2019 Information bellow. 2020 schedule and information coming soon!

Monday - Friday

COLLEGE CREDIT

 

Dance West Summer Fest participants may receive college credit for the workshop/festival, 1 or 2 credits at $200/credit.  1 credit for 30 hours of in-class time and research paper, or 45 hours of in-class time.  2 credits for 60 hours of in-class time plus two research papers, or 90 hours of in-class time To register for credit contact Stephen Koester at stephen.koester@utah.edu 

Credit may be arranged during the workshop.

CLASS DESCRIPTIONS

 

 BLOCK 1    9:15 - 11:05 am 

 

TRADITIONAL TECHNIQUE:

(drop-ins welcome)

 

Limon Technique - Nina Watt, week 1 & 2

The class will focus on the traditional Modern Dance Technique of Jose Limon.  Taught by Master Limon Teacher, Nina Watt, who has been called, "the perfect Limon dancer," "a dancer of genius" and "one of the most important modern dancers of her generation."  

 

Classical Technique taught by Lauren Curley and Ursula Perry, week 3

Lauren Curley and Ursula Perry, RDT dancers will teach a Limon based technique class.

 

CONTEMPORARY TECHNIQUE:

(drop-ins welcome)

 

Contemporary Technique taught by Daniel Charon, week 1

The goal of this contemporary technique class is to cultivate individual expression within the confines of set material in an effort to develop a unique dancing voice. This class encourages meaningful physical outcomes by exploring rich technical phrases, structured improvisation, and creative imagery. Movements range from simple and pure mappings of the body’s pathways to physically charged, technically demanding phrase work. The use of an expansive back, expressive torso, and movement as energy will be a primary concentration. This class will encourage alignment, clarity of intention, and line and will address specificity of timing, musicality and attuned rhythmical prowess. Major stylistic and technical influences are from the work of José Limón and Doug Varone.

 

FoCo Technique Class taught by Yin Yue, week 2 & 3

The FoCo Technique class requires sophisticated understanding of dance technique and demands strong physical and mental stamina. It is the active engagement of five elements and three rhythmic stages in the dancer’s approach to movement and performance. The class starts with a follow-along warm up sequence including Triggering, Rooting and Grooving and Mapping. In each of these warm up sections, students are led by the instructor to create awareness in muscular structure, familiar with rhythmic pattern and generate heat in the body to prepare for the phrase work. In the second part of the class a specific phrase work will be created or a suitable combination from a rep will be taught in details. Through learning the movement, students will experience the coaching style and learn the quality of the movement, By the end of each class, the phrase work will be performed in smaller groups. It is your time to fully embody the combination, apply the instructions and enjoy the dance.

 

TEXT AND VOICE:

(must commit to1, 2, or 3 weeks)

 

 

Strange and Common Utterances / Dance, text, words, songs taught by Faye Driscoll - week 1 and Ann Carlson, weeks 2 & 3

This course will assist you in discovering or deepening the unique and  effortless weave between your dancing and  your voice.   In an atmosphere of experimentation, rigor,  wildness  and exquisite attention, we will dive into dancing with the voice, singing with the body, mixing, building, investing in and amplifying your presence and capacity as a dancer, performer, choreographer.   You can expect to be delighted, cajoled, challenged, and inspired as we work/ play and investigate  the seams between spoken and kinetic language.

 

 

 BLOCK 2   11:15 am - 1:15 pm 

 

CONTEMPORARY TECHNIQUE:

(drop-ins welcome)

 

Intermediate/Advanced Contemporary taught by Dante Brown, all 3 weeks

In class, dancers are encouraged to find ownership and confidence in their movement choices. Improvisation and technical exercises both spark investigations of the body’s weight and dynamic qualities as they explore moving from skin, muscle and bone, finding inspiration from release, post-modern, and diasporic techniques to find variance in how we engage with space, time, and each other. 

 

IMPROVISATION:

(must commit to1, 2, or 3 weeks)

 

Improvisation with Stephen Koester, week 1 & 2

Using prompts and running with them, participants are lead into mature personal investigation of self and movement.  Participants develop skill in individual expression and movement creation through improvisational structures, practices, and forms.  Improvisation asks that we act and express ourselves in the movement.  Such agency is a demand of being an artist.  Timidity creates art that is soon forgotten.  In practicing improvisation, we develop greater artistic bravery, voice, and individual expression.

