TeenTix Blog by TeenTix Press Corps Workshop

Staring. Bending. Waving. With intention, these movements are all dance. Dance is everywhere. Each and every human being can find it within themselves. From the most well-known choreographer to an individual dancer just starting their career, everyone represents tiny parts of a greater community. This concept, being small parts of a whole, is the driving force behind choreographer and artist Mark Haim.

Vibrant, laughing, and quite talkative, Haim draws people in. His words and storytelling have a unique quirkiness to them, moving the conversation along in a fast-paced yet informative manner. These personal qualities are reflected in many of his works. His dances open up into impactful and profound reflections of his thinking. Watching clips of his The Goldberg Variations, This Land is Your Land, Overflow or any one of his multitude of works, it takes only a few minutes for the depth of his ideas to hit, pushing one to break down greater reflections on concepts such as humanity and time. In This Land is Your Land, dancers move along a pattern, then explore mutations of it carrying coffee cups, plastic guns, and even cellphones. The bright colorful costumes and everyday objects paired with his choreography in This Land is Your Land are a doorway into Haim’s thoughts on consumerism. There is thoughtful passion and humor in his works emphasizing the connectivity of life. Each little person, concept, and object is relative to the other, their presence ebbing and flowing with the rise and fall of each.

Haim’s choreography is a spirited, everlasting dance of balance between purely beautiful movement and firmly intentional timed expressions of thought. His experiments with this relationship are present in every piece.

“If I’m working on movement—just trying to develop movement—I start to look for the thing that isn’t there, which would be the expression and vice versa,” he said. “I don’t know if I am able to do just one. I think it's important for anyone who is making creations to feel like everything is in everything. There might be less of one thing than another but they’re all still there”

Fans of contemporary dance might remember his piece from 2019, Parts To a Sum, which explores how Haim is impacted by those dearest to him. He created a solo incorporating movements sent to him from 371 friends and relatives, ages ranging from 1.5 to 93. Videos averaging 15 seconds filled with jumping, falling; slow, focused arm movements; and even eating were sent with love and support. The final performance of these movements honored the interconnectedness of humanity. This emphasizes the building of a great artist from a foundation of many, and how the end result is the sum of all those efforts.

Haim is not interested in perfectly packaging his work, preferring to allow audiences to draw their own ideas with his choreography. Audiences are given the freedom to interact with his work in the moment rather than come to a performance with set parameters of how they should experience it. In his newest piece, choreographed in quarantine for film, his goal was to “almost get the focus to go from me to what was around me.” He hopes the audience will engage with parts that speak the most to them. Here, he again explores the theme of a greater whole, however instead of a community of people, it is humans, trees, wind, and air adding up to make the environment. Demonstrating a goal of chipping away at the self-importance of humans and to build towards working in unity with life around us; to respect the environment. Aiming to be part of something that is more than just himself, Haim’s choreography in this piece is almost secondary to the movement of nature around him.

When faced with challenges or lack of motivation in this time of isolation, Haim again brings back the idea of smaller parts of a whole. In the face of uncertainty, he advises people to break challenges down and approach a single part first to trick themselves into achieving the larger goal.

Haim awaits the day people gather together to experience live music and dance as part of a whole audience rather than separate viewers. He recounts “I started to cry… feeling the music live...you can’t replace that'' after watching a live dance performance by Whim W’Him in Volunteer Park this past summer where a mariachi band nearby happened to be playing. Assembling to experience a live performance is something many are craving, and he hopes the pandemic will show people the importance and universality of dance.

In Haim’s upcoming dance film WALDO: 2020 for CHOP SHOP’s virtual contemporary dance festival, viewers can watch him give back to the world around him, blending into the trees and shrubs that characterize the beautiful scenery of the Pacific Northwest. Filmed in the I-90 corridor and on the lands of the Muckleshoot, Coast Samish, Duwamish, and Tulalip peoples, Haim provides a space for people to reflect on being part of a greater whole and humanity in relation to themselves as they are presented during the viewing experience. Emphasizing dance’s ephemerality compared to the seemingly everlasting presence of plants, this work is inspired by his reflection upon nature and its generosity in quarantine. He explores the ways he takes up space in comparison to the greater community and world. Try to spot him, first obviously in the frame, then partially hidden amongst the foliage, and finally almost disappearing into the woods to give the plants a chance to speak. Catch the world premiere of this work on Thursday, February 25, 2021.

You can see Mark Haim's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead photo credit: Mark Haim performs his solo Parts to a Sum, photo by Deb Wolf.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshop was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

This year Chop Shop Contemporary Dance Festival is bringing a variety of talented choreographers. One of those creators is Mark Haim. Haim has resided in the Seattle region for about 17 years now, since he got a job offer at the University of Washington to be artist in residence with the dance department back in 2002. In the Seattle dance scene, he is well known for his work and unique creative process. Dance has been his outlet of expression and movement for 35 years. And in those 35 years, he has developed his own individualistic way of expression through the art of dance.

“That being said, I’ve been choreographing for 25 years before I got here so I already kind of had a way of choreographing and an idea of what my work was about.” Was Haim’s response when asked how living in Seattle affects his work.

Haim’s love of dance started when he realized how isolating playing piano was, after playing it since he was six years old. He was already someone who liked to move, so dance was the obvious next step due to its incorporation of movement and human connection.

Haim considers his creative process to be “illogical” and “scattered” so he has an appreciation of dancers who trust him and his process. He ensures that movement and expression are balanced in his work because he feels the utmost need for both.

