Julio Medina: From Graduate to Faculty

Julio Medina: From Graduate to Faculty

By Raven Crosby, Emory Dance Program Office Assistant

Note: Julio Medina’s quotes have been incorporated into this story and have been edited for length and clarity.

I recently had the opportunity to interview the Emory Dance Program’s newest faculty member, Assistant Professor of Dance Julio Medina. Medina is an Emory alum who graduated in 2013 with majors in dance and anthropology and continued on to obtain an MFA at UCLA’s Department of World Arts and Cultures/Dance in 2016. Medina is currently a member of David Rousseve|REALITY, a dance company created by David Rousseve and based in Los Angeles. He has also showcased his work “I Gotta” at CONDERDance Festival 2018, the American Dance Festival Alumni Weekend Concert 2018, and the Dance Studies Association 2018 Conference at the University of Malta in Valletta, Malta.

Medina began his teaching career at Cal State Long Beach. When I asked Medina how it felt to return to his alma mater, he replied “It feels fantastic to return to Emory as a full-time professor. It also feels quite surreal. I cannot believe it, but it also feels meant to be. I love that I do not have to worry about where things are or who people are; it’s like I have a deeper understanding of Emory as a place, its history, and memory.” Since Medina is a graduate of the Emory Dance Program, returning to this program in a new position presented no difficulties. Medina described the transition in terms of his relationship to his former professors as follows: “I love that I get to work with my previous professors as colleagues now. They still remain mentors to me, each and every one, but now they are mentoring me as a peer and not as a pupil.” 

When it comes to choreographing works, Medina described his inspiration for movement as follows: “My greatest inspirations flow mainly from two main streams: my life experiences and music. Normally I am moved by the transformations I am undergoing as a human being (loss, vulnerability, empowerment, a sense of community) or I will listen to a song over and over again, sometimes for years until the vision is finally physicalized.” He believes that “Not every piece has a deeper meaning. Some do, and some just are.” Medina said that this ideology can be seen in his upcoming Emory Dance Company piece that he is currently in the process of choreographing. 

Medina’s Emory Dance Company piece will debut on November 21-23. When asked what the audience can expect to see, Medina stated “The audience can expect to see a piece that has no visible storyline or through-line. They can expect to see a group of dancers on stage playing and working with each other, responding to the music and molding elements of time and energy with their movement/personalities. In that sense, it is more of a movement composition than a story.” In terms of Medina’s movement quality, he believes that it can be described as “an amalgamation of skills and movement practices.” He goes on to state that “[The movement] is sort of round yet angular, driven by the clashes of flow and strength.” Medina tends to combine elements from his hip-hop, modern, and ballet training, alongside humor. 

In addition to Medina’s Emory Dance Company piece, he is also a pioneer in creating the first hip-hop course offered by the Emory Dance Program. Since he was an undergraduate student, Medina has strived to implement hip-hop techniques into the curriculum of dance programs. The first institution in which he created a hip-hop technique course was at California State University--Long Beach and now he has transferred this curriculum to Emory University. Medina sees the benefit of having hip-hop taught in the program because of his own personal training, in which he noticed “...these movement practices made me draw so many connections about how the body can move. I wanted to share this opportunity with others.” 

A Journey into GYROKINESIS® Movement Training

This post was written by Sally Radell, Professor of Dance at Emory. Sally is teaching a free gyrokinesis class at Emory tomorrow, Saturday, October 8. Please see the events section of our Facebook page for more details: www.facebook.com/emorydanceprogram.

As dancers we are always working to listen to our bodies, expand boundaries, build our strength, hone our ability to respond and to continually explore and maximize our expressive potential. It is with these desires that I stumbled upon gyrokinesis movement training about eighteen months ago. I particularly wanted to find a training form that I really connected with and that focused on core strength. Former Emory dance faculty member Amanda Lower recommended it to me. So I began taking classes at CORE studio in Atlanta, which at the time was the only studio in Atlanta that taught gyrokinesis, and thus my journey began.

Gyrokinesis feels like dancing. It is filled with circular, spiral, and peripheral movement that originates from the core, very Laban-like, and I loved it. It pushes one's body beyond its limitations and focuses on core strength, use of breath, and continuous flowing movement. The functional capacity of one's body is increased in a harmonious way through this work. Its development began about thirty years ago by injured dancer Juliu Horvath as a way to strengthen and bring movement back into his body. It is frequently taught at Pilates studios and is starting to be taught in university dance programs across the country as a somatic technique to train dancers. It was clear to me that this would be a great movement training form to support and facilitate the technical growth of our dancers at Emory. I decided that I would pursue my teacher certification in the gyrokinesis work so I could bring it to Emory and the larger community.

