Displaying items by tag: Dance

by  Rachel Luebbert.

“Starting from the Point Where It Stopped” is a show of celebration and risk. This diverse concert features the choreography and performance of the 2018 modern dance seniors. These 20 individuals have spent the last four years dancing and creating. This show will be a culmination of their individual and collective movement explorations that together celebrate their progressions and exciting creations.

The modern dance seniors received Fine Arts Fee Grant funding to commission Ihsan Rustem, the resident choreographer of Northwest Dance Project, to create an original dance work that will close each night of the show. This piece is a collection of solos, duets, and group sections that are woven together to feature the individual movement expressions of these dancers. This piece was born out of an intensive two-week rehearsal process. Rustem began by prompting movement exercises to generate a collective group aesthetic. He asked students to move separate body parts together while accentuating the movement between these spaces. Where is the body taken if the knee and shoulder are moved together? What if the elbow and heel meet? This detailed exploration was applied to both solos and duets to create enough material for an 80-minute work. Through insightful editing, Rustem layered different phrases within the structure of a three-part sound score. First, there is a calm, Zen melody, followed by a driving, pounding phrase, that ends with the eerie song “Until We Bleed” by Kleerup.

The two weekends present completely distinct shows, with each weekend showcasing the choreographic work of half of the seniors. Noriko Bell, Jilliam Shipman, and Leah Gultrand are just a few of the seniors whose work will be premiered during the first weekend. Bell’s “The Bonds Between” is born from the exploration of the physical residue of human relationships. In her creative process, Bell and 10 dancers created movement that physicalized the essence of different human connections in their lives. Bell explains, “This piece explores past, present, and future relationships that are formed throughout life and how these relationships create our journeys.” “The Bonds Between” creates an intricate web of conversations between dancers, movement, and different relationships that are so inherent to the human experience. 

Shipman has spent the past few months researching the connection of the body and the ground. Using floorwork as a stimulus, this piece considers the effect of an audience’s gaze on movement. Shipman has explored the dialectic of what is seen and unseen and how this influences the creation and performance of movement. The four dancers in this piece will be wearing black halter leotards and their limbs will be painted. This paint intends to draw the audience’s gaze to the arms and legs as they push in and out of the floor. This work presents an intriguing awareness to the presence of the audience and this relationship to the performed movement.

Gulstrand’s piece “Shine On” is a solo inspired by the early 1970s. Not only does this time period inform the musical score of this work, but Gulstrand also dives into the social and political issues of this time and their relationship to social movements today. There is an intriguing dialogue that transcends time and space to acknowledge the continual marginalization experienced in the U.S.. “Shine On” gives voice to the complex struggle of different identities for human rights. Through the creative process, Gulstrand acknowledged the experiences of African Americans, women, Native Americans, and immigrants in the 1970s and today.

Each senior has spent months developing ideas, pursuing creative research, and fine tuning their pieces. Together this show presents a collage of dance works that showcase athleticism, humor, narrative, and artistry. Come join us for a night of art and dance that celebrates risk and creation.

First Weekend - April 5 at 5:30PM, April 6 and 7 at 7:30PM
Second Weekend - April 12 at 5:30PM, April 13 and 14 at 7:30PM
Marriott Center for Dance, Hayes Christensen Theatre
*Free with U Artspass (Ucard) for U of U students
$12 Adults, $8 Other Students, Faculty, Seniors


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The University of Utah School of Dance, Department of Film & Media Arts, and Salt Lake Film Society are pleased to announce their first collaboration for the 2018 International Screendance Festival presenting the films of internationally renowned Belgian dance filmmaker and composer, Thierry De Mey. Join us Friday 3/9 and 3/10 at the Broadway Centre Cinemas for screenings of De Mey’s films!

For details about the festival and the Interdisciplinary and Screendance Workshops being offered by Mr. De Mey, visit here.


