14^th Street Playhouse, Atlanta GA
January 2012

By Deborah Searle.

Dance Canvas is a collective celebration of dance in Atlanta.  Run by Executive Artistic Director Angela Harris, Dance Canvas is a career development organization for emerging choreographers and youth, providing dancers and dance creators with an outlet to develop and present their work.

Last weekend, Dance Canvas presented the 2012 Performance Series at Atlanta’s 14^th Street Playhouse, highlighting the work of these eager choreographers. With a varied show of contemporary, jazz, tap and ballet, Dance Canvas had something for everyone.

Although not every dancer, or dance piece was outstanding, there were enough surprising, technically beautiful moments, and well developed pieces, to get us engaged and excited about dance in this city.

The evening started with Seis Almas, choreographed by Ray Hall.  This contemporary number had some creative moments, and a well-constructed end. The dancers performed nicely and Ray is sound mover. At times, however, he needed to extend his feet more, particularly in jumps. Ray’s other work on show, Intricate Rhythms, which came later in the program, displayed his tap expertise and his strong rhythmic sense.  With a powerful beginning and a strong a capella tapping sequence to end, Intricate Rhythms was a highlight of the evening. The two male performers, Ray himself and Jake Albert, were standouts.  If the stage had been mic-ed, it would have added to the performance as at times it was difficult to hear all the tappers’ steps.

Jennifer Mason & Colbie Zeno present 'Apocalypse of the Soul'. Photo Richard Calmes

Katie McMillen Stull’s On the Run followed Seis Almas and was a technically strong pointe piece danced in flattering low back, black leotards with romantic tutus.  The piece had nice musicality, showcasing beautiful dancers who radiated elegance.

Next came Apocalypse of the Soul, by Robert Mason, which was danced with dedication by its two performers; Jennifer Mason and Colbie Zeno.  It showed one lady’s battle with cancer and the grief felt by her friend.  It was a very engaging and emotional piece.  Both dancers had lovely extensions and performed the anguished dancing with commitment, however I felt that there was an overuse of développé à la seconde.  The piece could have easily come across as a little trite, but it obviously drew me in as I found myself with chills up my spine.

The upbeat jazzy number, Liberation, by Emily Vanderkley was next. The energetic piece centered around women’s liberation in the 60s and 70s and showed much dynamics by the performers.  The ending silhouette of the dancers all with their fists in the air was distinct.

After the intermission we were treated to a piece by Kennesaw State University student Jamie McCord entitled Contra Moves.  Dance Canvas and KSU have developed a new partnership and Jamie is the first student to receive the opportunity to present as part of the choreographic platform.  Although still a student, Jamie showed why she was chosen to stage work. Her piece showed maturity and musicality, and I was engaged throughout. Her dancers were all technically strong and they captured the audience.  The movement was interesting and very contemporary, with a pedestrian feel at times.  McCord created motifs and repeated moments that brought the piece together. I was impressed with her work.

A tough act to follow, we were then presented with Between the Worlds by Tracy Vogt.  Between the Worlds involved a series of breathtaking pas de deux and exquisite dancing.  Tracey herself is a stunning dancer with so much light and shade in her movement. Between the Worlds was a standout piece.

To introduce each number, the audience were given some text projected onto the cyclorama. It was sometimes a quote, or an explanation of the work to come.  For Await, by Sandra Parks, we were told of the orphans of China who must wait for adoption in the most horrible circumstances.  Await was a well constructed piece with clever use of lighting and spotlights, nice floor work, good connecting movements and some unique lines.

Juxtaposed with the many dancers of Await, Path which followed, was performed by lone dancer Tamara Irving. Choreographed by Dana Woodruff, Path was an engaging piece where Irving, surrounded by empty white chairs, chose one chair in center stage to dance around and on top of.  With empty chairs all around, I expected other dancers to come on stage at any moment, but Irving managed to keep my attention throughout, all on her own. As Irving slowly and tentatively moved the center chair forward throughout the piece, I was drawn in.

To end, Executive Artistic Director Angela Harris gave us The ‘Movement’. An energetic balletic number, The ‘Movement’ was performed to a mix of recorded voice, music and Afrobeats that complimented the attractive ochre costumes of the dancers. With moments of sassy walking across stage mixed with technical ballet movement, this number was interesting and fun. The dancers executed the steps well, however more life in their faces would have added to the cheekiness of the piece and brought it alive.

Top photo: Kennesaw State University students perform Contra Moves. Photo by Richard Calmes

Atlanta Dance Connection

Maynard Jackson High School, Georgia
October 28-29, 2011

By Rebekah Bennett.

I love to be surprised; but let me tell you, it is not easy to surprise me and it is not easy to impress me. I am also, (and I am embarrassed to admit this to the world), of the belief that male dancers have it much easier than their female counterparts. Do you know what else I love? I love to be wrong. Allyne D Gartrell, thank you for not letting these male dancers off the hook.

Let me tell you about the men of Atlanta Dance Connection. Their technique was astounding, their bodies, strong and powerful. These men moved through the space, soaring through the air one moment and rolling to the ground the next with flawless controlled power. They seemed contained and in control of the movement but only barely. There was an underlying current of caged energy that pulsated from ever perfect extension and movement.

While I am on the topic of male dancers, I need to give props to one in particular, Xavie Demar. I asked him how he managed to get that tall body to the ground so quickly and then manage to have his legs to his ears the next second! “In my training,” he shared, “I danced with a lot of shorter people. My ballet teachers would tell me, you need to move as fast and as big as that person, that little girl, standing next to me. That was my push. I wanted to be a professional dancer from the time I started training and I can’t hide.” Hide he cannot, however, he fits in this company. He blends in and only adds to the beauty of the whole picture.

