Thursday, December 9, 2010

Student Dance Festival Rehearsals

The Student Dance Festival (SDF) is an annual spring dance concert that presents the choreography of Kent State University dance majors and minors. This year, there are fourteen SDF choreographers and almost fifty student dancers. I am one of the choreographers for this concert as well as a performer in Sabatino A. Verlezza’s SDF piece.

Sabatino A. Verlezza decided to submit his SDF piece for the ACDF Regional Conference in March, so we began rehearsals in November. We have had approximately six rehearsals and there are six female dancers. The piece is a journey into the movement Sabatino A. grew up seeing around his home as well as the May O’Donnell modern dance technique that his parents, Sabatino and Barbara Allegra Verlezza, teach and perform. The piece is quirky and fun but always technically challenging.

It was particularly taxing to rehearse this piece in the fall because I was also involved in three dance pieces that were performed at the Dance ’10: TranscenDANCE faculty dance concert. My brain and body were overwhelmed with choreography. I found it particularly difficult to remember the new choreography Sabatino A. taught us because I was still rehearsing the faculty dance concert pieces.

Now that the Faculty Dance Concert has passed, rehearsing Sabatino A.’s SDF piece is much more manageable. We have already completed over two minutes of the piece and are working on “cleaning” different sections. Tomorrow, Friday, December 10th, we will perform Sabatino A.’s SDF piece at a showing for the faculty.

Please come see the Student Dance Festival Concert in the spring! It is going to be an extremely diverse and entertaining concert!

Show Information:
E.Z. Blackbox Theatre in the Music and Speech Building
March 11 & 12 at 8pm
March 12 &13 at 2pm
More information and tickets at www.theatre.kent.edu

--Jessica Mego (BFA Dance Major)

A Letter To The Stage

My last semester at Kent State University is approaching and has become a realization of many of my hopes, dreams and accomplishments in my life. While attending KSU I was able to not only improve my technique as a dancer but grow as a person , choreographer and teacher. I have studied many styles of ballet (including Cecchetti and Balanchine technique) and modern dance (including May O’Donnell, Erick Hawkins and Postmodern Release techniques).

Tamara Landry

As graduation gets closer, I can’t believe the overwhelming feeling of excitement that has filled my life with joy. Dancing for the Kent State University Dance Division has been a wonderful journey for me. As I complete my year, I will never forget the teachers and students that have been a part of my educational and life-learning experiences. I love you all-- and remember, the stage is not only for performances, but it is also a part of our life everyday for exploring and performing our talent for dance.

--Tamara Landry (BFA Dance Major)

Caring behind the audition table

Being on the other side of the table at an audition was a very interesting experience. I have always been the one performing for the people sitting behind the table hoping that I get cast, but this time the pressure was off in that manner and the pressure was on in a new way. Being behind the table brought a new sense of unease in wondering who in this wonderful group of auditionees would be able to fulfill the needs of my piece, but also be able to rehearse on the weekends. To my surprise, I found many dancers I believed would be great for the work and could rehearse on the weekend! My nerves had not yet subsided though because the process of selecting dancers with the other SDF choreographers was yet to come. I feared that even though the process seemed simple enough that with fourteen choreographers I would still have trouble casting the dancers I wanted. To my surprise the whole process was quick and painless. I got all three dancers I wanted and it seemed to me that all the other choreographers were also very pleased with the process, as well as the dancers they were able to cast. I think this was because not only were we very organized (thanks to the amazing duo, Joan Meggitt and Sabatino Verlezza), but also I feel our group is full of very understanding, level-headed individuals, who care for one another. That's what I love most about the group that I have been privileged to work and create with since Modern I/Comp I-- that we care for one another and no matter what is going on. We are all about serving the work. We realize that we are here to serve our work.

--Ebby Howarth (BFA Dance Major)

Dancing with Finger-paint

With the Student Dance Festival coming closer, and the first rehearsal with my cast just around the corner, I thought I was prepared. I know exactly what I want my piece to be about. I chose a couple different pieces of music I like and want to use. I have the costumes planned out in my head.

