Performance Analysis Worksheet: Philadelphia Dance Experience i will make detail tomorrow morning , let me invite you first. Name _________________________

Performance Analysis Worksheet: Philadelphia Dance Experience i will make detail tomorrow morning , let me invite you first. Name _________________________________
Section_____
Date__________________________________
Performance Analysis Worksheet
Philadelphia Dance Experience
Directions
Answer the following questions in a separate document. Be thoughtful but succinct in your responses. Focus
on specifically and vividly describing the performance, accessing and building upon the movement vocabulary
you already possess. Spelling and grammar will count in the determination of your grade. You must cite any
outside sources including program notes, class readings, or outside research.
If this were an essay assignment:
Keep in mind that everything single thing cited here doesn’t necessarily have to be included in your piece. Be
mindful of the information’s relevancy in relation to what you’re describing. If it’s important to mention a
detail because of the impact it may have on the particular show you are writing about, by all means, include it!
In the instance of this assignment, you are actually detailing your answers, being sure you are correctly
responding to everything the question is asking.
1. What was the name of the dance company performing? Who was the chorographer?
2. When and where did the show take place?
3. What was the title of the show? If the show included more than one piece, what was the title of the piece
about which you will be writing?
4. What was the style or genre of the choreography? (ballet, modern, hip hop, jazz, etc.?) Support your claim
with evidence from the work and your existing knowledge of any dance forms.
5. Situate the choreographer’s work in terms of historical and cultural influences. You may refer to the
program notes and/or use outside sources to research the dance company or choreographer.
6. Describe: You may choose to focus on one or two sections of the dance work in responding to each of the
following questions.
•
How many dancers were on stage-was it a solo, duet, trio, or ensemble?
•
Describe the movement using evocative and vivid language. How did the dancers
use their bodies? What did the movement look like and how was it performed?
Address elements covered in class including body, shape, and effort qualities.
•
Describe the use of space in a particular section or throughout the performance.
•
Describe the music or sound. How did it relate to the movement or overall
theme?
•
Describe the lighting, costumes, set and/or props. How did these design
elements relate to the movement or overall theme?
•
How was the piece structured? How did it progress from beginning to end?
7. Interpret: What was the chorographer’s intention? What meaning did you see in the movement? What was
the overall theme of the work? Provide specific examples to support your interpretation of the work.
8. Make Connections: Relate your understanding of the performance to at least one of our class readings. You
may also reference class discussions or include additional outside research.
Technical Crew
Tobago. Her Embodiology practice and research into improvisation now
extend to working with scientists, medical doctors
, entrepreneurs who have
learned of the capabilities that improvisers have to collaborate, invent and
navigate life wholesomely
, Publications include: “A Hybrid Neo-African
Improvisation-as-Performance Practice Distinguished by Dynamic Rhythm,”
is forthcoming in The Oxford Handbook of Improvisation in Dance, edited by
Vida Midgelow, and Routledge published an introductory iteration of its
grounding concepts in a chapter entitled, “Just after the Pulse, Rhythm
Takes All: The Inside Habitat of Improvisation,” in British Dance, Black
Routes, edited by Christy Adair and Ramsay Burt (2016).
Stage Manager:
Crew:
Alyssa Kennedy
Makayla Peterson, Cierra Woods, Peyton Eidle,
Campbell Tosney, Asha Yates
Temple University Department of Dance
The dance department has just celebrated its fortieth year and is proud of its
four programs, renowned faculty and outstanding students. The department’s
four programs are the BFA, MFA, MA and Ph.D. Overall, the department
serves 150 committed students and some 250 non-majors. The Temple dance
department is unique in that it addresses issues of diversity both in course
content and faculty members. As scholars, artists, teachers and choreographers,
the faculty challenges students to become artistic, creative and intellectual
participants in the university, local, national and international communities.
Originally from the UK, Wray was a leading member of premier dance
companies: London Contemporary Dance Theatre and Rambert Dance
Company; moreover, she is also widely known for her role as performer and
custodian of Harmonica Breakdown (1938), choreographed by Jane Dudley.
