The Joy of Queer Art in an Anti-Trans State

On Thursday night this last week, Salt Lake City got a big dose of queer and trans celebration from Sean Dorsey Dance Company at Kingsbury Hall. It was an evening of vignettes performed by five nonbinary and masculine-presenting dancers that touched on stories of divinity, community, pleasure, and self. The work was accompanied by spoken narrative that has stuck with me since that night, “You are longing given a body… Who made you small? What do they get from this? When did you forget?... We are made of stardust… The earth is sacred and so am I… Letting ourselves enjoy pleasure is revolutionary, want to start a revolution with me?”

One of the first sections was a solo accompanied with spoken word that helped to establish a vocabulary for movements which were repeated throughout the work. The circling of the arms like rolling up a blanket became associated with creative energy, a more intricate gesture of tapping the hands down the body with only thumbs and pinkies extended became a symbol of unconditional love, pulling hands from the chest represented the longing that comes from deep within each of us and started in the cores of the stars that created our atoms — which Sean reminded us at one point in the show is very poetic, but it’s also true. 

Photo by Lydia Daniller.

These gestures arose and dissolved from sweeping, spinning dances by the group, often augmented by long skirts that added to the effective beauty of these sections. The smooth partnering and interwoven pathways revealed a deep sense of connection between the performers and offered a glimpse into what more interdependent community might feel like in a world that is so focused on individualism.

The moments that have stayed with me the most, however, were the intimate duets that repeated a few times throughout the work. One dancer stood behind the other, at first in an embrace, and then beginning to guide their partner through circling, soft gestures in the arms, at times revisiting some of the common vocabulary of love, creation, and longing. It seemed to me that the leading dancer was softly reminding their partner how expansive they are, how to dream, and how to create. I found myself reflecting on the relationships in my life that help me trust myself more deeply and connect me to the wonder that is being alive. That kind of support is something we all need throughout our lives and it's something that my queer community especially has a lot of practice in doing for each other.

In a state that has been increasingly targeting trans and queer bodies, this performance was a breath of freedom. The dancing was beautiful and accessible, each section was fully developed but short enough that I never lost interest. The story was vital to counter the fear and constriction that has been present in my body since the election and replace some of it with openness, expansion, trust, and wonder. Thank you, to Utah Presents, for bringing art that bolsters our community and turns us towards collective liberation.

Kara Komarnitsky grew up in Salt Lake City and recently graduated with a BFA in Dance from Ohio State University with minors in Environmental Science and Business. Her work approaches the complexity of human interconnection with the planet, pulling inspiration from the natural world and environmental research. While her primary medium is dance, Kara regularly uses projections, film, sound, and interactive technology to create immersive performance experiences. Her piece Tales of the Deep (2018) recently won third place in the Midwest Climate Summit’s Climate Stories Competition and her thesis, Interconnect (2022), received an Honorable Mention at the OSU Denman Research Forum 2022. Other places her work has been presented includes the OSU Student Concert, OSU BFA Showcase, and the Ohio Dance Festival Professional Concert.

Another view of the show from our loveDANCEmore intern, Allison Shafter:

Sean Dorsey continues to amaze with The Lost Art of Dreaming, performed at the Kingsbury Theatre on November 21. Dorsey’s work inspires a sigh of relief; the show acting as a symbol that trans art will continue to persist amongst an uncertain political future. Blends of theatricality, partnering, elegance, and comedy created an atmosphere that was ever changing, yet grounded in its existence. The work is described by Dorsey as both  “a spell” and an avenue to “reclaim, remember, conjure, co-create and manifest OUR BIRTHRIGHT”. 

Dorsey, an Emmy award winning choreographer, is known to amplify queer and trans experiences within his works. The Lost Art of Dreaming is no different. The message of the show, one of acceptance, reclaiming, and love is made accessible to the audience. The use of spoken word is expertly applied throughout the pieces. Vocalizations inspire and complement the dancing, guiding audiences through their own interpretations of the night. Original songs performed by Dorsey further aid audiences in this exploration.

Kingsbury Theater observed the production in awe. Intricate gestural work becomes a staple of the show. These gestures are contrasted with expansive movements that build a whimsical world onstage. Constant motion and fluidity perfectly illustrate the show’s title. The dream-like environment is supported by an incredible sound score. Some of my personal favorite compositions came from Anomie Belle, their work transforming the stage from marley to water, with strings that mimic ripples and waves. The illusion is furthered with continuous motion from the dancers. Architectural shapes sway back and forth before disintegrating into new movement patterns. The Lost Art of Dreaming appears as a work retrieved from the ocean.

