Wow. This Midwinter Dance Festival has been amazing — the perfect way to say goodbye to a dance department tradition. As you probably know, I had the good fortune to perform Nacho Duato’s Por Vos Muero, set by guest Kevin Irving and rehearsal-managed by Butler professor Derek Reid. Dancing such a brilliantly inventive and detailed work was amazing. It feels weird to know I won’t be performing it again tonight or tomorrow.
Even in the studio, once we progressed further into the rehearsal process, dancing the piece became very emotional. I don’t mean emotional in the sense of getting choked up or anything terribly sappy, but each run required a complete commitment of focus and intention — and finally it stemmed from someplace authentic, rather than existing as superimposition. My goal now is to inject this type of artistic expression into the movement much, much earlier. Ideally, it happens right away. That’s what maturing as an artist is all about, I suppose.
Onstage, dancing for an audience? What a thrill. The audience, the lights… (The lighting throughout the show came courtesy of the talented Laura Glover.) After we finished, we shared a group hug. (Well, we has group hugs before each show as well.) Then we went down to the dressing rooms to change into street clothes and go home. How odd it was — I felt like surely I should be doing something else — perhaps still walking extremely slowly with a downcast focus or stepping in a stately back-driven pattern.
Then I saw my family, many of whom had come long distances to see me before I graduated. My grandparents, my parents, aunts, a sister, an uncle, cousin-in-law, cousins… We went to my apartment and sat and talked for about an hour after the show, just catching up. I love to hear others’ impressions of all the different pieces in the performance — and this program was supremely diverse, which was wonderful — but more than that, I relished the chance to leave performing mode gently, rather than in an abrupt see-ya-later-it’s-been-great departure.
I went to bed late (because it takes me a while to wind down after being onstage) and very, very happy.
The snow was falling in the extra large, soft flakes Tuesday morning, just in time to set the scene for Butler Ballet’s Midwinter Dance Festival. The Dance Department planned this on purpose, of course.
This marks production week for the Butler Ballet. Monday was a full run through in the dance studios, and Tuesday afternoon/Wednesday morning was spacing in costume onstage. Wednesday afternoon: Tech rehearsal. Thursday: Dress. Then opening night comes Friday, February 17 at 8 pm in Clowes Memorial Hall.
With each show I perform here, I feel more confident — not so much in the technical sense (though the hope is to improve there as well!), but because I feel more relaxed, more able to project an emotion, whether that be horror at the curse cast on baby Aurora or the regal poof! of the snow queen sweeping away the snowflakes, or simply the happiness of a peasant-type character. (There are aproximately five million peasants in Coppélia. I’m getting ready!)
Por Vos Muero‘s beginning section is rather emo in a way, and I love to watch the duets the most. To dance, though, my favorite is the middle group dance and three girls’ dance. The group dance is supposed to be a sort of social dance, and the three girls’ dance is quick and (when I jump in the air, shaking my head as wildly as I dare during my little solo) saturated with such gleeful abandon.
The moment before the music starts, I breath out and think about something silly my boyfriend told me about analytic chemistry, and I can’t stop the beginnings of a smile. Then the music starts and I’m swept away in the movement.
And… Just like an elementary school book report, I won’t tell you how the story ends. There’s also:
- Bournonville’s Flower Festival staged by Marek Cholewa — a demonstration of technically brilliant footwork. Bournonville offers one of the most playful permutations of classical ballet; I had to smile while watching it.
- A piece by visiting assistant professor Michael Johnson — with live music. Every time I see this piece, my brain starts firing away different memories or emotions. You’ll want to watch it more than once.
- A brand new, large-scale piece by professor Cynthia Pratt, with music by The Black Keys, detailing an argument between two lovers. The piece is narrative, funny, visually engaging, and a bit mischievous. My friend is the principle dancer, and I think she’s just the bee’s knees.
- Stephan Laurent’s Enigma Variations offers an object lesson in theme and variation choreography. With supremely inventive partnering and lifts, along with creative use of gesture, the piece leaves one still wondering at the end… *cue dramatic music* …perfectly fulfilling the implied promise of the title.
You’ll have to come see it for yourself!