dance department musician Zak Kenefik. It examines the dynamics between two men, while questioning heteronormative standards placed on our culture today. With angular gestures and movement the performer’s draw the “box” that society puts an individual in. The physicality of the manipulation and conflict implemented in Miranda’s partnering speaks true to the battle of “what is right?”
Haley Richartz’ “One’s Reality of Figments,” set to her own composition, offers a compelling work for ten dancers that explores individual experiences in both the conscious and subconscious states of mind. Richartz juxtaposes logic with circuitous as the performers intertwine in and out of mechanical and undulated movement. The pounding, erratic soundscape of “One’s Reality of Figment’s” will inhale the viewer into the palpable absurdity of the human psyche.
In addition, the program features three dances that further highlights the collaborative creativity and talent of the CSULB student choreographers and dancers.
“From Dawn to Dusk,” a contemporary ballet choreographed by Kathryn Giometti, draws the audience into a luxurious, serene landscape. In this shifting environment, the performers move seamlessly through an evolution of time. Set to original composition by Christopher Ferreiraher, the work is ever-changing in patterns and movements that portray the continuous cycle of life.
Employing the dynamic movement of its dancers, Ashley Allen’s duet “How to: Go On Liking Each Other” takes a close look at the complexities that reside within relationships. With an original composition by dance department musician Tyler Hunt, the performer’s move sophisticatedly through the expansion and tangibility of Allen’s choreography.
“Setsuko/Joseph,” choreographed and performed by Nathaniel Gonzaga is a poignant solo, inspired by the passing away of his grandmother and father. Gonzaga’s use of repetition varies in many ways making each time differ whether emotionally or physically. Through his use of level and effort changes in his movement, Gonzaga vulnerably performs about family and the passing away of loved ones.
“I think what is especially wonderful and exciting about this dance concert is the several artistic collaborations that have taken place,” Concert Director Sophie Monat said. “Two BFA dance majors have respectively created two original lighting designs. Another BFA dance major contributed an original costume design, and two choreographers worked closely with two dance department musicians who composed original scores for their separate works.”
The 2017 Contemporary Dance Concert – Program A opens Thursday and runs for four performances, closing Saturday. Performances start at 8 p.m. with a 2 p.m. matinee Saturday and a reception following the Friday night performance in the theater Green Room. More information will be provided soon about Program B, which will be presented Mar. 9-11.
Both programs take place in the Martha B. Knoebel Dance Theater on the CSULB Campus near the Pyramid. Tickets are $20 for general admission and $16 for seniors, students with valid ID, CSULB faculty and staff and Dance Resource Center members. Tickets and additional information are available atwww.csulb.edu/dance.
