Friday, November 13, 2015

WVU's Ricky Rogers - Football and Dance

Wide receivers are often known for their speed and agility, but West Virginia University’s Ricky Rogers is doing his best to imbue the position with grace and fluidity as well. Rogers has spent his time on campus following two seemingly conflicting passions -- dance and football -- breaking down stereotypes in both fields with every sequence he performs and touchdown he tallies. 
Rogers, who redshirted his freshman season in 2014, took part in WVU’s recent “Project Me” video initiative, speaking out about his dance major and the similarities he sees between a sport known for its violence and an activity known for its beauty. 

“There’s nothing like being up on a stage and having people cheering, and there’s nothing like being in an end zone and people cheering and going crazy … [In both, performing] is the thing that I really love the most,” he explained, listing body control, flexibility and focus as three other skills that play a part on both the stage and the gridiron. 


Thursday, August 27, 2015

Tap Tronic + The Glitch Mob

"Mind Of A Beast" & "Cant Kill Us" from our album, "Love Death Immortality."

The Glitch Mob - Can't Kill Us (Irish Dance Cover)
Just wow. Unreal. The ways that people create new things with our music never cease to amaze…video by: Kieran Hardiman
Posted by The Glitch Mob on Tuesday, August 4, 2015

Saturday, August 1, 2015

Tigger Benford

Tigger Benford was one of the most influential artists I have ever met. His classes and subsequent choreography utilized body percussion and  . . . . . how do I describe it . . . . . . math! 

The result of the collaborative effort was fresh and complex but so precise that it communicated layers of simplicity woven into magical patterns. The kinestetic response to his music and rhythms is something that inspire me to this day!

Partial Quotes from the "PERSONAL STATEMENT OF THE ARTIST," Tigger Benford.

The full quote may be found HERE -- and I most adamantly encourage you to check it out and read more about Tigger.
His CDs are also available at this site. They are AMAZING!

Here are the partial quotes:

"Playing for dance is important to me. What I value about it most is that seeing movement helps me create music, and it is necessary for me to create music to live life with a sense of satisfaction and meaning. In turn, the music I play seems to be inspiring for those who use it for movement, and this is gratifying as well, to know that my music has found a useful place in the world.

My interest is in generating certain responses in listeners. If I got the wrong response it's the wrong piece. The meaning and nature of the piece exist in the world as a set of responses, not as some absolute artistic entity in my own mind.

I believe that art and artists exist to fulfill an evolutionary design. Their consistent presence throughout history in culture after culture cannot be explained by politics or by economics.
People need a special place and time to escape temporarily from the circle of their own lives, which are often filled with pain and drudgery. Art and entertainment which do not have the power to transport the audience have no business being on the stage.

As a consumer I value both art and entertainment. For me what distinguishes the one from the other is art gives me insights I can bring back into my life, helping me to lead it in a richer and clearer way. Personally I hope both to entertain people, and to help them get more out of their lives in some mysterious way. "

Tuesday, June 19, 2012

Saturday, July 30, 2011

Moonwalk Through the Years


Sunday, May 1, 2011


A nice little post over at Woodlands Home has me looking at this airborne photo in a new light. Is the female of the duet in the apex of a jump or nearing the conclusion of an assemble?  Ahhhh, I love thinking in motion!

"This particular company, for the moment at least, call the Northern School of Contemporary Dance their home and Verve is the name given to the graduate company staffed out with some of the best dancers from the previous graduating year."
The opening duet is a great study in the movement text of Laban Movement Analysis.
Most all college trained dancers throughout the world have been exposed to this language for describing and crafting dance material. Words like dab, wring and flick are part and parcel of a conversation in a dance composition class. The language, though it is translated into many languages, I'm sure, is not the finite language of ballet. There is no step label necessarily given; instead dancemakers today may refer to a phrase or a section of movement with any recognizable to them made up label, but then they get down to this more common language from Laban. The note from the choreographer may be, "the movement needs to be more indirect" or “this is a dab, not a flick; it's press, not wring at this moment".

Seeing dance, one might wonder how the dancers remember the movement and how or where it came from, and once there, how is it crafted into what we see. The process is one of experiment, extruding and winnowing, and it has its own language. Release is not relax; textures are created, intimacies described and reworked. That punch or that sinking you might feel in your gut when you watch dance has been carefully crafted to elicit that response and the language has moved on from tendu and entrechat.
This is part of the reason I am well prepared to see ballet relegated to museum status. The language of ballet, though it is often where we begin, is old and outdated -- historic. I think we don't speak that language anymore--that 18th, 19th century movement language. Think about it; when you go to see the ballet, you have to have read the story and even then it may be difficult for a "civilian" to follow. The system requires dancers to begin their careers instead of having an extended education on dancemaking (usually college programs), so they are not trained and instead string together steps and movements seen in other work struggling to get to something interesting without a lexicon of movement passionately access from within their own movement libraries and with little language to use to craft what they have produced. The permutations on what is in the ballet lexicon may have reached its end.
So OK, let us continue to see great touring productions of Swan Lake from time to time, just as we still love to hear Mozart, but let us also stop trying to make "new ballets" and get on with what has been modern for almost a century. Today's innovators have accessed a wider lexicon and updated how they convey concepts that reflect our world, not a fairy world or a world of courts and royalty. We don't live there anymore. It is interesting from a historical aspect, but the artists of today need our support, and we need to experience what they have to express about our world. Let's move on; it's time. These beautiful student dancers from the UK have moved on. Can we catch up to them?
Hat tip to: Susan Miller's blog

Wednesday, June 2, 2010