When Haim reaches a block in his creative process, he takes it step by step. He always tries to keep moving forward by breaking the choreographic process down. And just trying to get something done and tricking himself into getting the task completed by making himself think he is getting it completed. He continues moving forward even when it is hard.

Haim stated that “all artists are queer in their own way.” He means that artists all go in their own artistic directions even if it goes against norms in this “capitalistic, commodity-driven society.” He wants to create works that are different—even if they are harder to sell or a struggle to create—because he believes that dance is constantly evolving. He wants art to be shared with the community and is something that helps people to bond.

You can see Mark Haim's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead photo credit: Mark Haim performs his solo Parts to a Sum, photo by Opal Patterson.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshop was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

The dancer gracefully approaches center stage, wearing a tight yellow bodysuit contrasting the deep red lighting. He pushes the ground away from him with each step and the smooth movement gives the illusion of the dancer gliding on water, his feet slicing through the surface and stopping cleanly at the center of the stage.

Upper and lower body movements coincide with the beat, creating funky and rhythmic movement while sustaining the grace of traditional dance. Energy moves through his body and distributes force, allowing powerful and delicate movement. His torso and head simultaneously swayed slowly, while his limbs moved silently and smoothly.

What the audience were oblivious of was some of the dance was never choreographed step-by-step. It was instead improv that impressively looked natural on-stage. The dancer closes the performance with a cartwheel into a kneeling position and a downward gaze. It officially concludes when the ruby lights turn off, and all the audience members begin to clap and cheer for the adept dancer. Audience members erupt in applause in response to this transformational experience.

Daniel Costa is the choreographer who incorporates the “beautiful mystery” of improvisation into performances.

“I love freestyle,” he said. “I love dancing—the way I’m feeling to the music, to my body—at that day, at that time, at that hour. It’s going to shift and change all the time so it’s the most authentic, I believe, through improvisation.”

Costa is a multi-faceted artist whose style exists at the intersection of hip-hop, ballet, and contemporary dance. He believes dance can be used to express one’s true self, especially when it’s through improvisation. He understands the power of dance and how it can connect to many aspects of one’s identity.

At 16, Costa’s passion for improvisation was ignited. He enjoyed watching others improvise on YouTube, and these videos inspired his own direction as an artist. At 17 or 18 years old, improvisation furthered his devotedness to dance to the point where he woke up early every day to improvise in the theater before classes began. His beginnings in hip-hop also let him carry his love for improvisation throughout his career, connecting him to his authentic self any time he improvised.

The first person to formally teach Costa improvisation was Laura Peterson, a professor at Rutgers University at the time (where he got his BFA). Her teachings inspired him as he continued to study dance. Costa has always been drawn to improvisation throughout his life and career as a dancer and choreographer.

Sometimes it is important for people to distance themselves from their corporate reality, and Costa understands that movement is a gateway to one’s spirituality, physicality, and sexuality among other things—all aspects of authenticity. Authenticity is an essential part of dance, which is exactly why Costa begins choreographing dances by improvising. He believes it is the best way to communicate with others and “access a part of ourselves that we cannot articulate with other forms of language.” He continues to make improvisation a large part of his choreography, though the audience never knows how much is incorporated. Check out Costa’s upcoming performance as a part of Chop Shop’s annual contemporary dance festival.

You can see Daniel Costa's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

*The dance described in the first paragraph of this article is not a depiction of an actual performance, but instead a creative depiction by the writer inspired by Costa's style of movement.

Lead photo credit: Daniel Costa, photo by Michael Esperanza.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshop was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

Daniel Costa entered the dance scene as a hip hop dancer, but even before going to college he knew he wanted to be a choreographer. Moreso, he wanted people to connect his name to the art he made.

Costa wanted his company to bear his own name because he wanted the work he created to be connected to who he is as an artist.

“The reason I wanted to start Daniel Costa Dance was to make my own work, to be on my schedule, and to focus on what I found important in dance and important in my training,” he said.

Dance as a form of self-expression, a means to share one’s art and emotion with others, is not a novel concept, but it is one that becomes further lost as the dance scene struggles and stumbles. One can only add so much to their particular version of The Nutcracker. One can only deviate from the script by so much.

But with expression comes connection, a chance to show off one’s self to the community around them. And dance is a way to do that, a chance to form powerful connections with audiences and other artists through the expression of their own bodies.

“And how to connect to community and other dancers I feel this powerful connection [with]... and to also know that my work will never be just mine, it’s always in collaboration with other folks.” Costa said.

It is this connection, this collaboration, that forms the basis of Daniel Costa Dance’s contemporary style. Each piece is unique, either through improvisation and/or unique personalization based on physicality or articulation. Costa’s role in this style of dance is not to be a hard-set director, but to be a creator of “dance vocabulary.” This style of working together allows the dancers to manipulate their own movements, altering Costa’s choreography, to their physicality, to their self. This is where dance comes in as self-expression. The dances come about through the expression of the dancer, and of the choreographer, but also through the connection and community they share.

Everything can be embodied in dance: emotions, spirituality, personas, authentic self, physicality, sexuality, gender expression.

“Dance is embodying a language that is beyond words, more primal, for lack of a better word. It is more connected to before we had language; we always had bodies, we always had movement.”

You can learn more about Daniel Costa Dance, and its titular artistic director, at the Daniel Costa Dance website.

