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Saturday, June 25 @ 8 PM
Bark like a frog by Kaitley Wozer
Pássaros (Birds) by Marcelo Kuna (Brazil)
MEEC and Me Lleva la Flaca by Norma Araiza (Canada)
Visible Spirit, Invisible Body and The Remembering Dance (Grandmother/Age) by Daystar/Rosalie Jones
Through the Roof of Your Mouth by Hanlon Dance & Company
Small Talk by Katherine Marino, Elyssia Primus, Tasha George-Hinnant
Possible Side Effects by Jeanne Schickler Compisi (BIODANCE)
Norma Araiza (Canada) is a Yoeme/Mexican performer, choreographer, and instructor living in Toronto. Norma works in different modalities within the arts blending dance, theatre, vocals, percussion, and text with cultural and traditional themes in a contemporary context. MEEC means moon in Yaqui language. Inspired by an Aztec legend, the focus on this solo is on the moon and her female characteristics. It shows, with a combination of dance styles, the universal perspective around the mythological and mysterious moon in relation to the cycles of women. Me Lleva la Flaca (Taken by the Skinny) is a dance-theatre piece inspired by the traditions of The Day of The Dead in Mexico. This piece concentrates on The Catrina’s essence. The audience gets to know a little bit of who she is through her gestures and movements, but she never reveals herself completely. She has to fulfill her duty at any cost (taking people to the underworld).
Missy Pfohl Smith is the Artistic Director of BIODANCE and the Director of the Program of Dance and Movement at University of Rochester. She received her MFA from Sarah Lawrence College, her BS from The College at Brockport, and is certified in the Evans Method of teaching Laban/Bartenieff-based modern dance. She has taught and performed internationally with BIODANCE, Randy James Dance Works, Paul Mosley, among others. Her areas of interest include choreography, site specific performance, improvisation, socially conscious dance work and dance on camera. BIODANCE, established in 2002, is a repertory company that performs the work of Smith, Heidi Latsky, Bill Evans, D. Chase Angier, Ivy Baldwin, Jeanne Schickler Compisi, Courtney World and more. The company is currently working on a BIO/DANCE and Social Justice Series in various community venues, supported by the Decentralization Program of the New York State Council on the Arts, administered by Livingston Arts, a member supported organization. BIODANCE enjoys collaborating with multi-disciplinary artists in music, visual art, sculpture and technology, and is always eager to investigate non-traditional sites and settings for performance. Learn more at: facebook.com/BIODANCE1/ or www.biodance.org Possible Side Effects, choreographed by Jeanne Schickler Compisi is an examination of the roles pharmaceuticals play in our lives and the risks people take to seek relief from their issues.
Daystar/Rosalie Jones (Pembina Chippewa) specializes in “native modern dance”. In directing her own company Daystar: Contemporary Dance-Drama of Indian America, she has choreographed over forty works in as many years through the perspective of Indigenous ancestry and cultural values. Daystar is based in Rochester, NY. Visible Spirit, Invisible Body – Living in the human body is both a privilege and a responsibility. Is it possible to respect a body when it no longer resonates as privileged? The Remembering Dance (Grandmother/Age) is excerpted from No Home but the Heart, a full evening Daystar production which has toured the USA, Canada and Ireland. Inspired by family stories going back four generations, we see the “Grandmother”, (circa early 1900’s) speaking and feeling the ravages of her traditional people’s colonization.
Eran Hanlon is Artistic Director of Hanlon Dance & Company and Founder of A Willoughby Production located in the greater Rochester, NY area. His choreography recently featured in New York City and Beijing, with consulting work in Romania. His work premieres consistently at regional theatres, galleries, and colleges & universities. He was recognized by City Newspaper as Best New Choreographer at the 2014 Rochester Fringe Festival. His award winning video creations have screened at national and international film festivals. He featured on the cover of the Winter, 2013 issue of Metropolitan in recognition of his best-in-show digital image Witness to Memory. Through the Roof of Your Mouth is a dance theatre piece that explores sexuality & violence in performance. This work develops out of Hanlon’s digital image project featuring Alaina Olivieri entitled ‘Void,’ which exhibited at Nu Movement this past April. The excerpt performed is a 10-minute duet choreographed and performed by Hanlon & Olivieri. The first iteration of this piece premiered as a quintet at Nazareth College this past April and there are plans to develop it further into a full evening length piece of work.
Marcelo Kuna (São Paulo, Brasil) is a dancer and singer with a B.A. in Communication and the Body Arts (PUC-SP, 2012-2015). A certified DanceAbility teacher (www.danceability.com), he also has experience in Musical Theatre, and Meditation. He has participated in workshops at the Graduate Musical Theatre Writing Program (Tisch-NYU), Stella Adler Studio of Acting (NYC), Royal Academy of Dramatic Art (RADA), V.O.I.C.Experience Foundation (Sherrill Milnes), DanceAbility International (Alito Alessi), and Núcleo Dança Aberta (São Paulo). He would like to thank Secretaria Estadual de Cultura de Minas Gerais for supporting the trip, and for giving him the opportunity to show his dance work at MuCCC. Many beijos for Laurie, Ruben and Cielo for their second and extremely kind invite, and for Gina Bonati, who has been such an incredible friend. Namaskar! Pássaros (Birds) is a reenactment of the final bird attack scene from the movie The Birds (1963) by Alfred Hitchcock. This performative action came about in the Creative Labs taught by Brazilian contemporary dance artists Vera Sala and Gaby Imparato, at the prestigious Communication and the Body Arts program from the Pontifical Catholic University of São Paulo (PUC-SP). A video dance was also created from the original work, and is available onhttps://vimeo.com/128681547.
Katherine Marino grew up in Rochester, NY and is a current company member of PUSH Physical Theatre. She holds a degrees in both Dance and Environmental Studies from William Smith College. Katherine’s past performing experience includes the Elizabeth Clark Dance Ensemble, Finger Lakes Dance! Concert, Rochester Dance Project, and Present Tense Dance Company. Rochester native Elyssia Primus has performed with PUSH Physical Theatre, Present Tense Dance and Flower City Ballet. She currently performs with Rochester Dance Theatre and teaches flamenco workshops throughout the area. In addition to dancing, Elyssia is completing her graduate studies for her clinical doctorate in physical therapy at Nazareth College. Based in Ithaca, New York, Tasha N. George-Hinnant has been studying piano since the age of six, and holds Bachelor’s and Master’s degrees in both piano performance and pedagogy from Nazareth College and Ithaca College. In addition to maintaining a private studio out of her home, she is currently on the piano faculty at the Community School of Music and Art in Ithaca. She has performed as a soloist, a chamber musician, and a composer, and has a great interest in collaborative and multi-media projects. “This brand new work is an exploration of Small Talk. It is an excuse for us to play, create, and converse using the mediums of movement and music while gaining inspiration from one of the most common and mundane daily activities we all know. Dances at the MUCCC is the premier of this piece!”
Kaitley Wozer earned her bachelors degrees in Dance and Biology from William Smith College, where she graduated in 2015 with Honors in Dance and the Janet Seeley Award for outstanding achievement in dance performance, choreography, and scholarship. Wozer has been composing her own works since 2013 and continues to work on her choreography in Buffalo, where she currently lives and contributes to biomedical research. As a choreographer, Wozer values dancer diversity, collaboration, abstraction of human experience, as well as the joy and aesthetic of body play. Bark like a frog is a duet that explores the ways in which we approach life transitions and novel situations. Using movement, space, and relationships, the work aims to act either as window or mirror to reflect and frame the particular challenges of this human experience.