There where beautiful moments through the whole show. The different choreographers showcased the dancers’ incredible abilities with gorgeous turning sequences and a wonderful fusion of ballet, modern and jazz movement.

The gem of the show was Movement III from My Inspiration, dedicated to Talley Beatty, a great pioneer of Jazz dance. The dancers, robed in stunning velvet dresses, moved quickly and flawlessly through the fast paced, joyful movement. These dresses, by costume designer Maurice Smith, perfectly showcased the dancers’ diverse and beautiful body types. It was obvious that they loved performing the choreography as much as I loved watching it. That is because it was everything that I as dancer, love about dancing – hard core modern-jazz fusion moves wrapped in an air of sassy groove. It was nearly impossible to stay in my seat! It was pure dance happiness.

So, Mr. Gartrell, thank you again for a night of surprises and of great dance. Your dancers of Atlanta Dance Connection are incredible artists who, in their own words, can’t imagine dancing anywhere else. Thank you for bringing your style to Atlanta. We are lucky to have you here.

Support and promote the arts by getting involved with a local dance organization.

By Laura Di Orio 

Being a member of the dance community – be it as a student, professional dancer, teacher or choreographer – is an important role. There is the potential to inspire, challenge and educate other dancers and, on a grander scale, the world beyond the dance industry. Dance councils and organizations exist as a means to increase dance awareness and opportunities, and they allow anyone to take part in their mission. Here, Dance Informa gets the scoop on some regional and national organizations and how dancers can get involved.  

Dance organizations seek to support and promote the dance arts and to increase dance exposure on a local, regional, national or even international level. While most organizations have this similar mission, each has its own set of programs for reaching this goal. Some of these programs may include:

• Scholarships: Organizations like Dance Council of North Texas (DCNT) offer scholarships to talented young dancers to attend prestigious summer programs and workshops. Last year alone, DCNT awarded $26,000 in such scholarships.
• Professional Development: Dance/USA is one organization that focuses heavily on the professional development of both the artistic and administrative sides of the dance world. Members of Dance/USA have access to conferences, newsletters and networking opportunities. Membership to some organizations is free or to others can be as little as $30/year for students.
• Dance Listings: DanceATL and other organizations provide listings of auditions, classes for students and professionals, and community performances.
• Advocacy and Research: Dance/NYC, among other organizations, serves as a spokesperson for the dance field to the media and local or state governments. It also conducts research on the field’s contributions and needs. 

Participants in The Dance Council of North Texas' Adaptive Dance Program. Photo courtesy of Pam Deslorieux

Dancers not only can benefit directly from these organizations’ services, but they can also be a part of the dance discussion and learn to take leadership roles in the field they love by volunteering their time.

“Dancers should be involved in their local organizations because dance is one of the most overlooked art forms, and dance service organizations are there to be a useful tool for overcoming isolation as individual artists, to gain traction and facilitate awareness of dance in a larger way than one artist or company can do alone,” says Claire Horn, co-founder of DanceATL, an organization servicing the Atlanta dance community.

“Supporting dance in all its forms can only serve to strengthen the entire dance community,” says Athena Baschal, president of Colorado Dance Alliance (CDA), the statewide organization with the motto “Your Home for Dance in Colorado”.

CDA welcomes involvement from everyone. “There are many volunteer opportunities such as serving on the board, chairing a committee, hosting an open stages event, coordinating and publicizing special events, writing and/or editing articles, writing grants, maintaining our databases, graphic design and production of marketing materials, website administration or being our Facebook and Twitter guru,” Baschal says. “The list is endless!”

Likewise, DanceATL accepts support from dancers on a variety of levels. “A dancer can become involved on a superficial level, by browsing our website or blog, and by joining our enews list,” Horn says. “The next step in involving themselves would be to attend the bimonthly meetings we hold. They could also become more deeply involved by volunteering as dance table staff. This role involves informing audiences at events about upcoming dance events across the metro region.”

Participation in a dance organization can keep you well-informed of the goings-on in the dance world. “The more knowledge you have, the better,” says Baschal. “Being an active member of a dance organization gives you many resources to call upon during your journey as a dancer, teacher, choreographer and so forth. It also lets parents, students, studio owners, administrators and others know you are serious about your dance career.”

Bascal recommends browsing online for a local dance organization and contacting them via email or phone to find out what volunteer opportunities are available.

Here are just some of the many dance organizations across America:

Dance/USA, the national service organization for the professional dance field, provides dance-related research and information, professional development and advocacy to its members.
For more: www.danceusa.org

Dance/NYC, the New York branch office of Dance/USA, services the NY dance community by promoting tourism and education, conducting research in the field’s changing needs and offering consulting services for dance managers. Dance/NYC also honors independent performance artists through the Bessie Awards.
For more: www.dancenyc.org

DanceATL focuses on Atlanta’s dance community by providing a dance calendar of performances, classes and workshops in the area, bi-monthly meetings to discuss ways to increase dance awareness, and opportunities for professional development.
For more: www.danceatl.org

Colorado Dance Alliance (CDA) aims to enrich the lives of the people of Colorado by supporting and promoting the dance arts. CDA offers professional development workshops for teachers, networking events, open stages for choreographers and scholarship programs for young dancers. 
For more: www.codance.org

Dance Council of North Texas (DCNT) hopes to increase exposure and accessibility to dance within the community. DCNT’s programs range from scholarships to dance classes for children with disabilities to free public dance showcases.
For more: www.thedancecouncil.org

Top photo: Participants in Colorado Dance Alliance’s Dance Education Workshop during a Creative Movement class. Photo by Athena Baschal