You can see Daniel Costa work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead photo credit: Daniel Costa, photo by Michael Esperanza.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshop was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

2020 was a year marked by social uprising. From protests regarding Covid-19 to the Black Lives Matter movement, change has been seen in all aspects of our lives. But when it comes to the dance world, artists are often left functioning in stagnant and outdated norms. Whether it is strict dress codes that discriminate against dancers of color or harsh competition that infringes on artistic freedom, the dance community fails to allow for individual expression. According to Omár Román De Jesús, the reason why is simple: choreographers and dancers spend too much time comparing themselves. There is not enough support for one another in the dance world.

Jesús’s reasoning comes from a place of worldly experience. His choreography has been shown at a multitude of competitions including at the prestigious Jacob’s Pillow Festival. His theatrical contemporary dance is one that spreads positivity and highlights human empathy. From Seattle’s Chop Shop to Panama’s PRISMA Dance Festival, Jesús has made his mark. And his company Boca Tuya plans to do the same.

But this poses the question, how does one go about making said change?

For Jesús, it starts with focusing on oneself. During the pandemic, he took time to reflect within: to think about what he stands for, what his company is about, and how he can make an impact. In short, he reaffirmed his identity. However, this task of self-reflection is hard to do in a world that he defines as “a constant competition.” He noted that jealousy and comparison outweigh the amount of support artists give each other. He came to the realization that his choreography will never fit into a certain set of expectations. Rather, his art is constantly evolving to fit his desires and the desires of his audience.

As one reflects internally, they must do the same externally by shifting their energy to those around them. Jesús pointed out that his dance is for his community—those who relate to his message. He extended advice to others: if you want to make change within your environment you must “bring dance to that community in a format that can touch [them].” And that’s exactly what he did. Jesús found a cause close to him that needed help from the arts. Boca Tuya has an ongoing connection with Red Rhino, an organization based in North America that makes dance accessible to neurodiverse individuals. Jesús’s company supplies the dance teachers for Red Rhino’s classes and performances that unite the community. Both groups are centered around inclusivity, making this connection even more impactful.

Creating dance that leaves an impact and a lasting image takes time. When referencing the time period choreographers are often expected to make pieces, Jesús stated, “Three weeks isn’t enough to create something memorable.” It takes time to reflect, it takes time to find your community, and it takes time to physically create the art itself. Jesús finds it a challenge to accomplish all three, as his identity and goals are always changing so his dance must follow suit. In order to do so, Jesús has found himself relying on his dancers and on their artistic ability. Rather than follow the standard choreographic process, Jesús has allowed his dancers’ personalities to inform his works. Their individuality is what makes his choreography so relatable; audiences see the unique emotions of each dancer on stage.

Jesús’s lesson on making change can be summed up in a few comprehensible steps: reflecting inwardly, connecting directly to those you want to impact, and taking time to thoroughly think it through. To see how Jesús’s dance follows these steps watch Boca Tuya’s performance at Chop Shop’s virtual festival here.

You can see Omar Román De Jesús's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead photo credit: A still from Los Perros del Barrio Colosal, choreography by Omar Román De Jesús, performed by dancers of Boca Tuya, videography by Drew L. Brown.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshop was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

There’s no denying that Covid-19 changed peoples’ lives immensely. And for many, that impact has been devastating—especially for dancers and choreographers. As lockdowns were mandated and studios shut down, the dance community persevered, doing relevés and pirouettes in living rooms and choreographing pieces in narrow kitchens.

Therefore, one might assume that up-and-coming contemporary choreographer Omar Román De Jesús would speak of the immense challenges of producing dance over Zoom and being unable to work with dancers in person. Instead, he described the pandemic as “enlightening”.

This optimistic outlook perfectly represents Jesús, who speaks with an easygoing smile and articulates his experiences with deeply introspective, open-hearted, and honest thoughts. And although Jesús admits Covid “wasn’t good for him,” he seized the opportunity to re-evaluate his priorities as a choreographer and the impact he wants to make in the dance world.

Jesús has an impressive resume from performing internationally in Japan, to creating works for the Joffrey Ballet, and winning multiple choreographic competitions. However, he felt pressure to constantly create groundbreaking works to please his growing audience and gain more recognition as a choreographer.

During the pandemic he’s been using his free time to sit and think about what his company, Boca Tuya, is about and what he stands for. He began to pay less attention to people’s expectations and focus more on the company’s central mission of “spreading sensitivity, kindness, and joy in humanity.” Now, every time he goes into the studio he explores new genres and focuses on bringing lighthearted joy to audiences.

And the driving force for his inspiration is the diverse artistic backgrounds of his dancers. Unlike many choreographers who force their dancers to mold to their creative vision, Jesús prefers to take a freer route, letting his dancers and their unique stylistic backgrounds influence and shape the piece.

Furthermore, Jesús sees this collaboration of experiences and styles as the driving force of the central challenge to “find the world where we exist together.” He believes letting the dancers’ personalities inform what the characters are makes things more genuine, and brings out the best of them. And by watching his works, one can see his philosophy come to life. With dancers leaping into air with exhilaration and traveling through abstract patterns, the viewer can feel freedom and self-expression within the dancers that is only possible with an open-minded choreographer like Jesús.

