Performances

FOR DETAILS ON THE SITE SPECIFIC TOUR ORDER AND LOCATIONS CLICK HERE!

Performances will be presented from dance artists working in a variety of genres including culturally specific styles. Works selected will be presented twice in a site-specific location, once in the Kennedy Theatre, or twice in the Earle Ernst Theatre (a less formal studio setting) during the week.

Site Specific Performances
(Thursday, July 30th & Friday, July 31)

Kennedy Theatre
(Tuesday, July 28th)

Earle Ernst Studio Theatre
(Monday, July 27th & Wednesday, July 29th)


Valerie Alpert - Performance - Tell a Secret"Tell A Secret"

Choreographer: Dr. Valerie Alpert, College of Lake County & Artistic Director of VADCO/Valerie Alpert Dance Co., USA
Performers: Matthew Kinney & André Santiago
Music: Armand Amar

Artist's Statement: Tell A Secret is about self-reflection. It embraces coming to a place where the ego no longer eludes the self. As a result, secrets are released from the soul and rejection turns into acceptance. The two male dancers represent one man coming face to face with himself.

Valerie Alpert is a native of Chicago and Artistic Director of VADCO/Valerie Alpert Dance Co. Before founding her company in 1991, Alpert toured with professional repertory dance companies in Chicago, Minneapolis, and Texas. As a company member with Contemporary Dance, Fort Worth and Zenon, Jazz Dance Company, she worked with internationally known choreographers and performed assorted repertory across the United States. Alpert’s choreography has drawn praise at festivals and cities around the United States and Europe. The company's works are diverse; defined by past, present, and future culture; literature; personal experience; and imagination. Integrating multimedia into live performance is also a trademark of the company along with collaborating with composers, artists, and individuals in the world of technology. Currently, Alpert is on faculty at the College of Lake County in Grayslake, Illinois and has an MFA from The Ohio State University and a Ph.D. in Dance from Texas Woman’s University.


Falon Baltzell - Performance - Desktop Reverie"Desktop Reverie"

Choreographer & Performer: Falon Baltzell, Director of Upper School Dance
Hathaway Brown School,USA
Music: Quintette N.1We Move Lightly by Dustin O' Halloran with typing sound design by Falon Baltzell

Artist's Statement: Desktop Reverie was designed within a 6 ft. by 6 ft. space outlined with balls of white office paper, in which the small space encouraged the development of the narrative; limitations. This work is an exploration of the internal scuffle with daily mundane tasks that distract us from our heart’s desires, in which we yearn to be elsewhere. Driven by the tiny space and the
repetitious sounds of typing partnered with inspirational music by Dustin O’ Halloran, a solo dancer embarks on a journey of revealing her inner struggles – taking on unfulfilling expectations, and how the desire for happiness fuels her to focus on what is missing in her life. Through the spatial limitations and the limitations the dancer places on herself, this work shows us the beauty in our personal internal battles, exposing vulnerability, and revealing determination in the human spirit. Desktop Reverie encourages us to reflect on our own lives: are we living the life we
desire?

Falon Baltzell, a native Mississippian, is a dance artist who has premiered choreography in NY State, OH, NYC, and PA. Baltzell's works have been commissioned by the Society of New Music, OH Dance Festival, Cincy Fringe, and Cleveland Public Theatre. Baltzell is the recipient of a 2014 Teacher Fellowship at Bates Dance Festival, and six consecutive summer-study scholarships for the Bill Evans Teachers’ Intensive. She has performed for Bill Evans Dance Company and her own work in FB Dance. Baltzell is a certified Evans Teacher, holds a K-12 Teacher Licensure, received her BFA in Dance Education and MFA in Performance and Choreography. She has taught choreography and modern dance technique during American College Dance Festivals, and presented scholarly research in Mississippi and NY. Baltzell is currently dividing her time as the Director of Upper School Dance at Hathaway Brown School and developing her choreographic artistry as an independent choreographer.


"Splinters in our Ankles"

Choreographer: Gerald Casel
Choreographer/Artistic Director, GERALDCASELDANCE ; Assistant Professor, University of California, Santa Cruz
Performers: Arletta Anderson, Kristen Bell, Christina Briggs-Winslow, Rebecca Chaleff, Janet Das, & Joey Navarrete
Musician/Composer:  Tim Russell

Artist's Statement: Inspired by tropes not usually associated with the Filipino folk dance, Tinikling, this work examines issues such as colonized bodies, performed resistance, and cultural amnesia. By disrupting the traditional acceptance of this beloved folk dance, Splinters in our Ankles explores what it would be like, if, as legends say, this dance was indeed created during Spanish occupation as a metaphor for the punishment endured by native Filipinos working the colonial fields who did not perform well. This collective cultural amnesia is the inspiration for this choreographic response this lacuna instigates and sparks research surrounding what we accept and/or forget in our post-colonial bodies.

Gerald Casel is Artistic Director of GERALDCASELDANCE, a contemporary dance company based in the Bay Area, and is Assistant Professor of Dance at the University of California, Santa Cruz. Born in the Philippines and raised in California, he holds a BFA from The Juilliard School and an MFA from the University of Wisconsin-Milwaukee. He received a New York Dance and Performance Award ‘Bessie’ for his work companies of Michael Clark, Stanley Love, Zvi Gotheiner, Lar Lubovitch, and Stephen Petronio. His research interests include somatics, improvisation, and random number generators to create movement that is devoid of habit. www.geraldcasel.com


Yeh-Ying Chen - Performance - Little Beauty in the Still Chambers"Little Beauty in the Still Chambers"

Choreographer: Yeh-Ying Chen
TNUA, Taiwan
Performers: Chen Ciou -Ye, Lin Chiao-Ling, Su Wei-Chun, Peng Yi-Chen, Wang Tzu-Yen, &Wen Yun-Chu

Artist's Statement: “Little Beauty in the Still Chambers” was inspired by classical Chinese women who have no freedom to love and must be obedient to their parents’ decision in marriage. Sometimes the future husbands do not even show up, and the women just keep waiting. These classical Chinese women have no right to decide their destiny similar to domestic animals, such as the cats and chickens portrayed in this piece. In Chinese poetry, the classical Chinese women are portrayed as waiting in the attic with anticipation and uncertainty for their assigned husbands.

Yeh-Ying Chen has a B.A. in Journalism from the National Chengchi University (2000 - 2005) and is a graduate student of choreography in the Dance Institute at TNUA (2011-2015). She has expertise in improvisation and choreography using a dramatic expressive narrative.  She is interested in the lives of ordinary men and women as well as their human struggle in the world. Since 2002, she joined a multi-disciplinary performance group consisting of dancers, puppeteers, choreographers, rehrearsal assistants, etc. She has been involved in projects including the Next Choreography Project (Taiwan), CCDC of China, Dance Forward (HK), etc. She was also involved in the 2008-2014 Taipei Fringe Festival as a performer/choreographer. In 2009, “80 minutes Welcome to my Home” was selected by the audience for “The Best Space Using” award. She is attracted to site-specific-theatre. In  2014, “Ode to the Islands” at KDMOFA-AAA’S exhibition received strong feedback from the audience and critics.


