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 Post subject: Amy Seiwert
PostPosted: Mon Apr 28, 2003 2:57 pm 
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Joined: Fri Oct 22, 1999 11:01 pm
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Location: SF Bay Area
I agree wholeheartedly. When I reviewed the ODC Pilot program last year, Amy Seiwert was definitely the star choreographer of the show in my opinion:

Quote:
Young dancemaker steals showcase at ODC

Octavio Roca, SF Chronicle

... the dances that worked were a revelation, and they were by Amy Seiwert. <a href=http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2003/04/28/DD259616.DTL target=_blank>more</a>


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 Post subject: Re: Amy Seiwert
PostPosted: Mon Apr 28, 2003 4:08 pm 
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Location: San Francisco CA USA
“Migrations”
Choreography by Amy Seiwert and Sean Dorsey
ODC Theater, San Francisco
April 26, 2003
Reviewed by Rachel Howard

The latest “Migrations” at ODC Theater was one of those events where the audience might have proved as interesting as the dancing. Saturday’s sold-out performance drew stars from Smuin, Oakland, and San Francisco Ballets, out in force to support the work of Amy Seiwert, a member of the Smuin troupe who unveiled her abundant talent to the Bay Area during last July’s West Wave Festival. Mingling among the ballet A-list was the Lesbian/Gay/Bisexual/Transgendered community, on hand to cheer the work of butch choreographer Sean Dorsey.
It was a night of revealing juxtapositions. This was ballet up-close and laid bare, the dancers’ seemingly unending lines boxed within ODC’s tight confines. And this was transgendered dance, if Dorsey’s path-finding style can be so crudely reduced, playing to a decidedly wider audience than your typical Tranny showcase. Both choreographers’ work looked slightly out of context, and all the stronger for it, not about to be upstaged by the people-watching opportunities.
Dorsey is tall with a wide pelvis, modest chest, and beautifully muscled yet fluid arms. I once interviewed Dorsey for a newspaper article and asked what gender pronoun he’d like me to use in reference to him; he asked me to use “he” and “she” randomly, a logistical impossibility, editorially, but a request whose spirit is well-received. His work, like his use of pronouns, is potentially trailblazing, most obviously so in the opening dance “Hero,” when Dorsey’s character contemplates a personal ad placed by a shirtless beefcake cowboy (Ami Student) riding a clearly phallic toy-horse-on-a-stick.
Neither does subtlety reign during “Red Tie, Red Lipstick,” a story of one butch (Dorsey), one femme (Linda Case), and one heartbreaking night of police brutality. The text is by Marcus Rene Van, and it could have easily subsumed the dancing were it not for the deep intimacy and sensuality between Dorsey and Case as they glided across the floor in a tender postmodern tango.
But Dorsey is at his most promising when not delivering a blatant message, as in his solo “a small class of words.” The text, compiled by Dorsey and set to electronic music by Ben Neill, lists bird species, their habitats, and pronouns. Dorsey moves in a tightly circumscribed cross of light—a compass, perhaps, with its four cardinal points—with arms so strong yet strangely undulating above a well-grounded stance. The legs could move more—-the occasional extension looks self-conscious, out of place—-and Dorsey is short on development, treating phrase material more like loops than building blocks. But Dorsey’s style. It is not about a woman proving her strength with pounding moves, as in the case of Krissy Keefer’s militant Dance Brigade. It is something else altogether, a deeply personal refraction of the masculine through the feminine.
Dorsey is creating a new kind of lesbian dance. Amy Seiwert, meanwhile, is steadily inching towards finding her place within a classical tradition in which female choreographers are rare. “less ness,” the program’s premiere, gave new evidence of Seiwert’s ample dancemaking chops: a facility for twisty, surprising pas de deux, an understanding of stage space and the tension that can be carved from it, and an ability to build enigmatic yet compelling relationships between dancers in abstract works.
Mystery hung thick in the air as stocky Charlie Neshyba-Hodges covered the face of towering Ilana Goldman with a white shroud that soon became a wrist-binding. Pleasure and pain commingled while three dancers stood sentry, then dispersed to reappear in duets of their own. Just when you thought Seiwert had exhausted the ways to combine her eight dancers, new possibilities would materialize. But clichéd religiosity—-arms reaching wide to heaven, women carried like icons upon the men’s shoulders-—sometimes overshadowed invention. Mario Alonzo designed the sleek, selectively see-through costumes.
“Passive Aggression,” a short quartet, was less ambitious but pretension-free. Danced to J. Nathan’s pounding techno music in a pool of light, it injected “Agon”-like duets with a healthy dose of floor-work and Twyla Tharp-ian stop-go phrasing. Lynlee Towne climbed atop Neshyba-Hodges’s flexed calves and thighs, then shot into a wide second position as her partner jumped over her beautifully pointed feet and collected her between his legs. Partners stopped to roar at each other, flexed hands shooting from wide silent mouths, as the broken soundscape pulsed on. Towne gave a solo packed with turns that was as unexpectedly pretty as it was risk-taking.
Seiwert is calling her upstart company im-ij-re; let’s hope she hangs on to the dancers and ditches the name. Neshyba-Hodges, a Sacramento Ballet member who danced in Marin last fall with Twyla Tharp’s troupe, is one of the wonders of the ballet world—incredibly centered, built like a bulldog and yet able to create clear lines with his wonderfully turned-out legs and marvelously arched feet. He has an easy confidence and lack of inhibition that belies his unorthodox ballet frame. And he was in good company Saturday. “less ness” featured LINES Ballet’s Brett Conway, Oakland Ballet’s Phaedra Jarrett and Ilana Goldman, ODC’s Brian Fisher, and Sacramento Ballet’s Tricia Sundbeck and Lynlee Towne. A rapidly developing choreographer like Seiwert couldn’t ask for more daring accomplices.