She also founded JazzXchange Music and Dance Company. Her
international career as a choreographer and director includes collaborations
with artists from the fields of music, theatre and dance; to mention a few
would include: Wynton Marsalis, Bobby McFerrin, Gary Crosby, MBE, Zoe
Rahman and Julian Joseph, OBE, Gary Crosby, MBE, Dr. Mojisola
Adebayo and Derek Bermel. She has been invited to conduct residencies at
the Royal Opera House, London, South Bank Centre, London, The Center
National de Danse, Paris, and the Atlantic Center for the Arts, Florida. Her
improvisation praxis also reaches into digital domains, upon receiving the
UK’s National Endowment for Science Technology and the Arts Fellowship
she co-created the award-winning Texterritory, an interactive cell phone-
based performance platform which allows the audience to shape the
unfolding narrative. She is the artistic director of JazzXchange and Associate
Professor of Dance at the University of California, Irvine.
Dr. Robert T. Stroker, Dean
Dr. Karen Bond, Chair, Dance Department
Laurie Benoit, Associate Director of Dance Production
The Temple University Dance Department is a member of the National Dance
Education Organization and the American College Dance Festival Association. It is
a fully accredited member of the National Association of Schools of Dance.
Department of Dance Office Staff
Gloria Scott, Administrative Coordinator
Norma Porter, Admissions and Recruitment Coordinator
Audience photography and video recording is prohibited during the show
for the safety of the performers and as a courtesy to audience members and
in compliance with copyright law.
Restrooms – located on the 3rd floor, Conwell Hall
Public Telephones – located on the ground floor, Conwell Hall
Takako Vs. 9 Lives
Choreographer:
Performers:
Music
Laura Katz Rizzo
Laura Katz Rizzo, Sun Mi Cho
Original score by Tim Korn, Dungeon Beach
Studios
Closet Champion (Kate Nickerson)
Lauren Wolkstein
Fractal is a mathematical term that denotes repetition on various
expanded or diminutive scales. They exist in both natural and
human-rendered forms, including plant-life, architecture and within
the human body’s organs. Ethnomathematician Ron Eglash
discovered fractal abundantly in African societies, finding a diversity
of manifestations ranging from the structure of a village to braided
hair designs.
Costumes Design:
Director:
а
A screen dance that juxtaposes classical ballet and masked professional
wrestling in the lucha libre style. This film uses a hybrid dance language and
multiple camera perspectives to create a three-act pas de deux/ three round
wrestling match. The choreography, performed to an original score, draws
from professional wrestling, classical ballet, comic books and Japanese
manga. The action follows a mythological narrative, with characters
behaving according to codes employed in Greek mythology, fairy tales and
commedia dell’arte. A battle unfolds, reflecting the interconnectedness of
love and violence, beauty and monstrosity, strength and vulnerability.
Of J. S. Bach, I have chosen to use his joyful music, for the very first
time in actuality. My relationship to it has not been dissimilar to
experiences working with jazz, minimalist or other music grounded
by tonally rich percussion. In a book about Bach’s music I found
curious passage pertaining to rhythm, and as a result I have been
inspired to challenge its implications. The introduction to Dance
and the Music of JS Bach, by Little and Jenne (2001) reads, “As a
personal word of advice, we urge readers to not intellectualize
rhythm. Many problems arise when rhythm is analyzed as a thing to
be understood by the mind” (Little & Jenne, 2001).
Special Thanks to Dr. Kariamu Welsh, Prof. Merian Soto, Dr. Mark
Franco, Scott Park, Dr. Karen Bond, Dr. Sherril Dodds and Dr. Brenda
Dixon Gottschild.
Fractally Speaking, Ties Are Bound
Choreographer: S. Ama Wray
Performers:
Ama Ma’at Gora, Ashley “Peanut” Johnson,
Enya-Kalia Jordan, Felicity Layton, Amelia
Martinez, Marine de Mazancourt, Tanagna
“Princess” Payne, Rachel DeForrest Repinz,
Surya Swilley, Cierra Woods
Music:
Edited and remixed by Viveen Wray
J.S. Bach – Brandenburg Concerto No. 6 in B-flat
Major, Suite for Orchestra No. 2 in B Minor for
Flute, Magnificat in D Major
Michael Veal – I.K.E. (Inter-African K-Fun
Extravaganza), A Vanquished but Unsubjugated
District
Fela Kuti – Shakara
Costume Design: Laura Barron
Lighting Design: Laurie Benoit
Rehearsal Assistant:
Wangbo Zhu
The use of photographic, audio, and video recording is not permitted.
