Cecilia Whalen

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Concert Preview: Vampire Weekend

Vampire Weekend

Charlotte Metro Credit Union Amphitheatre

Saturday, June 22 at 8:00 p.m.

The indie rock band Vampire Weekend is described by allmusic.com as musicians “who mix preppy, well-read indie rock with joyful, Afro-pop-inspired melodies and rhythms.” The band, originally made up of vocalist/guitarist Ezra Koenig, drummer Chris Baio, bassist Chris Tomson, and multi-instrumentalist Rostam Batmanglij (who has since left to work with the electro-soul group Discovery), has been nominated for two Grammy Awards and won in 2013 for “Best Alternative Music Album.” Vampire Weekend formed in 2006 in New York City (all four original members met during studies at Columbia University) and has since released four major albums and toured the world. Their 2008 debut album, “Vampire Weekend,” was received with great acclaim, and their consecutive albums “Contra” (2010) and “Modern Vampires of the City” (2013) both entered the Billboard Hot 100 at number one.

Vampire Weekend will be coming to Charlotte as part of their “Father of the Bride Tour,” a tour making stops from San Francisco, CA to Gdynia, Poland. This tour comes after their most recent 2019 release, “Father of the Bride,” an album described by pitchfork.com as “a shaggy, sprawling double album all about rebirth, contentment, and the reclamation of light.”

Popular Vampire Weekend songs include “Hannah Hunt,” “Walcott,” “Oxford Comma,” “Diplomat’s Son,” and “Diane Young,” the latter of which the group performed on Saturday Night Live in 2013.

The concert will take place at Charlotte Metro Credit Union Amphitheatre which is located at 1000 NC Music Factory Boulevard and is an outdoor performance venue.

Associate Professor’s new dance company completes second residency in Charlotte

Movement Migration, the new dance company founded by Associate Professor of Dance at UNC Charlotte Kim Jones, held its second annual “Work-in-Progress Residency Showing” at Open Door Studios in Plaza Midwood, June 14. The company performed three pieces-in-progress for more than 70 audience members who lined the perimeter of the dance studio.

Seven of the company’s 14 members performed this evening, with two members, Pauline Legras and Blakeley White-McGuire, serving as resident choreographers presenting work. Artistic Director Jones was quick to say at the end of the showing that not all dancers could participate in this showing because “some are on tour!”

Movement Migration is made up of a diverse set of seasoned professional dancers who are dancing around the world from New York City to Barcelona. Company dancers include former principals with the likes of the Jose Limon and Martha Graham Dance Companies (two of the most famous modern dance companies in the world) along with local, Charlotte-based dancers whose training range from classical ballet to post-modern dance. The majority of these dancers have had long and prestigious dancing careers, but they are in no way through dancing. White-McGuire, one of the choreographers for this evening, has found in working with the dancers that this maturity and dedication brings especial depth and power to her choreography.

“[They have] the desire to continue dancing no matter what,” White-McGuire, a former principal of the Graham company herself as well as active choreographer in New York City and beyond, said. “Something in them has to keep dancing to be fully alive.”

This is certainly evident in the way the dancers perform. Even in a space so limited with audience members sometimes only one inch away, the dancers moved so expressively, taking up every piece of the room whether it was left, right, up or down. Sometimes it seemed as if the audience was witnessing the dancers’ limbs growing right in front of our eyes; a reach of the arm could last for only half a second, but within that half-second something would change within the dancers, within the space and within the audience. These dancers know why they dance. More importantly, they know the value of dance.

Dance, specifically modern dance (the style in which the company mainly trains and performs), is “a means of expression that is not entertainment…it can be entertaining, but it is about kinesthetic intelligence, about understanding dance as communicating something about life.” White-McGuire said.

American modern dance was a creative way of responding to the turbulent climate of the early to mid-20th century, the time in which it was created. World Wars, the Great Depression and the Women’s and Civil Rights Movements all contributed to the birth of a new dance form, one focused on expressing the emotions of the people in a new way which broke with classical tradition. It spread ideas about what the world looked like then, but also what it could look like in the future. Artistic Director Jones found herself looking to take similar action after the most recent presidential election in 2016. Naturally, as her modern dance ancestors did before her, she decided to respond with modern dance.

“I founded this company now because the world is in pain and divided. This is a call to unify, to diversify and to heal.” Jones said.

Thus, Movement Migration was founded with the mission of “traversing cultural boundaries and transferring movement knowledge from person to person and community to community.” They hope to achieve this mission largely through performance, but also through dance education. Leading up to the showing, the company offered four masterclasses in the Limon and Graham techniques at Open Door Studios (which is owned by company member Jacqueline White), and as part of the showing, White-McGuire and the dancers demonstrated some of her choreographic process as a learning experience. The company also held a brief talk-back after the showing, allowing the audience members to comment and ask questions.

In the talk-back, the dancers had the opportunity to reiterate what they had expressed through movement: the vitality of the art form not just to themselves, but to everyone. One audience member commented that because the dancers were so close, he was able to have a really emotional experience: “My heart was pounding!” he said. Dancer Pablo Francisco Ruvalcaba (former principal with the Limon company) took this comment as an insight and emphasized the importance of supporting live dance. Ruvalcaba said dance companies need financial support, but more importantly they need audiences, and it is through this human contact that these important experiences are created.

Movement Migration hopes to make these kinds of experiences more frequent and accessible. The company has established Charlotte as its home-base and will be performing here next at the UNC Charlotte Faculty Dance Concert in September. In the meantime, company members will be traveling to Memphis, TN for a residency as well as abroad to the Netherlands, Mexico and Italy (for a second time) in the fall and the spring of the following year.

Movement Migration hopes that its performances and workshops will allow more communities to experience concert dance; a scene that can sometimes seem exclusive and even unenticing to the average person. In keeping with the mission, the company hopes it will bring together a diverse set of communities, re-emphasizing its overall goal of bringing people together.

“Our citizens have been cheated for generations,” White-McGuire said about the lack of dance education in public schools and accessibility to concert dance in general. “There’s something for you, you just have to open the door.”

Movement Migration hopes to be one of those doors.

Editor’s Note: The third paragraph of the article originally misinterpreted Movement Migration’s mission. The article has now been updated to correct this.

What is a Dance Accompanist?

When Music Director for Dance Shamou was a child growing up in Iran, his family would often go to hear live music. At summer music festivals, social gatherings or formal concerts, Shamou would hear and see all types of instruments and was fascinated by them. Around six years old, he received his first instrument: the Darbuka, a hand-drum commonly played in Persian Classical music. He was hooked. Soon after, he started on the piano and it was clear that music would remain part of his life forever.

“I played for hours,” Shamou said. “I would sit behind the piano and improvise, play melodies from popular songs at the time or from Western songs. I would play piano and my brother would sing. That’s the one time you could find us siblings hanging out together because the age gaps were big.”

Shamou was self-taught on the Darbuka, learning the tapping and snapping techniques from listening and watching other professional musicians in Iran. His father was a big fan of Persian Classical music and was one of the main reasons Shamou was able to acquire some of his musical abilities.

“My father loved music,” Shamou said. “Once in a while to amuse us kids, he would let out an operatic phrase to make us laugh…he had an incredibly, powerfully beautiful voice.”

Shamou is one of several dance accompanists in the UNC Charlotte Department of Dance. An accompanist plays music for the dancers in a dance class, providing the class with tempo (how fast or slow the dancers should move), dynamics (how loud or soft) and overall musicality.

“Our role as musicians is support,” Shamou said. “I am all ears and eyes.”

Accompanying dancers is a particular skill different from concert-style music performance. While many accompanists study music in higher education, accompanying is not really a “degree-track.” Dance accompanying, like many artistic disciplines, is most commonly learned through apprenticeship. Shamou was at the Berklee College of Music studying as a percussion major when he was first introduced to the idea of accompanying.

“A friend of mine [who teaches dance] from the Boston Conservatory and I were talking, just in a cafe or something, and she says, ‘Wait, you’re a percussionist aren’t you? You should come play for one of our classes!’ I thought, ‘Oh, okay. Brilliant!’” Shamou said.

On a whim, he decided to attend and observe one of the dance classes at the Boston Conservatory. As soon as he walked in, the class’ accompanist handed him a shaker (a percussion instrument) and welcomed him to join in.  

“His generosity and his openness was so fantastically welcoming that it pulled me in,” Shamou said. “And the rest is history.”

Shamou began accompanying classes at the Boston Conservatory and was soon offered opportunities to collaborate with dancers not just in class but in performance. Diane Arvanites, an artistic director of the Boston-based company Prometheus Dance, asked Shamou if he would compose music for one of her dance pieces. The piece was developed and taken to Spain (among other places) to be performed.

“A lot of compositions would come while I’m in class,” Shamou said. “Most compositions are a culmination of some length of time…which becomes a painting. A lot of these initial charcoal sketches, which later became compositions, were created while I was working with dance.”

