|Chop Shop: Bodies of Work 2015
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|Author:||StoneDance [ Sun Jul 06, 2014 1:54 pm ]|
|Post subject:||Chop Shop: Bodies of Work 2015|
A CALL TO ARTISTS
For Participation In
CHOP SHOP: BODIES OF WORK, 2015
A Contemporary Dance Festival to be presented
February 14 & 15, 2015 at Meydenbauer Theatre, Bellevue, WA
Announcing a call for choreographers/dance companies with contemporary work to be presented at Chop Shop: Bodies of Work, an annual dance festival highlighting the BEST from the greater Pacific Northwest contemporary dance scene and beyond.
Chop Shop is committed to presenting work that is accessible to a wide range of both new and seasoned audiences. In partnership with the Experience Dance Project outreach program, this Festival promotes the art of contemporary dance through experience, education and performance.
Chosen work will perform in both performances (Saturday evening and Sunday matinee.) Artists will also have an opportunity to offer Master Classes on stage during the daytime hours of the Festival.
Now in its EIGTH year, this highly anticipated Eastside event continues with sold out performances and outstanding critical acclaim on both a local and national level. This is a great way to build your visibility and exposure to growing and enthusiastic Eastside audiences. Past participants have included Spectrum Dance Theater, Northwest Dance Project, Joshua Beamish, Whim W'Him, Grand Rapids Ballet, Adam Barruch Dance and Mark Haim, to name only a few.
DEADLINE FOR SUBMISSION: AUGUST 30th, 2014
Applications accepted online or by hard copy.
Format: DVD or Online Work Sample
Please include (via letter or email) the following information: Name of dance company, address or city of location of company, name of choreographer with brief bio, title of piece, length of piece, number of dancers performing in piece, where piece has previously been performed, and a brief explanation of piece.
c/o Eva Stone, Producer
6816 157th Pl SW
Edmonds, WA 98026
(Please include SASE if you would like your materials returned.)
Work presented will not exceed 10 minutes in length. 'Works in progress' samples permitted but should show at least 75% of the completed piece. Works still in conceptual form will not be considered. Performance and Master Class stipend paid.
Please send any inquires to email@example.com
|Author:||Dean Speer [ Wed Feb 18, 2015 6:15 pm ]|
|Post subject:||Re: Chop Shop: Bodies of Work 2015|
Three Tables, Two Chairs, and One Watched Kettle
3:00 p.m., Sunday, 15 February 2015
Meydenbauer Center, Bellevue, Washington
by Dean Speer
I came to love modern dance a long time ago. Its unique and often multiple voices spoke to me. By modern dance, I don’t mean the use today of the European dance community where contemporary dance usually means deploying ballet technique in a fresh way or done to today’s music. I really do mean the techniques, styles, and palettes that sometimes in the past – and the present - eschew ballet movement and steps in favor of finding and presenting strong ideas presented through new movement.
Some of these seminal figures included the well-known such as Martha Graham or Paul Taylor and other lesser well-known personages whose work was equally valid but perhaps not all famous.
Producer Eva Stone’s Chop Shop is an annual modern dance banquet presented over one weekend in early to mid-winter and continuing a food analogy, does it buffet style – short courses. A little bit of a lot and yummy. An array that appeals to most tastes, but perhaps not all. It also has the wonderful effect of not only giving a leg-up and exposure to the lesser-known but developing an awareness of their output and styles to audiences. Importantly too, the festival provides more work for dancers.
I was excited to see that this year’s edition and its creative artists were certainly widely-represented, geographically – Seattle, Portland, San Francisco, Brussels/Israel, New York, and Vancouver, B.C.
I found the strongest, choreographically, to be the work of a choreographer who benefitted from this leg-up himself a couple of seasons ago, Joshua Beamish and his “madness, to speak of nothing” performed by Seattle’s Coriolis Dance by Christin Call, Natascha Greenwalt, and Marissa Quimby. This trio was amazing in its technical and artistic strength, and seemed like underwater nymphs or sirens who interacted with shapes and rhythms but not partnering.
The program opened with Jamie Karlovich’s “The Deeper Side” and depicted a woman sweeping who, upon turning on an old-time radio/phonograph, immediately gets caught up in the music and begins to dance in a faux nod to the jazz of the ‘40s – and to fantasize her bliss, and who is joined by others, finally coming back to herself when the song has concluded.
From the Bay Area, The Foundry gave us the afternoon’s “table” piece entitled “Poem Triptych.” and I thought the company’s name appropriate as each of the three dancers – Marley Couto, Courtney Mazeika, and Sarah Dione Woods – gave us sharp, gestural movement phrases and their own worktables, in impressive unison and who appeared to be resolutely working in some kind of factory – with three on-stage tables..
The two chairs and kettle came from a single source – Asher Lev from Brussels/Israel whose solo piece was titled, yes, “The Kettle.” Beginning with a kettle on one of the chairs with a microphone poised and pointed to it, Lev, rises from the audience, comes up onto the stage and, sitting down on the unoccupied folding chair, turns on the kettle and we all wait while, yes indeedy again, we all watched [and listened] to the kettle come to a boil. He then launched into some interesting isolations.
Project20 looked Canadian and had that feel, too, in Donald Sales’ choreography and concept. The four women were dressed like baristas with white shirts and short black ties and wearing black bike pants [the pants were not a good idea].
Alana O’Farrell Rogers’ “Rewind” dealt with the tough subject of loss, specifically that of memory, depicting a day in the life of one youngish soul and the other dancers appeared to represent either other aspects of this person’s life or personality and/or the neurons mentioned in the lead-in in the printed program.
“Stand Tall” was a male duet based on the premise of each having a brief case that seemed to represent each one’s maleness and how this changed during the course of the piece. Samuel Hobbs and Gerard Regot of Portland danced, rolled on the floor, and then exited with their respective cases.
Gabrielle Revlock’s hula hoop “Halo” piece was mesmerizing and exhibited great control and varied use of a hoop, creating beautiful imagery.
Stone’s own company, The Stone Dance Collective concluded the program with a work to Baroque composer Corelli’s music, made up of short sections that easily showcased Stone’s attractive cadre of female dancers.
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