Performance Art Festival 2019 at the SLC Public Library

While I was seated on the second floor of the Salt Lake City Public Library, staring at paper shapes suspended from the railings of the “bridges” in the library’s main Urban Room, Joseph Ravens approached me and asked, “Do you mind if I join you? I need to just sit for a minute!” 

I had just watched Ravens travel from one end of the third floor bridge to the other with a playful energy, flirtatiously peering down, his fingers dancing across the railing, with a yellow dunce cap on his head. He now sat in the chair across from me, dropping turkey feathers that had been painted black over the edge of the balcony, one by one. 

“These were originally attached to my elbows but they came off. Sometimes I put them on my toes but that would have made it too hard to go up and down these stairs.” 

I took notes as he continued to tell me that repetition of simple tasks, like ascending and descending staircases, is a frequent device he uses in his art, that performance art is very popular where he lives (Chicago), and that he made the piece that I’d been admiring with children’s responses in mind. He eventually asked,  “Anyway, are you here for the Performance Art Festival or are you just hanging out?” 

I was shocked that he’d told me so much about himself and his art, unaware that I was taking notes for this review. Such an interaction reveals several qualities of an experienced performance artist: the ability to be adaptable and responsive to the present moment (He needed a break so he took a break! His feathers malfunctioned so he repurposed them!), the confidence to interact with strangers, and the awareness that some spectators of performance art want more information about what they’re witnessing so that they can “get it.”

Is making sense of what you’re seeing always necessary? Isn’t it invigorating to stumble upon the unusual in the midst of your predictable library experience, regardless of whether or not you understand what’s going on? 

I wondered this as I watched a group of University of Utah School of Dance students and alumni improvisationally dance to a soundtrack I couldn’t hear (they were wearing headphones) while a speaker intended for the audience’s ears played NPR’s “Wait Wait, Don’t Tell Me.” Seeing the smiles on the spectators’ faces as the dancers eventually took off their headphones, turned their attention to the crowd, and playfully bombarded us with countless balloons filled me with delight. 

As a choreographer and performer myself, I am keenly aware of how premeditated and alienating (and sometimes pretentious) dance performances can be, leaving spectators (or myself, at least) longing for inclusion, spontaneity, and surprise. This group provided just that. My favorite part of this performance was one of the dancer’s closing remarks: “It’s never over! Take a balloon!” 

Which brings me to one of the pillars of performance art: the exploration of time. 

I am a sucker for durational performance pieces that you will inevitably catch less than half of, because it’s rare to have six free hours to spend watching someone rearrange piles of glass-like particles. This was Chelsea Coon’s task. By the time I saw her, she had made three large circles of glass on the floor and was sitting in the center of them, transferring handfuls of leftover glass into clear bowls. A pool of sunlight illuminated the entire scene magically. Though I was mesmerized by her concentration and the calmness of the display, I knew I needed to catch a few other pieces that were scheduled to end soon. 

In a nearby room, Marilyn Arsem sat behind a table, poised like a fortune teller but helping passersby to recall their pasts instead of intuiting their futures. My love affair with all things nostalgia couldn’t resist her invitation to calculate how many days I’ve been alive (11,684 in case you’re curious) and then trying to recall the events of one of those days, which was selected blindly by pointing to a date in “101 Years: A Calendar Book.” I was very surprised that, with a series of calculated questions, Arsem was able to help me recover some very forgettable details of a Tuesday during my senior year of high school. I departed just as a child, born in 2013, exclaimed, “I’m old!” after being told his age in days (there was a collective cringe and then giggle from the adults in the room) and once again I found myself entranced by Coon, who had begun placing a fifth circle of glass around herself, just as focused and meditative as before. 

Other performances I saw, too many to describe each in detail, included asexual alien creatures performing reproductive dances, women dressed as men reciting poetry in soothing voices, and a woman taping blank sheets of loose leaf paper onto a wall as a reflection on dyslexia. To supplement this piece, I encourage you to visit the Festival’s lineup while it’s still available and to find the websites of all participating artists. The Festival’s founder and curator, Kristina Lenzi, has her finger on the pulse of some exciting artists and, as this is an annual event, I look forward to seeing what she puts together next year. 