But then I get hit.

With green paint.

I dream about it. I see glimpses of it as I go about my daily routine. I can feel it squish under my toes and its texture drape across my back. I want to choreograph it. I want to mold the paint through space, spread it across the floor and flick it through the air. The only question now is how. In my mind, it is epic and curious and the most intense finger painting the Dance Divisiont has ever seen.

Green Foot

--Michelle Brown (BFA Dance Major)

For the Love of Cotton

As dancers, we all have that one piece of clothing we love to wear to class: that one leotard that fits just perfectly, the pair of faded-to-grey-but-once-black dance pants with the hole in the knee, or the fuzzy socks worn thin at the heel. Clothes shouldn’t have an effect on how well you perform in class, but they do. My favorite thing that makes taking class just feel better is a pair of secondhand purple leg-warmers that I have no doubt were meant to live with me.

I found them in a thrift store about three years ago for a couple dollars and I think the dance gods up above sent them to me. I’m pretty positive they graced the calves of Hanya Holm in their past life. No matter how many times I leave them behind somewhere, which is extremely often, they find their way home to me. They have become a part of my everyday life, and experienced most of the important moments I have had in the dance department here at Kent State. I do not look forward to the day they will wear out completely and I will have to put them to rest.

This post is to commemorate those special pieces of clothing that have been through thick and thin, sweat and blood, and have always got your back (or calves, in my case).

--Michelle Brown (BFA Dance Major)

American Dance Therapy Association (ADTA)

The ADTA is an organization that began in 1966 to support the emerging profession of dance/movement therapy. The purpose of the organization is to establish, maintain, and support the highest standards of professional identity and competence among dance/movement therapists by promoting education, training, practice, and research. The ADTA also provides avenues of communication among dance/movement therapists and those working in related fields, and increases public awareness of dance/movement therapy.

I am a member of the ADTA, and got a wonderful opportunity in September to attend the 45th annual ADTA conference in Brooklyn, New York. The conference was entitled “Creating the Mind-Body Mosaic: Theory, Research, and Practice in Dance/Movement Therapy." My experience there was wonderful; I attended six seminars in which I learned many new things about dance therapy. I was also able to network with many people and build a professional associate contact list. Out of all of my experiences at the conference, I am most delighted to report is that I was invited to be a part of the new organization, BAAD (Black American and African Descents Affinity Group for Mental Health Practitioners). It is a brand new organization and I have the opportunity to be one of the founding members. I am so grateful for the opportunity to have attended the conference; my eyes have been opened to many new things and my spirit is joyful and excited about continuing my education in Dance/Movement Therapy.

--LaDonna Curry (BFA Dance Major)

Dance’10: TranscenDANCE

On December 3-5, 2010, Dance ’10: TranscenDANCE was presented by the Kent State University Dance Division in E. Turner Stump Theatre. Two words to describe the show as a whole are “Pleasant Chaos”. Those word fit perfectly to me because I felt as though there was a lot going on-- I felt a sense of hurriedness and chaos-- yet with each performance came on clear movement and pleasant presentation. It was delightful to see graceful and traditional ballet lines, along with more rigid and right-angled clean and direct movement. The colors chosen for lighting and costuming also accompanied a feeling of fall and winter, with pretty light blues and purples, and also orange, burgundy, forest green, brown and navy blues, these different colors all used in separate pieces truly added to the atmosphere of the choreography. I enjoyed the show as a whole, however there where two specific pieces that took residence in my spirit and made my heart smile. Those two pieces are Rainbow Concerto choreographed by Andrea Shearer and Sustained By a Breath choreographed by Erin S. Smith. It was pleasing to see the ballet lines in Rainbow Concerto yet refreshing to have a feeling of strength and desire while watching Sustained by a Breath. TranscenDANCE was just the pleasant break I needed right before finals, and I am truly proud of all my fellow dancers.

--LaDonna Curry (BFA Dance Major)

It's the most wonderful time of the year!