Yeh-Ying Chen - Performance - Ode to the Islands"Ode to the Islands"

Choreographer: Yeh-Ying Chen
TNUA, Taiwan
Performers: Chen Chih-Wei, Lin Chiao-Ling, Tseng Chien-Yi, Wen Yun-Chu, Su Wei-Chun, Wang Tzu-Yen, Peng Yi-Chen, Chen Ciou-YE, Yang Chia-En, Jian Ci-Yi, CHEN Yen-YI, & Lin Fang-Fang

Artist's Statement: “Ode to the island” was designed for the audience to join and to witness the absurdity and the ordinary happiness demonstrated by the performers. The idea behind the choreography is to involve the audience in the designed events. Throughout the process, the audience will come to realize that performance may be as unjust and unfair as real life. The performance reflects Taiwanese social issues emerging in recent years, including urban redevelopment and the relocation of the Lo-Sheng Sanatorium. In this piece, the following questions are asked as identities shift with differing masks: Why are people so exclusive, and why can’t people tolerate each other? Why it is so difficult for people to live with others in peace?  In a 2009 speech in Jerusalem by Japanese author Haruki Murakami, he commented: “I am always with the underdogs.” This dance takes up Murakami’s question and exposes how difficult the discourses are concerning the status of living in a just world and how contemporary life Issues further complicate any easy resolutions to the questions posed by the dance. The viewer is left with the final question: With whom are the viewers to identify?

Yeh-Ying Chen has a B.A. in Journalism from the National Chengchi University (2000 - 2005) and is a graduate student of choreography in the Dance Institute at TNUA (2011-2015). She has expertise in improvisation and choreography using a dramatic expressive narrative.  She is interested in the lives of ordinary men and women as well as their human struggle in the world. Since 2002, she joined a multi-disciplinary performance group consisting of dancers, puppeteers, choreographers, rehrearsal assistants, etc. She has been involved in projects including the Next Choreography Project (Taiwan), CCDC of China, Dance Forward (HK), etc. She was also involved in the 2008-2014 Taipei Fringe Festival as a performer/choreographer. In 2009, “80 minutes Welcome to my Home” was selected by the audience for “The Best Space Using” award. She is attracted to site-specific-theatre. In  2014, “Ode to the Islands” at KDMOFA-AAA’S exhibition received strong feedback from the audience and critics.


Li Chiao-Ping - Performance - bonesetting“bonesetting” from "Bodies of Hope"

Choreographer: Li Chiao-Ping, Artistic Director / Professor
LI CHIAO-PING DANCE/ University of Wisconsin-Madison, USA
Performers: 
Alexis Aguilar, Courtney Kuhn, Nicolette Meunier,  Conley Pitzl, Sarah Schwab, & Shauna Shrewsbury
Music: Mercè, dilette amiche by Giuseppe Verdi, Old World by Tin Hat, & Partita #1 in B Minor, BMV 1002: Double by J.S. Bach, & Voices of Light: Illness (Letter from Joan of Arc) by Richard Einhorn : Mix by Li Chiao-Ping

bonesetting was made possible, in part, with funds from the School of Education Virginia Horne Henry Fund at UW-Madison.

Artist's Statement: I aim to push the boundaries of traditional dance vocabulary, content, and form as well as explore issues of race, gender, and ability. As a first-generation Chinese-American artist, I have focused on immigration and assimilation and encountered numerous cultural assumptions that have helped to shape my sense of self and place, also informing the social and cultural context of my work. My work reflects my concerns with issues about culture and identity, and I draw inspiration from various sources, including film, literature, science, history, the news, and the arts. I like stories and am fundamentally a humanist and optimist. For my recent works, “Bodies of Hope” and “Rise Over Run”, I explore performing different narratives in various contexts—internal and external dialogues with space, place, and identity—with passing images of corseted, fainting women to almost-voyeuristic views of one coping with the confines her situation.

Choreographer Li Chiao-Ping, named by Dance Magazine as one of “25 to watch”, makes work for the stage, screen, and other sites—most recently the Wisconsin Institutes for Discovery. Her work has been shown at national and international festivals such as Jacob’s Pillow, Bates, The Yard, Internacional Festival de Video Danza, and the American Dance Festival among others. Recipient of grants from the NEA and fellowships from the Wisconsin Arts Board and Scripps/ADF Humphrey-Weidman-Limon, she is the subject of two documentaries and honored to be a Discovery Fellow at the WID, a member of the Phi Kappa Phi honor society, and a 2013 Outstanding Woman of Color in Education Award recipient. She was part of ADF’s International Choreographer’s Program and created works for dance companies, university dance programs, and individuals around the country. She is the Artistic Director of LI CHIAO-PING DANCE and Professor in the Dance Department at UW-Madison.


Li Chiao-Ping - Performance - Cline"Cline" from "Rise Over Run" 

Choreographer: Li Chiao-Ping, Artistic Director / Professor
LI CHIAO-PING DANCE / University of Wisconsin-Madison, USA
Performers:
Janelle Bentley, Emily Janik, Brianna Z. Kauer, Rachel Krinsky, Li Chiao-Ping, Amelia Morris, Liz Sexe; and special guests
Music: Will be selected on location

Cline was originally created as part of Li Chiao-Ping’s site-specific/site-responsive concert RISE OVER RUN, performed at the Wisconsin Institutes for Discovery; it has been completely remade for WDA-Americas.

Artist's Statement: I aim to push the boundaries of traditional dance vocabulary, content, and form as well as explore issues of race, gender, and ability. As a first-generation Chinese-American artist, I have focused on immigration and assimilation and encountered numerous cultural assumptions that have helped to shape my sense of self and place, also informing the social and cultural context of my work. My work reflects my concerns with issues about culture and identity, and I draw inspiration from various sources, including film, literature, science, history, the news, and the arts. I like stories and am fundamentally a humanist and optimist. For my recent works, “Bodies of Hope” and “Rise Over Run”, I explore performing different narratives in various contexts—internal and external dialogues with space, place, and identity—with passing images of corseted, fainting women to almost-voyeuristic views of one coping with the confines her situation.

Choreographer Li Chiao-Ping, named by Dance Magazine as one of “25 to watch”, makes work for the stage, screen, and other sites—most recently the Wisconsin Institutes for Discovery. Her work has been shown at national and international festivals such as Jacob’s Pillow, Bates, The Yard, Internacional Festival de Video Danza, and the American Dance Festival among others. Recipient of grants from the NEA and fellowships from the Wisconsin Arts Board and Scripps/ADF Humphrey-Weidman-Limon, she is the subject of two documentaries and honored to be a Discovery Fellow at the WID, a member of the Phi Kappa Phi honor society, and a 2013 Outstanding Woman of Color in Education Award recipient. She was part of ADF’s International Choreographer’s Program and created works for dance companies, university dance programs, and individuals around the country. She is the Artistic Director of LI CHIAO-PING DANCE and Professor in the Dance Department at UW-Madison.