Shamou has since composed for dance-makers throughout the world, including the Sacramento Ballet, San Francisco-based choreographer Robert Moses, award-winning choreographer Stephan Koplowitz and Mexican choreographer Claudia Lavista (whose collaborative piece with Shamou, “PROW,” was performed by the UNCC Department of Dance this past fall). Shamou has also accompanied around the world, including for internationally-acclaimed companies such as Alvin Ailey American Modern Dance, Mark Morris Dance Company and David Dorfman Dance. It was with renowned choreographer Bill T. Jones that Shamou sort of reinvented himself, transitioning from solely acoustic instruments and singing to electronic sounds.

Dance, as well as music, has always been a part of Shamou’s life. In fact, as a child and teenager, Shamou trained at the Iranian National Ballet as a ballet dancer, even dancing with the professional company at as young an age as 14. While he didn’t remain a professional dancer, accompanying has allowed him to continue his love for dance.

Much of accompanying is about being able to feed off of and provide for the dancers through active listening and watching. The musicians and dancers rely on one another for cues and quality. Shamou learned a lot of this skill not only in the classroom but on the streets of Boston as a street musician.

“When I went to Berklee, I still went and played on the street with my compadres,” Shamou said. “We would go and be street musicians in Harvard Square and people would come and dance. We had all walks of life who would come and listen and get up and dance. It was a street party. That relationship between music and dance has been around a long time.”

Shamou is currently working on collaborative projects nationally, including a theater piece with Assistant Professor of Physical Theatre Carlos Alexis Cruz entitled “Picaro.” This work was recently performed at Children’s Theatre of Charlotte and will continue to be performed in the near future.

Above all, Shamou is determined to keep evolving and learning. “The day I stop learning, I might as well park it and pack it and be no longer,” Shamou said.

Music and dance have been fundamental to his life, and Shamou sees the art forms as fundamental to the lives of others as well. Whether playing for a formal audience, a dance class or passersby on the street, Shamou sees music and dance as keys to community building.

“Thinking back, I remember how important music was in bringing people together,” Shamou said. “Drums are very much a means of bringing people together. Everybody loves banging on something, playing drums, [or dancing along to it].”

CPCC Pairs With Percussion Ensemble to Present “Les Noces”

The UNC Charlotte Percussion Ensemble paired with the Central Piedmont Community College Dance Theatre to present a five-piece concert of music and dance on April 8 in Robinson Hall. The evening began with four compositions performed solely by the percussion ensemble (with one featuring a quartet of CPCC dancers), directed by Professor Rick Dior. The headlining event was a production of Igor Stravinsky’s “Les Noces (The Wedding)” with music directed by CPCC’s Alan Yamamoto and with original choreography by Director of CPCC Dance Theatre, Clay Daniel.

The percussion ensemble performed the first three pieces on their own with energy and precision. Each piece featured a soloist; the first, “Jubilee Concerto for Timpani and Percussion Ensemble” by David Mancini, featured Chris Merida on timpani and the last, “Cloud Forest” by Blake Tyson, featured Jacob Bohan on marimba. Each soloist showed dexterity and dynamic contrast and was fully supported by the well-balanced and expressive ensemble.

The second piece on the program was an original by Dior entitled “Equinox for Percussion Ensemble and Theremin.” The piece featured Raven Pfeiffer on the titled instrument, the theremin — an electronic instrument that is played without physical contact, almost as if by using magic. The theremin sounds about like what we assume an alien-driven UFO would sound like: weeoooweeooo (you get the picture). It is a curious instrument and, according to Dior, takes years to master. Pfeiffer just started playing the instrument two months ago; nevertheless, she was able to command the theremin with what literally seemed like the magic touch.

After a brief intermission came “Les Noces,” a depiction of Russian wedding preparations for a bride and groom. CPCC Dance Director Daniel created original choreography for six CPCC dancers (two male and four female) while Yamamoto conducted a twelve-member chorus, four pianists and the percussion ensemble who all played onstage behind the dancers. The piece was composed by Stravinsky for ballet and was originally paired with choreography by Bronislava Nijinska. It was premiered by the esteemed Ballet Russes in 1923.

“Les Noces” is intense. The music is full of dissonance and jolting accents from the piano and percussion. The movement is similarly disconcerting. Though it is a wedding, there are no happy faces. The movement is almost like a sacrifice (of the bride to the groom or vice versa) with sharp group jumps and bounces, physical adornment of the bride to what seems like her dismay and blank looks by all toward the audience. The piece ends with a preparation of a table for “The Wedding Feast.” The table could double as an altar (church or sacrificial) as both bride and groom seem reluctant to sit down at it and are then decorated almost like relics by the others. Dancers and musicians were successful in creating an eerie and mysterious mood, though occasionally lacked a necessary intensity and precision in music as well as in movement.

The piece is considered a master-work for both Stravinsky and Nijinska and, for its weirdness alone, is worth seeing.

“Les Noces” was performed at CPCC on April 10 at 7:30 p.m. as well as part of their Sensoria festival, which ran through April 14. Though this was the final performance of the percussion ensemble for this academic year, the Department of Music also has several more upcoming events throughout the month.

A Weekend of Dance: QCity Dance Summit and Charlotte Dance Festival

The Charlotte Dance Festival and QCity Dance collaborated to produce a weekend of dance March 15 through 17 at Charlotte Ballet’s Patricia McBride and Jean-Pierre Bonnefoux Center for Dance in downtown Charlotte. The weekend featured multiple performances, master classes and roundtable discussions attempting to bring together the regional and Charlotte dance community. UNC Charlotte was represented by Department of Dance Chair Dr. Ann Dils and Department Office Manager Lakisha Rios, co-founders of QCity Dance, as well as Associate Professor of Dance EE Balcos who, along with Dils, serves on the board of the Charlotte Dance Festival.

This was the thirteenth annual Charlotte Dance Festival and the first in collaboration with QCity Dance. Friday kicked off with a performance by the renowned New York City based Larry Keigwin and Nicole Wolcott. Saturday held the Charlotte Dance Festival Gala concert. The festival concluded on Sunday with QCity Dance-hosted discussions, a master class and the Charlotte Dance Festival Youth Gala.

Larry Keigwin and Nicole Wolcott headlined the festival. The New York City based founders of the renowned Keigwin + COMPANY presented their original dance-theater piece “Places Please!” Set “behind the scenes” in a dressing room, the piece hilariously depicts the final moments dancers experience before going onstage, as well as some bittersweet personal confessions about the dance life. “Places Please!” was created in 2017 and has since toured nationally to great acclaim.

Keigwin and Wolcott danced everything from a lyrical pas-de-deux partnering duet to goofy solos in which they changed costumes, even stripping down to their underwear onstage (at one point Wolcott keeps changing wigs; at another point, Keigwin wears an orange, furry, skin-tight catsuit and then needs help pulling it back off). The audience was made up of mostly dancers and dance teachers who laughed at the ridicule and the inside jokes; we all knew what it was like having to wear an unflattering costume or fake a smile when you really have to go to the bathroom. Although full of these nods and winks to the dancer, the piece was certainly accessible to non-dancers as well.

Keigwin and Wolcott were also able to vary the silly emotions by reflecting on the many hard parts about a performance career: each dancer had a sincere and touching monologue followed by more movement. During Keigwin’s monologue, he talked about one of his first gigs (whether true or fictional) as a dancer, entertaining for birthdays and bar mitzvahs. Once, for a little extra money, he unknowingly agreed to be “the head of a table,” which resulted in sitting underneath a table with only his head and two hands sticking out to serve hors d’oeuvres. While hilarious to imagine and hear about for example, kids kept sticking carrots and celery in his ears and mouth and he had no way to remove them the story was also poignant. Keigwin explained the lengths performers go to in order to keep dancing, even if it means being mocked and exploited.

Charlotte was lucky to have Keigwin and Wolcott for a few days, and UNC Charlotte was especially lucky to have Keigwin on campus to teach a master class for dance students on March 14 (Wolcott taught a class as well, free and open to the public, on March 17 at Charlotte Ballet).

The Charlotte Dance Festival continued with a Gala performance on March 16, which included nine different pieces by nine different local and regional companies, including those from Atlanta, GA, Columbia, SC, Washington, DC, Greensboro, Cary, Durham and Asheville, NC. Two companies were from Charlotte, including Bodiography Charlotte led by Maria Caruso, and Caroline Calouche & Co. led by Charlotte Dance Festival founder and artistic director Caroline Calouche.  

Each piece was adjudicated earlier in the fall and was selected to be performed that evening. Particularly interesting was a solo presented by NYC based dancer Cameron McKinney entitled “E.X.P.L.O.D.E.” McKinney is the founder and artistic director of Kizuna Dance, whose mission is to “depict aspects of Japanese history and culture through the use of a unique blend of hip-hop, house and contemporary movements.” McKinney melted in and out of the floor using crawling movements, flips and other break-dancing-like spins on his back and neck, seamlessly moving through space and levels without a sound. In keeping with the company’s mission, he performed these characteristically hip-hop and contemporary movements to Japanese vocal music by Geinoh Yamashirogumi and Toshio Hosokawa. McKinney was a strong mover who showed power as well as grace; his choreography was arresting.

Another particular standout piece from the Gala came from the dancing of Gavin Stewart and Vanessa Owen of Asheville, NC. The two performed a duet entitled “Dendrovictus” to the music by Gavin Bryars and displayed exceptional ballet technique. They had great strength and flexibility throughout this original, self-choreographed contemporary ballet work.

