Solo: A Festival of Dance • Oct 7
Solo: A Festival of Dance
Sun, Oct 7
3:00 – 5:00 pm: NIC Kay (NYC). This performance begins in the Central District and proceeds to OtB. Guests can watch the performance along any part of the route. Click here for detailed instructions about the route.
6:00 pm: Doors open
6:30 – 7:15 pm: Panel discussion with artists Naomi Macalalad Bragin, Orlando Hernández, Wade Madsen, and Dani Tirrell (free with tickets from any night)
7:30 pm (Studio Theater): Dani Tirrell (Seattle)
8:00 pm (Merrill Theater): Alyza DelPan-Monley (Seattle), Bruno Roque (Seattle), Orlando Hernández (Providence), Naomi Macalalad Bragin (Seattle), Wade Madsen (Seattle)
NIC Kay: pushit! [exercise 1 in getting well soon]
This performance begins in the Central District at the corner of MLK Way and E Columbia St. It proceeds west along E Columbia before turning north past Seattle University to OtB. Guests can watch the performance along any part of the route. Click here to see a map of the route.
This work is a continuation of the exercises in getting well soon, a project / meditation based on the loose and often used phrase indicating a hope of recovery. But if “Hope is a Discipline” as Mariame Kaba writes, what are the methods of hope in a performance practice? Or does hope have to be abandoned in order to get well, as Calvin Warren proposes in his essay “Black Nihilism and the Politics of Hope"? Can resistance be choreographed? The exercises have been articulated as movement, installation, games, endurance, ritual, poetry, and collective action. A site-responsive work, pushit! is a performance largely sculpted around the unique architecture of the venue and the social/political landscapes of the city/space/presenting body.
NIC Kay is a post disciplinary artist working with and through performance. Their work has been presented in Europe and the United States. NIC attended Professional Performing Artist School in (2007) and NYU Hemispheric Institute EMERGENYC (2009). NIC has been a Chances Dances - Marc Aguhar Memorial Grant awardee (2015), Movement Research Van Lier Fellow (2017), and a performance artist-in-residence at the Museum of Art Design (2017). Their solo work lil BLK was presented in American Realness (2018). NIC is currently a Spring/Summer AIR at Pioneer Works (NY) (2018).
Photo: Sarah-Ji Rhee
Dani Tirrell: The Ties That Bind
with Aquilla Bell
We have not performed together in over 10 years, we have friendship that has lasted over close to 20 years. How does time and distance still connect us? This piece, these solos, explore an emotional connection. It is taking dance to its most human level....LOVE!
Dani Tirrell (Seattle) creates movement pieces inspired by Dani’s queer, gender non-conforming, and black experience. Dani has danced with Jazz and Spirit Dance Theater of Detroit, Monroe Ballet Company and Dani Tirrell Dance Theater. Dani has performed and shown work at Black Choreographers Festival (San Francisco), Gay City Arts (Seattle), Bumbershoot: Velocity Dance Center Showcase, Showing Out: Black Contemporary Choreographers (Seattle), Young Tanz Sommer (Austria), Northwest New Works Festival: On the Boards (Seattle), Risk/Reward (Portland), Seattle Art Museum, and Erased (Color Lines Dance Ensemble) as part of Nights at the Neptune (Neptune Theater, Seattle).
This solo explores the word “fall.” I would like to invite a different soloist to perform this piece each night. In doing this, I hope to show how the form of a solo can exist in the movement's content, and can also be embodied anew by different performers, similar to how a monologue or song maintains its form and yet completely transforms with a different subject.
Alyza DelPan-Monley (Seattle) seeks to humanize their surroundings with splashes of whimsy, genuine intimate connection, and expansive possibilities. Alyza is eager to find the unexpected ways that dance can synthesize the human experience. Known for quirky nonsensical non-sequiturs and character-ridden theatrics, Alyza believes that dance can burst bubbles and repurpose awkward into awesome.
with Noelani Pantastico
Certain moments in our lives have dramatic consequences on our personality and can shape what we become. Losing our ingenuousness is sometimes gradual and sometimes sudden, but either way, there are key moments and memories that define a whole life. Noelani Pantastico, principal dancer at Pacific Northwest Ballet and my beloved wife, wrote personal memory snippets that will serve as the base and inspiration for this piece that speaks of loss of innocence, loss of loved ones, personal growth, and ultimately the delicate fabric that shapes us.