Chelsea Coon (pictured six hours later than above photo) at the 2019 Performance Art Festival, in the Urban Room at the Salt Lake City Public Library. Photo by Paul Reynolds.

Alexandra Barbier is a dance artist and performance-maker. She is a modern dance MFA candidate at the University of Utah and has taught courses on creative process, queer performance art, and dance in culture.

Rire-Woodbury: Traces

Ririe-Woodbury Dance Company’s Traces includes a sharp, stylish duet by company artistic director Daniel Charon as a prelude and Ann Carlson’s evening-length “Elizabeth, the dance,” originally created for the company in 2017. My pet word is almost always “effective” when I critically appreciate and evaluate a production. But, regarding Carlson’s astounding “Elizabeth,” I find that the words sending me to the thesaurus are related to ‘“strength” -  strong choices, strong chemistry, and an overarching strong sense of deliberate purpose.

The focal point of the opening tableau in “Elizabeth, the dance” is a modular wall of dense foam blocks, each around two and a half feet square, that are stacked in rows of five or six. The company of six sits contemplating the blank, imposing structure. They proceed to launch individual full-body assaults on the wall, egged on by off-the-cuff verbal appraisal from their cohort. The wall gives way with a truly jarring crash and its constituent blocks are claimed, scattered, and repurposed by the dancers with intense motivation. This sequence presents a literal foundation, and also its figurative analogue. The theme is structure: obstruction, destruction, construction. These incredibly versatile blocks are later counterposed with light white balloons. Archetypal simplicity belies complexity of craft in “Elizabeth, the dance”; a textured collage of speech, movement, and sound proliferates within this elemental framework. 

Carlson drew directly from the lives and experiences of the dancers in the creation of this work, and the dancers embody it beautifully. Ririe-Woodbury Dance Company is thoughtfully peopled with distinctly virtuoso individuals who, together, have an incredible working chemistry. Their ensemble unison in silence was especially impressive. Some singular moments and images in “Elizabeth” stand out from the piece’s gestalt enactment of human endeavor: Melissa Younker is the first dancer to fully arrest the viewers’ attention, in a series of draping poses on a block pedestal with all the exaggerated static angularity and total living force of the classical statuary figures she invokes. A recording of Bashaun Williams telling a personal story is accompanied by William’s solo movement, which, though adept and sharp, left room to focus on the utterly compelling cadence and content of the narration. The dancers emerge and re-emerge from behind the wall in accumulating states of clown get-up, starkly breaking the aesthetic monochrome, and enact a furtive pants-tugging, crotch-rubbing, shiftily ambiguous probing of erogenous bits that hits the perfect note of discomfort and grotesquerie.

(From left to right) Bashaun Williams, Dominica Greene, Brian Nelson, and Melissa Younker of Ririe-Woodbury Dance Company in Ann Carlson’s “Elizabeth, the dance.” Photo by Stuart Ruckman.

Other moments of note deal more explicitly with the overarching theme of dance history and precedent and its patent impact on the lives of dancers. Clad in pointe shoes and tutu, Megan McCarthy executes bravura balletic movement, only to break against human impediments and collapse dramatically to the floor. The director stops the scene to redo the fall again and again, which McCarthy accomplishes not only with wit and intensity but also the blithe, performative deference demanded of a dancer receiving vague, disparaging rehearsal notes. In another vignette, newest company member Dominica Greene speaks directly to the problematic framing of historical legacy. Greene and two other dancers ascend and descend a block, draping their long black costumes in pan-Hellenistic toga fashion and striking the corresponding languid poses. They respond warily at first to unvoiced questions about unnamed forebear Isadora Duncan. The series culminates in Greene stating that this historical figure was a racist, that she prefers personally to look to the many women of color who innovated and originated modern dance, and, in an admission of confliction, acknowledges Duncan’s contribution to the field with the certainty that Greene would have been excluded from her work. In “Elizabeth,” the treatment of modern dance as subject never feels like an in-joke. Rather, it is explicit and integral, driving conflict and inquiry.