Peggy Choy - Performance - Wild Rice"Wild Rice"

Choreographer & Performer: Peggy Choy, Assistant Professor
University of Wisconsin-Madison, USA
Music: Wild Rice by GW Rodriguez, Poem by Ruth Margraff, Voice by Shannon Davis

Artist's Statement: This dance is a meditation on the fragility of the wild rice that grows along Bad River in Northern Wisconsin.  Mining poses a threat to the river and lake waters that could mean an end to the wild rice culture of the Bad River Band of the Lake Superior Tribe of Chippewa Indians.

Peggy Choy has created dances for 20 years - exploring women-centered stories and Afro-Asian connections, including Seung Hwa: Rape/Race/Rage/Revolution (Dance Theater Workshop, NY 1995) and Ki-Aché: Stories from the Belly (Danspace Project, NY1997). Since 2010, Peggy Choy Dance Company has performed Power Moves (Smithsonian Institution, DC 2010), Boxher (WDA-Americas, NY 2010), POW! (La MaMa Moves! Dance Festival, NY 2011), THE GREATEST! Hip Dance Homage to Muhammad Ali (Dance New Amsterdam 2011; American Dance Guild Festival 2012; Gleason’s Gym, NY 2013), THIRST (Aaron Davis Hall, NY 2014; Galapagos Art Space, NY 2015), and Ki-Aché: Beyond Walls (H’Doubler Theater, Madison 2015; Alvin Ailey Studio Theater, NY 2015). Choy has performed her Water Solos world-wide, including Haenyeo/Sea Woman (LA, Berlin, NY, Prague, 2011-12), and Wild Rice (Chicago, Madison, Prague, Havana, 2014-15).  Choy is Assistant Professor of Dance and Asian American Studies at the University of Wisconsin-Madison, and CEO of The Ki Project, Inc.


"Lacuna"

Choreographer: Robin Conrad, Fullerton College/Texas Woman's University, USA
Performers: Robin Conrad, Sarri Sanchez, & Jackie Nii
Music: Stranger by Sebastian Kauderer, La Vie En Rose by Madeleine Peyroux, & Cherry Blossom by ALA.NI

Artist's Statement:  Lacuna is a triptych of three duets that tracks a journey from a disjointed space of survival to a more public space of witness. The three sections arose from a personal narrative and family history, and trace a journey of identity and discovery. In one section, the two dancers explore a poignant connection, sharing momentum and sustaining extended moments of stillness. The pauses symbolize the uniquely sad challenges of life, frequently held onto for a time and then suddenly, in a moment, set free (or in any event, forced to move on). In another section, the performers create stilted gestural movements, evoking the sinister, forced repetitions required to survive in the face of external domination. The dancers’ migration from these movements to a more expansive space illustrates what it means to have survived, to overcome, and ultimately to realize power of expression and testimony.

Robin Conrad is an educator, concert and commercial choreographer, and somatic practitioner based in Los Angeles. Robin has choreographed for television and film including the ABC shows Suburgatory and GCB, Sofia Coppola’s The Bling Ring, and Somewhere, as well as commercials and music videos for Scissors Sisters and The White Stripes. Robin has lectured, presented work, and taught master classes at festivals and conferences worldwide including: the World Dance Alliance in New York, Vancouver, and Angers; the American Association of Museums; Asylum Retreat; The Skirball Center Los Angeles; and The American College Dance Festival. Robin holds a B.A. from UC Irvine; an M.F.A. from CalArts; and is certified to teach Gyrokinesis, Pilates. and yoga. She is an Associate Professor of Dance at Fullerton College and a Ph.D. student at Texas Woman’s University.


Katherine Duke - Headshot"Elusive Pierce"

Choreographer: Katherine Duke
Performers:  Katherine Duke & Shay Ishii
Music: Elusive Pierce Dark Amour by Lucia Dlugoszewski

Artist's Statement: We are bound by a sense of individuality that is locked within us. Elusive Pierce provides an intersection of visible sensation, audible quiver, and raw image by which something deeply known and felt arises. The poetic method differentiates known associations, articulating unfamiliar structures of meaning beyond formulated language through which ideas can constantly rush transcending the individuality locked within. Intensity of ideas and of feelings enable us to renew ourselves and the society in which we live. The costumes of Elusive Pierce were based on original paintings by Joanne Klein.

Jamake Highwater wrote, "there is little doubt that Katherine Duke represents the idealization of Hawkins's four decades of creating dance. " Duke began studying with Erick Hawkins in 1983, becoming a teacher and principal with the Erick Hawkins Dance Company. Her mercurial grace, purity of presence, and focused phrasing, noted by Anna Kisselgoff, brought her critical acclaim. She became Artistic Director of the Erick Hawkins Dance Foundation in 2001. Her passion is to share the beauty of the technique, the unique approach to choreography, and the principles of this legacy through intensives, workshops, and master classes. Ms. Duke facilitates reconstructions of classic repertory for universities and professional companies preserving and perpetuating the work of both Lucia Dlugoszewski and Hawkins. She continues to bring the Company into the present with archival research that has enriched the Company's repertory through unexplored works by Hawkins and Dlugoszewski, commissioned choreographers, and her own work.


Hsu, Chen-Wei -Wally - Performance - Sacrifice of Roaring"Sacrifice of roaring"

Choreographer: Chen-Wei Hsu (Wally), Artistic Director
Human Dance Company (Wally Dance)
Taipei National University of Arts, Taiwan
Performers: Chen-Wei Hsu (Wally), I-Shuo Lin, Chi-Cheng Chan, Yi-Chi Lin, & Chen Yeh-Ying
Music: Sacrifice of Roaring by Lin, I-Shuo

Artist's Statement:  The concept for this work came from the conversation of Meng Yizi asking Confucius what filial piety was. “What is filial piety?” Meng Yizi asked. The Master said, "It is not being disobedient.” "That parents, when alive, be served according to propriety; that, when dead, they should be buried according to propriety; and that they should be sacrificed to according to propriety." This piece thinks through the phrase: “They should be sacrificed to according to propriety”, using sacrificial rites to honor the past, making a mark on the past that’s forever gone. Saying goodbye to the past, one can only carry memories deep in one’s heart. One shall welcome another new day, living in the moment with full intention.

From Taiwan and currently Artistic Director of Human Dance, Chen-Wei Hsu (Wally's) training background includes Contemporary Dance, Improvisation, and a Masters Degree in Dance Choreography at National Taipei University of the Arts. Hsu has focused on Taiwan contemporary dance methods throughout his career, which has evolved into his core principal when choreographing dance pieces. Many of Hsu’s dance works have won the Taiwan’s National Creative Dance award.  He has toured many countries; including the US, Canada, Australia, France, Malaysia, China, HK, Indonesia, and Macao.

