Emory Dance Program goes to American College Dance Association (ACDA)

Emory Dance Company performs form and f r a g m e n t
Photo by Lori Teague

By Raven Crosby, Emory Dance Program Office Assistant

The American College Dance Association (ACDA) is a national festival held each year to recognize and encourage excellence in performance and choreography in higher education. This is achieved through regional conferences that have movement classes, master workshops, seminars, adjudicated performances, and informal showings. This year, the Emory Dance Program will attend the Southeast conference. During this time, faculty member Julio Medina’s piece actants and dance major Maria McNiece’s honor thesis project Very Unpromising Material will be adjudicated. Also, excerpts from faculty member Kristin O’Neal’s piece Sweet Suite will be shown in an informal concert. At the Emory Dance Program, we are excited for our students to have the opportunity to perform at a higher level and implement what they learn to further their dance careers. Below are brief descriptions about each piece for the Emory Dance Program being shown at ACDA this year. 

Emory Dance Company performs form and f r a g m e n tPhoto by Lori Teague

Julio Medina is a dance artist and educator at the Emory Dance Program. Medina’s work form and f r a g m e n t, which was previously set on the Emory Dance Company, debuted in November. His piece was inspired by the French Philosopher Bruno Latour’s expression “actant,” which is “a source of action that can be human or nonhuman.” With this in mind, the dancers aim to synergize the material/non-material space with their personalities, presence, and moving bodies. Medina also explored “the energy of the room, the presence that each dancer has and how these personalities work together.” The movement draws from contemporary modern dance, hip-hop, House, boxing and workaday pedestrian movement.

Very Unpromising Material; photo by Christina Massad

Senior Maria McNiece is a double major in dance and movement studies and business, with a concentration in arts management. McNiece is in the process of completing her interdisciplinary honors thesis, Very Unpromising Material,a 30-minute performance piece rooted in modern dance that amalgamates her findings from the Emory departments of English, visual arts, and theater studies. Very Unpromising Material centers on the 20th-century absurdist play Waiting for Godot by Samuel Beckett.McNiece’s research focuses on the ways in which movement artists codify methodologies of translating text into choreography. McNiece analyzed historical examples, including Maguy Marin’s May B (1981) and Crystal Pite’s The Tempest Replica (2011).  She applied her research to construct a physical reimagining of Waiting for Godot through modern dance. She will show an excerpt from her piece at ACDA.

Emory Dance Company dancers perform Kristin O'Neal's
Sweet Suite; photo by Lori Teague

Kristin O’Neal is a performer, teacher, and choreographer. O’Neal was one of three guest artists who set a piece on the Emory Dance Company in the fall. Her restaged work Sweet Suite was originally created over the span of a decade. This work, as described by O’Neal, “shares a glimpse into the inner life of seven women—where the sweet meets the bittersweet through moments of elation, despair, humor, heartbreak and determination.”

New Faculty Member Angela Harris Interview

By Raven Crosby, Emory Dance Program Office Assistant

I recently had the opportunity to interview our new faculty member Angela Harris, who is teaching for the Emory Dance Program this spring. Harris, who began training at an early age, received most of her dance education from The Baltimore School for the Arts (a performing arts high school in Baltimore, MD). In the summers she attended programs at the Eglevsky Ballet (NY), School of the Hartford Ballet (CT), and Dance Theatre of Harlem (NYC). She continued her training in college and attended Mercyhurst College (PA) for two  years, majoring in dance, before transferring to City College of New York, where she trained at STEPS on Broadway, [WA2] on a full ballet scholarship. While in college, Harris trained professionally with Urban Ballet Theater, a contemporary ballet company. Immediately after graduation, Harris was hired by Columbia City Ballet in South Carolina,then moved to Atlanta and joined The Georgia Ballet. 

When asked when Harris decided that she wanted to be a dancer or choreographer she responded as follows: “I actually knew pretty early on that I wanted to be a choreographer. When I was young, I always found myself creating dances in my bedroom, and I knew that I wanted the chance to create on other dancers. My high school gave us an opportunity every year to have our choreography juried for a final grade. I also knew that it would be harder to be seriously considered as a ballet choreographer, if I did not have experience as a professional dancer. So, I pursued a performing career as a dancer, as well.” 

As a choreographer, Harris’ work is ballet driven. She takes a neo-classical approach when creating new pieces, while also drawing from other genres in her dance background such as modern, jazz, and African. Her music selections influence her process:“I am heavily inspired by the music that I select, even though I do not choreograph ‘to the music’ most of the time. I use the music to create the atmosphere and help highlight my intention.”