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 Post subject: Re: Amy Seiwert
PostPosted: Wed Apr 30, 2003 2:15 pm 
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Joined: Thu Mar 15, 2001 12:01 am
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Location: San Francisco, CA
A little cross-pollination:
This is a review of Sean Dorsey's work, from our Modern Forum.
Quote:
Queering Modern Dance
Sean Dorsey expands queer dance at ODC Theater
by Jessica Robinson

Last weekend, ODC Theater presented two starkly different choreographers in Migrations, a program for emerging artists. The program featured modern choreographer Sean Dorsey and ballet choreographer Amy Seiwart. Both choreographers push the boundaries of their forms—Siewart through fiercely athletic movement and unexpected duets, Dorsey through the exploration of gendered movement and the inclusion of texts, music and costumes sourced in queer culture. Although many contemporary dancers are queer, few choreographers are actively exploring gender in performance. As a self-identified genderqueer performer, Dorsey offers a fresh perspective on modern dance.
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 Post subject: Re: Amy Seiwert
PostPosted: Sun May 04, 2003 10:12 pm 
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Location: SF Bay Area
There's lots more from this choreographer to see. According to Seiwert, she will be collaborating with composer Jonathan Norton for a premiere at SummerFest's "Composer and Choreographer's Consortium" on July 11 and 12. She will also be restaging "less ness" for Program 6 at SummerFest, July 25 and 26.

Then Oakland Ballet will be doing the West Coast premiere of her "Monopoly", which she originally created for American Repertory Ballet in Princeton, NJ as part of Graham Lustig's "Dancing through the Ceiling" program.


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 Post subject: Re: Amy Seiwert
PostPosted: Thu May 13, 2004 7:07 am 
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Joined: Mon Apr 02, 2001 11:01 pm
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Location: SF
From the San Francisco Chronicle,

Quote:
Smuin hands promising young dancemaker a dream job

Michael Wade Simpson, Special to The Chronicle Thursday, May 13, 2004

Amy Seiwert thought it was a little strange that Michael Smuin would ask her to choreograph a piece for his ballet company's 10th anniversary retrospective concert.
Click for more


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 Post subject: Re: Amy Seiwert
PostPosted: Thu May 13, 2004 9:21 am 
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Joined: Thu Mar 15, 2001 12:01 am
Posts: 1451
Location: San Francisco, CA
I love Amy's work, but I have to comment on the bizarre timing of this article -- there's only 3 days left in their two-and-a-half-week San Francisco run and the paper chooses to run this piece now? I guess it's in time for their Walnut creek and Mountain View shows, but...seems strange to me.

Anyway, for anyone who's interested, June 19 and 20, Chamberdance will also be performing the pas de deux from Seiwert's "Push," which she created originally for Maurya Kerr and Brett Conway.

Here for more info


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 Post subject:
PostPosted: Mon Jul 16, 2007 11:27 am 
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Joined: Wed Apr 11, 2001 11:01 pm
Posts: 8612
Location: El Granada, CA, USA
Amy will be showing warks this summer. Rachel Howard does a piece on her in the SF Chronicle.

Quote:
IN THE SPOTLIGHT
Rachel Howard

Sunday, July 15, 2007
Amy Seiwert sits with pencil in hand and a sharp look on her face, relentlessly refining her densely inventive, hypnotizingly unexpected movement. It's half an hour past quitting time in this humid upper Market dance studio.

"I still don't love the end of that pas de deux," Seiwert calls out as Charlie Neshyba-Hodges hoists lithe Tricia Sundbeck, only to have her slide through his slippery hands.

"Why is this such a sweaty piece?" Sundbeck jokes.

"Maybe because it never stops?" Neshyba-Hodges says.

Seiwert smiles but presses onward.


more...


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