This commercial was made by Sonia and Miriam Albert-Sobrino (A.K.A. Also Sisters) and produced by Ellen Bromberg and Kevin Hanson.Clips in this video are credited to: Ben Estabrook, Marty Buhler, Angela Challis, Tori Duhaime, Hannah Weber, Stephane Glynn, Kelly Bruce Glynn and Conor Long. 

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Molly Heller’s focus on wellness began long before her work in graduate school. By the time she was working on her thesis as an MFA student in Modern Dance at the University of Utah, her ideas for holistic approaches to life, in and outside the studio, were turning into focused dreams. Over the past year Heller has begun to see her work come to fruition, with programs and research that she considers to be just the beginning of exciting development in the fields of dance and the health sciences. 

With Assistant Professor Pamela Geber-Handman, Molly Heller wrote and was awarded a Dee grant through the Council of Dee Fellows, which provides “funds for the improvement of teaching in the College of Fine Arts and the College of Humanities”. The grant will fund the next steps in the integration of wellness practices into the School. The Wellness Immersion is a five-day forum designed to approach wellness holistically, to broaden one’s understanding of emotional health and to welcome diverse methods of approaching wellbeing within an artistic context. This Immersion was created in an effort to address the needs of the student body and to emphasize wellness within our School’s curriculum.

The primary objective of this project is to infuse the School of Dance with new ideas and transformational research/practices that will allow students and faculty to work together to create an environment where the whole person can thrive. With a goal to enrich student and faculty learning, this Immersion will welcome in the spring semester as a time to embody, integrate, and honor wellness.

The week will consist of lec-dems, movement and performance practices, panel discussions, and small group break out sessions - discussing what it means to embody wellness even when we’re off the mat and not in a setting that’s deemed a place of wellness. How do we bring mindful-living into the complexity of our everyday lives? Guests will include University of the Arts Assistant Professor, Jesse Zaritt (re-writing our relationship to dance and dismantling hierarchies that are present in practice and teaching), Michelle Boule (NYC artist and Body Talk Practitioner), and Debra Clydesdale who is a Somatic Experiencing Practitioner (LA-based, certified through Trauma Institute). Boule and Zaritt will also share their physical research through a performance and post-show discussion.

Heller hopes that the immersive week, and other offerings that are in development, will influence how faculty are designing their curriculum, creating a ripple effect that will trickle out to create positive change throughout the entire School. Through these efforts, Heller hopes to be preparing the students to navigate a complicated world after graduating, giving them solid tools to help support their journeys ahead.

Molly Heller is also a part of the Arts-in-Health Initiative in the College of Fine Arts, led by Sydney Cheek-O’Donnell, Ph.D. Through the Initiative, Heller teamed up with Shelly White in the Huntsman Cancer Institute’s Wellness and Integrative Health Center, who has worked with Heller to create a workshop series on the expressive body. The workshop series for outpatient cancer survivors will primarily consist of healing movement practices, integrating other modes of expression, including talking, writing and painting, with a focus on allowing participants to have autonomy in their choice-making of creative expression. The goal of the 6-week workshop, beginning at the end of March 2018, is to help improve the quality of life for participants, an effect which may be quite different for each individual in the class. Heller expects that healing may be experienced through the community aspect of the classes, or through the weekly practices of rhythm, duration, and freedom of choice. An improved quality of life may mean an energetic or physical shift, increased mobility, or other physical and/or internal improvements.

On the horizon, Heller is hopeful for grant funding to continue the clinic work that she’ll be exploring at Huntsman. It’s the tip of an iceberg and all brand new for her, she says. Heller has mainly written about her research ideas and conducted studies inside of creative processes, so she’s excited about new partnerships and this opportunity to expand the ways in which she works.

A big goal of Heller’s is to create a certificate in Dance in Medicine within the School of Dance. Toward this pursuit, Heller is planning a trip to visit the University of Florida this year, which is currently a great model for Dance in Medicine programs right now.