Snow has touched the ground and Christmas shopping has begun. What does this have to do with the School of Theater and Dance? I'm glad you asked.

Since fall semester 2008 the freshman dance majors and minors (now juniors) have made a tradition, but not any tradition-- a secret Santa. This has been going on for two years going on three. As we approach another holiday season we have another exciting exchange, this time including fellow upper division modern dance students. It is an exciting time because of the hard work that we've all done this semester, so when this exchange comes around it is like a reward. I can't wait to see all the smiling faces!!!

Now on Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donner, Blitzen, and good ole Rudolph-- bring secret Santa gifts to all the wonderful dancers of Kent State Dance Division.

2009 modern II class

sab

--LaRonica Southerland (BFA Dance Major)

Wednesday, December 8, 2010

Reflections: TranscenDANCE

This past weekend was an very exciting one, indeed. TranscenDANCE turned out to be an excellent production. Backstage, all crew members and performers worked together to create a well organized and smooth run of all three shows. Costume designers in the dressing rooms were there for anything that performers needed. Costume alterations were necessary, but designers completed the alterations in a prompt and efficient way. There were many caring and helpful individuals to help the performers backstage in the wings as well, including help with quick costume changes and first-aid equipment.

Jerimie, the stage manager, was also especially notable for his direction and leadership skills during the performances. His attentiveness and interaction with cast members was outstanding, as well as the way he kept everyone on the same page, so to speak.

As a performer, I felt well guided and "taken care of." I was always aware of the time, and of where my costume pieces were. It was most helpful in staying focused for the show. I thought every night progressively became more organized and relaxed. I received excellent feedback from family and friends as well. "One of the best we have seen so far..."



--Diane Skerbec (BFA Dance Major)

Tuesday, December 7, 2010

Open Thread for Dance 10: TranscenDANCE

This is an open thread for comments about Dance 10: TranscenDANCE. If you attended, what did you think? Any particular highlights?

Preparing for Dance 2010

After the Dance Division moved into its new home in the Music and Speech Center, the School of Theatre and Dance was all under one roof. This made a big difference during tech week of Dance 2010 because the dancers were able to warm up in our brand new dance studios. After warm-up, it was a short walk to the theatre. I really noticed the difference on Sunday, the first day of tech week. My call was 45 minutes before I had to be onstage. During those 45 minutes, the dancers had access to the studios for warming up. Each of us had our own unique way to warm up and prepare our bodies for the rigorous week ahead of us. My warm-up process included both physical and mental preparation. I try to prepare myself for specific movements in my pieces as well as my performance quality. I also make sure my muscles are warm and ready to go! Last year, the dance studios were about a five minute hike across campus, so we could not warm up in the studios during concert week. What a difference a year can make! Every day the dancers learn new things about our new home in Music and Speech, and we really enjoy being under the same roof as the rest of the school!

In these photographs are some of the Rainbow Concerto dancers preparing for our rehearsal on the Sunday of tech week for Dance 2010.

Rainbow Warm-up 1

Rainbow Warm-up 2

--Jessica Kinsey (BFA Dance Major)

Space and Opportunity

Junior year is coming to a close-- from all the ups and downs, big papers to write, and exercise prescriptions. We approached the Dance 10 concert weekend with excitement about getting to show off the hard work and dedication that we put into this show. It's very exciting for the School of Theater and Dance, for this was the first concert with the dancers being moved in to our new studio space, even though we are performing in the same theater as in years past. This gave us the choice of either warming up on stage or in the BRAND NEW studios. Having this choice is simply amazing. Having the new space that is bigger, more body-forgiving and with an amazing sound system won my heart over. Also this allowed for us to be warmer too, because in the past, the Stump stage is not only unforgiving on the body but you may also remain cold because of the air control on the stage. So this meant that layers of clothes would stay on. Being a third year dance major, having the opportunity and choice is something I did not imagine would happen before I graduated. It was nice to have the opportunity to try out warming up in the studio vs. the stage. I look forward to senior year and knowing that that experience might become apart of the the new tradition. It was definitely worth the test run.