Not only have Jesús’s dancers been shaping his works, but the themes of his work have begun to shift. When starting out, Jesús, like many young choreographers, tried to make his mark by creating pieces that were profound and about social change. And although he acknowledges dance is a powerful tool to communicate these ideas, he states that “to create social change you have to work with the community directly.” And true to his message, Jesús now works in partnership with a community organization called Red Rhino, to teach dance classes to people with disabilities.

But with recent social justice movements like Black Lives Matter, he feels that the dance world has become oversaturated with artists trying to make bold statements about social justice Therefore, he is beginning to transition into focusing on relaying a much-needed message of hope, and a sense of continuity and joy. For example, his premiering piece for the local dance festival Chop Shop is similar to a soap opera and is a more theater-dance style. The piece is called Los Perros del Barrio Colosal and follows six characters that face unique challenges in an adventure-filled imagination.

This evolving growth of Jesús’s style and content of his works seems to be an eternal journey. “I don’t want to be recognized as the person who does one thing. Like the guy who does Hispanic pieces,” he says.

Instead, during the pandemic Jesús realized that he values quality over quantity. Like many well-known choreographers, he doesn’t want to create a hundred thousand pieces all focused on a similar idea. For the future, Jesús is inspired to create work that is progressive and memorable, that “spark conversations or make people feel something.”

Those in the arts world who are struggling with similar obstacles may find inspiration in Jesús. Even in dark, unprecedented times, people can find time to reflect on our values, and our future. And hopefully that reflection lets people discover their real priorities, in spreading kindness and support. Because when it comes to change in the dance world, Jesús said the constant competition is toxic, and the community should “support each other.” This wise yet simple message isn’t only applicable for dance, but an essential message to remind all people of the power of reflection, community, and kindness.

Learn more about Jesús’s company at bocatuya.com. You can see Omar Román De Jesús's work Los Perros del Barrio Colosal, at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead photo credit: A still from Los Perros del Barrio Colosal, choreography by Omar Román De Jesús, performed by dancers of Boca Tuya, videography by Drew L. Brown.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshop was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

Lauren Horn is reimagining her dance career by shaping it around her own joy. She was dancing in a studio before she learned to read, and “the dream of dance” was explained to her very specifically: Practice dance. Practice some more. Then join a “Capital-D Dance” company.

“Barely anyone can get to that,” Horn said.

Majoring in Psychology as well as Theater and Dance, Horn took a different route with her work. Now, she is working towards the lifelong goal of having a sustainable dance career—one that works for her and brings her joy.

Growing up in small-town in Connecticut, Horn’s vision of dance was shaped largely by the African culture and community fostered in her studio. She was put into class at a young age for exercise. But dance would eventually bring much more to her life. Horn was shy, and used movement as an outlet, starting with tap, moving on to modern and ballet—she just kept dancing. The fact that she didn’t talk much in her youth is ironic—considering that much of her career now is talking while dancing. In the present, she is still struggling with her goal. The thought being ingrained into her that her ideas mean less because she is not in the “Capital-D Dance” industry, Horn is constantly striving to accept herself outside of that narrative, and respect her worth as an independent artist.

One part of this goal is her culture and ancestry. Racial diversity in “Capital-D Dance” is lacking, and Horn is proud of her Blackness. She described this feeling as that she is the sum of her family and her ancestors—a powerful message. Her stage name, Lauren Horn//Subira Vs. Movement, embodies this. Subira is her middle name, something that feels central to her. It is a word with origins in Swahili, and means “Patience is Rewarded.” Horn is constantly trying to be patient—a quality she feels is hindered by the use of social media.

Lauren Horn is Subira Vs. Movement. This is not only a movement company, it is also text based. Essentially, she talks while she dances. This however, is a gross understatement of what her work is. It is not only an exploration of her own identity, but encourages the audience to reflect on themselves. She brings things back to the present: how does one’s interactions through technology make a person feel? Watching Horn perform is an immersive experience, with deliberate setting, lighting, and costuming.

Like many, she has struggled to navigate creating art through the pandemic. “I miss the stage,” Horn says, speaking for both herself and for many performers globally. She asks herself, “What is the standard for art in a pandemic?” and “How does one even create dance when you are stuck inside?” Dance-lovers have plenty of interesting options to choose from as artists try to capture their attention through the screen. However, her work is unique in that even before COVID-19 it involved many digital elements. In fact, technology is the focus of many works of hers. Horn’s personal favorite of her pieces—Techn0Whore— explores identity and the internet, in the same space. She assumes her online personality and asks questions about what identity is on the internet. In talking about the background behind the piece, Horn mentioned the question “Why did posting in seventh grade feel so fun, and now it doesn't?” Asking questions like these is her constantly changing process in creating—having conversations with people about her feelings, and their feelings, channeling that into movement. She had a lot of fun creating this piece, something that ties back into her goal of working to bring herself joy.

Horn has been thrown into the focus of her work, namely technology, which is a lot. Her upcoming piece @Me, will be showcased in the CHOP SHOP: Bodies of Work festival on February 4, and explores this concept. In her words, @Me is an immersive piece that looks at the chaos of being trapped in a pandemic with a computer being the only outlet to reach people. This piece made Horn realize what her art is and how it makes her feel. It helps her deal with the struggle that her art is smaller right now than it ever has been. She questions herself—“Maybe I’m a Luddite,” or wakes up wishing she was a “Capital-D Dancer” at times. But that is the point of her work, to ask questions, and to explore them.