Heller is also interested in continuing her education in the somatic experiencing realm, and is looking to get certified through the Somatic Experiencing Trauma Institute (TI) based in Boulder, CO, which she describes as a methodology that considers “the body as healer”. Peter Levine, author of Waking the Tiger: Healing Trauma, and founder of the TI, has greatly influenced Heller’s research, including her thesis work which investigated the effects of trauma in the body. She is particularly interested in how this work and dance can come together, an interest shared by Debra Clydesdale who, along with visiting as a guest for the School of Dance’s wellness week, is trying to build a facet to the TI program that is dance specific.

Fully integrated into her wellness practices is Heller’s love for both creating dances and performing. As she navigates her new tenure line position, interests within the SoD, and the Huntsman Center, she is also excited to continue her journey as a dance artist. She doesn’t know if this will lead to a company model of some sort, but it seems sure that we can look forward to experiencing more of her dance works regionally and nationally. Satisfying her itch to continue moving with and learning from others, Heller will be joining recent Salt Dance Festival guest artist, Joanna Kotze, in May for a three-week residency at the Yard.

“Wellness is about integration…for me nothing is ever one pod or compartment of practice. I don’t know how to separate my practices, so for me the way that I engage in making a dance, (which I’ll be doing this semester), the way that I hold a technique class, the way that I hold a lecture class, they’re all part of the same practice for me - it’s this way of being in life, so you’re in all versions of yourself, you’re in life, rather than accessing it from this teacher hierarchy or separation of self. Dance is just the best way that I know how to access this way of becoming, which goes back to my thesis research. I wrote my thesis on becoming – Becoming Incredible; Healing Trauma through Performance. You’re in being all the time. It’s not even about transformation… it’s about befriending yourself.” –Molly Heller

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The University of Utah School of Dance is opening its 2017/2018 Season with the Performing Dance Company. PDC offers its audience a professional-level performance by students in the Modern Dance Program. The concert opens October 5th and will showcase choreography from faculty and guest artists, focusing on the creation of new works. This year, PDC will feature the original choreography of faculty members Steve Koester, Satu Hummasti, and Pamela Geber Handman, along with a piece by esteemed guest choreographer, Anna Azrieli.

In his new work for nine, entitled A Tear in the Patterned Wallpaper, Koester thinks of the stage as landscape where an evolving series of events and spatial formations coalesce only to erode away like sandcastles at the water’s edge. Within the dance Koester contrasts simple with the complex, stillness with action, isolation with connection, and unison movement with individualism. Much like a forest, it is the space between the trees that may be more alive and interesting than the trees themselves. Set to music by Stars of the Lid – The Ballasted Orchestra, the dance has a pervading aura about it of serene, meditative emptiness.

Market, created by Satu Hummasti and the performers, explores one day at the central market in Turku, Finland, through movement, performance, improvisation, and text. Performers weave together stories from multiple perspectives to look at how one decision on one ordinary day creates extraordinary, horrific, and heroic circumstances. 

Inspired by solitary spaces and lingering on desolate roads, before she sleeps in the sand, will also premiere during the fall 2017 Performing Dance Company season. Directed by Pamela Geber Handman, this new quartet collaboration contains projections and music by Alva Noto and Ryuichi Sakamoto, Joep Beving, Pan American and Marsen Jules. 
Finally, the program will feature an original work by guest artist Anna Azrieli, who is visiting the School of Dance for an exciting residency with dancers from the Modern Program. Azrieli uses repetition, rhythmic vocalization, and self-slapping movement/sound actions in her work the feminist quiver has legs of quaking clouds. She invokes a world where the individual and group blend, then mutate into a new configuration. Azrieli is a choreographer and performer whose work is based on her body’s intuitive impulses and their interplay with her history in a variety of dance and movement forms. Her dances have been presented by Gibney Dance, Danspace Project, Roulette, The Kitchen, and Movement Research at the Judson Church. She is also a recipient of the Movement Research AIR grant. She has performed with Miguel Gutierrez, Heather Kravas, robbinschilds, Sam Kim, luciana achugar and Wendy Perron, to name a few.