Human Dance Theatre mainly focuses on the theme of Human Relationship - Individuality, the distance in between, and various themes regarding the dynamics of relationships.


I-Han Huang - Performance - The Surge of the Tide"The Surge of the Tide"

Choreographer: I-Han Huang, Taiwan
Performers: Chia-liang Lin, Ming-hung Weng, Kuan-yi Lin, Shu-han Yeh, Ying-yu Lin, Zi-xuan Su, Tsai-yi Wu, Pei-hsuan Chao, Chiao-chiang Lin, Shu-tien Tang, Shu-yun Chen, &Wen-yen Liao
Music:  Cool Calm Collected by Ka Dao Yin:Four Characters & Yu KarakⅡby Kodo

Artist's Statement:  A mist went up from the earth, watering the face of the land.

I-Han Huang graduated from the Taipei City College Dance Department. She has been a member of Da-tang Folk Dance Company in Tainan since 1995. In 2011, I-Hang was selected as a dancer in the International Young Choreographer Project for Kuan-lin Tsai’s Endless and Chien-chi Chang’s In Between. The same year, I-Han was invited to be the Chinese dance instructor for the Chinese Folk Arts Workshop in Boston where she created the dance Fan Rhythm. In 2012, she was the choreographer and a dancer in Hi, Dear at the Taipei Fringe Festival, and also joined Hui Dance Company as a dancer in the production of The Door. At present, she is a freelancer and has set up her own dance studio - Pure Space.


"Life of Time"

Choreographer: Masako Ito
Performers: Masako Ito & Hiroki Koba
Music: Festina Lente

Artist's Statement: This performance demonstrates how time lives in everything. Although we cannot stop the flow of time, dance is an art form by which we can visualize it. Adopting some gestures from our everyday life, such as waving the hands like a pendulum, the dancers carve the time of our bodies moving through space.  This piece was performed in many prominent cities in Japan, to include Tokyo, Osaka, and Kagoshima, and was awarded the 3rd prize in the Japan National Dance Competition in 2013.

Masako Ito graduated from the dance department at Japan Women's College of Physical Education, and started classical ballet when she was 3 years old. She is a dancer and choreographer of ballet and contemporary dance.  She learned rhythmic gymnastics at high school and participated in various genres of dances at her college, to include classical ballet, modern dance technique, contemporary dance, flamenco, jazz, Japanese traditional dance, and more. In 2013 she organized MACOBA Dance Company with Hiroki Koba.


Hsin-Yu Kao - Performance - Birdmen"Birdmen"

Choreographer: Hsin-Yu Kao, Taiwan
Performers: Li-en Hsu, Chia-liang Lin, Tsung-han Li, Ming-hung Weng, Kuan-yi Lin, Pei-shan Wu, Shu-han Yeh, Ying-yu Lin, Tsai-yi Wu, Pei-hsuan Chao, & Shu-yun Chen
Music: Letter to Henslow by The Knife, Fields of Rhythm by Gerry O'Connor, & Zatoichi by Keiichi Suzuki

Artist's Statement: Birdmen believe their ancestors evolved from birds. Though they are men living in the modern times, they look like birds. They like to haunt the dark sky. The later the time becomes, the more energy they acquire.  Keep strolling all night, the Birdmen won’t be back until dawn.

Hsin-Yu Kao graduated from Taipei National University of the Arts. Currently he is a dancer and with Compagnie Käfig in France and choreographs. Hsin-Yu also teaches dance in the dance division of Tsoying Senior High School. Since 2012, he has been performing Yo Gee Ti around the world with Compagnie Käfig. In 2014, Hsin-Yu was invited to teach in Nepal trough a grant from the Chin Lin Foundation for Culture and Arts. During the same year, he performed in The Ordinary Man in Singapore with The Human Expression dance company (T.H.E). His choreographies Black Hole and Birdmen were created for male dancers in 2013 and 2014. He was a member of Dance Forum, Taipei where he performed Perfect Circle and Eastern Tale.


Tanya-Kane Perry - Performance - Public in Private"Private in Public"

Choreographer: Tanya Kane-Parry & the Company
Opera del Espacio
Performers: Tanya Kane-Parry, Gayle Fekete, Sophie Goldstein, Melanie Keller, & Jonathan CK Williams
Music: Ross Levinson

Artist's Statement: Responding to the architectural and social environment, the dancers reveal the underpinnings of fear and chaos that eventually destroy the veneer of “proper societal norms.” Trying to “fit in” and “be a part of the crowd” is a strenuous and precarious feat as external expectations battle internal neuroses.

Since 2010, Opera del Espacio (translation: “Work of the Space”), a collective of performing artists, has focused on site-specific work in order to reveal new possibilities in public spaces by physically responding to the environment. Beginning with the architectural definitions of the space, we then incorporate the symbolic, associative and emotional responses to the space. Purposely brought to the community to create a live, interactive and re-envisioned experience, we seek to challenge our audiences to reevaluate the way they perceive the world around them. Over time, we have expanded to creating full-evening interdisciplinary works, while continuing to present site-specific/site-generated performances. More information about the company, performance history, company members’ bios and more at www.operadelespacio.org


Jazmyne Koch - Performance - A Perspective From an Island Girl"A Perspective From an Island Girl..."

Choreographer & Performer: Jazmyne Koch, Creative Director, StudioJaz, USA
Music: Ku'u ha'aheo e ku'u Hawai'i chanted and written by Hinaleimoana Wong-Kalu, Hawaiian War Chant / Kāua I Ka Huahuaʻi original melody and lyrics by Prince Leleiohoku (1860), Gassho Ondo from an Obon Dance Festival, Spoken Word and vocals by Jazmyne Koch, and Soundscape and beat composition by Cy Gorman

Artist's Statement:  A Perspective From an Island Girl… is a compilation…a diary of words, a body narrative from which spews views of an island girl taken with a lens from the outside looking in. Drawing my inspiration from Hawaii’s contemporary culture, my purpose of this piece is to peel away the layers of racial disharmony--that is many times shadowed by other stories of commercialized “aloooooha's" and sandy beaches--opening up the challenges faced for a multicultural society growing up in an isolated archipelago. This piece is a compilation of experience, as its “coming into being” came from some years of reflection, living in other places and dancing in different spaces. I was living in the “in-betweens” of place--having no true sense of belonging-- and space--living in between Hawaii and (now) Germany. The first section of the performance, is the introduction to the island girl. The second section will look at the years of developing identity. The last section is the lens of reflection-- questioning identity, understanding self and sense of place. With this story, I will show through my textures of words and my transcultural interdisciplinary dance style, the self-growth experience and the many sides of being human.