 

Gaga Class with Noa Zuk and Ohad Fishof, week 3

This class will explore the movement language invented by Israeli choreographer Ohad Naharin that pushes the body to its limits and extremes.  Gaga is a way of gaining knowledge and self-awareness through your body, adding flexibility, stamina, and agility while lightening the senses and imagination.  Gaga helps the participants make a richer connection between the mind and body while breaking down habits and discovering new ways of moving.  

 

REPERTORY (set):

(must commit to1, 2, or 3 weeks)

 

Classical Repertory with Nina Watt, week 1

Nina Watt will be re-staging Doris Humphrey's Invention (1949), a trio filled with dynamic movement and high energy.  Original music by Norman Lloyd.  

 

Ririe-Woodbury Dance Company Repertory taught by Daniel Charon, week 2

Learn excerpts from various pieces that are part of Ririe-Woodbury Dance Company's repertory. This experience will encourage the development of skills such as: the art of learning material in an efficient and specific manner, the ability to adapt to different styles, contemporary partnering, and performance techniques. 

 

Known repertory RDT - 3rd Week, week 3

This class will offer participants the chance to learn excerpts of repertory from Repertory Dance Theatre's library of dances, such as Donald McKayle's Rainbow Round My Shoulders, Doris Humphrey's Passacaglia, and Danielle Agami's Theater.  

 

 

 BLOCK 3   2:15 - 4:05 pm 

 

COMPOSITOIN:

(must commit to1, 2, or 3 weeks)

 

Solo Composition: Auto ethnography taught by Dante Brown, all 3 weeks 

Why does your story matter? What are people really seeing in your narratives? For this course, students will generate solo compositions that immerse themselves in their personal narratives. The course will provide methodologies and compositional tools to excavate themes rooted in identity politics, such as race, gender, sexuality, class, etc., resulting in a composed solo intertwining how individual voice relates to bodily polictics.

 

PEDAGOGY:

(must commit to1, 2, or 3 weeks)

 

Pedagogy of Teaching with Classical Technique taught by Lynne Larson, week 1

What are the benefits of teaching with a Classical background, in technique, creatively, and in performance? Linda C Smith and Lynne Larson will share their experiences, through the work of Isadora Duncan, Helen Tamiris, Merce Cunningham and others.

 

Wellness within Pedagogy taught by Molly Heller, week 2

This class will address wellness practices for both the teacher and student, offer strategies for the integration of wellness within studio and lecture courses, and create dialogue around sustaining a life in the arts with the health of the whole person as a foundation.   

 

Pedagogy taught by Stephen Koester, week 3

Teaching of improvisation and composition.  There is an art, much like choreography, to guiding creative practices - setting structures, providing prompts and leading evolving experiences to allow for productive work while leaving enough space for individual expression and voice.  We examine how to develop a creative process class that allows a participant to tap into one’s unknown and expand known movement choices.  How can we bring work, fun, curiosity and wonder into class? 

 

REPERTORY (new):

(must commit to all 3 weeks)

 

First Thought/Best Thought by Faye Driscoll - week 1 and Ann Carlson, weeks 2 & 3

This class will be the “breeding ground” for a new work by Ann Carlson.  Class participants will be “in on” the  early process of building a work, gain experience and access to choices and ideas by a maverick choreographer, from both outside and inside the process.    You can  expect to dance with abandoned and fullness of heart, also laugh, work, engage, make.   This course will culminate in a performance. 

 

 BLOCK 4   4:15 - 5:00 pm 

(free to registered participants)

 

CHOREOGRAPHY MENTORSHIP:

(must commit to all 3 weeks)

 

Choreography Mentorship Project – various artists of choice, all 3 weeks

Participants are provided space in which to work on the creation of one’s own choreographic project.  Throughout the three weeks, the work will be regularly viewed by Dance West artists, in which input and mentorship is provided on one-on-one artist/participant dialogue about the work is a key element of this project.  Participants request which artist(s) they would like to serve as their mentor.  The goal of this project is to develop a work or work-in-progress that would be shown as part of the Final Workshop Showing, June 28.  

 


YOGA, BODY CONDITIONING; PHYSICAL WELLNESS

(drop-ins welcome)

 

Yoga, Body Conditioning; Physical Wellness - taught by Sara Parker T,TH; Tom Welsh M,W
You spent the day challenging your body’s limits so you can grow as a dancer. Use this last session each day to solidify those gains and to re-balance your body, mind and spirit so you will be ready to take another leap forward tomorrow.

 

 


 

 

 

 

 
 
 
 

FULL

 

© 2018 DANCE WEST

SALT LAKE CITY, UT

dancewestfest@gmail.com

Ririe-Woodbury 801.297.4241   

RDT 801.534.1000   

Salt Dance Fest Representative 801.587.9808