Dance Teacher Roundtable. Photo by Meredith Murray.

The weekend concluded Sunday, March 17 with a few final events, including specific QCity Dance Summit events. QCity Dance is a newly developed organization that seeks to bring together the Charlotte dance scene through newsletters, advertisements and an all-purpose calendar (listed on their website, qcitydance.org) that lists Charlotte dance events. QCity Dance hopes to be a one-stop place for dance happenings in Charlotte, be it concerts, classes, auditions, or criticisms. It is a noble pursuit (and one appreciated by aspiring dancers) and hopefully will continue to grow as an organization and initiative.

The Summit included a Studio Directors Roundtable, a Choreographer/Company Director Roundtable, as well as the class taught by Wolcott. More QCity Dance Summit events had previously been scheduled for the Friday and Saturday of the festival weekend but were unfortunately canceled later.

Finishing off the festival was the Charlotte Dance Festival Youth Gala, another concert in which pieces were selected through an earlier adjudication process. This gala included 10 pieces with students from local dance studios, independent dance companies and school dance programs.

Scholarship results were also announced at the Youth Gala: The Charlotte Dance Festival-hosted scholarship auditions earlier in March for three scholarship programs and presented them on Sunday. Several were offered for The Charlotte Cirque & Dance Center summer intensive, two for Bodiography’s Contemporary Ballet summer intensive and two university scholarships for the La Roche College Dance Program in Pennsylvania.

The weekend was an exciting one for the Charlotte dance community and the community at large. The events were fairly well attended, though mainly by dancers and dance enthusiasts: UNC Charlotte Department of Dance definitely held a large presence, both in management and in attendance. Hopefully next year, dancers and choreographers will seek out their non-dance friends and family to join them in experiencing what Charlotte and surrounding regional dance has to offer, and what we hope it will become.

Department of Languages and Culture Studies presents fifth annual Poetry Slam

The Department of Languages and Culture Studies presented its fifth annual Multi-Language Poetry Slam Feb. 20 in the Cone University Center. Around 30 students presented poetry in seven different languages to a full house of peers in Cone’s After Hours.

Students presented under three categories: translation of a published poem, original poetry and haiku. From each category came a first place winner and runner up, who were chosen by faculty and guest judges, including guest poet and the founder of the inspirational movement I Choose Me #NoMoreExcuses, Precious Pauling.

The first place “Original Poem” winner was Adriana Chrestler. She spoke in her native Portuguese in her poem entitled “Criança Abandonada” (“Abandoned Child”) which depicted an encounter with an abandoned boy she came across in her home country, Brazil. First place “Translation” winner was Tumisang Mabaso, who translated a Keh Mukarni poem (a dialogue-based poem which originated in 11th century India) from English into her second language, Japanese. First place “Haiku” winner was Cullen Fisher, who presented an original Senryuu (Japanese-style poem similar to a haiku) in English.

It was wonderful to see an audience so enthusiastic about poetry and language, and to see so many students excited enough to share this enthusiasm onstage. Students presented in a diverse range of languages, from Spanish to Chinese to Yiddish, with some students presenting in their native languages and others in a second language.

The concept of this event was great and the presentations were well received by the audience, although in general there could have been a few tweaks made to make the evening run a little more smoothly. Mainly, the issue had to do with the individual performances: many of the performers could have used a little more rehearsal. Many, whether in their native or second language, stumbled over several words or lines, which made it occasionally difficult to listen to as an audience member. Even those who were reading their poems, unmemorized, sometimes had issues. This could easily be fixed individually with just a little more practice. Perhaps next time, the Department of Languages and Culture Studies should emphasize an amount of practice time for a performer before he or she presents, as to avoid a drag in the pace. Another thing to do to keep the pace up would be to limit the amount of small talk that the presenter can make with the audience. In order to keep things moving smoothly, it might be better for presenters to just enter onto the stage, state their name and poem title, and jump right into the poem. Instead, some presenters asked how the audience was doing, commented on the weather, etc. — another thing that the organizers of the event could help emphasize through instruction.

While it could have used these alterations, overall, the event was a demonstration of the best and most unique parts of America, a country where all languages can be spoken and all cultures are welcome. It also displayed the uniqueness of UNC Charlotte, the state’s most diverse public university. With a current presidential administration so bent on pushing other languages and cultures out, it’s nice to be in a room with people who are genuinely interested in and supportive of cultural and linguistic diversity.

 

Interview: UNC Charlotte professors collaborate with Charlotte Ballet

Charlotte Ballet collaborated with UNC Charlotte Professors of Theatre Dr. Lynne Conner and Dr. Andrew Hartley to present “Innovative Works: Shakespeare Reinvented” Jan. 25 through Feb. 16 at the Patricia McBride and Jean-Pierre Bonnefoux Center for Dance. Each professor was paired with a choreographer by Artistic Director Hope Muir to explore the works of Shakespeare through a new dance creation. Conner was paired with Chicago-native, contemporary ballet choreographer Stephanie Martinez, and Hartley was paired with Bronx-native, contemporary choreographer Peter Chu. Martinez and Conner explored the roles of women and gender issues in their piece entitled “Unsex Me Here” (a title referencing one of Lady Macbeth’s lines in “Macbeth”). Chu and Hartley used “Hamlet” to explore questions of mental health and mortality through Hamlet’s journey as a character in their piece entitled “Let Be.”

I recently sat down with both Conner and Hartley to discuss their experiences from this collaboration. Here are edited excerpts of our conversation:

What were your roles in this process?

Dr. Conner: We had very different roles.

Dr. Hartley: Yeah, we had very different roles. Actually my role ended up being very different from what I thought it was going to be. Initially, I didn’t even know I was going to be dramaturging the project; I thought that I was going to act as more of a consultant. I didn’t know that I was going to be assigned to a particular piece. That was something that materialized later. But in most theatre organizations, being a dramaturge on a Shakespeare production, it’s still more of a consultancy thing.

Dr. Conner: It depends, I mean there is production dramaturgy and then there is the more sort of traditional background dramaturgy…

Dr. Hartley: Yes, a lot of companies still do that. I mean, when I dramaturge a Shakespeare production I’m in rehearsal all the time, but that’s still reasonably uncommon. And so for this, particularly because we didn’t know really what it was going to be — it was growing out of Shakespeare rather than being a representation of Shakespeare — initially I thought “well I’ll be consulting with the director and then that will be it.” But once I was assigned to what would become ”Let Be,” it became a very different thing. I was in rehearsal all the time. And when Peter first came in it was still very much up in the air–

Dr. Conner: And he’s talking about in January — so like Jan. 2 [2019]. 

Dr. Hartley: Yeah. In most theater companies, you read the script and then you rehearse for a certain period of time, and then you have design elements (and that happens very early), and then you rehearse and you put it up.

Dr. Conner: But the dance world’s very different, the dance world creates in real time, especially contemporary–

Dr. Hartley: And some theater companies do as well; I mean a Shakespeare company like Cheek by Jowl rehearses for a long period of time but begins with almost nothing and they sculpt the entire thing, and all the design is being done during the rehearsal process. And that has finished up being close to what we were doing. So we moved through a number of different play options back in the summer; We talked about doing “Julius Caesar” and then we talked about doing “Macbeth” and “King Lear.” And then as Peter talked more and more about his interest in mental health issues and things like that, we gradually honed in on “Hamlet.” And then decided quite earlier that it wasn’t going to be a telling of the Hamlet story; it was going to be something that grew out of the pursuit.

Dr. Conner: A theme.

Dr. Hartley: The psychological through line, yeah.

Dr. Conner: So, similarly, when Stephanie and I started talking, which was a year ago by phone, I said, right from the start, I’m not interested in building a story ballet. The ballet tradition from the 19th century where you do “Romeo and Juliet” and they’re gonna pantomime and they’re gonna try and tell the story; I said I wasn’t interested in that, and she said she wasn’t either. So we started discussing some sort of overall notions that interested us, including women in Shakespeare and Shakespeare’s representation of women and from there we moved into a broader idea about gender. We decided that we would use four plays, and a couple from each of these plays to bounce off of and explore these ideas, and that is basically where we have stayed.

So my title is Stage Director, and I would describe it as story diviser on the concept. I have nothing to do with the choreography; I have lots to do with the performances though because I am coaching them and staging movement. So there is the formal choreography, but then there is plenty in our piece that you would describe as more “conventional” staging or blocking. And in terms of dramaturgy, I was there to identify the plays, identify the storyline, talk about the characters both to Stephanie and the dancers. Pretty normal things that a stage director does.  

Dr. Hartley: One of the things that we’ve been doing in ours was we decided that we really wanted the dancers to speak, which is sort of unusual, and they were terrified. And so a lot of my job was working with text and helping them understand it, and think about rhythms and stress patterns and clarity. Then again, part of that very organic process was, was it going to be single voices, was it going to be group voices? Those present radically different challenges. So that was fun. And then Peter said, maybe in December, he’s like, “I’m really interested in fans–”

Dr. Conner: Yeah, and boy they’re a big part of the piece–

Dr. Hartley: Yes they are.

Dr. Conner: Meaning, like, oriental fans–

Dr. Hartley: Right, because he has a lot of background and interest in Chinese medicine and in martial arts, and the fan is very much used in martial arts as a defensive weapon.