Please turn off all cell phones and pagers.
Two hundred forty third and two hundred forty-fourth performances of the 2018-2019 season
About the Artists
Laura Katz Rizzo holds a BA in History and English, an Ed. M. in Dance,
and a Ph. D. in Dance and Women’s Studies. She has performed with
several ballet and contemporary dance companies, and as an independent
performer and choreographer. She has recently presented her choreography
at The Outlet Dance Project (N), The In Hale Performance Series (PA),
The Small Plates Choreography Festival (VA) and The Jennifer Muller/The
Works Presenting Series (NY). Her screen dance, Takako Vs. 9 Lives, made
in collaboration with filmmaker Lauren Wolkstein, has been selected and
screened at various film festivals across the world including: The Frame
Light Festival (London), The Guiar Screendance International Festival
(Brazil), The InShadow Lisbon Screen Dance Festival (Portugal), and the
Cucalorus Film Festival (North Carolina). She is author of “Dancing the
Fairy Tale: Producing and Performing “The Sleeping Beauty” (Temple University
Press, 2015), and many other publications. She has studied with Maria
Tallchief, Sonia Arova, Tensia Fonseca and Margarita De Saa. An
experienced teacher of ballet, certified in American Ballet Theatre’s
National Training Curriculum, she has delivered master classes at dance
institutions worldwide. Currently an assistant professor in Temple
University’s Department of Dance, she has also taught at Bryn Mawr
College, Mount Holyoke College, Drexel University, the Pennsylvania
Academy of Ballet, The CHI Movement Arts Center, as well as for the
Pennsylvania Ballet in their Dance Chance Community Education and
Outreach Program
practice of dance manifests in lush works of poetic sensibility that The
New York Times says, “create and inhabit worlds of their own.” Lin draws upon
multicultural insights from his ongoing research throughout Asia, creating
a personal movement language that is an unexpected hybrid between
Western and Eastern cultures, suffused with strong spiritual
underpinnings. KYL/D has performed around the world, including at the
Tanzmesse International Dance Festival (Dusseldorf), Busan International
Dance Festival (Korea), Jogia International and Asia Tri festivals
(Indonesia), Festival Internacional de Danza in Queretaro (Mexico),
Victoria Theatre (Singapore), Hsinchu Performing Arts Center (Taiwan).
In the U.S., KYL/D has performed at Lincoln Center Out of Doors
Festival, Interlochen Festival, Columbia Festival, Kaatsbaan International
Dance, Jacob’s Pillow, Dancing in the Streets Festival, the Painted Bride
Art Center, the Annenberg Center, the Kimmel Center, the Forrest
Theater, the Philadelphia Museum of Art, the Barnes Foundation, and
Philadelphia’s City Hall. KYL/D has been supported by numerous funders
including the National Endowment for the Arts (NEA), the Jerome
Robbins Foundation, the Pew Center for Arts & Heritage, the William
Penn Foundation and a USArtists International grant from MidAtlantic
Arts Foundation, as well as support from the U.S. Department of State.
See KYL/D’s HOME Season at Annenberg Center Live April 12-13, 2019.
kyld.org
creator
Dancer, choreographer, video & improvisation artist, Merián Soto, is the
of somatic aesthetic movement practices and creative
methodologies, Branch Dancing and Modal Practice. She has a 40+ year
career in dance and performa
nance that affirms the creative power and
wisdom of the dancing body in time/place. Soto is Professor in the Esther
Boyer College of Music & Dance at Temple University, and is Curator of
the Reflection/Response Choreographic Commission. She is a 2019
United States Artists Doris Duke Fellow in Dance and the recipient of
Temple University’s Faculty Award for Creative Achievement. Her writings
on dance have been published in Choreographic Practices, Heresies Magazine,
Movement Research Journal, and Contact Quarterly.
dance expression.