Watching “Elizabeth, the dance” reminded me both of reading Italo Calvino’s lectures on lightness and weight and of trying feverishly to stay awake through the hippo, crocodile, and ostrich ballet in Disney’s Fantasia. It made me consider the difference between intention and objective. We are often called on to appreciate and acknowledge the intention or internal process of a performance. But it is refreshing and exciting to be swept along with unremitting craft and purpose, with the sense that each artist is driven by a strong objective in every moment, and on a path of deliberate choices. The path here terminated in an on-stage popcorn party, so thoughtfully scaffolded and respectful of boundaries that I participated in it comfortably and gladly.

Ann Carlson has long-standing connections with the University of Utah and the founders of Ririe-Woodbury and has recently presented work for UtahPresents and the inaugural Dance West Fest. I fervently hope she will continue to create here in our community.

Ririe-Woodbury Dance Company’s Traces continues through September 28, with a family matinee and full-length evening performance, at the Rose Wagner Performing Arts Center.

(From left to right) Dominica Greene, Brian Nelson, and Melissa Younker of Ririe-Woodbury Dance Company in Ann Carlson’s “Elizabeth, the dance.” Photo by Stuart Ruckman.

Nora Price is a Milwaukee native living and working in Salt Lake City. She can be seen performing with Durian Durian, an art band that combines post-punk music and contemporary dance.

Brine Dance: Brine 5

Brine Dance, a Salt Lake City collective, presented its fifth annual concert at the Rose Wagner Performing Arts Center as part of Repertory Dance Theatre’s Link Series. Symmer Andrews, Ashley Creek, and Sara Pickett are the creatives behind the collective, and have co-directed and -produced its five concerts thus far. This year, Brine 5 presented four dances by five choreographers, purportedly to show "longer, more in-depth works… to give the audience the opportunity to experience [a] high caliber of choreography.” This model was a major departure from last year’s structure, which featured work by 18 choreographers split between two programs. 

The choreographers included Lauren Broadbent (a junior at the University of Utah), Mar Undag (recently of SALT II) and Daniel Do (of Repertory Dance Theatre), Portland-based artist Trevor Wilde, and dancer/director Rebecca Aneloski.

There was no question that the show was well-rehearsed; all dancers performed with extreme clarity and all work was clean and contained in a way that left little room for audience interpretation or nuance. The overarching physicality of the show alternated between precise, isolated gestures and simultaneous, whole body movements. 

Do and Undag’s collaboration resulted in “Permission To Be [VDSW],” a dance for four women. The women began in front of the show curtain, working with repetitive, direct gestures to the beat of the music, then proceeded onto the stage, the music oscillating between genres and moods. Indicated by the program notes, the dance aimed to demonstrate the power of the four women. Comprised primarily of overlapping solos and duets, the piece’s many entrances and exits allowed the dancers to change their various all-white costumes. The final image had the four women with their tops off, snapping to turn off the lights. 

Trevor Wilde’s piece, “Anotherwom(e)n,” utilized a door frame and a pile of red roses. The first solo spoke of a dark memory while a contemporary ballet sequence was performed. As a counterpoint, a second soloist leapt around the stage with a bouquet of roses as if in love. In a duet, the two dancers often mirrored one another, alternating silly faces and classical lines. The simple black dresses accentuated the leggy choreography. 

“TASTE,” by Rebecca Aneloski in collaboration with her performers, had a refreshingly clear identity. Flirty, floaty, and bizarre, the choreography employed nuance and spatial logic. The physical textures allowed characters to develop complex personal identities inside a distinctive world. Suspending time, condensing time, and other surprising timing choices added to the piece’s pleasure and satisfaction. “TASTE” evoked images of family structures and personal struggle. Aneloski crafted a series of overlapping tableaus with striking moments of reflection that I continue to reflect upon. 

“8.6.45,” choreographed by Lauren Broadbent, was the final piece, and one primarily driven by its music. Strong beats drove the dancers’ sharp gestures around a table and a bench. Hands were placed over eyes, mouths, and ears. The dancers occasionally assumed a formation to face the audience, moving through punching and slashing choreography, and then finished with a large piece of white fabric. 

Even as a reviewer, I am not completely certain of my role. I do not feel I am watching to determine whether something is “good,” or not - that is far too subjective of a decision, that I think is best left to each audience member. I do, however, have some questions about the dynamics of dance-making. Some are specific to this show, some specific to Salt Lake City, and some on a larger scale.