Dr. Conner: Oh really?

Dr. Hartley: Yes, because the metal ridges are used to deflect against swords and such, and if you look at like Japanese prints you’ll see they’re often used in combat. They’re designed to catch the blade. So we then started working on the idea of how to utilize the fans in this martial arts context and sort of work it in with elements of the text. Originally, he was interested in staging the fight scene at the end of the play, but gradually we backed away from that and wanted to make it more metaphorical, a kind of internal struggle dealing with some of the pithier wrestlings with inner conflict and concerns about mortality and such.

What were some of the most difficult things about the process?

Dr. Hartley: I’m not a choreographer and my experience with dancers is pretty limited. So I was not initially prepared to be a voice and text coach. That kind of direction where “ok so let’s get these dancers warmed up and let them start using their voices” — that’s not really what I do most of the time. But I enjoyed it and I embraced it because I felt that everybody was a little bit out of their comfort zone — you know dancers were doing stuff that they had never done before, the choreographer had never done a piece like this before. So that seemed only fair.

Dr. Conner: I have a background as a dance historian and as a dance critic so I’ve been around a lot of dance, but I have never been in the studio making a piece with dancers before. So to me that was like of course I’m gonna do this. And if you were to ask me what the best part of this has been… Without question, hands down, it has been being able to watch these dancers all these days and to watch them thinking and moving their way through the creative process. They’re gorgeous dancers and interesting people, and I’ve just found them wonderful to be around, and I really just genuinely mean that.

Has either of you ever danced before?

Dr. Conner: I am a fabulous social dancer. I am! I’m really good. But that’s it. (Laughs) No, I did study dance because I was trained as an actor in undergraduate and where I got my degree, we had to take dance every semester. So I did, but I was not particularly good at it. Andrew?

Dr. Hartley: Psh, No. No. Not at all. So that’s why I said being out of my comfort zone, doing Tai Chi and what have you in the mornings–

Dr. Conner: But you weren’t at the barre; you were doing Peter’s warm-up.

Dr. Hartley: No, I was in the corner trying not to be conspicuous.

Dr. Conner: But it’s good though! It’s the best thing! I wouldn’t have minded doing that actually.

Dr. Hartley: But yeah, it helps to be comfortable with the idea of making fun of yourself. Then when you’re asking them to go through hoops that they’re not used to jumping through…

Dr. Conner: That’s true.

What are some of the differences between working with actors and working with dancers?

Dr. Conner: On the surface, the obvious one is that actors are trained to be comfortable with the language and said to be stiff and uncomfortable physically, or more so, depending on their tradition. It’s the inverse with dancers. The dancers were incredibly fluid and able to use their bodies in all kinds of experimental and expressive ways, and more nervous and more constricted with the language because they just don’t have the technique. We also have language in our piece. The four female characters recorded some of their lines. You hear them recorded, they’re not saying them live–

Dr. Hartley: The Macbeth monologue at the beginning, was that–?

Dr. Conner: Oh no, that’s Kate Fleetwood [a Tony-nominated British actress]–

Dr. Hartley: Ok. I was gonna say, like, wait a minute!

Dr. Conner: In any case, that’s a big journey for somebody who has no training in acting. Like I said to them a million times, the idea of a typical actor being able to do even the teeniest little bit of what they do? Forget about it!

How did you choose which texts would be incorporated?

Dr. Hartley: Initially, I just sent him lots of stuff that seemed to resonate with our phone conversations. We were talking on the phone a lot and after each call, I would send him a speech, a collection of things. We’d read stuff and we thought about breaking up, for example, the “To Be or Not To Be” speech and creating a little scene around each one of those lines, and in the end we decided to just do the entire speech. And then drawing on the other pieces’ fragments of the text elsewhere to sort of build a context for it and a sense of through line into the resolution. Again, it’s not supposed to be a telling of the story, it’s supposed to be a new thing that grows out of these words.

Dr. Conner: Yes, that’s how as artists, we all went. I mean, because I think it’s inevitable in a series called “Innovative Works” that you’re going to make a contemporary piece. Ours has some narrative components to it because we have Titania and Bottom from “A Midsummer Night’s Dream” and Kate and Petruchio from “The Taming of the Shrew” and Romeo and Juliet and Lady Macbeth and Macbeth, but they’re not there to tell the story of the plays.  

Why do you think Shakespeare makes a good foundation for new works?

Dr. Hartley: We are holding up “as ‘twere, the mirror up to nature,” as Hamlet puts it, so one of the reasons that the plays seem to be endlessly changing and developing is not necessarily about the material itself, it’s about us, because that’s why we keep coming to them. We keep finding new things — the gender stuff that you guys are working with is something nobody talked about 100 years ago. Not many people talked about it 50 years ago. So as the lens changes, suddenly the play becomes an entirely different thing.

Dr. Conner: We’re staging ourselves. There’s a famous essay called “A Seashell,” and the essential idea there is: You know how you go to the seashore and you pick up a conch shell and you listen and you say that you’re hearing the ocean. Do you know what you’re actually hearing? You’re hearing your circulatory system; you’re hearing your blood. So when we stage “Hamlet” we say we see “Hamlet,” but we just see ourselves. We’re just hearing our own circulatory system through the words of this person.

Dr. Hartley: And that’s not to say that we’re simply projecting onto a blank space. That it’s a sort of mutual reflection back and forth–

Dr. Conner: And the words are there and the characters are there and they’re real! They’re real. It’s just so very exciting! I mean there are plenty of incredibly talented artists and thinkers who are not into Shakespeare so I don’t want to make it seem that everyone feels that way. But for the people who do, it’s just an endless excitement. I don’t know how else to say it.

Dr. Hartley: That’s a good way to put it.

Dr. Conner: So who could resist, right?

Assistant dance professor organizes festival in India

Whoever is first to arrive in the Srjan dance studio in Odisha, East India has to sweep the floor. After waking up, eating breakfast and tying her sari, Assistant Professor of Dance Kaustavi Sarkar was often the one to do it. She would head to the studio, pick up the broom that rested by the door and clear the space before the first class of the day began.

“That ritual of sweeping the floor in the morning is so grounding,” Sarkar said. “It’s a meditative exercise. It’s also gratifying in the sense that you are making space for yourself as well as welcoming others.”

Sarkar would sweep to pay homage to herself, to the space, to the other dancers and to the ancestors of the East Indian classical dance form she practices, Odissi. She would remember, in particular, that where she was sweeping happened to be one of the same studios used by dance legend Guru Kelucharan Mohapatra, the man who revived and popularized Odissi and founded Srjan.  

On Jan. 2, Sarkar helped produce a festival in celebration of what would have been Mohapatra’s 93rd birthday (he died in 2004). The festival, entitled “Antardrishti,” loosely translated as “Soul Vision,” was held in Calcutta, West Bengal, India at the Uttam Mancha (auditorium) and was a collaboration between Sarkar, Srjan and Odissi dancers throughout India. It featured Srjan’s professional ensemble, duets and soloists, including Sarkar herself.

“It’s a way of commemorating the history and artistry of the Guru Kelucharan Mohapatra and the histories of the development of Odissi over time,” Sarkar said. “I’m more of a collaborator/producer of the event; I’m playing multiple roles.”

Before working at UNC Charlotte, Sarkar was a student and later a teacher at Srjan, as well as a dancer in their traveling professional ensemble. There she found an institution that would captivate her for the rest of her life.

“Srjan integrated my life into a way that everything was connected,” Sarkar said.

Photo Courtesy of Roopachitram Debojyoti Dhar Photography

Srjan is unique in the fact that students studying at the school, as well as professionals working in the ensemble, not only dance at the institution but live there as well.

“My work was upstairs in the studio, and my life was downstairs,” Sarkar said.

Sarkar slept in the room of Laxmipriya Mohapatra, one of the first female Odissi dancers who was Mohapatra’s artistic partner, wife and mother of his children.  

“They were so kind to open up their home and their kitchen and their lives to an outsider, a stranger like me who has no familial ties with them. But that is the practice of this apprenticeship, where you really embed yourself in a day to day, all the time learning exercise,” Sarkar said.   

Dancing at Srjan was much like an apprenticeship, an up-close shadowing of teachers and mentors.

“Learning is not restricted to the studio,” she said. “Learning happens when you’re driving with your teacher; learning happens when you’re cleaning the dishes in the morning; learning happens when you’re cleaning the studio right before everybody enters.

Of course, dancing at Srjan wasn’t always a fairy tale. The intensive and immersive environment sometimes lent to a strict hand in training.

“There are horror stories, where if you make a mistake the stick comes flying at you,” Sarkar said. “But conservatory training was never meant to be coddling.”

Now her life has changed. She earned a Ph.D. at The Ohio State University and is a full-time academic at UNC Charlotte, teaching courses in Foundations in Dance and Dance Appreciation. She also teaches technique courses in Odissi, making UNC Charlotte’s dance program the only one in the state to offer the classical Indian art form as part of its curriculum.