--LaRonica Southerland (BFA Dance Major)

Monday, December 6, 2010

Masterclass Benefits

A couple of weekends ago I heard about a masterclass that was going on at KSU. The great thing was that the masterclass was free so anyone could go. That’s one of the great things about going to a university or college: you can get great opportunities, for very cheap or even free. Outside of the college world, you don’t run into that very often.

So after seeing the email about this masterclass I thought to myself why not try it, it could be fun! On Sunday I went to the Music and Speech building and went to the dance studios on the first floor. There I met a local choreographer, Desmond Beasley. He had contemporary and hip hop routines ready for us to learn.

First we stretched out our bodies so we were nice and warm. Then he got right to work teaching the contemporary routine first. It was a very interesting contemporary piece. For me I have been doing contemporary for a couple years and never encountered this style before. I would say it had an afro-jazz flair to it. We learned the whole routine then Desmond broke us up into two groups so we could practice it full out, since there were many dancers who showed up. After that we broke up into smaller groups so we each could strut our stuff.

Next was hip hop, which was great fun. The piece was very diverse-- there were spots where you had to hit everything hard and make it powerful and then parts where you could make it playful and flirty. I really enjoyed this dance, and I just wanted to keep dancing! I even remember now and run it in my head whenever I hear the music because I love it so much. With all of these styles in the hip hop routine it really allowed the dancers to show off their different styles and we got to be creative with it also. We also broke off in two groups and then in smaller groups to showcase what you can do.

Masterclasses are just one way you can make yourself a better dancer. Learning different choreography can help you learn how to pick up routines faster in auditions, and they also let you see different choreography that you have never experienced before. That’s why you should take every opportunity given to you. You can always learn new styles, become more diverse, and maybe even get your name out there someday.

--Samantha Bertolino

Dance '10

This weekend was the premiere of Dance '10: TranscenDANCE. The show had a really great turnout, and was even sold out on opening night. This concert had six very diverse performances choreographed by our very own full- and part-time faculty members. I was in three of the six dances in this concert and it was quite an experience. Aside from the Kent Dance Ensemble concert last year, I have not danced that much in a faculty dance concert. It wasn't remembering the choreography to three different dances that was the hard part, it was maintaining my stamina and energy. I got the oppurtunity to dance with some amazing fellow dancers and also got the experience to partner with some very talented and marvelous men (Sabatino and Dominic). As a senior, it was very bittersweet to think that this was my last faculty concert that I will be performing in as a dance major at Kent State. I am sad to leave but very excited for what the future will hold! I want to thank the faculty for allowing me to perform in this concert and leave it all on that stage one last time this semester. I also want to thank all of my fellow cast members... you all kept me going and I couldn't have done it without you guys, I love you all!!!

Check out this picture that has almost all the performers involved in Dance '10 TranscenDANCE.

DSCN1542

Until next time...

--Katie Naso (BFA Dance Major)