Harris has taken her passion for choreography a step further by creating Dance Canvas in 2008. Dance Canvas is a non-profit arts organization providing opportunities and resources for emerging professional choreographers. Each year eight to ten dance artists are selected and introduced to the community of professional dance in Atlanta and given the platform to create new work and showcase it to audiences. This year eight new works will debut are March 20-21at the Ferst Center for the Arts. Harris describes the program as follows “It’s a way to showcase the diverse professional dance talent that call Atlanta home.” For the past two seasons, Emory Dance Program alumni have been selected to present works and this season, Katie Messina's work will be presented. 

Harris is teaching Ballet I and one Ballet II courses this semester for the Emory Dance Program. In Harris’ Ballet I courses students are focusing on the technical steps and understanding the principles of ballet, as well as learning to appreciate the art form. In her Ballet II course  they have are working on strength, flexibility and alignment. Harris loves how “All of the students are so eager to learn, and it makes teaching a pleasure. I am thrilled to be a part of the Emory Dance faculty this semester.”

Harris, who has been in the Atlanta area for a while ended the interview by providing advice to dancers who are aspiring to be a full time artist. Her words are as follows: 

“My advice to all aspiring professional dancers is to stay in class...never stop being a student. Also, try to find choreographers you want to work with and take their classes. Most of the jobs I have had have come to me through word of mouth vs. auditioning. Grow your network, build your technical skills,travel as much as you can and see dance in other cities/countries, find mentors,and work hard! Maintaining a full-time career in the dance profession is sometimes difficult to navigate, but it can be incredibly fulfilling.” 

Emory Dance Company Choreographer Aryanna Allen

Photo of Allen by Lori Teague

By Raven Crosby, Emory Dance Program Office Assistant

Aryanna Allen is a senior with a major in dance and movement studies and a minor in economics. Allen’s piece is inspired by artwork that she saw at the Tate Modern in London. Allen describes the piece, Cildo Meireles' Babel (2001), as “...a tower comprised of hundreds of radios, each tuned to a different station, playing all at once. Related to the biblical story of the Tower of Babel, Meireles addresses ideas of failed communication and information overload.” Though Babel (2001) serves as Allen’s main inspiration for her piece, she will be using the phrases she heard to cultivate movement.

Photo of Allen by Lori Teague

When we asked Allen about her greatest inspiration when creating movement, she replied “I am inspired by all of the incredibly talented artists and teachers I have had the opportunity to work with thus far. Each of them has impacted me in a variety of ways and will continue to influence my movement style. I am interested to see how each of their personalities and processes will be revealed within my own process.”

As Allen’s  rehearsals have gotten underway, she is excited to see how her initial idea will become a fully produced work of art. She is also excited to be in the role of choreographer and discovering the “behind the scenes” tasks and efforts that must be performed in this role. However, Allen’s only concern is the high caliber responsibility that being a choreographer holds. To overcome this fear, Allen stated “As in every process I have been a part of, I am sure there will be some bumps in the road, but with thoughtful planning and my incredible cast, I am confident that we will be able to navigate those rocky areas and make a piece that we will all be proud of.” 

As we get closer to the show date, we will hold another interview with Aryanna Allen  to explore her full choreographic process.  

Emory Dance Company Choreographer Clara Ofotokun

Photo of Ofotokun by Lori Teague

By Raven Crosby, Emory Dance Program Office Assistant

Photo of Ofotokun by Lori Teague

Clara Ofotokun is a senior who is a double major in dance and movement studies and film and media studies with a concentration in arts management. Ofotokun’s piece is inspired by the relationship between humans and time. Ofotokun is exploring “How we relate to time on a daily basis and on a macro level, how we experience time over a lifetime.” To express this concept through dance, Ofotokun will model time through human connection, breath patterns, and cycles.  When creating this movement, Ofotokun is consistently thinking about “...how can the body relate to the infinite nature of time.” She wants to know “What does it feel like to dance as if we are connected to the infinite flow of life and death?”

Photo of Ofotokun by Lori Teague

Ofotokun is excited to choreograph for the Emory Dance Company this spring and is most excited to work with her handpicked cast. Ofotokun admires how “Everyone is so willing to try new things which makes me super excited every time I go into the studio.” 

As we get closer to the show date, we will hold another interview with Clara Ofotokun to explore her full choreographic process.  