You can see Lauren Horn's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead Photo Credit: A still from @Me, choreography, videography, and performance by Lauren Horn.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

Illuminated by cool lights that switch from moonlight blue to pale green to an ethereal violet, Lauren Horn dances lithely. Her powerful figure, clothed in loose white pants and a flowing shirt, catches text and images projected onto the stage. She is dancing her own choreography, in a piece called Techn0Whore. Through this dance, she takes on the personality she assumes online and through social media to invoke the audience to question their own internet identities. To Horn, that’s what her work is about: Using performances to incite conversations about one’s identity and worth. Worth can mean a lot of things. The worth of an art form. The worth of a person. The worth of a relationship.

Some of the first things people tend to notice about Horn are her brilliant grin and clever words. When asked about her stage name, Lauren Horn // Subira Vs. Movement, she responds that it reflects much of her identity. Subira is her middle name, which means “patience is rewarded” in Swahili. Horn constantly challenges herself to be patient. “Vs. Movement” is a postfix communicating how she never cowers in the face of new things, but rather prefers to face them head-on. On the topic of identity, Horn has deep pride in her Blackness, a core piece of her work.

“I’m proud of the fact that my family is here,” she said. “I’m proud of the fact that I’m the sum of my family and the sum of my ancestors.”

Horn’s work is unique. A movement-and-text-based artist who describes herself as one-of-a-kind, she fuses written text, speaking, and dance into beautiful performances. Her choreographic process begins with an exploration. First, she comes up with a prompt, or some sort of question she wants to answer. Then, she answers organically—both through her words, and through movement. Talking while dancing, that is her craft. After going through multiple prompts, her body and mind are in the zone to create. This art form that she has created for herself is expressive and distinctive.

Professional dancers often face many external obstacles in their careers, but Horn’s biggest struggle is the “dream of dance.” In the professional dance industry, the worth of a dancer depends on their success.

“If you’re good enough, you can make it to a top dance company, perfect and happy. But what happens to everyone else who tried to get to the top? If I'm in a higher level dance company, that means my ideas are meaningful and others’ aren’t?”

Battling with the lie that is “what it means to be a dancer,” Horn is always asking herself how to make dance something for everyone, without some people’s ideas being deemed unworthy.

Horn spoke about how shifting as a dancer from in-person to virtual performances has affected her work. “Smaller,” she started. She doesn't like to feel this small. The shift made her realize what matters is not what her work is, but what her work makes her feel. @Me, her newest piece premiering in the CHOP SHOP 2021 festival on February 4, is immersive, meant to express these feelings of being trapped in a house in a pandemic with a computer as her only outlet.

Horn’s big-time goal is to create a sustainable career for herself. Not something determined by external standards like whether or not she’s a dancer from a prestigious company, but a career where she can set the standards herself. She seeks creative liberty, and wants to be compensated for her worth. And that’s what she’s all about. Always seeking to make choices that respect her worth.

The worth of artists is often dismissively decided on the surface level by viewers who will never glimpse the blood, sweat, and tears that went into the artist’s work. But Horn pushes back by determining her own worth. She’s unique for getting her viewers to reassess their own worth. Dancing her way through unanswerable concepts like worth and identity is what makes Horn an artist.

You can see Lauren Horn's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead Photo Credit: Lauren Horn performs her work FemmeFactional.mp4, photo Ernesto Galán.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

A trio of dancers flow through breathtakingly graceful motions. They fly across the stage, sweeping their arms up above them and reveling in the fluidity of their movement. Audience members sit before the performers. Many of the viewers appear to be lost in awe at the artistry and communication between each dancer.

Audiences are essential to the performing arts. A piece might be thought-provoking for a viewer, or make them see a reflection of themselves in the work performed on stage. Dancers on stage paint a vivid image; it’s up to those seated under the dim light of a theater to interpret it.

Unfortunately, audiences no longer get to experience the thrill of live theater. COVID-19 has put a temporary halt on the world of live performing arts that dancers and audience members alike crave. Over the course of the past year, many artists have had to alter their creative process due to challenges, such as social distancing, putting the dance community on hold. Brooklyn-based choreographer Nicole von Arx, for example, is exploring ways of performing to reach a new audience in a new world; in many cases, that audience is a virtual one.

Her dance film titled Bright Night, premiering at Seattle’s virtual dance festival CHOP SHOP on February 4, embraces these challenges that quarantine has brought to both performers and audience members. As the pandemic rages on, theaters that many dancers call home and the hundreds of seats that fill them have been left dormant. Von Arx’s latest piece is inspired by the feeling of isolation the pandemic has brought. While filming Bright Night, she felt a lot of sadness, as did the dance community as a whole, not being able to perform live or connect with audiences in real-time.

“I didn’t want to put a facade on top of that feeling,” von Arx said. “I actually really wanted to embrace that feeling of desperation and loneliness.”

The title of the piece is a contradiction in itself; it’s about brightening the darkness we feel. According to von Arx, “... it’s important as artists to allow people to feel sad, as well as happy.”

Von Arx has a powerful relationship with her dancers who bring her visions to life and play a key role in her work. She often collaborates with dancers who are already familiar with her movement style and choreographic vocabulary, in order to communicate with them best.

“There’s a moment in the rehearsal process where I really have to step back and look at what I have to say,” she said. “You can give emotions and imagery to a dancer, but there’s a point where you have to step back.”

What she has to say with her choreography often has a lot to do with the audience.

Von Arx explains that her recent creative process has more to do with the audience ark, what the audience members feel, than the performance on stage. She believes a performance is relative to the viewer, and instead of just the performers on stage going on a journey, she wants to have the audience be involved on that journey as well.