But much like how her cleaning and sweeping taught her about dancing then, her current work in academia has continued to influence her ideas about dancing. Through the festival, “Antardrishti,” Sarkar attempted to both celebrate historical and contemporary Odissi dance, presenting some of Mohapatra’s classic works as well as original works by current choreographers, and bring in some of her current research, which focuses on digital humanities, cultural studies, queer studies and religious studies.

Photo Courtesy of Roopachitram Debojyoti Dhar Photography

“Sometimes the conversation gets limited between scholars or just between artists,” Sarkar said. She wanted to merge the two.

Before and after the festival, Sarkar helped sponsor “queer cafes,” spaces in which artists and scholars could come together to discuss gender, sexuality, politics and whatever else they wanted.

Sarkar used the dances presented to spark some of these conversations. For example, one piece, a duet choreographed by Mohapatra’s son, Ratikant Mohapatra, the current artistic director of Srjan, featured him and another dancer, Rajiv Bhattacharya. The piece, entitled “Bali Badh” (The Slaying of the Evil), was danced by two men; Sarkar used these kinds of instances to ask: What are the relationships between two male bodies? How has it changed through time?

Along with social and political questions, Sarkar is also interested in architecture and its relationship with dance. Odissi originated in the 12th century and was shaped by Hindu temples. Now in the 21st century, how might Odissi be changing with current uses of architecture and space?

“Temple sculpture has such a deep conversation with Indian classical dance,” Sarkar said. “[In their aesthetics and shape] they keep borrowing from each other.”

Sarkar’s own solo addressed these topics as well. She is interested in deconstructing Odissi, investigating its origins, its connotations and its aesthetics by closely examining the details in movement in relation to their historical context. What parts of Odissi technique reflect a patriarchal society? How does Odissi treat different genders? What are the influences of the old temple dancers and their lives?

“Deconstruction is way of undoing but not ripping it apart,” Sarkar said. “The values are embedded.”

She hopes to further connect her current work at UNC Charlotte to her former work at Srjan, continuing and even extending the reach of Mohapatra’s lineage.

Sarkar hopes to involve her students, as well with a plan to create some sort of study abroad program between Srjan and UNC Charlotte in the future.

“What is really special in that institution is the effects of years of nurturing towards dance,” she said. “Dance is sort of a worshiping mechanism. Every class there is always a reminiscing of lineage, of past. My hope is to open up this experience to the students where it’s more of an exchange across culture.”

Sarkar conducts an event on campus discussing some of these topics with a visiting professor from Kingston University, Dr. Elena Catalano, on May 3 and 4 in Robinson Hall room 118.

Best Songs of 2018 as Selected by A&E Writers

Album art courtesy of Tessa Violet.

Elissa Miller

4. “Trip a Little Light Fantastic” by the “Mary Poppins Returns” Cast: If there was a machine that you could throw your interests in to create a new product, the entirety of the movie “Mary Poppins Returns” would be my result. A sequel to one of my favorite movies? Check. Lin-Manuel Miranda as a character reminiscent of Bert the Chimney Sweep, my first childhood crush? Check. London as a backdrop for musical theater? You got it. While the movie is not a perfect film, “Trip a Little Light Fantastic” is a practically-perfect song and dance number. Clearly mirroring “Step In Time” from the first film, this is Lin-Manuel Miranda’s (and the movie’s) biggest number. It absolutely screams classic musical theater in both sound and design. Honestly, this felt extremely cathartic, because while I’ve loved the recent resurgence of musical films, they’ve generally failed to truly recapture that signature style. The dancing is absolutely breathtaking. The song is catchy and upbeat. Lin-Manuel Miranda looks like he is literally made of sunshine. I cried.

3. “Burn the House Down” by AJR: AJR crafted a perfect album with “The Click” in 2017. It was hard to imagine that adding anything could improve it, yet “The Click (Delux Edition)” somehow managed to do so when it included four new songs. While I’m a fan of generally every new addition, this the absolute best of them. It is a loud, angry anthem that reflects on Twitter and modern-day protest culture, while still being able to function as a dance track. The band allowed it to be used in conjunction with the March for Our Lives movement earlier this year. Everything about it, from the musical style (the horns in this are GREAT) to the lyrics, is compelling. More songs like this in 2019, please.

2. “Bad Ideas” by Tessa Violet: While Tessa Violet made waves with her other release, “Crush,” this year, I’m quite partial to this second song. One of many musicians to first find their audience on YouTube, Violet has continuously grown as an artist to create a signature style. This is incredibly clear with “Bad Ideas,” which stands out among indie-pop releases for its unique sound. Lyrically, it explores the concept of falling for someone you really don’t want to, while sounding upbeat and light as a musical piece. The music video for this is also a great time and uses color in one of the best ways I’ve ever seen. Violet will continue releasing her new album as singles in 2019; I’m incredibly excited to see how it evolves.

1. “Everybody’s Lonely” by Jukebox the Ghost: I definitely link songs to specific times and places in my life. “Everybody’s Lonely,” off Jukebox the Ghost’s fifth album, “Off To The Races,” was the distinct soundtrack of my study abroad trip in the spring. I listened to it during bus commutes, while stuck in airports and when typing papers at the very last minute. It is extremely fun to listen and sing along to, yet it is also complex musically. It uses a number of instruments and vocal layering; soundwise it is largely reminiscent of the band Queen. I cannot recommend it enough.

Photo courtesy of Sony Classical Records.

Noah Howell

4. “Spidey-Bells (A Hero’s Lament) by Chris Pine: “Into the Spider-Verse” was one of my favorite films of the year, and is easily the best animated feature of 2018. The whole ride is a spidey-bonanza, and waiting into the credits was worth the wait for this song alone. Chris Pine is hilarious here and he gives me the Spider-Man Christmas song I never knew I actually needed. This song, along with the album I discovered on Spotify after the movie, will be a staple in my Christmas playlist for years to come.

3. “Shockwave” by Elena Siegman: Easter egg songs are a staple within every zombies map in the “Call of Duty: Black Ops” series, and many of these, like “Shockwave,” are written by Kevin Sherwood and performed by Elena Siegman. There is a reason for this: simply because the duo is fantastic. Siegman’s vocal performance is always stellar, and while the lyrics take a bit to wrap your head around, her job on the song here is no different. I don’t usually find myself listening to much heavy rock/metal like this song, but perhaps it’s just a great backdrop to the actual gameplay of killing zombies that makes it work so well.

2. “That’s The Way it is” by Daniel Lanois: The score within “Red Dead Redemption 2” is already phenomenal, but the best moments of the game are the long, reflective horse rides which come after key story beats and feature songs from a variety of different artists. This song comes towards the game’s climax and is the perfect beat to go alongside the penultimate moment of the player’s journey. I can’t give away too much without risk of spoiling the game, but the song is right at home at this particular moment and is one that will stick with me for a while. 

1. “Kitster’s Song” by Trevor Moore: When a friend first suggested this song to me, I was on board right from hearing the title. A song about Anakin Skywalker’s somewhat obscure friend in “The Phantom Menace” who had only a handful of lines? Count me in. The song straddles the line of being outright hilarious and emotional all at once, with Moore singing from the point of view of Kitster years after his appearance on-screen, reminiscing on what his childhood friend — now Darth Vader — is doing these years later. I had never listened to Moore before this, but one thing is for certain, he knows his “Star Wars.” Parodies of “Star Wars” songs usually rely on simply changing up the lyrics of an already popular song, but Moore creates an entirely new song on his own for Kitster and it is a great one.

Album art for “EVERYTHING IS LOVE” courtesy of Parkwood Entertainment.

Breanna Herring

4. “Sauce All On Me” by CoCa Vango: Another song to contribute to my high self-esteem! This song raps about containing the sauce. “Sauce” is used to describe someone who has a style, confidence and attraction about them.

3. “Nice” by The Carters: Let’s be honest, The Carters are black royalty. This song serves as a confidence boost for me and motivates me to be successful. Some of the lyrics highlight how African Americans are told that they can do anything in America, but racism and inequality challenge the belief.

2. “Wasted Love Freestyle” by Jhené AikoThis song hit close to home for me. The song describes how sometimes our energy and love are not reciprocated back to us in a relationship. We find ourselves realizing that we wasted our time and energy on someone who was incapable of loving us the way we wanted to be loved.

1. “CPR” by Summer Walker: I adore Summer Walker and can completely relate to her and her music. The song “CPR” is a metaphor describing the artist’s lover. She characterizes his love as air bringing her back to life because she’s been misunderstood and alone for so long.

Album art for “Let’s Go Sunshine” courtesy of Lonely Cat Records.

Tyler Trudeau

4. “All the Stars” by Kendrick Lamar, SZA: As Marvel’s ‘Black Panther’ erupted onto the screen as one of 2018’s biggest movies, the soundtrack, curated by hip-hop icon Kendrick Lamar, also made waves as it brought some of the top names in hip-hop together to showcase the massive influence of the superhero hit. Featuring the likes of The Weeknd, Travis Scott, 2 Chainz and Future, the song that comes to my mind first lies in the Lamar and SZA team-up “All the Stars.” With it kicking off the end credits for the blockbuster film, the rhythmic ballad of SZA mixed with Lamar’s rap inklings remains one of the top tracks from the soundtrack.