Jazmyne Koch is an interdisciplinary artist, converging her backgrounds in cultural anthropology, ethnic studies, art, and dance into her creative craft. Her work is inspired by contemporary cultural identities, traditional arts and environmental spaces. Her style—what she calls Urban Cultural Dance—comes from her roots in Hawaiian hula in combination with her influences from contemporary, hip-hop, modern, and other regional cultural movements. Born in Maui, Hawai'i Jazmyne has grown up in a place that harbors diversity--different cultures, ways of thinking, island traditions and American influences. Through her choreography she speaks to these life experiences, asking the question: "How would the contemporary person of a culture express his/her identity today?"


Hung-chung Lai - Performance - Coloration"Coloration"

Choreographer: Hung-chung Lai, Taiwan
Performers: Li-en Hsu, Chia-liang Lin, Tsung-han Li, Pei-shan Wu, Ying-yu Lin, Yu-chen Cheng, Shu-yun Chen, Zi-xuan Su, & Tsai-yi Wu
Music: Tico Tico by Libertango & Czardas by Vittorio Monti

Artist's Statement:  Through this dance, it is hoped the viewer can imagine their own future.  This work was created to mirror the construction of the music. In the first section, the patterns change with the quick rhythms and tempos of the Tico Tico music  to create various tableaux images.  During the music of Czardas, each dancer express their uniqueness though colorful dance.

Hung-chung Lai graduated from Taipei National University of Arts. Currently he is a dancer and choreographer in Kaohsiung, Taiwan. In 2015, Hung-chung was invited to choreograph Distant Light for Kaohsiung City Ballet through the Dance Shoe project. In 2014, he created Traceless for the 30th anniversary performance of Tsoying Senior High School and Crossing for Chou Shu-Yi’s Next Choreography Project. As a dancer, he has performed in Tsai Po-Cheng’s Innermost which was invited to Beijing Dance Festival in 2014, Trisha Brown’s Sololos in Malaysia's My Dance Festival, Toru Shimazaki’s Naked Truth in Kobe College's 2010 Dance Department Concert. While in college, Hung-chung performed in Lin Hwai-Ming’s Legacy, Yang Ming-Lung’s No Trace, and Zhang Xiao-Xiong’s Sorrowful Song.


Hung-chung Lai - Perfromance - Stranger"Stranger"

Choreographer: Hung-chung Lai, Taiwan
Performers: Wen-fang Lai, Chia-yin Lin, Yu-chen Chen, & Ming-hung Weng
Music: The Flood by Ballycotton & Time by Claseria

Artist's Statement:  Waiting... Sometimes I’m watching you, but your face is not the same as in my memory. I try to figure out, but I can’t see deep into your eyes. Perhaps, I don’t know myself...  This work explores concepts of distance and memory between people. As time goes by, people grow up and it makes people think differently. No matter if they are family, friends, or lovers, their relationships can become estranged. Whether a memory is happy, sad, or painful; all memory is beautiful.  In this work, transparent mats are placed on the floor to let light create reflections, a symbol of memory.

Hung-chung Lai graduated from Taipei National University of Arts. Currently he is a dancer and choreographer in Kaohsiung, Taiwan. In 2015, Hung-chung was invited to choreograph Distant Light for Kaohsiung City Ballet through the Dance Shoe project. In 2014, he created Traceless for the 30th anniversary performance of Tsoying Senior High School and Crossing for Chou Shu-Yi’s Next Choreography Project. As a dancer, he has performed in Tsai Po-Cheng’s Innermost which was invited to Beijing Dance Festival in 2014, Trisha Brown’s Sololos in Malaysia's My Dance Festival, Toru Shimazaki’s Naked Truth in Kobe College's 2010 Dance Department Concert. While in college, Hung-chung performed in Lin Hwai-Ming’s Legacy, Yang Ming-Lung’s No Trace, and Zhang Xiao-Xiong’s Sorrowful Song.


Lamaiya Lancaster - Performance - Drop Sick"Drop Sick"

Choreographer: Lamaiya Lancaster, Co-Founder/Choreographer, L-Theory Collective, USA
Performers: Kristine Boyce-Zanello, Cari Holmes, Alana Johnson, Lamaiya Lancaster, & Suzanne Mena
Music: Original Mix by DJ H.o.G

Artist's Statement: Drop Sick is a glimpse at the intersection between the modern dance aesthetic and the popular culture EDM movement. This piece incorporates the dynamic athleticism of our company aesthetic with an original mix by DJ H.o.G. Historically, modern dance has always had a strong connection to cultural movements of the time. This piece is our attempt to continue that rich tradition by combining this cultural movement with the integrity of the modern dance aesthetic.

Lamaiya Lancaster has over twenty years of training in multiple disciplines including modern, jazz, tap, ballet, hip hop, various Latin styles, Polynesian, African, and Capoeira. Her early years were spent training at San Diego School for Creative & Performing Arts and Fort Wayne Dance Collective. She earned her B.A. degree in Cultural Studies at Columbia College, Chicago. Currently, Lamaiya is adjunct dance faculty at The College of Lake County, Co-founder/Choreographer of L-Theory Collective, and is working towards her graduate degree in Adult and Community Education at Ball State University. L-Theory Collective is a collective of dancers from the North Suburbs of Chicago dedicated to revitalizing modern dance through a unique blend of dynamic athleticism and emotive artistic integrity.


Lamaiya Lancaster - Performance - Enevelance"Enevelance"

Choreographer: Lamaiya Lancaster, Co-Founder/Choreographer, L-Theory Collective, USA
Performers: Kristine Boyce-Zanello, Cari Holmes, Alana Johnson, Lamaiya Lancaster, & Suzanne Mena
Music: Glacial Regelation by Stephen Boi

Artist's Statement: Enevelance is the product of the exploration of the intrinsic relationship between a composer and choreographer during collaboration. This piece embodies the journey the choreographer and composer have traveled in an attempt to create a specific tone using their individual artistic mediums. The music, composed by DuPaul University composition major Stephen Boi, was created using improvisational/experimental techniques with a piano while choreography was created using both set work with dynamic variations as well as structured improvisation. The individual creative integrity of both artists blend well in this dark world they have created of sound and movement.

Lamaiya Lancaster has over twenty years of training in multiple disciplines including modern, jazz, tap, ballet, hip hop, various Latin styles, Polynesian, African, and Capoeira. Her early years were spent training at San Diego School for Creative & Performing Arts and Fort Wayne Dance Collective. She earned her B.A. degree in Cultural Studies at Columbia College, Chicago. Currently, Lamaiya is adjunct dance faculty at The College of Lake County, Co-founder/Choreographer of L-Theory Collective, and is working towards her graduate degree in Adult and Community Education at Ball State University. L-Theory Collective is a collective of dancers from the North Suburbs of Chicago dedicated to revitalizing modern dance through a unique blend of dynamic athleticism and emotive artistic integrity.

