Archive for May, 2011
happy tap day
- Published on Wednesday, 25 May 2011 21:06
- 2 Comments
my sister brings it to my attention that today is national tap dance day!
who knows why today is the day but I hardly need an excuse to post the videos below,
one features Honi Coles (who you may recognize from Dirty Dancing among other hits) dancing the B.S. chorus (Eddie Brown’s B.S. chorus is pretty well known and was the teacher of local tapper/studio wizard Janet Gray).
some of the other videos are popular from movies, tv & tap history
- Published on Wednesday, 25 May 2011 15:58
- 0 Comments
SB has a preview video for his greatest hits show coming up next month.
interesting take on 2011 A.W.A.R.D.s
- Published on Tuesday, 24 May 2011 16:18
- 1 Comment
in our most recent learning to loveDANCEmore, MANIFESTO, board president Ishmael Houston-Jones interrogated the ideas behind competitive dance events in his article, Dance. Eats. Money.
other artists took the issue in different ways throughout the issue, including Juan Aldape’s review of the Sugar Show and Brittany Reese’s commentary about hosting the Sugar Show (an A.W.A.R.D. show offspring)
the 2011 series already took place in cities across the country with Helen Simoneau winning 10K in NY and now the Philadelphia shows completed. the Broad Street Review (article linked below) took particular interest in one of the entries which spoofed the entire production.
utah arts festival on vimeo
- Published on Tuesday, 24 May 2011 15:34
- 2 Comments
the sun is finally out which means it’s basically time for the summer arts festival here in slc.
the festival already has a vimeo page which features a preview of what ballet west might have in store. sure that other groups will be posting soon so check it out
Living Traditions — Juan Aldape
- Published on Monday, 23 May 2011 14:22
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It rained and poured this past weekend. The Living Traditions festival had a three day line up of dance, music, food and crafts. Having grown up in Salt Lake, I have attended this festival for several years. While I spend the majority of my time at this event listening to the music and eating food, I make time to see one or two dance groups.
Of the weekend’s line up, I was able to see The Utah Dance Hispanic Alliance on Friday evening. UDHA presents the best folk dances from across Latin America. By having a professional company, they aim to “elevate the quality of Hispanic Folk Dances in Utah.” (www.uhda.org) The piece that stood out was a dance in a red full-body suede costume and jingle-bells attached to the dancer’s shins, producing the ching-ching sound reminiscent of most folk and native dances. In 2004 I had the opportunity to join Jessica Salazar, Artistic Director of UDHA, and her company for a day in the studio. My observations for that day were for research that resulted in the paper Reaffirming Corpo-Identity:The Contemporary Moving Self Through a Traditional Perspective. The paper examined the role that folk or historic dances play in establishing our sense of self as dancers. In reflecting on this experience, I couldn’t help but reevaluate what makes certain dances “traditional”?
The Salt Lake City Arts council presents this festival with the intention to celebrate “authentic and traditional folk and ethnic arts.By preserving the cultural traditions in their community, Living Traditions artists make a great contribution to our sense of place and our shared understanding through cultural expressions.” (www.livingtraditionsfestival.com)
So what are living “traditions”? I question the local pre-conceptions of what traditional dances are. While I respect, value and really enjoy the dances presented during the Living Traditions festival, the program fails to include broader living dance traditions, at least in the local dance community. Do the dances created locally by…say, Charlotte Christensen, Sam Hanson, Adam Sklute, Derryl Yeager and Movement Forum hold a position in our sense of place? Do they exist beyond our “traditions” imagination and are currently only mapped or dismissed as contemporary enjoyment/exploration?
Understanding how local organizations define the terms “traditions,” “authentic” and “ethnic” is important for dance because such knowledge helps us choose between methods of how dance organizations and companies are chosen for such events. This knowledge, when drawn from a diverse dance collective, informs us of the unlikely universality of dance and the ways in which we choose to express our local histories and traditions differently.
Juan Aldape is a choreographer about town. You can read more about his projects at juanmaldape.posterous.com