3. ”Holy” by King Princess: One of the most enigmatic new artists I uncovered this year was Brooklyn native Mikaela Strauss, or as her fans know her, King Princess. A multi-instrumentalist with soulful vocals to match the atmospheric synth melodies that run behind her, Strauss has already made a name for herself as the next bold revolutionary in the queer-pop genre. As a proud member of the LGBTQ community, the artist has expertly carved her way to the top as one of the most promising new artists out there. While her early hit “1950” might have won the hearts of fellow artists Harry Styles, Halsey and Mark Ronson, her somewhat haunting track “Holy” off her debut EP echoes with sonic nuance and cinematic flair.

2. “No Pressure” by The Kooks: After grappling onto other alternative rock groups like Arctic Monkeys and The Strokes, the unique sound of English band The Kooks quickly drew me into a similar fascination into their more recent releases. While their hit 2006 track “Naive” made for a worthy song to lodge itself eternally within my brain, I didn’t initially pick up their later records until this year’s “Let’s Go Sunshine.” With the rest of the record offering a foot-tapping catalog of drunken nights and unrequited affections, the closing number of “No Pressure” perfectly captures the ease and joys of a new relationship.

1. “Superposition” by Young the Giant: Easily one of my most anticipated albums of the year, the latest record from indie rock outfit Young the Giant kicked off with a trio of sensational, cinematic and undeniably catchy tracks. Escorting us effortlessly into their newest collection of soul-searching tunes of lost love, adrift ambitions and super-sonic melodies, the best of the trio in ‘Superposition’ shows off the band’s talented and atmospheric instrumentals, as well as the dreamy vocal nuances of frontman Sameer Gadhia.   

Album art for “Joy As An Act Of Resistance” courtesy of Partisan Records.

Aaron Febre

4. “One Point Perspective” by Arctic Monkeys: It was pretty difficult to pick one track off the new Arctic Monkeys album as I was thoroughly impressed with the overall product. This song takes the cake due to the wonderful layering of instrumentation, Alex Turner’s witty and observable lyricism as well as one of his best vocal performances. Plus, this reminds me of the 1970s for inexplicable reasons.

3. “Baby I’m Bleeding” by JPEGMAFIA: Released in January, JPEGMAFIA’s “Veteran” is one of the most exciting and intense albums of the year. “Baby I’m Bleeding” shows JPEGMAFIA’s fierce flow that is backed-up with an abrasive production that will leave your jaws dropped. Go ahead and play this, you won’t find another hip-hop track (or album) of this year that as fierce as this one.

2. “Dilemma” by Death Grips: As if all of their music wasn’t crazy enough, Death Grips returned with an even crazier album that made their previous work look more accessible. Out of my favorites from “Year of the Snitch,” “Dilemma” is my favorite for various reasons. Spoken word by Andrew Adamson (the director of “Shrek”), MC Ride screaming “DILEMMA!”, the video-game synthesizer and too many things that are incomprehensible to digest even for a fan of Death Grips.

1. “I’m Scum” by Idles: English Punk band Idles returned with a new album (“Joy As An Act of Resistance”) that is catchier and angrier than their 2017 album, “Brutalism.” This track encompasses the overall sound of the new album: Joe Talbot’s gruff voice, the steady and danceable rhythm, dirty guitars, a chorus that drunk soccer (or football) fans can sing along to, and the theme of “say what you want, I don’t care” in the lyrics make this song a favorite.

Artwork for “TINTS” courtesy of Aftermath/12 Tone Music LLC.

Cecilia Whalen

4. “Bring Me Love” by John Legend: Yeah, it’s a Christmas song. I get it; Christmas is over. But I love John Legend, so I take what I can get. He definitely has one of the most beautiful voices of this generation, and this song is upbeat, well-arranged, and of course, well-sung.

3.“TINTS (feat. Kendrick Lamar)” by Anderson .Paak: I don’t think there’s anything smart I can say about this song, but it’s just fun to sing along and dance to, OK? Plus Kendrick Lamar is featured on it, so you know it’s gotta be a win.

2. “1985” by J. Cole: I love J. Cole’s voice and basically every song he’s done. This song is kind of a diss track to all those who have come out dissing him, but Cole doesn’t just cuss them out and be done with it. Cole warns them about the harm their attitudes and their lifestyles are causing themselves and others — and he doesn’t sound like a bully or a punk defending his own pride. Really, he sounds like a big brother looking out for the hip-hop community, while peppered with the occasional big brother boast.

1. “Brackets” by J. Cole: J. Cole knows how to use rhythm. While a lot of rappers tend to repeat a similar rhythmic pattern, triplet and sixteenth after triplet and sixteenth, Cole masters syncopation. This matched with his poetry creates a whole album of reflection and creativity, and “Brackets” is the climax of both of these musical attributes.

Album art for “Love” courtesy of Reprise Records.

Mayra Trujilo-Camacho

4. “Taki Taki” by Selena Gomez, Ozuna, Cardi B and DJ Snake: It’s a song I can dance to that has a mix of Spanish and English.

3. “Money” by Cardi B: I just think it’s a very catchy song and even a good workout song. It’s very hype.

2. “Scripted” by ZAYN: This song comes from his second album “Icarus Falls,” after leaving One Direction in 2015.  It is a love song with a creative melody and nice chill R&B background.

1. “Love You Anymore” by Michael Bublé: From his new album “Love,” which was released two years after his son was diagnosed with liver cancer. “Love You Anymore” is a very beautiful song. It’s more of a song to forget your ex, but it just has a very nice melody and aesthetic.

Album art for “CARE FOR ME” courtesy of Saba Pivot, LLC.

Arik Miguel

4. Shoota (feat. Lil Uzi Vert)” by Playboi Carti: When I listen to this song, I know that half of what I’m singing is my incorrect decipherings of Uzi and Carti’s mumble rapping. The other half of the lyrics have about as much depth as the line “money on the floor just like some shoes,” but maybe that’s not a bad thing. “Shoota” is fun just for the sake of being fun, and that’s really all we could have asked of these two besties in 2018.

3. “Hunnybee” by Unknown Mortal Orchestra: This is one the most gleefully infectious songs I have heard in a long time. “Hunnybeehas the power to evoke the childhood joy that comes from somersaulting down a grassy hill.

2. “PROM / KING” by Saba: “CARE FOR ME” is Saba’s greatest album yet, and “PROM / KING” is its emotional peak. The seven and a half minute song builds up slowly until Saba is rapping at breakneck speed, describing his cousin’s untimely death. Saba has always had an incredible gift for storytelling, but he’s never told his story as breathtakingly as this.

1. “Noid” by Yves Tumor: Yves Tumor intertwines beauty and violence in an incredibly jarring and exciting way. “Noid” is unlike any song I have heard in my life. Almost as if you asked an alien to compose a song about police brutality.

 

Listen to the music featured in this article via the Spotify playlist below!

Free fallin’: A Profile With Student Aerial Dancer

Junior Krysta Rogden is only five-foot-three, but on Thanksgiving Day, she could have been dunking with Yao Ming. Rogden was a stilt-walker in the Novant Health Thanksgiving Day Parade, which made her about the height of the seven-foot-six basketball player. It’s not everyday one gets to stilt-walk, but as an apprentice with the aerial and contemporary dance company Caroline Calouche & Co., Rogden gets many opportunities to hang out above the ground.

“Aerial,” according to Rogden, refers to any “act or dance that is done off the ground.”

“So, we have aerial silks, trapeze, aerial rope, aerial hoop,” Rogden said. “At Caroline’s, we try to mix aerial and dance.”

Rogden is a dance major; her interest in aerial rooted in this love for dance.

“I was a part of a half recreational/half competition dance studio in high school, and as part of ‘broadening our horizons,’ we took a master class at Caroline’s,” Rogden said. “Caroline Calouche [the owner and founder] performed a solo to ‘Somewhere Over the Rainbow.’ It was so beautiful…it was dance and aerial combined, not just a circus act, and, to me, it was just so moving. So I started to get involved more over the summer.”

After Rogden’s studio disbanded, she looked for a new place to continue dancing and immediately thought of Caroline Calouche & Co. She danced there as a student from 2014 to 2015 and was part of their Youth Ensemble.

“After I graduated, I could no longer be in the Youth Ensemble, but Caroline was still interested in me as a dancer,” Rogden said. “She saw I was still sticking around in the Charlotte area, so she asked me if I wanted to take on a role in ‘Clara’s Trip’ [the company’s version of the Nutcracker ballet] that year.”

Calouche had also been speaking with Dance Department Chair Dr. Ann Dils about bringing aerial to UNC Charlotte and wanted to see if Rogden could participate in a test-run partnership. An apprenticeship with the company would work like an independent study at school.  

“She kind of needed me to be a guinea pig to see how that would work out,” Rogden said. “Last fall was when I did the first apprenticeship with her.”

Rogden began training over the summer while attending Caroline Calouche & Co.’s annual summer intensive. As the apprenticeship began, Rogden started attending rehearsals two to three times per week, sometimes as much as seven to 10 hours per week.  

“So the apprenticeship entails attending all the training. Also, I had to keep a journal of all the rehearsals, so after every rehearsal, I had to write a reflection — any notes and any corrections — which was a good device for my progress,” Rogden said. “I had a mid-semester meeting with Caroline and Ann to just talk about the progress, and then I had a final meeting where I turned in my journals and then a reflection at the end.”