Stephen Boi is a composer of experimental and postmodern classical music that explores complex timbres and extended uses of musical instruments to create intricate sound worlds.  His music draws influence from subjects of nature and mathematics, borrowing colors, sounds and compositional techniques from a range of musical styles.  An alumnus of College of Lake County, Stephen has performed several compositions in past Fear No Art Festivals and has done work for Valerie Alpert Dance Company.  He is continuing his studies in composition and piano performance at the DePaul School of Music, where he is the recipient of a performance award scholarship.


Chun-Yu Lin - Performance - scape"-scape"

Choreographer: Chun-Yu Lin, Taiwan
Performer: Chun-Yu Lin
Music: Song by Max Richter & Her Eyes Are Underneath The Ground by Antony and The Johnsons

Artist’s Statement: "-scape" is about the peripheries and perception. At any given moment, even in moments of extreme clarity, we face the inconsistent, constant existence of ephemeral spaces that come and go unnoticed. Something beyond the physical and beyond what I can see of myself. Physical sensation, heat and light, memories, thoughts, and movement are always happening in the peripheries. I am watching and being watched, awareness determines what role I play. Turning the body inside out, what is it that forms the inner working of the human. The eyes are only a lens by which we see the world; the body, how we engage with it, but what is it that connects our body, soul, vision, feelings, what connects you to me and us to the world? There is a space that is not a landscape, eyescape, or bodyscape. Do we live in the world, or does the world live through us? It is this dimension that I want to express in dance.

Chun-Yu Lin is an independent dancer, choreographer, and dance instructor based in Taiwan. She received her B.F.A. from the California Institute of the Arts and is currently a graduate student at the School of Dance in Taipei National University of the Arts. Chun-Yu has danced professionally for Sun-Shier Dance Theatre (Taiwan), Nai-Ni Chen Dance Company (USA), La Companyia (Spain), and many others. As an emerging choreographer, her works have been performed at Sun-Shier Dance Showcase, International Benicassim Festival, REDCAT, and The Sharon Disney Lund Dance Theater. In 2013, Chun-Yu received funding from The National Culture and Arts Foundation of Taiwan to support her personal choreographic research titled Somewhere There.


Li-Chuan Lin - Performance - Divertimento in D"Divertimento in D"

Choreographer: Li-Chuan Lin, Taiwan
Tso's Dance Association
Performers: Li-en Hsu, Chia-liang Lin, Tsung-han Li, Ming-hung Weng, Kuan-yi Lin, Shu-tien Tang, Yu-chen Cheng, Chiao-chiang Lin, Shu-han Yeh, Zi-xuan Su, Pei-hsuan Chao, Wen-yen Liao, Pei-shan Wu, Tsai-yi Wu, & Shu-yun Chen
Music: Divertimento for String Orchestra, Sz. 113, BB 118: Allegro assai by Bela Bartók

Artists Statement: Step within the lighthearted mood with Bartók's beautiful dynamic score. An enchanted celebration in between ensemble efforts all along.

Li-chuan Lin is the founder and artistic director of Collision Motion Lab and the ballet instructor with Cloud Gate 2 and Dance Forum Taipei. He has danced as a principal dancer with American Repertory Ballet (2003-2007) and a soloist with Atlanta Ballet (2007-2008). In 2009, Li-chuan moved back to Taiwan to teach ballet in the schools. The same year, he guest taught the company class for DV8 Physical Theatre on their tour in Kaohsiung Taiwan. In 2013, he was invited to teach contemporary dance and choreography in a summer workshop hosted by Guang Dong Modern Dance Company in China. In 2011, Li-chuan participated in the New Choreographer Project by Meimage Dance with his own work, Under Frame. In 2013, he founded Collision Motion Lab and produced its first production Collision Motion Lab I.  In 2014, he presented the second production of Collision Motion Lab II:  Diary of Events.


Dimple Kaur  Malhotra - Headshot"Main Amrita - Kuch Kahi Kuch Ankahi"

Choreographer & Performer: Dr. Dimple Kaur Malhotra, India

Artist's Statement: Amrita Pritam is a liberated woman in every sense of the word, as a person, poet, and novelist. She freed herself from the shackles of religion and conventions even though she was brought up in a rigidly orthodox Sikh milieu. Her rebellion took the form of a deliberate defiance to orthodox traditions, with her free verse expressing the radical iconoclastic rebellion against accepted values. Love, notably erotic and physical love, which formed very little part of her personal life, is the predominant theme in much of her writing, indeed one of the first attempts by a poetess belonging to such a background. Ah, the unrequited love, unquenched passion, exposing her in utter nakedness and all too willing a victim of sacrifice. All this resonated with the rebel and artist inside me, and I feel immensely happy to present this work to an audience. The effort behind the dance is to integrate classical dance movements with different languages and sounds. Here is an alternate medium in which to express the desire, longing, and breaking of traditional social taboos. In the dance, I express it openly to the world using a century old verse which helps spread the message of women’s empowerment, equality, growth and freedom.

Dr. Dimple Kaur Malhotra is a multi-faceted personality with a multitude of experiences in performing, teaching, and healing through Indian classical dance. She is a qualified psychotherapist, a performing arts expert and has been trained in Indian classical dance, public communication, and English literature.  She started learning Bharatanatyam at a very early age under the guidance of Shri. Mahesh George and in her pursuit of excellence she was later trained by Padam Vibhushan Smt. Guru Sonal Mansingh ji, and Padma Bhushan Guru Swapnasundari ji for over 20 years. She was bestowed the performing arts title of Shivakami by Guru V. Krishnamoorthy. She strives to use arts for healing as well as for a reforming purpose. Dance has the ability to uplift the spirits and has relevant themes and choreographies to help uplift the spirits of the audiences as well as give food and nourishment to their thoughts and soul.


Suhasini Muthukrishnan - Performance"Exploring the Cosmic Space"

Choreographer & Performer: Suhasini Muthukrishnan, Sharmadayini Natya Academy
Music: Patanjali Shlokam & Thillana

Artist's Statement: BharathaNatyam , an Indian classical dance form traces its origin from the cosmic dancer "Nataraja"-(Lord Shiva). The ancient art form has evolved and adapted itself over the centuries from being performed in temple prosceniums, in royal courts, elite auditoriums and to international venues, in the process imbibing few beautiful elements. The art form has also branched out from solo dancing, to duet (Nritta-purely rhythmic ,Nritya-emotion & rhythmic movements) to dance drama(Natya) productions. The dancer conceptualizes the idea of space and place similar to an inverted Hindu temple's architecture traversing from a center point, to angles, squares etc. As she finds and gets new opportunities she revels, respects and explores the new space and places. The dancer includes the dimensions of time (past, present, future) and subject (1st, 2nd, 3rd person) in her art form. Space, being a perception the dancer envelopes the newly found space & place and tries to create a thread of communication with the audience. New engagements with spaces and places help the artists in introspective choreography skills keeping intact its depth and traditional techniques. The dancer shows how body movements as well as facial expressions get expanded, exaggerated and simplified to suit the audience's understanding and appreciation. The dancer by the sheer joy of dancing transmits the joy to the audience by taking them to a different plane of enjoyment. The dancer concludes the dance in the center, which is the beginning and end of the dance space, and in a philosophical way the point of self-realization.