Join us for a Concert by the Performing Dance Company, October 5 through October 21 at the Marriott Center for Dance at the University of Utah. Tickets are available online at Tickets.utah.edu, by phone at 801.581.7100 or at the door 30 minutes prior to curtain. For more information please visit Dance.utah.edu.

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The School of Dance will host the Utah Ballet Summer Intensive (UBSI), 4 weeks of training aimed at sharpening dancer’s skills while immersing participants in a six day a week program featuring classes offered by nationally and internationally renowned instructors. From June 19 to July 14, Dancers will have a chance to learn from master teachers and gain insight into what life is like as a ballet major at the University of Utah. The dancers have been recruited on a national level, and range in age between 15 and 23. Participants include some first-year University of Utah Ballet majors, who typically participate in the intensive either the summer before or after their freshman year.

The intensive’s guest teachers range in background from professors at other universities to directors of companies. Maggie Wright Tesch, a School of Dance Faculty member and organizer of UBSI, gives insight into the guest artists coming this year: 
“We want to expose students who take the program not only to potential work opportunities and the real-world level of training they will be required to have in this business, but also to some of the best teachers out there. Susan Jaffe is returning this year. Currently she is the Dean at UNCSA, a peer institution, which helps emphasize the concept that university training is something to be seriously considered. She is an internationally renowned ballerina from ABT and excellent instructor. We also are bringing in Clara Cravey from the University of Oklahoma, formerly of Houston Ballet Academy. Former Principal of the JKO school in NYC, Franco de Vita, is coming as well. So, really high-level teachers who know technique at the most intrinsic level will be training students here. And no, they are not of one training style and that is on purpose...dancers have to be able to adapt in order to work, so we strive to challenge dancers to move between teacher's styles with ease...eventually!”

UBSI’s guest artist list will also include Victoria Morgan, Melanie Person, Jerry Opdenaker, and Peter Boal as well as School of Dance faculty members Maggie Wright Tesch, James Ady, Sharee Lane, Molly Heller, Rob Wood, Justine Sheedy-Kramer, Melissa Bobick, and Jan Fugit. In addition to these teachers, students will also receive training opportunities from artistic directors who will teach Master Classes for all levels. The four week intensive is designed to give students a taste of the curriculum offered by a University level Ballet Program, and to show what makes the U’s program unique.

“The biggest difference between our program and others is the amount of time spent in the area of creative research, which in our field is considered choreography” explains Tesch. “We bring in instructors who are experienced teachers of choreography and they spend time teaching the craft. The students aren't just choreographed on, as in most summer intensives, which has its value, and we do that as well, but we teach them the craft. That element of our profession is grossly overlooked in student's training below the university level.”

The summer intensive is meant to be rigorous, and to push dancers to learn and grow. Tesch explains that participants should come ready to dance, be prepared to be faced with a lot of new information and experiences in a short period of time. “Dancing in a university setting is just as challenging as any other pre professional training program, but here, they will be working towards a degree. I hope they leave with a taste of how challenging our program is and how much they will learn and experience here, from classical work to contemporary, technique in both ballet as well as modern, African and jazz. We try to show what creating movement is. Not something to be afraid of, but another form of expression they should perhaps explore. Most young students are only ever told how to dance, or what steps to do and how.... We want them leaving with a small taste of how to find their own voice in dance through choreographic exploration and critical thinking skills.”

The Intensive will culminate in a performance, allowing family and friends a glimpse of the dancer’s work and progress during their time at UBSI. The performance will be Friday, July 14, at the Marriott Center for Dance at 6PM.