Repetition in the choreography is expertly crafted throughout, with the building and crumbling of shapes and textures resulting in stunning visuals. Unison sections are crisp with power and physicality. Duets fold and unfold beautifully with a quiet intimacy and trust between the dancers. Additionally, whacking technique, known for its origination within queer spaces, is utilized with a stand out performance from Brandon Graham. Further stand out moments come from dancer Nol Simonse as he approaches the other dancers draped in fabric that begins to cover their lower bodies. 

While tackling emotional topics, lightheartedness is interwoven. Audiences cheered and laughed as dancer Héctor Jaime offered a light tonal shift to the piece with a comedic monologue and theatrical solo. Messages of “JOY” are perhaps most pronounced within this section with cheers, gasps, and laughs traveling from the crowd. 

In the second half, I AM THE OCEAN, sung by Dorsey, accompanies soloist David Le. Vocals both complement and contrast Le’s movement, developing an intriguing relationship between speech and dance. Ideas of dreaming and reality become more intertwined with the work's introduction of scientific theory. Dorsey recalls the Big Bang Theory stating that “we are all made of stardust.” The work ties the creation of both the dancers and audience members to the same stars. This encouraged me to consider that the inception of the universe is as unpredictable and explosive as its present. Through all the chaos, there is a strange comfort in the wonder that we all come from the same act of chance. 

The finale piece featured the stunning silhouettes that appeared on the show’s promotional materials. The production’s dreamy quality is perhaps most pronounced in this final number. Its choreography leaves audiences to contemplate how the second half of the production mimicked and built upon the first. Movement of the dancers slowly dissipated but their energy seemed to project even further in the moments before a black out. The theater erupted with a standing ovation to Dorsey’s work and its advocacy for queer art, belonging, and acceptance. Dorsey made a point to thank Utah Presents, stating that they were one of the first organizations to support a showing of the work. I strongly recommend seeing The Lost Art of Dreaming if you get the chance. It was a beautiful night. 

Allison Shafter is the 2024-25 loveDANCEmore intern.

A Bharatanatyam exploration of rivers and seas

From Cauvery to Colorado – A River Runs Through It was a captivating exploration of rivers through Bharatanatyam, a classical Indian dance style that blends intricate movements with storytelling. Performed at the Leona Wagner Black Box Theatre on September 13 and 14, the program spanned cultures and continents, drawing connections between rivers like the Ganges, the Cauvery, the Colorado, and even our very own Great Salt Lake.

Bharatanatyam, the dance form at the heart of the performance, is known for its expressive hand gestures, precise footwork, and powerful storytelling. The choreographer has deep roots in the Kalakshetra tradition of Bharatanatyam, which is known for its elegance and spirituality. What makes Bharatanatyam special in this performance is the way it uses movement to tell stories, often from mythology. The work beautifully bridged ancient traditions and contemporary environmental concerns. 

The opening, “Incipience – Benediction,” was a simple but reverent homage to the elements, particularly water. The dancers’ movements reflected a deep connection to nature, setting the tone for the rest of the evening. “Ganga – An Origin Story” followed, illustrating the mythological tale of the Ganges River. The cast moved with fluidity and grace, representing the river goddess Ganga’s divine descent to earth. It was easy to follow the narrative, even without prior knowledge of the story, thanks to the clarity of the movement and the performers’ expression.

“Cauvery Calling” was a twenty-minute section that used canon (a choreographic device where the same movement is repeated by different dancers in a staggered sequence) to depict the river’s journey through southern India. The dancers evoked the flow of the river with fluid arm movements, while sound effects of rushing water provided a rich audio landscape. 

A standout piece for me was “Colorado – Dam Nation,” which focused on the damming of the Colorado River. The choreography mirrored the river being split apart by dams, with sharp, fragmented movements. In depicting the Hoover Dam, this section highlighted the shift from viewing dams as marvels of engineering to recognizing their ecological consequences, which felt timely and relevant. 

The most personal moment for me was the final piece, “Once We Had Everything… Ode to the Great Salt Lake.” The dancers beautifully portrayed the grandeur of what the lake once was, and their movements poignantly depicted its slow disappearance. The dance conveyed the environmental challenges our region faces in a way that was both emotional and visually striking. This piece was my favorite, as it felt like a tribute to the natural world we are rapidly losing.