Suhasini Muthukrishnan is an Indian classical dancer specializing in BharataNatyam. She graduated from the world renowned college Kalakshetra, Rukmini  Devi college of fine arts, India . A staunch believer in lifelong learning as an artiste, she continues to hone her skills under Mastero Professor C. V. Chandrasekhar. Her experience and association with a Sanskrit theatre group has further enhanced her dancing and choreography.  She has worked with many leading choreographers in the field from the great maestros to emerging artists, and has performed in many countries including United States, Canada, Mauritius, Reunion Islands, and UAE. Over the years all this experience has only made Suhasini enjoy what she does best – dancing. As the artistic director of Sharmadayini Natya Academy, she teaches other dance enthusiasts with the dedication and conviction with which she learnt, loving every second dancing and never compromising on quality. Suhasini currently lives and teaches in Atlanta, Georgia.


Elizabeth Sexe -  Climb"Climb"

Choreographer & Performer: Elizabeth Sexe, University of Wisconsin-Madison, USA
Music:  Original Composition by Eric Sheffield

Artists Statement:  Climb is a personal reflection on progress, defeat, and perseverance. By abstracting the feat of climbing and the surrender of falling the choreography takes the viewer on a non-linear journey inspired by the determination of the human spirit.

Liz Sexe is a dance educator, performer, and choreographer. In 2009, she received her M.F.A. in Performance and Choreography from Mills College in Oakland, CA. Currently, Sexe is a lecturer at UW-Madison, and Pilates instructor at Pilates Central. She has been called a “clean and efficient mover,” performing works by Rachel Berman, Alyce Finwall, Li Chiao-Ping, and Marlene Skog. As a choreographer, Sexe uses a collage/assemblage of various movements and gestures to construct her work. Her own work has appeared at Danceworks in Milwaukee, WI; Frank Lloyd Wright’s Taliesin in Spring Green, WI; and University of Wisconsin-Eau Claire, where she was an artist in residence in 2013. In class, Liz loves to merge her knowledge of anatomy and intentional movement in a deep and playful way where the student/client feels empowered in their own body.


Marlene Skog - Performanc - Dionysian"Dionysian Sea"

Choreographer: Marlene Skog, Assistant Professor of Dance, University of Wisconsin-Madison, USA
Performers: Janelle Bentley, Liz Sexe, Taylor Kiesow, Jade Ortiz, Sarah Schwab, & McKenzie Wisdom
Composer: Diana Sussman

Artists Statement: Dionysian Sea finds grace within a world of conflict. The dance suggests a world that invites chaos and conflict, yet falls to order. The score is inspired by a historical percussion score written in 1938 for modern dance practice. The new score musically bridges the past to the present. The dance, a contemporary ballet, weaves ballet foundation with modernist expressionism, bridging two forms that were disparate dance genres in 1938. The music and dance investigation finds its roots in early 20th Century western dance tradition, creating a new artistic expression in contemporary times. This work was made possible by generous support from the Virginia Henry Horne Fund.

Marlene Skog is a Choreographer and Assistant Professor of Dance.  Skog worked in Sweden where she was awarded The People’s University Cultural Prize, Gosta Knutsson Award, and Nordbanken’s Cultural Award; and choreographed for International Arts Festival Norway, Scandinavian Cultural Conference, International Women’s Convention Uppsala University, official cultural events, historical theater, and folk opera. Skog has directed an international dance company and collaborated with Swedish choreographer Birgit Cullberg. Skog founded Uppsala Dansakademi Sweden, which serves as a major dance center today. She received the Creative Achievement Award from the University of Arizona; is first recipient of the Green Valley Concert Association Fellowship Award; had work performed at King’s Palace Edinburgh Scotland, Uppsala Palace Sweden, American College Dance Festivals, Madison Ballet, World Dance Alliance Vancouver B.C., and RAD Festival Kalamazoo MI. The core of Skog’s work addresses the enduring question of what it means to be human and is purposeful in its strong synthesis of movement, music, and message.


Po-cheng Tsai - Perfoermance - Stream"Stream"

Choreographer: Po-cheng Tsai, Taiwan
Tso's Dance Association
Performers: Li-en Hsu, Chia-liang Lin, Tsung-han Li, Ming-hung Weng, Kuan-yi Lin, Pei-shan Wu, Tsai-yi Wu, Chiao-chiang Lin, Ying-yu Lin, Shu-tien Tang, Yu-chen Cheng, Shu-yun Chen, Shu-han Yeh, Pei-hsuan Chao, & Zi-xuan Su
Music: Light is Calling by Michael Gordon & Architect of the Mind by Kerry Muzzey

Artist's Statement: This piece is inspired by a poem from Blanca N/A:
Soft, silky, smooth surface; Beautifully broken beige bottom; Cool clear calm current; Twisting, turning transparent twirl; Fully flooded with fresh fish; Fascinatingly florescent fast and fat; Readily rubbing against rough rocks. They’re happy huge and harmless. It’s wonderful washing whirling water; That’s utterly unstoppable; A strong steep but steady stream!

Po-Cheng Tsai comes from Taiwan. He was selected as one of the Taiwanese Representatives in 2010 Asian Young Choreographer Project.   His work Floating Flower won Choice Award in 2013 Taiwan’s National Creative Dance Competition and was invited to be presented in Hong Kong in 2014. Po-Cheng has been invited as a guest choreographer by many professional dance companies. His works presented by the Kaohsiung City Ballet include Record of Meories (2006), Heaven (2007), Winter (2008), Lunar Eclipse (2010), and Heart Break (2013). He has also choreographed for dance schools in Taiwan, such as Stream (2013) for Taipei City College; Pulse (2009), Eclipse of Night (2011), and Aurora (2012) for Tsoying Senior High School; and Split (2012) for Zhongzheng Senior High School.


I-Fen Tung - Performance - On the way to"On the way to…"

Choreographer: I-Fen Tung, Dance Division, Tsoying High School, Taiwan
Tsoying High Dance Group
Performers: Li-en Hsu, Chia-liang Lin, Tsung-han Li, Ming-hung Weng, Kuan-yi Lin, Shu-han Yeh, Pei-shan Wu, Tsai-yi Wu, Chiao-chiang Lin, Yu-chen Cheng, Wen-yen Liao, Chi-shuan Su, & Pei-hsuan Chao
Music: Another White Bird by Wovenhan

Artists Statement: This work reflects the life process of opening a new chapter of life, which is challenging but exciting. The choreography is based on the structure of the music. You can see the movement phrases constructed and deconstructed between each different relationship behind the chaotic relationship. However, it depicts the process of seeing the big picture of life’s reality. Within the larger group, which mimics our society community, you can see the individual rhythm of each single person and how they work hard to get along with people within the group. Yet, all of the members exist under the direction of the choreographer. You never know what will be the next, the only way is keeping on the way to….