Verlezza Dance Concert

As a freshman dance minor at Kent State University, I knew that I would be affected by my experiences in the dance program, but I had no idea that one concert would have such a huge impact on my life.
The concert that I am referring to is the Verlezza Dance concert, which took place in September for DisAbility Awareness Month. This particular concert was performed by the Verlezza Dance Company, consisting of dancers of all types, including those with physical and mental handicaps. Because my modern dance instructor, Barbara Verlezza, was one of the founders of Verlezza Dance, I had the opportunity to dance in a piece, not knowing exactly what to expect.
The performance was absolutely stunning…it began with a duet between Sabatino Verlezza, the co-founder of the company, and a girl who was confined to a wheelchair. They twirled around the stage with such grace that by the end of the dance, I forgot that she even had a disability. This piece was followed by an ensemble that included woman with cerebral palsy dancing as Lady Gaga. It was uplifting to see that these people were able to overcome their so-called limitations to dance for us.
The piece that I had the privilege to be a part of was a large group number comprised of elderly dancers. It incorporated sign language and audience participation, to a song entitled “Angel.” This piece was dedicated to the members of the company who had passed away that year. I was especially moved by the brilliance of the choreography and the power of the movements. I was personally affected by this concert, as my aunt passed away from cerebral palsy this past year. She had never had the chance to dance, or walk for that matter, but I was honored and amazed to see just what those we perceive as disabled have the ability to do.
One elderly disabled gentleman had an important message: just because he has a disability, doesn’t mean that he doesn’t have dance in his heart. This statement moved the majority of the audience, as well as me, to tears. The Verlezza Dance Concert was an eye-opener for all involved, and was nothing like what I expected to experience through Kent State’s Dance program.
I recently changed my major to Psychology, and combined with my dance minor, I plan to pursue a career in dance therapy. I had always been uncertain as to what I want to do with my life, but those dancers were my inspiration. If I can change one life with the power of dance, or make one person feel what I did the night of that concert, then I will have had a successful life.

--Shayna Fischer (Dance Minor)

Wednesday, December 1, 2010

You’re the One That I Want?

Grease is the word! I’m beyond thrilled to get the amazing opportunity to be the assistant director for our Visiting Artist’s production of the musical. After waiting impatiently all November, auditions finally arrived. I’ve never AD’d a production of this size before (in the past I’ve worked on small basement lab shows), and I’ve never worked on the production side of a musical. I felt a bit at sea, having no clue what to expect.

This audition was run differently from past KSU auditions. The style was closer to a professional cattle call; everyone danced first, then they were divided into groups to sing. It was strange to see how nervous the change in routine made everyone. There were rumors that Mac, the director, was going to cut people before they would be allowed to sing, and that only superior dancers would be looked at. Everyone looked terrified as they entered the dance call, but the choreographer, Todd, was amazing at making everyone feel at ease. My favorite quote? “Okay. You’ve learned the choreography…now screw the choreography! Entertain us! ... If you’re going to fall on your face, fall with panache!” My main duties during callbacks were to keep headshots and resumes straight, and occasionally offer my opinion. It was interesting to see the way I saw auditions from the people I knew, in many cases my friends, and they way they were looked at by an outsider.

Throughout the whole process, I was so nervous I was shaking occasionally. Nervous for the show, for the actors, everything. I looked at Mac partway though auditions to ask if he still got nervous too… and he told me he was a wreck. Maybe some things never change…

--Sarah Coon (Assistant Director, Grease)

Hair, Make up, Costumes, Lights...Showtime!

It's unbelievable that it is almost time for Dance '10: TranscenDANCE! This semester has flown by, and I cannot believe we have been working on this concert for almost the entire semester! Now it is tech week, and the days seem half as long as usual. The fact that winter break is right around the corner doesn't help anything.

One thing that amazes me about concerts (and musicals) is that a week before tech week everything seems to be far from ready. The pieces are either not finished or far from perfect, the costumes have yet to be fitted, and the space is far from everyone's mind. But during tech week a miracle occurs: everything falls into place. The piece is now finished and ready for the audience, the costumes are fitted and beautiful, and the stage is lit and ready for the dancers. Every production goes through the same steps and falls into place the same way. This procedure just adds to the magic and stresses of live performance.

rainbow

-Jessica Kraft (BFA Dance Major)

Freshman Reflections: Elizabeth Kneiss

My first audition in the dance program was the faculty dance concert audition. I was nervous watching all the other dancers, who were upperclassmen, get the choreography easily. I was stuck in the back of the room, knowing little to nothing about modern dance. After learning all four dances, I was eagerly watching the clock waiting for it to all be over. I would say that I was very unprepared for the talent and experience everyone else had. After a month and a half of being in a Modern class, auditions for BFA were near. Going into these auditions I felt more prepared and knew what to expect. I went into the room knowing more about body placement and "feeling" of modern dance. Overall, being in new styles of classes has helped me to grow as a dancer.