Throughout the performance, I appreciated how clearly each story was told. Dance can sometimes be abstract, but this program provided just the right amount of context so that I could engage with the narrative while still enjoying the interpretive nature of Bharatanatyam’s movement language. The sound effects, especially the water and machinery used to illustrate the dams, added another layer to the experience, making it both visually and aurally immersive. Cauvery to Colorado was not only a journey through rivers but also a reminder of their vital role in our lives and the ongoing environmental challenges they face. It was a meaningful, engaging performance that used the rich tradition of Bharatanatyam to connect us to stories both ancient and modern.

Shelby Strickler's dance journey began in Baltimore, Maryland. Having graduated with a BFA in Modern Dance from the University of Utah in December 2023, she is a performer and teacher in Salt Lake City, passionately sharing her love for dance.

A gut-punching, evocative exploration

Mythili Prakash and her ensemble performed She is Auspicious on the evening of September 8 at the Jeanne Wagner Theatre, under the auspices of Utah Presents and Nitya Nritya Foundation. To the terms “avant-garde,” “bold,” and “original” used to describe Mythili Prakash's production, I would add “candid” and “forthright” to capture the essence of her performance.

As the lights slowly fade in, the audience witnesses Mythili balancing effortlessly on a low platform under a makeshift marquee as a montage of movements evoke the eight-armed Goddess Durga. She assumes the character of the sculptor judging the results of his work. He shapes her eyes, her breasts, her waist line, and stands back to adjust a curve here, a line there, and to look at his own creation. With this simple metaphor Mythili draws a parallel that for centuries women have been unconsciously shaped by patriarchal mythologies. The dancer is starkly attired, no jewelry in sight, eschewing even earrings. She wears a white cotton practice sari draped simply (in pronounced departure from the usual Bharatanatyam performance aesthetic) — a powerful statement in and of itself.

Completed as a sculpture, this Goddess steps off the pedestal…

Photos by Chuck Bigger.

Down into the real world which worships Her and celebrates Her, adores Her and bows down to Her — but simultaneously we see the struggles to be a mother, a wife, a woman. A vignette that stayed with me was the gradual morphing of the desperate mother who almost loses control attempting to calm her child, then regains composure, lulls her child to sleep in a cradle. Slowly the rocking hand transforms, displaying unabashed desire coursing through Her body… and then yet again to Goddess, warrior, woman defending herself and others. The subtle changes of body language and expression and the small intuitive details that she embodies completely and effectively transmit the story of Her transformation, and are a mark of the artist's virtuosity. The minimal use of hand gestures (Pathaakam/Kuvicha Pathaakam) transformed ever so subtly from a soft-petalled lotus to sword-wielding, to gestures of intimacy and yearning, to a benediction, a shield, a protective hand, a nurturing hand… It was hypnotic, unerringly eloquent, riveting. By the end of that sequence this author was bawling.

Justice in her core and shoulder sheathed in valor
Thus imbued is She, a gracious gem.
Our many woes fragile like flammable cotton
Her mere glance sets ablaze.
Vanquishing hate, hostility and enmity
O' people around the world
Proclaim your surrender to Her hallowed name
Sakthi Om Sakthi Om Sakthi Om

Above is a translation of the first stanza of a beautiful poem by Tamil poet Subramanya Bharathi in praise of the Goddess. The singing was unadorned like the dancer, and thus all the more poignant. When the words Sakthi Om rang out, I could discern glimpses of devotional surrender, juxtaposed against the forces of worldly resistance like a tug of war between the roles of a mother and a wife, of a devotee, and a distraught, overburdened woman.

The main inspiration for the lyrics of this piece is Mathe Malayadwaja — a gorgeous Daru Varnam composition that praises and highlights the dichotomies embodied by the Goddess as a mother and a daughter, as a slender sylph who is fiercely combatant, and as the dark-skinned central light of the universe. 

The all female ensemble of musicians and other dancers now make their way onto the stage, as the ladies decorate the marquee, the floor in front, sing praises of the Goddess and celebrate Her. Her hand is held out in blessing. Then the process of change begins - she is hidden from view and when she reappears it is as a sparsely adorned figure, but adorned nevertheless and in traditional Bharatanatyam attire. As the Goddess prepares to be paraded amongst the celebrants, her role as a mother suddenly intervenes. She must resolve conflicts amongst her sparring children, one hungry for food, the other for attention, unwilling to let their mother go until they fall asleep. After she addresses their demands, She is finally ready, one is compelled to wonder, Where is the father amongst all this chaos? While She is desperately balancing her duties — and the desperation was visible — the blurring of lines between Goddess, mother, and woman were paradoxically clear and unmistakable. 