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The School of Dance is gearing up for Salt Dance Fest, an annual festival that brings internationally renowned dance artists to the U’s campus for 2 weeks of dance-making and a spirited exchange of ideas. This year’s guests include Shinichi and Dana Iova-Koga, Joanna Kotze, Katie Scherman, and Idan Shirabi, along with esteemed SLC dance artists School of Dance Visiting Assistant Professor Molly Heller and Satu Hummasti. These significant, influential artists in residence will share their unique artistic perspectives, along with a range and diversity of aesthetics and approaches to dance with the Salt Dance Fest participants.

In its 7-year history, Salt Dance Fest has included such artists as: Eiko & Koma, Chris Aiken, Angie Hauser, Marina Mascarell, Paul Selwyn Norton, Kyle Abraham, Maura Keefe, Miguel Gutierrez, Netta Yerushalmy, Faye Driscoll, Zoe Scofield, Juniper Shuey, Pavel Zuštiak, Paul Matteson, Sara Shelton Mann, Jeanine Durning, Alex Ketley, Jennifer Nugent, Daniel Charon, and Jesse Zaritt. The workshop is housed at the School of Dance – a hub of dance pedagogy, performance and choreographic creation for the American West.

Salt Dance Fest is committed to the exploration of the creative process in addition to contemporary technique and repertory work. With participants from around the country and the world, the workshop highlights and investigates the creative process and is designed to be a laboratory that nurtures and supports experimentation, exploration, curiosity, collaboration and the development of innovative choreography. Participants work intimately with acclaimed artists, developing and exploring ideas in dance and choreography. One such exploration will be Visiting Assistant Professor, Molly Heller’s, course entitled “Tennis Shoe Technique.” This course will investigate the concept of “utilizing (and playing with) athletic shoes as a medium for developing new dynamics within the body, spatial surfaces and partnerships.” 

"Shoes (tennis shoes in particular) have always been an integral part of my dance training and development as well as a significant part of my work. My formative dance experiences were in shoe-based forms, which created a specific relationship between my feet and the floor – purposefulness, yielding, push-pull, greater tonal range, and a dynamic athleticism that can be experienced from the surfaces of a shoe partnering with the floor. "Tennis Shoe Technique" will utilize (and play with) tennis shoes as a medium for engaging our feet as the living, feeling, deciding, and probing extensions of ourselves. We will bounce, spring, direct, and texture our active feet (in and outside of the studio), testing our perceptions of effort, nuance, and rhythmic complexity. We will also experience the floor at times without shoes as a ways of integrating new information into a non-shoe practice." - Molly Heller.

Participants of Salt Dance Fest select from three blocks of daily classes, engaging with the artists in: Contemporary Technique, Improvisational Practices, Performance Research, Composition, Creative Process, Repertory, Somatics, and Dance Theater (see Class Descriptions). The Salt Dance Fest 2017 class schedule will operate on a block system – meaning participants may sign up for up to three blocks of classes as they prefer. The festival additionally includes a free morning somatic practice and/or barre as an introduction to the day, lectures and panel discussions with the guest artists, an improvisation jam and social events, as well as opportunities to present work in showings and concerts.This year, Salt Dance Fest runs from June 5-16. Participants must be 18 or older, and are expected to dance at an intermediate or advanced level. For more information about enrollment, the courses offered, and the guest artists, visit Salt Dance Fest

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School of Dance Assistant Visiting Professor, Molly Heller, presents "very vary", sponsored by loveDANCEmore. "very vary" chapters the remembered, imagined and future lives of these six performers: Florian Alberge, Nick Blaylock, and Marissa Mooney; and, courtesy of Ririe-Woodbury Dance Company, Yebel Gallegos, Mary Lyn Graves and Melissa Younker. Throughout the work, Heller reveals the performers' biographies with both care and subtlety, while challenging the audience and space with rapid delivery. With a love for decoration and complications within choreographic structure, Heller enlivens the space by framing created scenes. These framed moments allow the performers and audience to enter into a scenario where story-telling emerges. These scenarios, much like chapters of a pop-up book, evoke a dimensional narrative that is at times both literal and nonsensical. very vary will also include collaborations with composer Mike Wall, visual artist Gretchen Reynolds, print maker Kate Thomas, and lighting designer Vellachi Ganesan.