Emory Dance Company Choreographer Leah Behm

Photo of Behm by Lori Teague

By Raven Crosby, Emory Dance Program Office Assistant

Leah Behm is a junior with a double major in dance and movement studies and anthropology. In Belm’s first piece set on the Emory Dance Company she is exploring the idea of the self versus the group. Behm describes this as follows: “I want to explore how connections between others and yourself can be portrayed and why things are perceived the way that they are.” Behm wants to present a piece to the audience that can be “... interpreted individually while also giving the audience something to think about. I want to be able to show how we as people can connect on so many different levels, even in the most emotionless and task-oriented ways. I hope I can make them smile." 

In rehearsals, Behm is working with her dancers’ movement styles to explore ways in which they view their surroundings. She is also exploring with the group why and how people can either fit in or stick out.

As Behm is working diligently in the studio twice a week, she is excited to be able to work with some very talented members of the Emory Dance Company. Behm described her dancers as follows: “They all have such unique movement styles that I cannot wait to explore more of. They are so special and I know they will teach me so much throughout this process.”

As we get closer to the show date, we will hold another interview with Leah Behm to explore her full choreographic process. 

Emory Dance Company Choreographer Dafi Altabeb

Photo of Dafi Altabeb by Nini Moshe

By Raven Crosby, Emory Dance Program Office Assistant

We are thrilled to have Israeli artist in residence Dafi Altabeb choreograph a new work for the Emory Dance Company this semester. Read on for more about Altabeb’s background and her new piece for the company!

Israeli Institute visiting artist Dafi Altabeb is the artistic director of Dafi Dance Group and works collaboratively with Nini Moshe, her life partner. Altabeb graduated from the Kibutzim College of Education with a BEd and a Teaching Diploma specializing in composition and EW Movement Notation. Altabeb is the recipient of the 2012, 2013, and 2016 Excellence Award for young choreographers from the Israeli Ministry of Culture, and received the Israeli Ministry of Culture performance award for 2018 ensemble for the piece It’s Now. It’s Never. She received the 2014 Rozenblum Award for Excellence from the Municipality of Tel-Aviv.

Photo of It’s Not a Pipe by Lori Teague

Altabeb’s newest work set on the Emory Dance Company is inspired by the famous surrealist painting of a pipe by René Magritte. It’s Not a Pipe explores collaboratively with her dancers “the gentle line between the global and the personal, the political and human issues that concern us all.”

Altabeb is an Israel Institute visiting artist at Emory University for fall 2019, and her residency is also supported by Emory’s Donna and Marvin Schwartz Artist-in-Residence Program.

Emory Dance Company performs November 21-23, 2019 in the dance studio of the Schwartz Center for Performing Arts. Tickets are on sale now and can be purchased below using the link below.

Buy Tickets Here!: https://tickets.arts.emory.edu/single/PSDetail.aspx?psn=123308

Emory Dance Company Choreographer Lori Teague

Photo of the optimistic body by Lori Teague 

By Raven Crosby, Emory Dance Program Office Assistant

We are excited to have Emory Dance Director Lori Teague choreograph a new work for the Emory Dance Company this semester. Read on for more about Teague’s background and her new piece for the company, the optimistic body!

Lori Teague is the director of the Emory Dance Program. Her study of contemporary movement blends together contact improvisation, improvisational performance, and the understanding of movement via somatic practices. Teague earned an MFA from The Ohio State University and a certification in Laban Movement Studies. Her choreographic research focus emerges from the social and psychological features of human behavior. Teague’s work has been presented throughout the southeast as well as Scotland and Russia, including twenty commissions. Teague currently co-directs the Dancing Flowers for Peace, trains teachers for outreach settings, and serves as the program chair for Moving in the Spirit, a youth development program.

Photo of the optimistic body by Lori Teague

In her newest work for the Emory Dance Company, the optimistic body, Teague investigates “the relationship of optimism with realism.” The large group of thirteen dancers are guided by improvisation scores, which help Teague develop movement that is full of volume, resiliency, and recovery. Teague plays and improvises with risk, loss, continuity, power, and vulnerability throughout the optimistic body.

Emory Dance Company performs November 21-23, 2019 in the dance studio of the Schwartz Center for Performing Arts. Tickets are on sale now and can be purchased below using the link below.

Buy Tickets Here!: https://tickets.arts.emory.edu/single/PSDetail.aspx?psn=123308

Photo of the optimistic body by Lori Teague