This Goddess finally steps forth, and a seemingly male figure beckons her to ascend her pedestal once again. Ascend She does, but to reject the embellishments and to morph with fury into an avenging warrior, unrelentingly fierce and razor focussed on the destruction of all evil... The energy of this section was electrifying and palpable throughout, with the other dancers giving an ever stronger, ever faster rhythmic drumming on the stage floor, on the sides of the movable garment rack that were used as a prop on the stage. Here the performance of the rest of the ensemble becomes absurdist, subverting our aesthetic expectations. The accompanying dancers became increasingly agitated and frenzied on stage, as though possessed perhaps to reflect the inner state of the Goddess who wreaks havoc on evil, but has uncontrollable rage in the process. The destruction She wrought is manifested on stage by the physical collapse of the marquee executed by the ensemble. Many members of the audience seemed entertained by the discordant scene on stage, and therein was the incongruity of the moment, where I perceived the effect to be potentially disjoint from the intent.

A primal scream comes forth from the Goddess and finally She rests amidst the wreckage, with just a physical manifestation of her pulse, the way a pair of defibrillator paddles would restore a heartbeat. I felt all our hearts thud in unison with this supine being, willing Her to return to us. And return to us She did... with a glance that at once, asked and answered, confirmed and denied, and challenged and accepted all that we expect from a Goddess, a mother, a wife, a woman..

I think I held my breath for a large part of the show. So electric is Mythili's presence, such utter conviction and character emanating from her bones, so completely overwhelming is her honesty that every second of the seventy minute performance I cannot but be utterly entranced. 

Srilatha Singh is the artistic director of Chitrakaavya Dance. She has a Ph.D in Mathematics in three-manifold topology, which deals with geometry of spaces; the same fascination with geometry is imbued in her passion for Indian Classical Dance. Trained in Bharatanatyam, primarily the Kalakshetra tradition, from eminent gurus Shri Dhananjayan, Guru Kalyani Shekhar and Smt Ambica Buch, in her youth in India, she continually refreshes her training and has facilitated and attended workshops with artistes of international repute such as Bijayini Satpathy, Praveen Kumar, Janaki Rangarajan, and Shankar Kandasamy. She enjoys choreographing to new and unexplored themes, teaching and presenting history, mythology, rhythm, mathematics, poetry and theater, all through the medium of Bharatanatyam. Her interests lie in questions of historically re-interpreted classicism, and contextualizing the evolution of this art form as well as its relevance to contemporary identity. As a member of the Utah Presents Advisory Board, she participates in cross-cultural conversations that inspire her artistic investigations. She has guest-taught Bharatanatyam at the Snow College Convocation Series, and master classes at Weber State University, University of Utah, Westminster College, Utah Valley University amongst local institutions. She has  performed in a multitude of venues and cultural festivals including Living Traditions, Ring around the Rose, Living Legacy Community, and International Day Festival, among other events.

Playground's second year

The second year of Playground Dance Project was a hilarious and inspiring success. Last night’s show included five choreographers and 15 dancers who created new works in just eight hours, each of them unique, creative, and playful.

Photos by Todd Collins.

Where Were We by Steven Chodoriwsky was spacious and silly, the repetition of the score created a sense of character without being attached to a linear storyline. Played over the movement was a recording of voices speaking from a rehearsal, adding an additional layer of insight into what the dancers were exploring and investigating. When the dancers on stage began to speak to us, to each other, and to themselves I found myself and the rest of the audience laughing at the narrative that was revealed. In what other scenario would give ourselves the task of pushing through two hugging bodies? In what space other than dance would we drag each other across the floor and call it a train?

¿Y Ahora Qué? by Bianca Calderon featured Latin music and movement motifs that began in a dramatic and curious setting, then developed into something more celebratory by the second section. The dancers frequently brought their palms towards their faces and heads, as if looking in a mirror or pondering a memory. The motif that sticks with me from this work was Masio Sangster’s screaming/shaking moment that repeated in different contexts throughout, sometimes reading as anger, frustration, excitement, or joy. For me, this informed my understanding of the dancers’ relationship to the Latin movement vocabulary as one that changed and shifted over time and could hold many emotions at once.

Blasé Girl(s) by Xochitl Marquez was ridiculous and unexpected. The performers’ commitment really sold the shaking, pumping, sometimes sexual movement that was matched with high energy music. The creative use of clothing drew more laugher from myself and the rest of the audience for an explosively joyful experience.