In December 2020, she premiered her solo Nine. Von Arx had the opportunity to perform for a limited live audience, in which everyone was spread apart and wore masks to adhere to social distancing guidelines. Having not performed for months, she wanted so desperately to connect with the people seated before her who were also yearning for performance. For that reason, during the performance, she incorporated moments of collaboration with the small and intimate audience. She performed a free and easy-going monologue, in which she asked questions such as, “How are you?” and “What are you feeling?”, and gave them directions to stand up or turn around 360 degrees.

For von Arx, witnessing these moments of interaction, laughter, and joy after months of their absence was extremely compelling. In regards to her creative process and inspiration, she said, “I think that’s my journey and how I’m going to delve more and more into connecting with audiences and taking them into a journey because, why not?”

You can see more of von Arx’s work on her website.

Nicole von Arx's work is featured in CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead Photo Credit: A still from Bright Night, choreography and performance by Nicole von Arx, videography by Dan Gross.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

In our world today, we eject our opinions onto others. We lack the capacity to merely listen. However, choreographer and artist Nicole von Arx does not want to continue with this norm. With her art, she hopes to connect with the audience and give viewers a space to raise questions, find answers for themselves, and be able to engage in ambiguous discussions with those around them.

During the pandemic, people have been isolated in their homes, not interacting with others as much as they used to. The global pandemic, social unrest, and changing economic situation has led people to question the world that we live in, and finding answers to those questions proves to be extremely difficult. But, von Arx offers audiences a unique and fulfilling experience through dance; one that is not typical to stumble upon. She provides an immersive experience where the audience is a part of the journey that the dancers are creating. Through this mutual relationship between the audience and von Arx’s choreography, emerges an area for one to unpack questions and attempt to find the answers we all need.

Open, grounded, and present. Inquisitive and real. Strong, passionate, with expressive brown eyes; von Arx is a storyteller, not only through dance, but also through words. Earlier this year, she was able to perform—outdoor and socially distanced—her solo Nine. There’s a part in the show where von Arx is not dancing, but instead asking the audience specific questions such as: “Hello. How are you?” and “How are you feeling right now?” In addition to her monologue, von Arx incorporates moments of interaction and has the audience stand up, do a 360 degree turn, or raise their hands.

She vividly remembers the audience laughing, engaging with the show, and talking to those around them.

“It was beautiful… To be on stage and witnessing that after months and months of not interacting with audiences and having them go through all of these emotions, was super powerful,” von Arx said. “I think that’s my journey and how I’m going to delve more and more into connecting with audiences and taking them into a journey.”

This was the moment von Arx knew she wanted to make art not only for herself and the dancers on stage, but for and with the help of the audience.

The revolutionary idea von Arx has reintroduced of allowing others to work ideas out for themselves starkly contrasts with how our society operates. Instead of viewers choking on a barrage of various opinions, von Arx instead allows one to breathe and think for themself.

“I want to raise questions that give answers,” von Arx said. “I’d rather give a chance for people to express themselves than try to tell them what to think.”

Von Arx stands out in the dance community. She is an artist who cares about the audience and whose purpose is to connect with them in order for the viewers, or rather participants, to grow individually.

A pivotal moment in von Arx’s creative journey was when she received an enlightening piece of advice. The advice? Listen to others. When the moment comes, when one feels like inserting a comment into another’s story, “That is the moment where you have to take a deep breath and let the person tell the whole story,” von Arx said. “Let them shine and go through that journey because they also need to let out those emotions and tell you that story. And it will feel different… you have to let people express themselves.”

Von Arx allows her audience to shine and have the space to disassemble and explore ideas, so that we can better understand ourselves and each other. And from there, move forward.

And now, von Arx is giving audiences a chance to utilize this priceless space to engage in her journey and explore ideas for themselves. On Thursday, February 4, CHOP SHOP is presenting the world premiere of von Arx’s dance film Bright Night.

“The moment we filmed it, I had a lot of sadness, and I think in dance, there is a lot of sadness right now for our community and not being able to perform and connect with audiences. I didn’t want to put a facade on top of that feeling, I actually wanted to embrace that feeling of desperation and loneliness.”

It’s a contradiction between the utter darkness of the night and how we can brighten up those moments. In von Arx’s short film, she allows us to reflect on those darker moments and validate them, so that we can begin to engage in conversation around our harder times.

See the CHOP SHOP premiere of von Arx’s short film Bright Night on Thursday, February 4 to embark on a journey, explore questions and answers, and to participate in von Arx’s connective craft.

You can see Nicole von Arx's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead Photo Credit: A still from Bright Night, choreography and performance by Nicole von Arx, videography by Dan Gross.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

Mere weeks after a successful CHOP SHOP Contemporary Dance Festival in February 2020, the world was fully enveloped by the maw of a 100-year pandemic.

When festival administration duo Lizzy Melton and Eva Stone began conceptualizing what next year’s performance might look like they were left wondering…

“How do we plan for this?”

What quickly became clear was that CHOP SHOP would rely on artists unlike ever before in the event’s 13-year history as a virtual approach—while uncharted territory—was a given.

“[The choreographers are] all artists that have already been presented at CHOP SHOP, and they’re artists that we each chose...not just for loving their work, but because we thought they would have a particularly interesting perspective creating dancework in this moment,” Melton said.