--Elizabeth Kneiss (BFA Dance Major)

Art & Movement in the Museum

On Saturday November 13, fellow dance major Diane Skerbec and I went to the Collision: Art & Movement in the Museum MOCA Cleveland Workshop led by Jill Sigman. Included in this post is the flyer for the workshop. It was from 1-5pm, and if we were involved in the workshop, we received free tickets to see Danceworks perform that evening in the Trinity Cathedral.

This was a new experience for both of us and we were not sure what to expect. We were a little early for the workshop so walked around the museum for a bit. One exhibit utilized multi-media and was the combination of different pieces of art. The work showed black and white video footage of a man investigating the site of a serial killer. It was silent so there would be a few seconds of footage followed by text describing the situation. Also in this exhibit were drawings, sculptures, and clothing from the footage. It was very eerie, but I hoped that we would be able to explore it further through the workshop.

There were about fifteen of us. Most were dancers, but a few were artists or dancers dabbling in art. We began our study with Jill in the back room. This room contained artwork that could be touched, which was a relief. There were two walls and two pillars covered in a wallpaper style graphic art that had many shapes and colors. This piece really livened the senses and imagination. Along the wall on the other end of the room were four pieces of art created by students from four different universities, including Kent State University. When dancing “with” the Kent State artwork, I felt a sense of cameraderie because the dance program and art program were being connected in some way. We explored different structured improvisations before joining in groups and creating a short study that we showed everyone. We formed multiple groups and multiple studies with interaction with artwork and dancing “cinematically.”

After a short break, we moved into the exhibit I described earlier and created another short study that exemplified the atmosphere of the piece. There were four groups of 4-5 people and each study was no longer than 3 minutes. One group including the audience, and another used a curtain as a means of controlling what we saw. Because the exhibit featured such a heavy topic, every study was mysterious and melancholy. After this final activity, we had a short discussion before ending the workshop.

The opportunity to observe art in a museum and dance how it makes me feel is so rare, and I’m very grateful I went to the MOCA workshop. Experiences like that are not common and Jill was such a wonderful leader and guide. I would recommend a workshop like this to any pre-professional or professional modern artist.

collision flyer

--Jessica Kraft (BFA Dance Major)

Pilobolus Summer Intensive

Over the summer, I attended the Pilobolus "Serious Movers" Summer Intensive in Washington, Connecticut. The Intensive took place from July 19-23, 9:00 a.m. – 5:00 p.m. (usually we went until 5:30 or 6:00 p.m.). The teachers for this Intensive were Renee Jaworski, Rehearsal Director and Pilobolus Dancer, and Matthew Thornton, Adjunct Dancer. Matthew Thornton, as many of you may know, is the husband of a former KSU Dance Instructor, Alicia Diaz. Alicia attended the Intensive for three days, as well.

There were approximately 30 individuals who participated in the Intensive. The participants came from all over the world – Texas, California, Ohio, Pennsylvania, Massachusetts, Maine, Mexico, Canada – with a variety of “movement” backgrounds – professional dancers, college dance students, Pilobolus dancers, martial artists, theatre professors, college theatre students, acrobats, athletes, and many more. The diversity of this group was amazing and everyone contributed a wealth of knowledge.

The five day intensive focused on Pilobolian technique utilizing both individual and partnering work. The individual work included endurance exercises such as running exercises, individual improvisation, spatial awareness exercises, and many other movement explorations. A former Pilobolus dancer also conducted a “rolling” workshop that included techniques for getting into a roll from standing as well as rolling forwards and backwards across the floor smoothly. The partnering work was extensive and challenging. Throughout the workshop we changed partners to learn to work with different bodies. We learned over 15 different lifts and weight-sharing movements. All of these lifts and weight-sharing movements are a part of Pilobolus repertory. The partnering work was particularly eye-opening for me. I have a new understanding of my own body as well as how to share my body weight with others. We also separated into four groups to address choreography. The second piece of choreography that we created aimed at employing what we learned throughout the workshop and was presented in a showing on the last day.