Lanu O Fa’asinomaga by LaGrande Lolo was a deconstruction of traditional hula movement paired with tense, powerful music and lighting that showed off the musculature of the dancers. The repeating gesture of a hand pulling from the opposite shoulder through the heart and casting down to the side of the body made me wonder if the dancers were trying to take off their traditions, redefining for themselves the kind of women they wanted to be. As the dance concluded, the traditional music returned and each of the dancers responded very differently: one lay collapsed on the floor, one walked off towards the light, and one stood tall with open arms. I got the sense that their relationship to identity was continually changing and deeply personal.

Imagine if the Moon Was Theirs by Constance Anderson created a world of dream-like wonder for the audience that became real through the visceral textures and facial expressions of the dancers. We traveled through the night sky with the moon, we swallowed a dense weight and watched it move through the dancers’ bodies, we kicked and Kicked and kicKed and KICKED and *kicked* and kicked and kICKed. Everything was given just enough time to form a story and then strung together into a beautifully crafted voyage.

I want to congratulate Roxanne Gray for directing a space that was so welcoming and open-ended, we need more spaces like this to create art in Salt Lake. The whole evening was a drop of pure joy.

Kara Komarnitsky grew up in Salt Lake City and recently graduated with a BFA in Dance from Ohio State University with minors in Environmental Science and Business. Her work approaches the complexity of human interconnection with the planet, pulling inspiration from the natural world and environmental research. While her primary medium is dance, Kara regularly uses projections, film, sound, and interactive technology to create immersive performance experiences. Her piece Tales of the Deep (2018) recently won third place in the Midwest Climate Summit’s Climate Stories Competition and her thesis, Interconnect (2022), received an Honorable Mention at the OSU Denman Research Forum 2022. Other places her work has been presented includes the OSU Student Concert, OSU BFA Showcase, and the Ohio Dance Festival Professional Concert.

A dazzling spectacle of art and storytelling

Chitrakaavya’s recent Vasundhara wasn’t just a dance show; it was an electrifying fusion of art forms that left me spellbound and craving more. From the colorful costumes to the resonating jingles of bells on nimble feet, every element was meticulously crafted to enthrall and engage. The theme was a heartfelt ode to Gaia, celebrating the true sources of our wealth, wellbeing, and joy. It revolved around the Sanskrit word "vasundhara" — meaning mother earth — prompting profound reflection on how we honor our natural riches. 

Six captivating pieces made up the performance, each more compelling than the last. The opening number, Alarippu, set the stage with a traditional tribute to nature. Here, the dancers paid homage to rain, rivers, forests, and the vibrant tapestry of flora and fauna. It was a visual feast, and a reminder of the wealth we often overlook. Surya Kauthuvam followed, a spirited praise of the sun god, our ultimate benefactor. This piece began with a blinding spotlight aimed directly at the audience, casting the dancers into striking silhouettes. The vivid costumes in shades of yellow and orange perfectly mirrored the theme, evoking the blazing brilliance of the sun.

Photos by Bagi Chandrakasan.

The third piece, Cauvery, was an exquisite ode to the eponymous river revered in southern India. The dancers depicted the river's sacred journey, nourishing lands and sustaining life. Their hands morphed into birds, and their bodies flowed like water, creating a mesmerizing visual narrative. The emcee’s prelude to each segment enriched the experience, making the intricate choreography both easy to understand and deeply moving.

Next came a poignant dance inspired by a poem highlighting the adverse impacts of urbanization on tribal communities. This piece, stark and somber, contrasted sharply with the earlier celebrations. Dressed in white and blue, the dancers conveyed a narrative of loss and inquiry through expressive faces and evocative movements, compelling the audience to contemplate the costs of modernization.

The final performance was an exuberant celebration of monsoons, accompanied by a live harp player. The choreography was sheer brilliance, with dancers forming dynamic yet graceful shapes that mimicked the cascading rain. Their synchronized movements and long-held poses were a demonstration of both precision and artistry.

Every aspect of the evening was a testament to the dancers' extraordinary talent and the choreographers’ visionary creativity. The costumes were many colors, enhancing the visual appeal while the bells on the dancers' feet added a delightful auditory dimension to their rhythmic footwork.

Each piece, whether joyous or solemn, wove a narrative that was as engaging as it was profound. The storytelling was subtle yet effective, allowing the audience to follow along while marveling at the intricate, rhythmic movements. The dancers' seamless synchronization, the vivid costumes, the emotive expressions, and the powerful stories all came together to create a performance that was nothing short of spectacular. Chitrakaavya’s work is a masterful example of how art can transcend mere performance to become a medium of profound expression and reflection. 

Shelby Strickler's dance journey began in Baltimore, Maryland. Having graduated with a BFA in Modern Dance from the University of Utah in December 2023, she is a performer and teacher in Salt Lake City, passionately sharing her love for dance.