I-Fen Tung holds a B.A. degree from Queensland University of Technology and a M.F.A. degree from Taipei National University of the Arts. Tung is an independent choreographer/performer/dance improviser based in Taiwan. Tung is widely experienced in cross-disciplinary collaborations. Her recent pieces have very strong physical structure as well as linguistic/sound structures that create an entire new dialog possibility of dance work. Tung was a member of Dance Forum Taipei from 2003 to 2006. Her works have been invited to perform across the world such as 2015 16th Contemporary Dance Showcase Japan and East Asia (New York), 2014 The Contact Contemporary dance Festival (Singapore), 2014 D’Motion Dance Festival (Malaysia), 2013 Arts Cross London (UK), 2013 Palma de la danza (Spain), and 2012 Centro Parraga (Spain). Tung has participated in several international exchange experiences such as an Artist Residency Program at George Washington University 2014 (USA), at Colorado College in 2007&2008 (USA), at the World Dance Alliance-Kolkata 2007 (India), and Paris Cite international arts village 2006 (France).


Headshot - Bageshree Vaze"In My (Dis)Place"

Choreographer & Performer: Bageshree Vaze, Canada

Artist's Statement:  In My (Dis)Place is a personal interpretation of how Indian classical dance has migrated from ancient temples to the 21st-century modern stage. The piece depicts my journey with dance – first as a young child learning at the local Hindu temple in the unlikely setting of Newfoundland, Canada, through my travels to India to learn from respected masters, and my own exploration of Indian music and Kathak dance aesthetics in a Canadian setting. Time and space become fluid and imagined realities, relayed through movement and footwork patterns that are deconstructed, inverted, accelerated, and decelerated. The barrier between ancestral dance and dance as a living/contemporary art is broken down through the use of text, and a non-traditional informality between the dancer and audience. This work is a personal journey, but also a celebration of how ancestral dance language may transcend time and space in today’s global reality. This work was created under the mentorship of Christopher House, Artistic Director of Toronto Dance Theatre, and was commissioned by the CanAsian Festival as a work to integrate classical Indian dance aesthetics into a Canadian, contemporary format and presentation.

Bageshree Vaze is an award-winning dance artist and musician who has studied with some of India's foremost masters including the living legend of Kathak dance, Pt. Birju Maharaj, and the renowned vocalist Veena Sahasrabuddhe. With numerous choreographic works to her credit, Bageshree has performed in major festivals, including the Vasantotsav in New Delhi, the Erasing Borders festival in New York City, and the CanAsian International Festival in Toronto. Bageshree has four CDs to her credit, including Tarana, an album of songs for Indian dance (released as Khanak through Times Music in India). Bageshree has a Master's in Dance from York University, and has given lectures and workshops at Indiana University, the University of Toronto, and Acadia University in Nova Scotia. Bageshree was awarded the K.M. Hunter Award in Dance in 2010 (conferred by the Ontario Arts Council). Bageshree premieres her latest choreographic work, Paratopia, in April 2015 at the Harbourfront Centre in Toronto.


Angeline Young - performance - Bamboo Curtain"Reaching for My Father Beyond the Bamboo Curtain"

Choreographer: Angeline Young, Arizona State University, USA
Performer: Angeline Young
Music: Original digital sound recording of an attempt at conversation between Tyrone Young and Angeline Young.  Mixed and edited by Angeline Young.

Artist's Statement:  In what ways do memories fill the distance between two points in space and time? How do memories close the distance between two people?  This installation is inspired by the concept of absence, how absence is full, how it is weighted with the past as we choose to recall the past, dispel it, leave it behind us, lay it down.  I began with the narrative of my father’s absence in my life. As I progressed through the movement research for this piece, I was met by my memory of his mother's funeral, officiated by a Buddhist priest in an Irish funeral home. This piece is also about travel through the return of space, place, and time.

In making this piece, it occurred to me that I was building a place beyond my body for his absence to live in.  I am working with the concept of performance as archive and its function as an architectural space for the past to be held, contained, and at the same time, distanced from the body.  Through movement, sound, and dancing with objects found in nature, I am exploring the places that exist inside and outside of time and space where memory, longing, distance, and absence may or may not reside. The audio you hear is an original recording of an attempt at conversation between myself in America, and my father in China.

 Audience members are encouraged to move in and around the performance space during the performance. Their movement facilitates shifts in perspective as they engage with the performer and the installation from different viewpoints.

Angeline Young is an artist from San Francisco, California.  My earliest memories of dance come from watching the elderly practice their tai-chi and qi-gong in Portsmouth Square in Chinatown.  I tagged along with my three brothers to their wu-shu martial arts classes at the local YMCA.  Later, I trained in Cunningham-based modern, Graham technique, Afro-Haitian dance, and somatic practices. I have worked as a teacher in youth-focused education, where I am interested in dance as a vehicle to explore narratives of identity and one’s sense of home in time and space.  My other interests include film, interdisciplinary dance installations, auto-ethnographical narrative, authentic movement and expressive arts therapy.  I earned my Bachelor's degree in Music at the University of California, Berkeley with a minor in Theater, Dance and Performance Studies.  I am currently a MFA Dance candidate at Arizona State University.


Jin-Wen Yu - Headshot"Dis/connect"

Choreographer: Dr. Jin-Wen Yu, Professor, University of Wisconsin-Madison Dance Department, USA
Performers: Palmer Mathews and Conley Pitzl
Music: Wichita Sutra Vortex by Philip Glass

Artist's Statement: Set to music by Phillip Glass, this duet explores the relationship of connection and disconnection.  It reflects contemporary sensibility in the dance world by borrowing cultural dance movements from different genres, such as modern dance, ballet, and the performative mode of Tai Ji exercise.  It is a formal dance and the dancers will wear socks. This piece was created in June, 2015, and WDAA is the world premier.

Dr. Jin-Wen Yu has created, performed, directed, and produced more than 100 works for the stage in the Americas and Asia, including 40 commissioned works for professionals and institutes.  Dr. Yu has also presented, performed, and taught at dance festivals both nationally and internationally.  In 1999, he founded the Madison-based Jin-Wen Yu Dance.  The company has performed throughout the US and internationally.  Dr. Yu has received numerous grants, honors, commissions, residencies, and awards such as the NEA grant, Outstanding Dance Artist Award from Taiwan, Wisconsin Arts Board Choreographer Award, the first Madison CitiARTS, Commission Signature Grant, Chinese Information and Culture center in New York, Dane County Arts among others.  Dr. Yu was invited to perform at UNESCO in Paris for the Celebration Concert of the 2005 International Dance Day.