The certification process in Gyrokinesis takes from one to two years. The first step, after training in the material for at least six months, is to take a pre-training six day course. The classes meets for about 5-6 hours a day and involves an intensive total immersion into the material to the point where one can develop a personal practice to perform on a regular basis. Within about three months aspiring teachers then take the next step, a nine day foundation course. The classes meet for six hours a day and students dive even deeper into the material. This part can be physically grueling and exhausting but it also feels great and is transformational. This course culminates in teaching the material to other students in the class. Now the apprenticeship begins--students go out and teach a minimum of thirty apprentice classes in their communities. Up to this point all the training can happen in Atlanta. The next and final step is to fly to one of the certification centers in the world (Miami, Germany, Mexico City, or Australia) and participate in a two day final certification course. There are currently about 3000 gyrokinesis movement educators worldwide. I have finished the entire training process except the final step, which I plan to do this coming spring.

Presently I am teaching on-going gyrokinesis classes at Emory and will soon start in the Atlanta community. The work has been received well by dancers and members of the general population. One of its strengths is its versatility. The intensity of a class can be dialed up or down depending on the needs of the individual student. Its calming, affirming, continuous, circular movement appeals to the more mature mover, and the intense core strengthening work and flexibility is ideal for the professional dancer. The work has enriched my movement life and I know the lives of many others.

Success at ACDFA

"miles to the left" choreographed by Lori Teague

Emory faculty members Gregory Catellier, George Staib, Lori Teague and Anna Leo, along with 12 Emory students returned March 9 from the Southeastern American College Dance Festival Association (ACDFA) conference held at Florida State University in Tallahassee. Of the 44 dance works adjudicated by a most prestigious panel of choreographic artists (Bebe Miller, Zvi Gotheiner and Mary Cochran), Lori Teague’s work “miles to the left” was one of nine pieces chosen to be presented on the closing gala concert. Also adjudicated was undergraduate student Lauren Kaplan’s solo “Closed In.” Adjudicators described Lauren’s performance as  “beautiful, vibrant, sensual.” For the first time in the history of ACDFA two schools presented a work for adjudication in collaboration. Agnes Scott College and Emory dancers performed together in Doris Humphrey’s “Shakers.” Adjudicators comments included: “Exquisite ensemble, as though a painting has come to life.” Emory dance alum Kathleen Wessel’s work “Quiet, you’ll cause an uproar.” was also chosen as part of the gala. Kathleen is currently on faculty at Spelman College. All four of the dances works were brilliantly lit by Gregory Catellier.

Working with a Guest Choreographer: A Student's Perspective

This post was written by junior dance major Kala Seidenberg, about her experience working with Emory Dance Company guest choreographer Tara Lee, principal dancer with the Atlanta Ballet. The Emory Dance Company performs at the Schwartz Center for Performing Arts November 18-20, 2010. Click here for event details.

Opening night of the fall Emory Dance Company concert is one day away, and I am feeling sad that rehearsals are ending. I have to admit that this year’s EDC concert is very distinct from past shows. Working with Tara Lee turned out to be very different from what I anticipated. Back in August, hearing that a principal ballerina would be coming to choreograph at Emory immediately grabbed my attention, and I saw working with Tara as an opportunity to improve my technique and work on ballet performance. I have been pleasantly surprised however, that the work is not really ballet, but more contemporary in style.

Working with Tara, her assistant Jessie, and the other dancers has been a huge learning experience for me in so many ways. First of all, watching Tara and Jessie move with such an organic and spineless quality has shown me the importance of versatility. Here are two dancers who constantly train and perform in classical ballet, but are diverse enough dancers to step away from that and do less bound movement when called to do so. Rehearsing with them has proven to me the importance of training and technique in all dance forms, and that the more you train and study, the more eclectic and versatile dancer you can be.

Similarly, it was interesting to work with their choices of music and its relationship with their movement. They included four different songs from the artist Beirut in our piece. Seeing how they match their movement with the music through musical visualizations has been a new experience for me. The other choreographers I have worked with at Emory have taken a different approach in which the main focus of the piece was the movement, not necessarily connecting visually with the music.

Please join us  to see Kala and the other students from the Emory Dance Company perform works by Doris Humphrey, guest choreographers Tara Lee and T. Lang, and Emory faculty members Gregory Catellier, George Staib, and Lori Teague.

Beginning the Year

Students arrived back on campus last week, and classes started last Wednesday. It's hard to believe the summer is over already! We welcome both our returning students, and new students just begining to get involved in dance at Emory.

Our faculty spent the summer in various places, and we hope to have some posts from them soon. Greg Catellier was technical director for the Bates College Dance Festival, Anna Leo journeyed to India with several Emory colleagues (highlight: audience with the Dalai Lama), George Staib taught a workshop in Italy, Sally Radell worked on a research paper for publication, and Lori Teague taught several local workshops and attended some professional development workshops/conferences.

Six of our students received funds from the Sally A. Radell Friends of Dance Scholarship Fund, and studied at the American Dance Festival, Bates Dance Festival, and Boston Conservatory over the summer.

