Summer intensives are somewhat of a rite of passage for dance students. Spanning several weeks and taking place at nearly dance school and company around the country, intensives are designed to be just that: intense. Sometimes dancing for 10 hours/day, students take classes in a variety of techniques and styles, from classical ballet to jazz, hip-hop, and flamenco. This past summer, Marion Kudla ‘19 and Sophie Gray-Gaillard ‘20 each attended summer intensives. Their experiences both prove the value of these kinds of programs and reaffirm their demanding structure.

Kudla attended the BalletX summer intensive in Philadelphia for two weeks. BalletX is a contemporary ballet company that “encourages formal experimentation while preserving rigorous technique.” They have performed at Swarthmore several times, and Kudla says they influenced her dancing even before she attended the summer program. Citing a performance from her freshman year, she says, “it was this performance that helped me recognize the far-reaching ways that dance and movement can impact our lives.” The intensive reaffirmed this notion for her, and has inspired her to immerse herself fully in Swarthmore’s dance program during her last two years at school. One of the benefits of attending a summer program with a company rather than at a school is the unique proximity to professional dancers. Kudla talks about watching the company in rehearsal, and the rare sense of intimacy that comes from seeing the dancers off stage. “Somehow, the choreography they were rehearsing took on a completely new form when seen up close and out of costume. The personality of each dancer became all the more apparent, emphasizing the company’s diverse artistry and making me appreciate the individuality integrated into contemporary choreography.”

Sophie Gray-Gaillard spent three weeks at the Cambrians summer intensive in Chicago. The Cambrians are a unique force in the world of contemporary ballet. Their pieces are made through collaborations with several choreographers. Each choreographer will make a piece of the dance, and then the Cambrians will “remix” it, using only the steps that they have been given to create a completely new work. Gray-Gaillard took classes in flying low, a technique that “emphasizes the dancer’s relationship with the floor,” improvisation, cuban technique, and modern technique. She also had to remix her own dances. The Cambrians dancers would give students pieces of dance and stipulate them with “movement tasks.” Gray-Gaillard describes one of these tasks: “My partner and I were assigned a task where we had to take a phrase that was a remix of three other phrases and perform it with our hips never being more than a few inches apart. On top of that, we had to perform it at a super slow speed.” This kind of intellectual challenge is not necessarily typical for all summer intensives, and the Cambrians’ use of this creative pedagogical technique furthers the idea that they, and companies like them, are disrupting the world of contemporary ballet with foundational innovation.

Swarthmore dance professor Olivia Sabee believes that this kind of summer dance study is incredibly important for many reasons: “Beyond simply providing the opportunity to continue to dance over the summer, pre-professional summer dance programs are a critically important way for our choreography and performance-focused students to get exposure to techniques and styles beyond those offered here at Swarthmore. The varied repertory experiences—whether focused on existing or new work—these programs provide also help shape the voices of emerging choreographers by allowing them to experience these works firsthand.”

Gabriel Hearn-Desautels ’20

On Thursday, October 5th, Alonzo King Lines Ballet will perform at 8pm in the LPAC Pearson-Hall Theater. The event is free and open to the public.

A dancer has one, overarching goal when he or she steps onto the stage: to make it all look easy. No one wants to go see a ballet or contemporary performance to watch the dancers grimace and express to the audience the difficulty of what they are doing or the amount of pain they are in. The best dancers can make the hardest steps look easy, but it is their hard work and training that makes the choreography look this way. They have to battle the choreography and challenge themselves to give off a certain image.

Alonzo King works differently. The founder and artistic director of Alonzo King Lines ballet, he creates works that adhere to a specific stylistic goal: fluidity. He makes his dancers move in ways that accept and romanticize the human form, rather than breaking it into rigid techniques, as classical ballet does. His dancers barely look solid as they dance, and one is not constantly reminded of how uncomfortable the movements are or how difficult it is for the dancers. This is not to say that his pieces are easy to dance. They are incredibly difficult and require nearly perfect technique. But they are breathtaking because they look so fluid and unrestrained.

His company will be performing Biophony and The Propelled Heart. Biophony is a collaboration between Alonzo King, natural soundscape artist Bernie Krause, and composer Richard Blackford. For years, Krause made recordings of the natural world, from the sounds of killer whales to the gentle hum of the earth itself. The dancers take on animal form to remind us of the beauty that comes with a connection to the natural world.

The Propelled Heart is a celebration of the human voice. The performances is oriented around the vocalist Lisa Fischer, who has shared the stage with Mick Jagger, Beyoncé, Sting, Aretha Franklin, and more. Her voice is astoundingly powerful, and King wished to pay tribute to this. He explores the “kinetics” of the human voice, and his dancers make visual Ms. Fischer’s soaring music.