Why do choreographers make dances seemingly based on experiences that are not their own? Why do men choreograph dances with the expressed intent of highlighting the experiences of women? Why would a young choreographer make a dance about Hiroshima, an event that predates her by half a century? 

Why do dancers use voice on stage, and how does it relate to the physicality of the body? Did the artist(s)/producers obtain the proper licenses to play the music of Kendrick Lamar? Is it appropriate for four white women to perform to Lamar’s music? 

Did the producers have conversations with choreographers about problematic gender or music content? Did they address undeveloped dances? Did choreographers have opportunities to receive feedback from the producers, their peers, or other artists? 

Can a dance find an identity succinct enough to find multiplicity inside of that clarity? Why might a dance have enough content to fill multiple distinct works?

How does a community push the boundaries of a predominant movement aesthetic? 

How does a community create space for artists to take risks while also holding the entire community to high standards of craft and quality? 

It is important for there to be more independently produced shows like Brine 5 in Salt Lake City. 

But as we create more space, we should continue to ask questions of ourselves, our peers, our mentors, our collaborators, and those with the power to create more space. We may not agree upon the answer or the methods, but in the asking, we may create the possibility to discover the unimagined ways that dance can transform, heal, and connect communities. 

Originally from the Midwest, Hannah Fischer is currently pursuing her MFA at the University of Utah. She received an Individual Artist Grant through the Indiana Arts Commission in 2017 and was an Associate Artist-in-Residence at the Atlantic Center for the Arts in 2014.

UtahPresents: Ann Carlson's Doggie Hamlet

Go see Doggie Hamlet. It’s a rare event, and one that exemplifies what dance has to offer our species. Last night, I drove down Provo Canyon, from a conference I was attending in Midway, to the Salt Lake County Equestrian Park. Just to watch this dance. It reminded me: viewing dance – the rarified act of looking at other bodies and identifying with them – is an irreplaceable way of knowing. 

Those incredible mountains I’d just driven through lay there on their sides, bathing in the sun. The lawn was eerily verdant and flat. We sat on bleachers – like you do at a high school football game – staring at an arbitrary rectangle of grass. Dominica Greene, who you may know from Ririe-Woodbury Dance Company, climbed over a fence and a haystack to traipse casually across the long, heroic diagonal. She was wearing what looked like a wedding dress made of snakes. We never saw her again, but she was followed by Imre Hunter-To, who might have been a teenaged ranch hand. He waved toward a faraway road, and moments later several dozen sheep came bounding toward us from the inaudible distance. Dogs, a shepherd or two, and more dancers followed. 

Doggie Hamlet, the brainchild of choreographer Ann Carlson, is hard to describe because the action unfolds at a glacial pace – and yet there‘s always more to look at than you can really take in. You make choices. I spent a lot of time looking at Eph Jensen’s son, the middle-aged caretaker of his father’s flock, who stood still at the far corner of the field, an imposing icon with his cowboy hat, bright white shirt, and cane. (The program notes tell us that the Jensens are the only sheep outfit in Utah that still trails their ewes home each fall via a dedicated right-of-way in Box Elder County.)

Geese and airplanes cross the sky. The six human performers (including Diane Cox, the “onstage” shepherd) comprise a weather-beaten family.

One of many tableaux: the dancers call out for the dogs with a helpless enthusiasm. Their cries and useless flailing-of-limbs make the dogs’ connection with Cox seem like the epitome of ancient human-animal competence. Another image: our heroes dress up in sheep-drag and perform a gruesome Vaudeville number for their uninterested ungulate co-stars. As the night unfolds, the sheep themselves react very slowly to the rising temperature of inexplicable human behavior. The dogs do what dogs do. They labor to make sense of the social predicament. 

Ryan Tacata dances an entrancing solo with real or fake sign language that puts me in mind of the work of Francisca Benitez. Maniacal human-patriarch Peter Schmitz (more King Lear than Hamlet) invites us to sing. The dancers – yes! – but there’s always something else to look at. It’s not anthropology or narrative that lets us understand these humans, it’s what they look like next to the other animals who also run, leap, and stare. Periodically, we even find ourselves to be indifferent to the human concerns on display. We become like the sheep and the empty blue sky. 