Rather than following their typical process and operating under an application period, Melton and Stone believed letting go of the reins was a more appropriate model for this season.

“We love these artists and we trust them so...we just got out of the way,” Melton remarked. “Artists are dealing with enough, they don’t need a couple of arts administrators telling them what to do.”

The virtual format also lent to surprisingly broader horizons that wouldn’t have occurred otherwise. For instance, at least four different states were represented in a Zoom Master Class hosted by choreographer Nicole von Arx last month, a scenario which would have never occurred any other year.

Accessibility is a recurring theme this year, and not only with respect to schedule accommodations or distance. All of the programming involved with CHOP SHOP 2021 is either free or “pay what you can.” Melton reported that such a model wouldn’t be possible if they were dealing with the typical challenges and costs associated with gathering in a physical space.

“I think we have to explore these opportunities because even after the pandemic, so much has to change...this moment is asking us to get more creative than we have been in the past, and I think we have to.”

When asked for her prediction on where the arts will fit into society in a post-pandemic world, Melton’s definitive appreciation for creators is more than apparent.

“If you’ve enjoyed [books, music, movies, TV, furniture, housing, food] and any of those things have made the pandemic easier for you or lifted your spirits, then you have relied on arts and culture to get through this,” Melton said. “I think we have to honor that.”

Following a year marked by civil strife, loss, and isolation Melton believes artists should serve as a primary inspiration as people move forward.

“Artists embody so many qualities that I think we need more of in the world—collaboration, recognizing each other for our unique gifts, willingness to be vulnerable with one another and share, the way artists build trust with each other to get their work done...I want to see arts and artists embedded into every aspect of society”

In the meantime, Stone and Melton will continue to serve their community the way they know best, and that’s through sharing the joys of dance.

"As the producer of CHOP SHOP, I am thrilled that despite a pandemic and a devastating blow to the dance community, we have kept this festival alive!” said Stone. “Creating a platform for these brilliant choreographers to be innovative during a very challenging time is the one true joy. With careful thought, collaboration with our artists, and good planning, we found a way to pivot our festival to an online format that supports these incredible artists and benefits them as well as our viewers."

You can see CHOP SHOP Dance Festival’s online offerings of dance films on their website through March 31, 2021.

Lead Photo Credit: Fausto Rivera and Michele Dooley of Spectrum Dance Theater perform Donald Byrd’s OCCURRENCE #8 REDUCED at CHOP SHOP 2020, photo by Bret Doss.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

The TeenTix Press Corps partnered with Edmonds Center for the Arts to host a Dance Journalism workshop around the performance of the Hiplet Ballerinas, February 20, 2020. Taught by multimedia journalist and dance artist, Imana Gunawan, the workshop covered the basics of dance criticism and how to approach writing a dance review. In our initial lesson we learned some context for the performance by discussing the roots of both hip hop and ballet as art forms. Before the performance, teens also attended the pre-show talk curated by Dani Tirrell (movement artist centering dance around the African Diaspora) featuring Erricka Turner (Ballet and Graham Techniques) and Fides Anna Banana Freeze Mabanta (B-Girl and Hip-Hop), along with Hiplet company representatives. The discussion further framed the performance by asking questions like: How do race and class play into both of these dance techniques? Does Hip-Hop need Ballet to make it more legitimate to white audiences; and does Ballet need Hip-Hop to make it feel relevant to Black and Brown audiences?

After attending the show, participants met for a final meeting to discuss and reflect on the performance. Teens worked on their writing, did some peer editing, and also reflected on how to confront bias while reviewing dance. Below are the reflections on the Hiplet performance written by some of the workshop participants.

The TeenTix Press Corps hosted a pop-up Dance Criticism workshop at Grupo Corpo’s performance at Meany Center, February 22, 2020. Taught by dance artist, writer, and teacher, Kaitlin McCarthy, the workshop covered the basics of dance criticism and how to approach writing a dance review. After a pre-show lesson, teen participants attended Grupo Corpo’s performance, and then met the next day for discussion and writing practice. Below are the reflections of the performance the participants wrote during the workshop.

Written by Hana - 8th grade

The TeenTix Press Corps hosted a pop-up Theater Criticism workshop at a performance of Snow White at Seattle Children’s Theatre on February 29, 2020. Taught by playwright and arts journalist, Danielle Mohlman, the workshop covered the basics of theater criticism and how to approach writing a review of a play. After a pre-show lesson, teen participants attended a Snow White performance, and then met the next day for discussion and writing practice. Below are the reflections of the play a few of the participants wrote during the workshop.

Written by Faith - 9th grade

My first thought when Greta Gerwig’s Little Women adaptation was announced was “Do we really need another Little Women?” There are already over a dozen adaptations of Louisa May Alcott’s classic, some very recent, and this one felt like an Oscar-bait installment in Hollywood’s reboot fever. It’s another iteration of a well-known story, adapted by a famous director with an A-list cast, and all for another white woman’s take on a story about white women—not exactly groundbreaking in terms of representation or social commentary. What was the point of this?

However, I admit I’ll have to eat (some of) my words on this one. Gerwig’s Little Women isn’t without flaws, but it has beautiful cinematography, a strong cast, and a generally well-executed storyline—and as a literary adaptation, and especially one with so many predecessors, it deserves its praise. Gerwig’s screenwriting and directing give fresh new meaning to the tale of the March sisters’ lives in Reconstruction America, but keeps enough of its charm to feel familiar anyway.