This year we welcome some new faculty members. Emily Yewell Volin will be teaching jazz for us this semester while Tara Shepard Myers is on maternity leave. In the spring, alumnae Blake Beckham and Kathleen Wessel will be filling in for George Staib while he is on leave. We also welcome back Omelika Kuumba, who is teaching West African Dance for us this year.

Our 2010-2011 season has many exciting events; check out the complete schedule on our website: www.dance.emory.edu/events.

Rally to Protest Arts Funding Cuts

On Monday, April 19, artists from around the Atlanta area, including Emory dance faculty, students, and alumni gathered at the Georgia Capitol to protest the elimination of the Georgia Council for the Arts by the state legislature. This cut would make Georgia the only state in the nation without an arts funding agency and would affect hundreds of arts organizations across the state.

The photos below are of dancers at the protest. Photos are by Joeff Davis of Creative Loafing.

Links below to more photos and articles about the proposed elimination of the GCA.
Creative Loafing Photos from the Protest
Atlanta Journal Constitution Photos from the Protest
Atlanta Journal Constitution Article about the Rally
Atlanta Journal Constitution Article about the elimination of the Georgia Councils for the Arts

Reflections on "The Dance Project"

On Tuesday, February 16, we posted a reflection by Greg Catellier on his recent collaboration with George Staib. George's thoughts on the collaborative concert follow.

The journey off campus for a collaborative concert proved to be memorable, exciting, and rewarding for me. Working with my colleague Greg Catellier was just as inspirational as ever and having his expertise to ease the transition into a new space was tremendously valuable. The Dance Project brought together so many new and exciting dancers under one roof. I met gifted choreographers, danced with lovely dancers, and explored new choreographic methods in my own work which became an incredible learning experience for me.

Greg and I have produced four concerts now and the excitement never gets stale, the discoveries are always fascinating, and the motivation to continue working gets stronger. This in a sense was a debut for my dance company, Staibdance, and I have to admit that this added to the excitement. I am lucky to have an ensemble of tireless, dedicated dancers who give so much of themselves. Having them with me every “step” of the way gave me the safety net I felt I needed, to make something that felt so risky, feel so liberating.

-George Staib

Two Great Tastes

This week we'll post some reflections from Emory Dance faculty members Gregory Catellier and George Staib. In January, they presented a collaborative concert at 7 Stages Theater in Atlanta. Greg shares his thoughts on the collaboration below; look for George's blog post later the week.

Recently my colleague and friend George Staib and I presented our fourth collaboration, I, at 7 Stages in the Little Five Points neighborhood of Atlanta. We each premiered three pieces. Simultaneously we produced I.C.E.: Independent Choreographers Exchange, a showcase of works by emerging and recently transplanted Atlanta choreographers. All in all, it was a successful endeavor.

The collaboration George and I enjoy is happily multifaceted. It does not center on our dance making processes, although we ask and give each other advice on choreographic predicaments. I also design the lighting for his work, another traditional collaboration.

I would claim that we collaborate more profoundly through the structure of our process leading to the performance. We share space (the theater), resources, and some dancers. We plan the show order, select stage settings, and choose the postcard and program design. We divide some of these tasks and trust each other to make the appropriate decisions. While they may seem mundane, it is these decisions and hundreds of others that craft the show.

I would also contend that the choosing of each other as partners constitutes a critical component of the collaboration. By sharing a performance with George, I assert that I admire his choreography and want my work to be seen with his. It is also significant that by placing our pieces next to each others, the dances change. This is the peanut butter and chocolate effect of our collaboration—two great tastes!

-Gregory Catellier

The Dance Project

Emory dance faculty Gregory Catellier and George Staib are showcasing their choreography this weekend with a concert called The Dance Project, presented at 7 Stages Theater in Atlanta. Here's the lowdown:

The Dance Project
7 Stages Theatre, 1105 Euclid Ave., Atlanta 30307
404-523-7647

January 21-23, 8:00 p.m.
January 24, 3:00 p.m.

$20 general admission
$9 students

Gregory Catellier and George Staib celebrate their fourth choreographic collaboration with The Dance Project, Jan 21-24. In keeping with their collaborative history, The Dance Project is intensely physical, tenaciously musical, and potently emotional. Both choreographers will premiere three new works that purposefully break from their previous methodologies of choreography. Staib's new work is marked by sensitive theatricality, juxtaposed with a movement vocabulary that is original and riveting. Catellier has chosen to work with a predominantly male cast and has taken on the challenge of J.S. Bach's Chaconne. This concert will not be what you expect from these two choreographers. This project is sponsored in part by grants from the Emory College Center for Creativity & Arts and the University Research Committee of Emory University.

For tickets call the 7 stages Box Office 404-523-7647

Seven Little Dances for Three

Dance Program Director and Associate Professor Anna Leo's piece "Seven Little Dances for Three" was recently published in the online Journal of Family Life. You can watch the piece and learn more about her motivation in creating it by clicking here.
The piece originally appeared in Professor Leo's concert ...me so much nearer home, which celebrated the nature of family and community, and was performed at Emory in September 2009.