Whether rehearsing or just training, Rogden does some sort of aerial and dance work every day. Especially for aerial, Rogden said, even a few days can set you behind.

“If I don’t do my pushups in three days, I can feel it,” Rogden said.

Aerial-style training includes yoga, cardio workouts such as running, and lots of abdominal workouts to start. After this warmup, the dancers then go into upper-body work.

“So then we go into climbing the silks,” Rogden said. “We can do climbing to the top — one hand then move your feet (basically like climbing a rope in gym class) — and then we progress and do inverting, where you start with your legs and hook them on the silks. It’s a lot of abs and little muscles that you wouldn’t think to use.”

Rogden will perform in this year’s performance of “Clara’s Trip,” which will take place at the Booth Playhouse Dec. 7 through 9. She will perform the role of lead monkey, leading some younger Youth Ensemble monkeys. The monkey role involves static trapeze work that is different from flying trapeze which is often seen in circus acts. UNCC alum Marcia Fresquez will also be performing in the role of the fish.

Next semester, Rogden will continue her apprenticeship and be in two more company pieces. She will continue the apprenticeship into next year. After graduation, she has been asked by Calouche to continue working as a full-company member, but as of yet, Rogden is not sure about her future plans.

“I definitely would love to continue performing, but I’m also thinking about graduate school as well,” Rogden said. “But I definitely want to continue in aerial.”

Rogden feels that aerial draws together audiences of all interests, working not only as a concert art form, but as a form of community engagement.

“People are looking to see things at the next level,” Rogden said. “And the next level is literally in the air.”

INTERVIEW: A Q&A with Rachel Secrest of Jessica Lang Dance

Ever wondered what it’s like to be a professional dancer? Blumenthal Performing Arts hosted the New York City-based contemporary dance company Jessica Lang Dance on Nov. 12. Here are some edited excerpts from an interview with JLD dancer Rachel Secrest, who discusses the role of the dancer, what it’s like dancing for Bessie Award-winning choreographer Jessica Lang and the time she and the company met singer Tony Bennett.

What is the everyday routine of a dance professional?

So basically, it’s a full-time job. We work 10 to six regular hours, usually Monday through Friday or Monday through Saturday, when we’re just rehearsing. When we’re touring, it gets a little more complicated. We’re spending 24 hours a day at work. We’re usually in a city for three or four days. When we have a show day, we’re in the theatre all day; we’re tech-ing from about noon to five, and then we have a dinner break, and then we get ready for the show and do the show, and then on to next city. And we do some outreach in the cities as well. For the most part, it’s just a regular full-time job.

What is unique about dancing for Jessica Lang’s company?

It is a very unique company. The first time that I stepped in the room with the company…the thing that got me was the atmosphere of the room. It was very small, but it was very warm and open and welcoming. There were a lot of dancers that had been dancing for her for a very long time. There was a maturity in the room that really drew me to it. These dancers here were really invested in Jessica’s work specifically, since she’s the one creating all the work for the company. It was just very tangible that everyone believed in the work, and once I got to be a part of the work, I kind of understood that. She’s done this amazing job of curating this atmosphere of maturity and growth. It’s just good vibes in the room, ya know? And that was what really set her apart, just the moment I walked in, the very second that I stepped in the room. So that was really cool, to know that immediately.

Could you talk about the creation process?

It’s one of the funnest [sic] parts of being a dancer. It’s really just a lot of playing. Sometimes I just walk out of the room after the creation process and I’m just so amazed that my job is just kind of this crazy, we-just-played-all-day kind of thing.

It starts from a place of improvisation…we play a lot of games. Jessica will create rules for a structured game and she’ll give us tasks to do and she’ll play music and we’ll just kind of go around and improvise for a long time — sometimes we’ll do it all day. She’ll have something in the back of her mind that she’s going for and we don’t exactly know what that goal is, and that kind of allows us to influence [the piece] in that way. She’ll see something and go ‘well, ya know, I wasn’t necessarily thinking of that, but now I see it and I like it.’ So it’s a lot of back and forth at the beginning between us and Jessica. We get a lot of influence in the piece, which is very cool, and once she starts to see things that she likes and things that make sense to her, she’ll start structuring it and somehow it just comes together. It’s almost out of nowhere. All of a sudden it comes together, and I see it and I’m like ‘Wow! She was building it all the time.’

Photo courtesy of Jessica Lang Dance.

What is your favorite piece to perform?

I don’t know…maybe the Tony Bennett piece (‘This Thing Called Love’). It’s just so fun to perform and it’s easy to get lost in the character…and it goes by so quickly that you kind of forget that you’re onstage and performing and you’re just kind of in the moment having a lot of fun.

We met [Tony Bennett]. It was very cool. We performed the piece for him in a private showing and he was just all smiles and loving it. His whole team and his wife was there as well. There were tears and laughter…it was just very, very cool.

What are some of your goals in performing and what are some of Jessica Lang’s? Are there specific themes that overlap?

Each piece is very individual. There’s not an overarching theme that she’s going for, besides just being true to her and her style. I think that every piece has the ability to stand alone; it’s strong enough to be on any program, which is cool. Like, “Thousand Yard Stare” is about war and veterans…and it has a powerful impact. And then there’s “Glow,” which is meant to really just be a fun, pick-me-up piece playing with lighting. So she just has all these ideas and each piece is true to its own idea, but the ideas are very different and that’s what makes the program so diverse and such a great program.

Personally, as I perform, my goal is honesty, which is kind of one of the hardest things I’ve found. My ultimate goal is just to make sure that the work is reading the way Jessica wants it to be reading, stay true to the intention of the piece and make sure the piece as a whole is reading correctly. But beyond that, personally, I try to find my connection to the pieces as honestly as I can, and hopefully, the audience can connect to that…I think when a performer is honest, an audience can read that, so that’s what I strive for and I think that’s also what Jessica strives for and [what] we all strive for as artists. I think that’s the most powerful and compelling part of art.

What does it mean to be honest in your work?

It is hard to explain. I think in any art, it’s easy to go over the top…and go very far with it. So there’s a process of reeling back a little bit and finding the message within yourself…[in] all art, we can find a personal connection…you can find a story that connects you to a similar feeling, and that’s what I try to do, is find a personal connection that is true to me and also honors the work.

Dancers perform “Thousand Yard Stare.” Photo by Robert Torres.

Can you talk a little bit about some of the personal connections that have contributed to this work?

So, for example, “Thousand Yard Stare” is a piece we’re doing in Charlotte…it’s about war and those affected by war. Jessica talked to a lot of veterans through the process of making the piece. She did this project where she got in touch with a friend who was an active service member and got in touch with the unit. She had them do this exercise where they just listened to the music that we danced to and she had them draw…just draw black ink on white paper…she didn’t give them any other prompt but ‘what did they feel?’ And then our costume designer took those drawings and transferred them to textile and we wear those on the back of our shirts, so we each have an individual story that’s really real and tangible so we actually carry them through the piece.

What is special about dance?

[There’s] something about being in the moment. It’s not an artwork that will then be hanging in a museum. You have to be there; you have to be present. That makes it special as a performer and as an audience member…there’s something so different about being there in the moment. There’s so much that could go wrong; so many people going into it. It’s fleeting. It’s gone as soon as it happens.

Featured photo by Christopher Duggan.

UNC Charlotte Center City hosts renowned artist Refik Anadol

On Oct. 30, UNC Charlotte Center City hosted Turkish-born artist Refik Anadol for “The Poetics of Data,” a discussion of his newest work, “Interconnected,” sponsored by the Arts and Science Council. Anadol is a big deal; a renowned digital media artist, he’s been recognized many times by publications as prestigious as the LA and New York Times and has received numerous awards and fellowships. He credits his success to his collaborators, teachers, audiences and maybe most importantly, the movie “Blade Runner.”

Anadol recently created a 2,147 square-foot work for the Charlotte Douglas International Airport called “Interconnected.” The work is comprised of four digital-media art pieces displayed on huge LED boards. “Interconnected” not only occupies a large amount of space, but moves in the space as well. Some pieces appear rippling like waves, others almost like milkshakes; like a spoon moving a thick and creamy liquid.

The idea all started when Anadol was seven and saw the movie “Blade Runner.” Fascinated by the way walls and buildings displayed thought and the way technology made everything animated, Anadol was inspired to make this fictional universe a reality.

“[I wanted to] let the building dream,” Anadol said.

After studying at the University of California at Los Angeles, Anadol began to develop a method of art-making using data. Data is collected and compiled and then, using an algorithm, is transformed into moving shapes, colors and forms. With this method established, Anadol turned to his fantasy of catching the dreams of buildings. For example, in the case of the airport, Anadol and a team of about 12 other people set up six computers to collect all the data that ran through the airport: flight times and delays, number of people, baggage transport, etc. Next, the data was analyzed for patterns, algorithms were created and, with a little bit more work too complicated to explain in this article, moving art was made. Data from a building is like all the information that goes through our brains; Anadol uses it to express the emotions and reactions of the space like human beings do through action.  

“There is pulse in data,” Anadol said. “Each set of data has its own character.”