Set in the 1860s, Greta Gerwig’s Little Women presents the lives of the March family during the Civil War. With the girls’ father away at war, the four sisters and their mother foster deep companionship and sisterhood. The film features the sisters’ lives, daily challenges, and character growth, and proves itself as essentially a coming-of-age fiction piece.

The production stars Saoirse Ronan as the strong-willed Jo, Emma Watson as the responsible Meg, Florence Pugh as the undaunted Amy, and Eliza Scanlen as the reserved Beth. With a skillful cast, alluring sets, and meaningful script, the film hosts a diverse range of personas, and Louisa May Alcott’s timeless novel is magically brought to life on the big screen.

After many years, we finally have another remake adaptation, but is this remake really worth the hype? Louisa May Alcott’s Little Women, a classic tale about the sisterly bond and womanhood in the 1800s, covers aspects of navigating romantic relationships and careers throughout this harrowing time period. Throughout the years, there have been many adaptations of the story of the March sisters, and Greta Gerwig now adds to that stockpile following Gillian Armstrong’s widely received 1994 version. Gerwig’s Little Women is anything but little, giving it its own unique but strange voice in the myriad of these adaptations. It crumbles boundaries set up in the previous one, but also introduces a rather deeper and equal connection with the sisters, although it relies on an audience with previous exposure to Little Women.

One of the many differences in Gerwig’s rendition, is how the plot is expressed; in this case, through a non-linear timeline. Both the book and many previous adaptations have relied on a linear timeline to grow our relationships with the characters, as they themselves grow up. Though it surprised me, the non-linear timeline does not take away from this; in fact, it adds to it. When we see all of the characters grown up, the flashbacks of childhood make it seem like we are traveling back with them. As we know bits and pieces of the present, our minds have to work to connect the dots, making it feel like we are the ones involved in the relationships, as well. When this happens, however, it can also disrupt the emotion of certain scenes. During some scenes that are meant to be sorrowful, for example, a memory might pop up, adding to a more cheerful mood, disrupting the already established tone. This is fine, but the effect may be jarring, and sometimes takes away the emotional climate of certain scenes. Emma Watson, Saoirse Ronan, Florence Pugh, and Eliza Scanlen in Little Women (2019).

We met Sam, Adem, and Faith along with Kyle Hartmann, around a large table on a cloudy day in April. Sam, Adem, and Faith are all students at Franklin High School in South Seattle, and members of STARFISH PROJECT and Kyle, is the STARFISH PROJECT program manager. The focus of our meeting: to learn and gain insight and information about STARFISH PROJECT.

STARFISH PROJECT, which started in 2017 in a woodshop at Franklin High School, works to provide professional access to education and career opportunities in theatre craft. The program takes place anywhere between six and nine weeks, three days a week, for three hours. Each iteration works to put on a show. The program usually starts with the school’s existing theatre program (if there is one), and works with actors from the drama club as well as students interested in carpentry, set design, lighting design, stage managing and more. Although STARFISH PROJECT works with three high schools: Chief Sealth, Franklin High School, and Rainier Beach High School, the program is not limited to students at those schools. Any 14-18 year olds (and older) in the Seattle area are welcome to join the program, although it is geared toward high school aged kids, and they hope to expand.

The world of theatre is slowly getting more diverse. Actors of color are finding more jobs, female directors are gradually gaining recognition, and most shows are providing more representation as a whole. But the backstage world is still ruled by straight white men. Technical theatre is an extremely important aspect of stagecraft that is often overlooked. People prefer the flashy and glamorous onstage action to the quiet and stealthy work backstage. Because of that, technical theatre training is almost nonexistent. The STARFISH PROJECT is looking to rectify that.

Through a partnership with Sawhorse Revolution, the Intiman Theatre launched the STARFISH PROJECT in 2017. The project’s goal is to provide accessible training in all aspects of technical theatre to teens in the Seattle area, especially in high schools that have underfunded or nonexistent arts programs. Already, it has had a powerful impact on students’ lives.

Something is a little off here in the Feathers and Teeth produced by Washington Ensemble Theatre. "It’s Such a Pretty World Today" by Nancy Sinatra accompanying the typical American household set certainly sets the initial mood. This 80 minute play is a unique comical horror show, illustrating grief stricken Chris (Rachel Guyer-Mafune) after losing her mom and now dealing with over enthusiastic perky step mother Carol (Samie Spring Detzer). With Chris’ anger against the world thoroughly expressed through her love of rock music and her multiple attempts of stabbing people (and the successful attempt at a strange animal in the pot that the play revolves around), Carol’s bipolar moods and manipulation over her husband Arthur (Brandon J. Simmons), and Arthur’s introduction is with him having blood on his hands and maybe just killing an animal (on accident, though), this play keeps the audience guessing on who exactly is the psychopath. Rachel Guyer-Mafune as Chris in WET's Feathers and Teeth. Photo credit: Chris Bennion

The artistic touches were great. I will not give any vital spoilers away. In one striking scene, Carol smokes at the table in the dark with the red light highlighting her, and below her in the crawl space (that is viewable to the audience) someone is maliciously being attacked in all red light. It was a great contrast, unique use of multiple levels of staging, and a scene that was ultimately wonderfully twisted. Feathers and Teeth certainly could have been scarier, though. It consisted of a few jump scares with the animal jumping in the pot or with the lighting design by Ryan Dunn, but it could have had more of a variety of scares.