Bruno Roque (Seattle) is a dancer and choreographer from Lisbon, Portugal, currently based in Seattle. He graduated from the National Conservatory in Portugal and trained at the Vaganova Ballet Academy in Saint Petersburg, Russia. He has been part of the National Ballet of Portugal and the Royal Ballet of Flanders in Antwerp, and was a first soloist with Les Ballets de Monte Carlo from 2004-2016. Since 2007 he has choreographed over 20 works, most recently for Whim W’him. Since 2015 Bruno has directed and choreographed a project co-produced by Les Ballets de Monte Carlo and the Monaco Ministry of Education to bring dance, music, and theatre to children.
Orlando Hernández: Si así lo hicieseis, haréis bien… (If you do so, you will do well…)
Si así lo hicieseis, haréis bien… utilizes a historical text from El Requerimiento of 1513, a legal and religious contract that conquering Spaniards were required to read to native peoples, to explore historical and ongoing experiences of colonialism and racial violence in the US and the Caribbean. This work uses tap dance as an engine for encountering histories and generating rhythms of reflection. The piece, with its tracks and sites of address, responds to the particular orientation and topography of the performance space.
Orlando Hernández (Providence) is a tap dancer and theater-maker based in Providence, Rhode Island. He has shared his solo work at the Granoff Center at Brown University (Providence), the SPACE Gallery (Portland, ME), the Provincetown Dance Festival (Provincetown, MA), and La Casa de Cultura Ruth Hernández Torres (Río Piedras, Puerto Rico).
Photo: Nikki Carrara
Naomi Macalalad Bragin
This piece explores the relationship between improvised movement and the broken line. I draw on African-derived lexicons of house and hip-hop that operate on principles of polycentrism, flexed-feet, angularity, and the rhythmic break, refusing the position of “neutral” or moreso, suggesting neutral is always flexible, fluid, and open to change—not position but relationship of bending to the physical capacities of whoever’s dancing. I work within a set of imposed physical restrictions of space, position, repetition, and stillness, to evoke practices of being-broken, off-center, not-straight. Traditionally created in the collective improvisatory culture of ciphering, streetdance blurs the soloist/group divide. By using solo form, I’m interested in deconstructing these “set” technical vocabularies to expand their possibilities for meaning-making, already embraced in their radically inclusionary aesthetics. As a soloist I break form, posing the idea we’re always who we are in relation to others. Stage direction by Fernando Luna.
Naomi Macalalad Bragin (Seattle) is a student, teacher, researcher, and choreographer of dance, with 25 years of experience in streetdance culture. Bragin is a former founding artistic director of award-winning Oakland-based streetdance company DREAM. In 2008, Bragin won New York City Hip-Hop Theater Festival’s Ford Foundation Award for Future Aesthetics Artist to pursue graduate work in dance at UC Berkeley, where she received a Masters in Anthropology and PhD in Performance Studies. Bragin currently teaches streetdance, performance study, and critical race theory at the University of Washington Bothell. She is creating a group work based on her book-in-progress, Black Power of Hip Hop Dance.
Photo: Shelley Rose Photography
With Chloe Albin
What is isolation as a state of being? When do we witness ourselves, and when do we find true authenticity in ourselves? Can the dancer, within a split-second, move from experiencing the self, to being seen? This solo (a work-in-progress) is a structured investigation of gesture and impulse, built within the abstraction and development of space. The soloist re-evaluates place in space and performance of space through this investigation. There is no social commentary, just the animation of a solo dancer through movement invention, structure and spatial relationship, and finding the fine line between showing an action/experience and feeling that action/experience. This is a collaboration with the dancer, as well as a musician for an original soundscape.
Wade Madsen (Seattle) is a seasoned choreographer with over 180 works to his credit. He has been a professor of dance at Cornish College of the Arts since 1984. Chloe Albin (Seattle) is a dancer, performer, and teaching artist based in Seattle. She holds a degree in dance from Chapman University, and has performed in the works of many local artists such as Wade Madsen, BenDeLaCreme, Cameo Lethem, Markeith Wiley, Sleep Nod/Dylan Ward, Paige Barnes, Daniel Costa, Jeffrey Frace, and The Three Yells/Veronica Lee-Baik.