Kun-Yang Lin (Professor, Artistic Director of KYL/D) has been called “an
extraordinary dancer” (NY Times), “theatrical visionary…outstanding
choreographer” (Philadelphia Inquirer). Lin’s devotion to artistic excellence,
movement research and commitment to education and community inspired
him to found the CHI MAC, described by Gov. Rendell as “a place where
the entire Philadelphia community can experience the art multicultural creative
In 2009, Lin was named “Artist of the City” for his
outstanding contributions to the arts and culture of Philadelphia. In 2010,
the Mayor of HsinChu named him “Pride of the City” for his cultivation of
artistic excellence and in 2011 he was named one of Philadelphia’s
“Creative Connectors.” Lin’s choreography, described as “deeply spiritual
,
remarkable” (Dance Magazine), has been presented throughout the United
States and abroad. Lin was awarded a 2013 Independence Foundation
Fellowship to conduct research in Taiwan and Indonesia. His dance
company Kun-Yang Lin/Dancers (KYL/D) is an extension of his continuing
mentorship of his students and the vehicle for sharing his teaching and
research work with the global community. Hailed for its superbly trained
dancers and inventive choreography, KYL/D probes at the limits of
national identity. Drawing upon Eastern philosophies while expanding
the perimeter of contemporary dance, Artistic Director Lin’s zen-inspired
Dr. S. Ama Wray is the creator of Embodiology®, a practical strategy,
replete with techniques for skill development, to discover and sustain a
vibrant creative life-force that can be utilized in the professional or private
space. She received an Emerging Scholar Award from the International
Comparative & International Education Society in 2018 for this work. She
completed her PhD at the University of Surrey, developing the practical and
theoretical landscape that is Embodiology®. She demonstrates how her
movement inspires her mind in her TEDx Talk entitled, Bodily Steps to
Innovation. Institutions seeking her expertise to demystify improvisation and
creativity include: The University of Wisconsin-Madison, Temple
University, Florida International University, Middlesex University,
University of Ghana, Legon and New Waves Institute, Trinidad and
Center for the Performing and Cinematic Arts
Boyer College of Music and Dance
Dance Faculty
Concert
Featuring work by Laura Katz Rizzo,
Kun-Yang Lin, and Merián Soto with
guest artist S. Ama Wray
The Boyer College of Music and Dance is part of the Center for the Performing and Cinematic Arts at
Temple University, along with the School of Theater, Film and Media Arts. If you would like to receive
Boyer College’s weekly e-blast or be added to its mailing list, please email Boyerlist@temple.edu.
facebook.com/boyercollege
Instagram: @boyercollege
Friday, February 1, 2019• 7:30 PM
Saturday, February 2, 2019•7:30 PM
Conwell Dance Theater, 5th Floor
1801 N. Broad Street
Philadelphia, PA 19122
T T TEMPLE
T TEMPLE
temple.edu/boyer
UNIVERSITY
UNIVERSITY
Program
You See What You See
Concept, Direction
& Video:
Performers:
Merian Soto
Prudence Amsden, Megan Bridge, Merián
Soto, Muyu Yuan Ruba, Wangbo Zhu
Laurie Benoit
Lighting Design:
2 Ras Tonem Berakah: E=MC2
Choreographer:
Performers:
VUOS OS
Musician:
Music:
Laura Katz Rizzo
Erin Gallagher, Laura Katz Rizzo, Marina
Kec, Blythe Smith
Noah Farber
Johann Sebastian Bach, Partita No. 1 in B-
Flat Major, BWV, 825 (Allemande, Menuet I
& II, Corrente, Giga)
Laura Katz Rizzo
Laurie Benoit
Costumes Design:
Lighting Design:
“If you want to find the secrets of the universe, think in terms of energy,
frequency and vibration.” -Nicola Tesla
3
Dreamscape
Choreographer: Kun-Yang Lin
Performers:
Barbara Craig, Ani Gavino, Weiwei Ma,
Frankie Markocki, Kyan Namazi, Keila Perez-
Vega and Grace Stern
Music:
Daniel Rhode
Costumer Designer: Cat O’Callaghan
Lighting Design: Stephen Petrilli
Intermission

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