This data is frozen, so it is not reacting to the airport’s every movement, but it is recycled every 90 days and replaced by new data, keeping the artwork growing and adapting like a person. Anadol views the work as a work-in-process and hopes that, with developing technology, the piece will one day represent data even more frequently, live instead of frozen.

Refik Anadol. Photos courtesy of Refik Anadol and the Arts and Science Council.

Now, while travelers curse the airlines, they can ponder what the airport is thinking back. At its enormous size, “Interconnected” is hard to miss and now surely thousands of travelers have seen it, wondering if the airport is sympathizing with them or laughing at them. But Anadol hopes that instead of this, travelers will just look.

“I hope they don’t worry about what it means,” Anadol said.

Anadol figures upon first glance, viewers probably try to analyze the art.

“But then they go ‘ahhh,’” Anadol said, and give up on trying to understand a meaning. They instead experience the piece and notice how cool it is. One of Anadol’s main points about his works is that they are meant to make the invisible visible. Walls often go unnoticed, and the data inside them certainly does. Anadol and his team bring these invisible aspects to the forefront of a space, giving life to it and inspiring audiences to search for the unnoticed details in life.

If you find these investigations interesting, a similarly themed work, the exhibit currently in the Storrs gallery, “SEE-ING,” is available through Nov. 16. Like “Interconnected,” the exhibit explores notions of the unnoticed, the influence of technology on today’s world and architecture that speaks.  

“Interconnected” was commissioned by the city, led by the Public Art Commission of the Arts and Science Council. Public art brings people together, Anadol says, people of all sorts, coming and going and in between. The role of the artist, according to Anadol, is to bring people together and to get them to use their imaginations. So then, when you go see the newest addition to Charlotte Douglas International Airport, what should you think? Well, first, don’t think anything. Just look at it. But then, appreciate the space, think about those things or people that go unseen and use your imagination. Think about the possibilities of art and technology. Think about your seven-year-old thoughts, like those of the seven-year-old Anadol watching “Blade Runner” in awe and imagining his future.

Songs of Mourning and of Light

The University Chorale presented “‘The Sweet By & By:’ Choral Reflections on Death” Oct. 15 in Robinson Hall. In a moving and intimate performance, they showed the power of music in times of trial and its ability to bring people together.

Before the concert began, the stage lights were up on a single piano, center stage with no player. Whether purposeful or not, it was a powerful image that recognized the loss of former UNC Charlotte accompanist, Gregory Underwood, who passed away last December. In the program notes, the University Chorale remembered Underwood as a “long-time collaborator and friend.”  

The concert consisted of three stages dealing with death, each continuing into the next with no pause or applause between.

The first stage was “Loss & Grief,” beginning with two pieces by Bach. An accompanist on piano, Erin Palmer, began the first piece but soon dropped out, leaving the choir (directed by Randy Haldeman) singing “Come sweet death, come blessed rest!” a cappella. Before listening, the audience had the opportunity to read in the back of the program the names of the lost ones that Chorale members wanted to remember. Some of the names were probably grandparents or aunts or uncles; a striking number were children. In the first stage, the concert hall resonated with mourning, that of the performers, the audience and Bach himself. Everyone in that room, like everyone in the world, had experienced death. Although we may not have ever spoken about it to one other, strangers as we were, in those moments, we all knew the same thing. There was song, and we were one.

University Chorale. Photo by Pooja Pasupula.

Stage two was a surprise. It started quietly but quickly moved to forte on the word “Blow!” of Kirke Mecham’s “Blow Ye the Trumpet.” The Chorale performed excellently here and throughout, always on pitch and with great power in the soft as well as the strong sections. The only thing that would add to this wonderful group would be just a few more men (who were significantly outnumbered). At times, there could have been just a little more bass.

Suddenly, we were all moving into acceptance. Things became brighter, and in an arrangement of “Amazing Grace” (one of the best songs ever written), we started to see some light. While in stage one, the audience mainly sat in meditative silence while the second (“Acceptance”) and third (“Peace”) stages practically invited the audience to sing along and dance.

Soloist Ivey Cherry lit up the stage with the spiritual “In That Great Gettin’ Up Mornin.” Suddenly, the light was there before us; there was something we all knew and all felt. It was a shared experience that only music could bring, because it can’t be explained just in words. If someone got up and recited even those same lyrics, it would not have had the same effect as Cherry singing out with a choir behind him.

University Chorale. Photo by Pooja Pasupula.

Especially after this piece, you could feel the audience struggling to hold its applause, but there was still one more song left. Soloist Chrystle Mactal, supported by the Chorale, serenaded “In The Sweet By and By” as the performance ended back in peaceful meditation.

There’s nothing like a group of people bound together in song. Something about it is so honest and true. There’s a trust in the group. When singing, you must trust that everyone around you will keep singing just as you are and will end when you end. The audience picks up on this trust and so we trust the singers too. And we are so thankful to them for singing to us because we can’t always sing ourselves, but we can always listen. So we are brought together, in hard times and in good, through music, and somehow, while singing or listening to feelings that we can’t explain anyway else, we are lifted up out of our grief and one step closer to peace.

 

Why We Still Watch “Fancy Free”

Charlotte Ballet presented “Fall Works” Oct. 11-13. Three pieces made up the program, two by contemporary choreographers and one, the classic “Fancy Free,” by Jerome Robbins.

Resident choreographer Sasha Janes presented “Facsimile,” a narrative piece that took place in a carnival to music of the same name by Leonard Bernstein (whose centennial is being celebrated this year throughout the world). The Charlotte Symphony provided live accompaniment for this as well as for “Fancy Free.” The story consisted of an outcast and a dreamer who were swept up into the magic of a circus. Once the protagonists entered the circus, the piece picked up. The movement was interesting and each character had his/her own personality matched with a unique, colorful costume. In fact, after the circus scene was revealed, the narrative (which already was a little unclear) seemed unnecessary. While Bernstein’s melodies often evoke a story, this particular music was not as melodic and thus didn’t require one. Without narrative, the piece could have certainly existed on its own.

Visiting French choreographer Mehdi Walerski created “Petite Ceremonie,” a complex, multi-layered piece that investigated “life in a box.” The piece messed with unison and sporadicity; at moments, the dancers all did the same thing in a single file line or in a clump and then abruptly they would all move differently. Some movement was very technical and intricate, while some movement was like dancing in the club (they did the Nae Nae). Sometimes, the dancers were in earnest, while at others, they talked amongst themselves like at a party. Even once, they pointed at the audience and laughed uproariously. The piece explored different planes of space and time, even at one point having a dancer, while juggling, speak to the audience about the differences between the wirings of the male and female brains.

Dancers perform “Facsimile.” Photo courtesy of Jeff Cravotta.

Finally, but actually first on the program, Charlotte Ballet produced Jerome Robbins’ “Fancy Free” in celebration of both Robbins’ and Bernstein’s centennial (both were 26 at the time of the premiere). The piece is about three sailors who are on leave for one night only in New York City. Their main pursuit? Women.

The piece premiered in 1944 and it’s easy to see that it is an aged piece. The sailors harass and catcall the women who eventually are flattered and head back to a bar with the sailors. With only two women to divide among the men, the sailors each try to win one of their hearts by performing his own characteristic solo. Kipling Houston, a former dancer of Robbins at the New York City Ballet and who staged the piece for Charlotte Ballet, declared the piece “now, a complete period piece.” But even now that its narrative has aged, more than 70 years later, the piece continues to be performed all over the world and is considered a classic ballet. Parts of it have not stood the test of time, yet as a whole, it remains. Why?

Undoubtedly, it has to do with the music. Bernstein’s score can be upbeat but also touching and Robbins’ choreography plays with every single accent. The two worked closely together in the creation of the piece, meeting many times in person and, when Robbins was on tour with the New York City Ballet, exchanging witty and thoughtful letters to continue the process. Within the silly narrative of boys chasing girls are wonderful melodies that Robbins translates into movement. Bernstein’s tunes are ones easy to relate to; the audience latches onto the music and we are left humming it hours after it is over. And Robbins, mixing jazz, tap, ballet, mime and social dance (groundbreaking for its time), reflects this accessibility. We recognize moves in the dance like handshakes, hugs and dances that we do at parties. The whole piece is familiar, and not just for its goofy (and now unacceptable) male behavior. The choreography and the music are very complicated and difficult to reproduce, and at moments, both the dancers and the orchestra struggled to express the energy and emotion, although the piece should appear simple.

It’s easy to write off “Fancy Free” as outdated, sexist or simplistic. “Fancy Free” certainly hasn’t survived for its deep, inspirational or political plot, for it is none of those things, at least in this particular interpretation. But “Fancy Free” wasn’t meant to be all of those things. It was meant to be light and comic, if at times bittersweet. The music is like singing and the dancing is like, well, just dancing. “Fancy Free” has lived on because of its art; its melodies and moves that the audience can remember. The art part does not include the dumb human behavior because it is art that lasts, not human behavior. Behavior changes (and hopefully improves) generation by generation, but art remains, patiently humming the truth that always has been and always will be. The closest we can get to this truth is by mimicking it, but when we mimic it — the beauty, the compassion — it isn’t anything mortal at all. It is a mystery that, like “Fancy Free,” will outlive us all.