Doggie Hamlet asks a lot of the audience. When we are not being sheep, we must work. We must accommodate several different frames, up to and including the valley in which we live. We must look at animals and people in various states of pain and confusion. A logic emerges, far outside of what a story can tell us. We learn something by imagining ourselves as a part of that grimy – dare I say, primitive – pack of humans. We learn something else through our aestheticized empathy with the dog who gets stepped on by a ewe. Another insight comes from watching how the flock acts as one slow-moving mind, but still makes room for the odd leaping soloist. The sun sets on all of us. The mountains turn azure and pink and the grass is still unnaturally green. 

Doggie Hamlet continues Saturday, September 14, at 6 p.m. at the Salt Lake County Equestrian Park.

Samuel Hanson is the editor and executive director of loveDANCEmore. 

Sugar Space presents Suite: Women Defining Space

This year’s performances of Suite: Women Defining Space showcased the work of Corinne Lohner, Haley Stassia, and Halie Bahr. The Suite series is dedicated to “support[ing] the creation and presentation of new work by women choreographers,” and is produced by Sugar Space Arts Warehouse through funding from Salt Lake County’s Zoo, Arts & Parks program. 

Corinne Lohner is a recent transplant to Salt Lake City via New York University’s Tisch School of the Arts. In “The Schema of Pretense,” she had Eliza Tappan and Ali Lorenz perform games of discordant make-believe and wrestle wildly amidst a landscape of hobby horses, play telephones, and tubby plastic chairs. Conceits flashed from “here are sixty-something ways to mount a horse,” to “pretend I’m dead and you find me and we had a tenuous relationship so there are things left unsaid,” to “what if we got a divorce” and “pretend I’m lonely, and you’re lonely but not as lonely as me.” Tappan in particular is very good at theater games. Her face and voice contort elastically, with the kind of calculated improvisational ease that only comes from possession of precise comedic timing and being very well-practiced. 

These small fantasies wound down to a long moment of empty, languishing quiet before exploding. The two worked themselves into a frenzy, rolling into each other and all over the room, whispering and shrieking and laughing hysterically. They wrestled like children, like puppies, with anarchy and a caustic seamlessness between tenderness and competition. As my companion at this show put it, “hugging or fighting?” is a format/question that tends to crop up regularly to better (or worse) effect. This time, I really liked it. The window into their intense intimacy broke open towards the end with a drastic lighting change, and from then on Tappan and Lorenz’s escalating hysterics became more and more distant, and almost off-putting. A feeling settled over both myself and my companion akin to the faintly disgusted boredom of being the only sober one at the end of the night, the jokes and secret pacts of friends having become inscrutably dumb and out of reach. 

“Unmasked Vignettes” was a series of alternating solos and duets, and a final trio. It was immediately obvious that this was the piece choreographed by SALT Contemporary Dance company member Haley Stassia. The familiar and popular style of contemporary dance neatly checked all its boxes right away (trace a line to its points, push against something and then undulate away, sweep a leg, meaningfully place your hand on various body parts, etc.). I enjoyed Edromar Undag’s well-executed opening solo, but felt my attention wander as the piece progressed against a soundscape of varied solo piano waltzes, its keyed-in devotion to musicality dampened by the chaotic traces of Lohner’s piece. 

Halie Bahr is an MFA candidate at the University of Utah, and her piece began as Stassia’s ended, with a walking pattern, this time with a larger group and for a longer duration. Bahr’s five dancers transitioned from walking to an across-the-floor combination that could have come from any modern technique class. The combination was repeated many times, with slight variations in movement and facings. A few times, the lights dimmed suddenly and someone would hold up a bright cellphone-flashlight-like beam on a dancer, who would thrash their limbs with heightened intensity. The movement, effects, and intent of the piece were hard to parse and stay engaged with consistently. I’m not sure that the cumulative effect Bahr was reaching for ever coalesced for me, although the piece moved dynamically and was performed very well. 

Emily Snow is a Denver native who now calls Salt Lake City home. She has most recently been seen performing with Municipal Ballet Co. and with Durian Durian, an art band that combines electronic music and postmodern dance.