Annual Dance Concert
November 8, 9, & 10 at 8PM
Warner Center Main Space, Oberlin College
Tickets: $3 in advance, $5 at the door
Available at Central Ticket Service
(440) 775-8169
This fall, eight choreographers with backgrounds ranging from classical ballet and modern dance to acrobatics, martial arts and tricking will amaze audiences with the versatility and expressiveness of dance. Looking to atomic reactions, the impact of losing one's mobility, the interplay of human relationships and other ideas for inspiration, the choreographers translated these concepts into breathtaking movement, brought to life by Oberlin dancers. The event also features original music by Oberlin students, including live accompaniment for the premiere of Associate Professor of Dance Elesa Rosasco’s piece, The Accompanists. Come immerse yourself in a night of movement, music and discovery!
PRODUCTION NOTES:
Elesa Rosasco, Associate Professor of Dance, choreographs The Accompanists, a tribute to accompanists with original, live music by Oberlin Conservatory students Julia Chen and Nathan Friedman. The lighting design is by Daniel James. The sextet is inspired, in part, by Rosasco’s earliest theatrical performances as a child with a circus roustabout. In describing the tone of the dance she says, “I once made a skirt out of flyswatters. If that skirt could be a dance, it would be The Accompanists.”
Kira Fath performs “a final hurrah to ballet” in her solo Bittersweet Geometry, combining the classical ballet she grew up with and elements of the circus and acrobatics disciplines she studies now. Fath explores unusual, nontraditional shapes within the framework of a traditional pointe performance.
Julie Garber choreographs Don’t Pass Me By, a piece that looks at how relationships can develop through touch. Through physical contact, the four dancers develop relationships that evolve and dissolve, revealing the transient nature of our encounters with each other.
Ben George-Hinnant considers the interplay of gestures and the energy levels of movement in his solo, Rift. George-Hinnant draws on his experience in martial arts, dance and tricking within this exploration, performed to an original score by Sam Fischer.
Hayley Larson plays with the natural ebb and flow of movement in her solo, Hush. Created in collaboration with Oberlin composer Eastman Presser, Larson says the piece represents an acceptance of her own personal style.Larson also choreographs My Legs to Better Understand Me, a quintet focused on the contrast between presence and absence. The piece, set to music by Oberlin student Gerard Marcus, stems from Larson's interest in the commonalities and differences between human interaction in dance and in everyday life.
Elaine Liu fuses ballet and modern technique in Interia, a group piece performed to music by Adam Hines. The dancers move in and out of groups and energy dynamics, inspired by the interactions between atoms.
Christopher McLauchlan's solo Mobility is a journey of gains and losses, reflecting the impact of different levels of mobility on one's movements.
Silvia Sheffield performs the solo piece The House Will Be All the Quieter. In her choreographing, Sheffield experimented with incorporating assertive, traveling movement into her more fluid personal style and the resulting piece expresses the contrast between the two.