"very vary" runs May 11 - 13 at 8PM located at the Regent Street Black Box George S. and Dolores Doré Eccles Theater Salt Lake City. Recommended for ages 8 and up. No babes in arms, no late seating. All patrons require a ticket regardless of age. Tickets available online, $18 General, $15 with Student ID. Watch KUED's profile of "very vary".

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Early in April, students and faculty representing dozens of dance programs from across the country met for the American College Dance Association’s Northwest Region conference. Held at the University of Oregon in Eugene, this year’s ACDA was a celebration of diversity and inclusion through its theme, “Inter/Action.” Students participated in master classes, performed, presented original choreography, and witnessed over 50 dances over the four days. Nicholas Daulton, a junior at the University of Utah, felt that the University of Oregon did an amazing job of instilling the year’s theme throughout the conference. “I reveled in seeing those who’d taken class with me perform. There were four adjudicated concerts, each having 10-12 dances. That’s a lot of dance to watch but each time I saw someone familiar, I found myself reenergized and excited to experience their performative offering.”

Rebecca Aneloski, a third year in the program, was chosen to represent the U this year, presenting a version of her thesis work for adjudication, How Dare We (Ever Be) All. The Gala performance, traditionally held on the last evening of the festival, includes the adjudicator’s top picks from all four concerts. The School of Dance was proud to learn that Aneloski’s work had been selected for the Gala. Aneloski returned from the journey invigorated by her experience.

“The whole cast was thrilled to represent the University of Utah and the ability to share work and become a part of an even larger dance community was fantastic. My cast worked relentlessly over the year and I was very proud and grateful for their opportunity to perform the piece twice while at ACDA. I came back to Salt Lake City refreshed, hopeful and excited to continue in this field knowing I’m part of a greater collective of mindful movers, creators and thinkers.”

Daulton, a dancer in Aneloski’s cast, expressed how nervous he can get before a concert. The theme and camaraderie of the festival, however, made things feel different this time. “Having watched and danced with everyone, my nervousness transformed into admiration and support for everyone involved in the conference. Each and every person danced with passion, dedication, conviction and faith. It brought tears to my eyes multiple times when realizing that I was surrounded by people who care as much about dance as I do.”

Congratulations to Aneloski, and for their moving performances, the dancers: Micah Burkhardt, Nicholas Daulton, Austin Hardy, Natalie Jones, and Nell Rollins.

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By Guest Writer: Rachel Luebbert

An ever-pressing heat swirls in the air, while Reaggeton music seeps out of windows like curling smoke, and the people fill the streets—talking, moving, dancing. These are the streets of Panama City: never silent, never still, always caught in relentless movement

Over Spring Break, nine School of Dance undergraduates, two graduates, and Assistant Professor, Jennifer Weber and Assistant Librarian, Lorelei Rutledge traveled to Panama to engage in a movement exchange program. During this trip, each student taught a dance or creative movement class while also, collectively taking various dance classes and learning about the role of dance in community engagement and advocacy.

Brianna Lopez (second year, modern MFA) explained that this trip taught her the importance of being proven wrong, “Before we left I had this idea of going to orphanages without resources and teaching really sad children that I would need to motivate and empower. However, I was immediately proven wrong. At every school the children were happily living their important lives and so eager to move and dance.” Lopez taught improvisation to students aged 10-18 at Aldea Infantiles SOS, a protective home for children in Panama City. Lopez’s class was investigatory including different partner activities that explored the body that culminated in a showing of these duets.  What emerged was the collective creating and sharing of dance that developed from such a beautifully natural and honest place.