choreography

The Pilobolus Intensive was a life-changing experience. I met extremely talented and inspiring individuals, a number of whom have become life-long friends. I discovered new muscles that I never knew existed and gained a new understanding of my body. This truly was one of the greatest experiences of my life and I plan to attend the Intensive again next summer!

group at beach

--Jessica Mego (BFA Dance Performance Major)

My Time In Arizona: NDEO Conference

From October 20-24, 2010 I attended the National Dance Education Organization National Conference in Tempe, Arizona. This was my second time attending the conference (the last one was in NYC) and each time I have had a wonderful experience. During the previous conference I had been voted to be the incoming national student representative that would sit on the board for the following conference. This year was what you might look at as my introduction to my position and duties. Working alongside former KSU Dance Education Professor and NDEO Board Member Melanie George, I began to learn some of the inner workings and administrative aspects of the organization.
I also, for my second time, got to participate in the Passing on the Legacy workshop in which I got to work with renowned dance educator and choreographer Bill Evans. We worked with self made compositions as well as repertory Bill gave us and put them together into one large piece. The workshop culminated in a performance which was presented at the closing reception for the entire conference. It was truly an exciting experience and I met many other wonderful students from colleges and universities around the nation. I would truly suggest anyone interested in the elements of dance education to attend this conference. The organization does a great job of bringing so many wonderful master artists from around the country into one location. Below is a photo of the closing reception performance where I had the chance to partner with a student from Brigham Young University in Utah.
sab/NDEO

--Sabatino A. Verlezza (BFA Dance Major)

SDF Student Director: My Experience Thus Far...

For the 2010-2011 academic year, I am the Student Artistic Director of the 2011 Student Dance Festival. Working alongside Assistant Professor and Faculty Artistic Director Joan Meggitt, I have been given the chance to lead a wonderful group of 14 choreographers (one being myself) who will premiere 14 new works in March 2011!

My main focus for the semester was to set up and produce the audition, in which anyone enrolled in a KSU School of Theatre and Dance studio dance technique class (majors and non-majors) could attend. Going into the process I was unaware of how difficult it could be to organize and find 28 different rehearsal times (2 per choreographer) that fit into the Spring 2011 studio schedules. However, the audition, which took place on October 27, 2010, went extremely well and every choreographer was able to choose a suitable cast that worked with everyone’s schedule.

This wonderful leadership opportunity has already taught me so much, and we haven’t even got into the thick of things yet. Next semester I will be working on other projects such as writing the press release for the concert and creating my premiere piece to contribute to the concert. Again, this position has been great and challenging all at the same time and I look forward to seeing it through to opening night!

--Sabatino A. Verlezza (BFA Dance Major/SDF Student Artistic Director)

Grand Opening at KSU Tuscarawas

On Friday, November 19th, the Kent Dance Ensemble had the privilege to partake in the grand opening of the new Performing Arts Center at Kent State University-Tuscarawas campus. We were absolutely thrilled to be a part of such an incredible event. The most exciting aspect of this performance was the fact that we were the first group to dance in their brand new and breathtaking theatre. We performed two pieces: “Show Business,” choreographed by Kim Karpanty, which was also performed at the Roe Green Center grand opening, and “Rainbow Concerto,” choreographed by our Artistic Director, Andrea Shearer. When looking out over the immense crowd, I realized how lucky I was to be there. It was also a reminder of how blessed we all are to be in the Ensemble, which has given us so many great experiences and opportunities such as this. The energy present in the new building was outstanding. It was quite refreshing to be within an environment, other than our own, that supports and appreciates the arts to such a degree. I hope to return to the beautiful new Tuscarawas Performing Arts Center many times and embrace the wonderful arts events soon to come! I advise anyone and everyone to make the trip and take advantage of this incredible space!

KDE tusc
The Kent Dance Ensemble backstage and ready to perform Rainbow Concerto!

---Jordan Deckert (Dance Performance Major/Kent Dance Ensemble member)