Dance Collective 2012 showcases student moves

Students use dance to express emotion and tell stories. (Courtesy of Nina Welch)

Nicole Bullard

Dance Collective 2012, held at the McKinney Theatre last week, showcased student dance performances that varied from belly dancing, ballet and choreography telling stories based on societal issues. The performance had 12 separate pieces that each had their own unique theme and style.

The opening piece, “DUI,” was based on the grief caused by drunk driving and its victims, and was choreographed by Kirsten Hopkin. The music was by Mumford and Adaline.

“Victims to the Charms of Radio,” choreographed to music by Kaskade by Melissa Perkins, depicted how popular music on the radio can control how youth perceives society. Dancers pretended to be attached to strings like puppets, as if the music was controlling them.

A solo piece, “Another Day’s Work,” choreographed by Tiffany Kell, portrayed a janitor tired of cleaning all day who blows off steam by dancing to a Daft Punk remix. It was an interesting perspective on dance and incorporated cleaning props into the performance.

“Sisterhood,” choreographed by Carissa Brinckerhoff and Isadora Sharon, began with the dancers first shown in silhouette, then the performers danced to the music of Shakira and Beats Antique. It was an exotic performance that was choreographed with grace.

“Phenomenal Woman” was based on poetry by Maya Angelou. The dance was choreographed by Kimberly Baglino Tuason and Anthony Tuason. The piece seemed to celebrate women empowerment, with music by Beyonce, Drake and Jordin Sparks.

The intense and moody piece “Lost Perception,” choreographed by Isadora Sharon, was a duet by Tyler Padian and Isadora Sharon. The music was by Hildor and the performance was like a meeting of yin and yang. Sharon seemed to be the darker, moodier counterpart to Padian, who was dressed in white and lighter in demeanor.

After “Lost Perception” the next piece entitled “Tappy Hour” choreographed by Kimberly Baglino Tuason, was a light-hearted and wonderful tap dance performance. The music was by Basement Jaxx and had was vibrant, even the background for the stage was yellow and red, giving the performance a cheery feel.

After intermission, “I Spy, I Sympathize: Where Film Meets Dance on the Streets” gave dance a new modern flair. Choreographed by Mimi Liu and in collaboration with Saddleback filmmakers, this unique and contemporary piece was based on how people treat each other. The music and sound effects was provided by Underworld’s Second Hand and Sounddogs.
“Alone with You,” choreographed by Melissa Perkins used a song from Adele, coincidentally taken from one of The Cure’s songs. The solo performance was heartfelt and the choreography mixed well with the music.

The ballet performance “La Corte de la Reina,” a ballet choreographed by Kathryn Totheroh, with music from George Frederic Handel, James Howard and Antonio Vivaldi, was classic and graceful.

“Left Behind” was choreographed by Nicky Bower. The dance portrayed four sides of a break up, the first filled with grief, while the last being full of life and moving on from a relationship.
To conclude the Dance Collective, “The West Side,” choreographed by Anthony Tuason and Kimberly Baglino Tuason, was a tribute to the musical “West Side Story.” As a beautiful rendition of the forbidden love story, the dancers were vibrant and mimicked parts of the musical.

The Dance Collective was a wonderful array of unique and diverse dance, directed by Dorothy Anderson Garant.


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