UNLV dance department students descended upon the studio theater Nov. 17-19 for this semester’s student choreography concert. Hands met feet. Shoes were put on, then taken off again. The usual unitards were replaced with bra tops and tights and a measure of head-tip-eliciting content was well represented. And there was a rodent on a leash.
“Hands Meet Feet,” the titular piece for the show, was exactly what it sounds like. Choreographer Margot Mink Colbert, one of the faculty in the department, had her dancers clamping onto their own (and other people’s) lower appendages and trying to walk, roll and otherwise flail about the stage. The name of the piece was actually a nonverbal symbol from the Labanotation system, which is a type of writing system used to record choreography in incredible detail.
The piece was cerebral and postmodern and the quirkiness was enjoyable. A ferret, inserted seemingly last-minute at the end of the piece (on a leash and properly supervised, I should add) embodied the nature of the piece: strange, but cute. But still strange.
“Code Simulations” (or “Stimulations,” in part of the program, which was probably a mistake but quite funny anyway) was a multifaceted piece by Michael Coleman. A gritty edge and some punchy choreography paired well with the electronic feel. Mood shifts drew thoughts of a circuit-breaker or switchboard and the interlacing movement completed the motif.
Krista Caskie’s “Synthetic Consciousness” had a similar theme. Dancers Alex Lum and Summer Reece, both encased in different colored unitards, executed intriguing partnering. Technicians should also be lauded here, as the number was compelling from visuals alone.
“Hope,” by Nichole Reyes, was a straightforward swirl of tulle and tenacity. The dancers seemed more aware of the audience, peering out from the stage emotionally. Jennie Carroll’s “Through the Space” was multidirectional and had a similar effect. The bounding, wiggling movement combined with curious faces and bright strings in the soundtrack was worth cracking a smile for. The choreography was nicely musical and different enough to be interesting.
Novelty made an appearance, as it is wont to do in college dance shows. “Hound,” choreographed and danced by Jaleesa Staten, centered on a television tuned to static downstage and an angst-filled, disrobing dancer with a mystifying inner monologue. RJ Hughes’ “Music Box Boundaries” was more conventional, with tulle-garbed performers breaking out of respective boxes, only to be sucked back into them during the coda. Hughes added some swag to the familiar storyline, which kept the predictable ending from being too painful.
“I Am …” with choreography by Amanda Bakalas, used three mirrors positioned upstage, facing the audience, to convey the journey of three different relationships. Love, loss and breakups abounded and the piece ended on an exasperated note, with the dancers seeming to fight against the reflections.
Alex Lum’s “Fresh Kicks” furthered the vein of poignancy with his anticonsumer, anticonformist message. A hop hop beat backed Avree Walker as he donned a pair of Nikes, the $100, pop culture status symbol. An army of masked Nike-wearers coalesced behind him, creepily infiltrating Walker’s happy-go-lucky vibe. Eventually, the shoes came off and, as you might have guessed, Walker walked free. Like Hughes’ piece, the strong execution of the number mitigated an over-hashed theme.
“Sojourner,” Vikki Baltimore-Dale’s jazz contribution, had a masculine, tribal energy and was more visually accessible than other pieces in the show. Hillary Gibson’s “Celebracion de Movimiento,” which ended the show, was similarly straightforward. “Here I Am, There I Go … Once Again” by Jesus Nanci was balletic and doleful, although the source of the somber notes remained obscured.
In a broad sense, this could be said for much of the show. Blossoms of inventiveness peeked through the concert, but it seems that college dance will always be college dance, with graduation deferred indefinitely.