Guest choreographer from Seattle
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Arrow 2012 Issue: Sept 19-25

Arrow 2012 Issue: Sept 19-25

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Guest choreographer from Seattle Document Transcript

  • 1. TWITTER Â 7 ARROW • week of Sept. 19 - 25, 2012 ENTERTAIN Follow @southeastArrow and arts and entertainment editor @WLawARROW on Twitter to keep up with events, info and all things A&E.+​ FOLLOW the editors on Twitter KEEP UP WITH WHAT’S HAPPENING IN CAPE GIRARDEAU THROUGHOUT THE WEEK FROM A&E EDITOR WHITNEY LAWGuest introduces dance techniqueANDREA GILS and the real expression of the her to create a cohesive group withCOPY EDITOR human spirits and not only the different types of dancers and body positive parts about that but often types. After the three-hour audi-Dancer and choreographer Brenna the struggles of it and our ability tions, students began learning theMonroe-Cook visited Southeast to overcome things that are a stru- piece and Limón’s technique.Missouri State University from Aug. ggle,” Monroe-Cook said. “I think Sophomore Emily Brand, a dan-25 to Sept. 1 to work with dance stu- some of that is represented in the cer in “Psalm,” said that when shedents and dance instructor Philip falling and rising. There’s this force went to the tryouts, she tried toEdgecombe. that pulls us down, which physically adapt to what Monroe-Cook was Guest choreographer Brenna Monroe-Cook, right, rehearses new Monroe-Cook and Edgecombe is gravity and emotionally is someti- looking for and did her best to learn technique with dance students. Photo by Nathan Hamiltonworked to reconstruct the piece mes just the up and flow of life that it quickly and perform it well.“Psalm,” which was originally cho- we have these moments of trying. The week following the casting Senior dance major Chance Hill said. “What I mean by that is,reographed by American-Mexican But that there’s this desire for us to for the piece was intensive for the Hill said that “Psalm” is extremely do not replicate such a historicalchoreographer José Limón in 1967. be up, that we want to push against cast. According to senior dance difficult to perform. He said the piece, but immerse yourself in it, Limón was a pioneer in the the force of gravity or we want to major Danielle Albertina, the dan- Limón technique is intricate, and and allow it to be appropriate formodern dance and choreogra- pull against these forces that pulls cers rehearsed the 12-minute piece the upper body is always doing what is now.”phy fields, and “Psalm” was the first us down so that we can overcome for four hours every day, and the something that is completely oppo- Fall for Dance 2012 will be Hill’spiece that Monroe-Cook learned. It those things.” final rehearsal day with the cho- site to the lower body. last main stage show at Southeast.is a piece that she has been teaching Monroe-Cook teaches the Limón reographer lasted nine hours. “There’s a sense of play with gra- “I am so honored to be a part ofand dancing for a long time. technique and stages his recons- Following that first week, students vity that allows rising and falling, the Limón work,” Hill said. “It really “It set up a love for historical tructed choreographies for compa- have been rehearsing with Edge- opposition of poles in different is a great way to cap off my under-work and way of moving, that’s why nies and schools nationwide, inclu- combe three hours a week. directions, beautiful articulation graduate degree. I cannot wait toit feels such home to me and is inte- ding Southeast, where she helped “They have worked so unbelieva- of torso and body,” Monroe-Cook share with the world the fantasticgrated to the way I move,” Monroe- students reconstruct “Psalm” for bly hard,” Monroe-Cook said. said. “Those are principles that have energy and spirit of such an ama-Cook said. the upcoming event Fall for Dance “All of us felt our muscles knot- become the way I move, regardless zing piece. I also can say that I am Monroe-Cook began her dance 2012. ting up in our legs and shoulders of the technique I’m doing.” a part of history. There are so manytraining at the Academy of Move- Although the Limón technique because of the hard work we were Monroe-Cook said after her dancers who have danced thisment and Music at the age of 3 and is not taught at Southeast, Edge- putting into the piece,” Brand said. departure students would have to piece, and now I get to say that Ireceived her Bachelor of Fine Arts combe took an intensive course Albertina said Monroe-Cook work on retaining the things they have.”degree from The Juilliard School while studying for his master’s used descriptive analogies that talked about during rehearsals. Hill said that he cannot stressin 2008. She lives in Seattle and is degree at the University of Arizona combine dance with everyday acti- Edgecombe took notes and gathe- how vital guest artists are and thata full-time teacher at University of and said Limón’s work affects what vities, which helped her make con- red information about the specifics he wished students had guest artistsWashington. he teaches. nections with her body and know of the movement so that they can all the time. Monroe-Cook joined the Limón “He is one of the greatest Ameri- how to move. She also said the piece continue to polish the piece. Mon- “Having more guest choreogra-Dance Company in 2002 and tou- can choreographers,” Edgecombe is mentally challenging because roe-Cook said that what students phers come to SEMO would bered internationally for several years, said. there are so many different counts. need to work on the most is to deve- amazing,” Brand said. “The expe-performing and teaching the work Auditions took place on Aug. 25 Pieces typically use eight-counts, lop their sense of ownership and rience is great, and to have theof Limón. to cast dancers for the piece. Mon- but this piece has 10-counts, six- comfort with the material. chance to work with different cho- “Limón and his work focused a roe-Cook hand-picked the students counts, five-counts and four-counts “This piece, and Brenna, has reographers is something that helpslot in bringing a sense of humanity to perform, which she said enabled in different sequencing. taught me to keep pushing dance,” the dancer become even better.” A Partnership with Southeast Missouri State University and Rust Communications • To advertise, call 573-388-2741