Later at Escuela San Jose de Malambo, a primarily, all-girls orphanage, Gloria Morin (senior, modern BFA) taught a creative movement class to children ages 5-9. Morin led the students through exploratory activities, theatre games, and a group combination that was performed on the final day. Morin explained, “As I was preparing, I wrote many phrases down in Spanish so that I would know the vocabulary, but I still expected to be very dependent on a translator. However, when it came to finally teaching, I found that I could teach most of the class without outside assistance.” Like Morin’s success with teaching in Spanish, Jennifer Weber explained that every student that embarked on this trip had a moment where they overcame an obstacle and had a transformative experience.

Webber taught two classes at Gramo Danse, a professional dance and aerial company in Panama City. During the second day, Webber facilitated improvisational duets between U students and Panamanian dancers, “I watched as raw conversations and trust emerged between two bodies who did not speak the same verbal language.” Nicholas Daulton (junior, modern BFA) reflected, “During this class I felt deeply connected through my body to another human being. This is what life is about—connecting and being.” This connection to humans and the change possible through movement is accessible everywhere: in Panama, in Utah, and in any community filled with moving bodies.


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Marty Buhler’s Screendance Film, Three on Four, is wowing audiences at home in Utah as well as far away ones in Finland. Buhler, a Utah native, arrived at the Screendance medium by way of musical theater, which is where he gained his first exposure to a technical dancing class and fell in love with the art form. While studying dance at the U, he saw a video project created by Tori Duhaime, which inspired him to create his own film.

Written by guest writer and MFA Student Sarah Taylor.

Screendance goes back to 1999 when the Department of Modern Dance presented its first International Dance for Camera Festival and Workshop. Founded and Directed by Distinguished Professor Ellen Bromberg, the festival was an annual event until 2002, after which it has continued on a bi-annual or tri-annual basis. In 2001, in conjunction with the Festival, a student competition was inaugurated. As a completely student run event (funded by College Fine Arts Fee Grants), this component has been adjudicated by professional dance filmmakers, educators and festival producers over the years, providing students with an opportunity to learn about the jury process. In recent years, a cash award for the Best of Festival was inaugurated.

“Three on Four is about the re-imagination of sound and movement. Through the decorporealization of both body and sound, I created choreography and a sound score that emerged from within the elements given. Creating a new work that does not exist in the corporeal sense. Like most of my ideas, I see visual images of what I want to create. For this one, I saw three men at a table doing gestural phrases. From there I decided I wanted to create a sound score using both movement and editing to create new choreography.”

— Marty Buhler

After Buhler’s initial first two projects, Transmit and Alter Prism, Buhler enrolled in a Screendance class where he gained an understanding of how to improve his work, and then created “Three on Four.”

To say that Three on Four has been well received may be an understatement. The film won first place the Utah Dance Film Festival, an excerpt is currently in Finland’s top 10 for 60 Seconds Dance and is the official selection for both the International Music Video Underground Festival and the Iowa International Screendance Festival. In March, “Three on Four” was selected to been shown at 12 Minutes Max, a monthly showcase of short new works and works-in-progress by local Utah artists at the Salt Lake City Public Library. When asked about the film’s success, Buhler expressed surprise. “I was so happy when I saw that I won first place at UDFF, then when it was selected internationally as a semifinalist for 60 Seconds Dance, I knew it was something special. As of now it has been selected for every festival I have submitted. In fact, I feel that because of all the success on the first try, I feel a lot of pressure to figure out how to make the next one even better.”

The combination of film and dance has been ideal for Buhler, who hasn’t always felt confident in his skills and talents. He says, “this has given me the confidence to get to where I’m at now. I know I have a long way to go, but to go from feeling like a nobody to having my work being seen worldwide ...I feel very blessed.”

Buhler has had positive experience in the Modern Program, which he feels has allowed him to find his voice and passion for dance and art. “I feel so honored to have Ellen Bromberg here at the U to teach Screendance. I feel very blessed to have her as faculty and an advisor for my projects. I feel that the Modern program has given me the artistic tools to create dance and screendance has given me a different medium to portray dance.”


You can view and vote for Three on Four in the 60 Seconds Dance International competition here.

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