Gabriel Hearn-Desautels ’20

Friday, April 28 at 4:30 PM – 6:30 PM 

Saturday, April 29 at 8PM

The Swarthmore College Dance Program presents the 2017 Spring Dance Concert. Wonderful work from our African, Ballet, Modern, Kathak and Tap repertory classes will all be included this year. Several pieces feature live music, video, and singing! Come celebrate our graduating seniors and the hard work of all our dance students and faculty. The concert, which is appropriate for all ages, is free and open to the public. This show is uplifting and joyful!

Friday, April 28 at 4:30 PM – 6:30 PM 

Saturday, April 29 at 8PM

The Swarthmore College Dance Program presents the 2017 Spring Dance Concert. Wonderful work from our African, Ballet, Modern, Kathak and Tap repertory classes will all be included this year. Several pieces feature live music, video, and singing! Come celebrate our graduating seniors and the hard work of all our dance students and faculty. The concert, which is appropriate for all ages, is free and open to the public. This show is uplifting and joyful!

Sunday, April 30 at 2 PM – 5 PM in LPAC Troy Dance Lab

touching

you are encased by arms. it is soft, warm, dark.
soft hums reverberate through you. you echo,
finding skin, rotating forward.
touching, we are safe, we know. we follow by sight, touch
memory,
force.
we make sound.
we don’t know who is leading anymore.

The Department of Music and Dance presents an Honors Choreography Project choreographed and directed by Erica Janko ’17. This multimedia, experimental dance production explores embodiments of group form.

*Please note that there may be loud vocalizations from the performers during the show.

A talkback will follow each performance.

Directed and choreographed by Erica Janko ‘17
Set and media design by Yoshifumi Nomura ‘17
Lighting design by Clarissa Phillips ‘19
Costume design by Rebecca Rosenthal ‘20
Video design by Chiara Kruger ‘17

Sunday, April 30 at 2 PM – 5 PM in LPAC Troy Dance Lab

touching

you are encased by arms. it is soft, warm, dark.
soft hums reverberate through you. you echo,
finding skin, rotating forward.
touching, we are safe, we know. we follow by sight, touch
memory,
force.
we make sound.
we don’t know who is leading anymore.

The Department of Music and Dance presents an Honors Choreography Project choreographed and directed by Erica Janko ’17. This multimedia, experimental dance production explores embodiments of group form.

*Please note that there may be loud vocalizations from the performers during the show.

A talkback will follow each performance.

Directed and choreographed by Erica Janko ‘17
Set and media design by Yoshifumi Nomura ‘17
Lighting design by Clarissa Phillips ‘19
Costume design by Rebecca Rosenthal ‘20
Video design by Chiara Kruger ‘17

Monday, April 17 at 2:30 PM – 4 PM

Location: SCI 104

Amanda Weidman is a cultural anthropologist whose work in Tamil-speaking South India has centered on gender, technological mediation, music, sound, and performance. She is the author of a book on the social history of Karnatic (South Indian) classical music, Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (Duke Univ. Press, 2006). Her current research project is on playback singing in the South Indian Tamil-language film industry. She is also a Karnatic violinist.

Playback singing in Indian popular cinema is more than simply a technical process of substituting one voice for another; rather, it is a culturally and historically specific phenomenon that has generated novel forms of vocal sound and performance practice, celebrity and publicity, and affective attachment to voices. I situate these forms within the cultural and political context of South India from the post-Independence period to the post-Liberalization present. I examine the discourses and practices that were generated when playback singing first emerged and became standard practice in the 1940s-50s, the aesthetics that became normalized in the 1960s as certain voices began to dominate, and the ways the status and vocal sound of playback singers have changed since the liberalizing reforms of the 1990s.

Free and open to the Swarthmore community.

Monday, April 17 at 2:30 PM – 4 PM

Location: SCI 104

Amanda Weidman is a cultural anthropologist whose work in Tamil-speaking South India has centered on gender, technological mediation, music, sound, and performance. She is the author of a book on the social history of Karnatic (South Indian) classical music, Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (Duke Univ. Press, 2006). Her current research project is on playback singing in the South Indian Tamil-language film industry. She is also a Karnatic violinist.

Playback singing in Indian popular cinema is more than simply a technical process of substituting one voice for another; rather, it is a culturally and historically specific phenomenon that has generated novel forms of vocal sound and performance practice, celebrity and publicity, and affective attachment to voices. I situate these forms within the cultural and political context of South India from the post-Independence period to the post-Liberalization present. I examine the discourses and practices that were generated when playback singing first emerged and became standard practice in the 1940s-50s, the aesthetics that became normalized in the 1960s as certain voices began to dominate, and the ways the status and vocal sound of playback singers have changed since the liberalizing reforms of the 1990s.

Free and open to the Swarthmore community.