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OGDEN — In the 17th century, poet John Donne penned the line “No man is an island, entire of itself.” Is it true, or was Paul Simon closer to the truth when he wrote “I am a rock, I am an island” about 350 years later?

“Coil,” a new piece of choreography, explores the question of how connected people are to society and the world.

Weber State University’s Moving Company performs the dance at 4:15 p.m. Thursday, March 29, in the Browning Center’s Austad Auditorium, on campus at 3848 Harrison Blvd. Admission is free.

“Coil,” inspired by Donne’s “Meditation XVII,” is a collaboration between Moving Company and the university’s chamber choir, with 15 dancers and 24 singers performing.

Additional performances are scheduled for local sixth through ninth grade students who are receiving study materials created by WSU graduate student Jennifer Alverson and professor Gary Dohrer.

These performances are part of the National Conference on Undergraduate Research, hosted March 29-31 by Weber State University. WSU students Brett Cragun and ShayLynne Clark studied the collaboration that created “Coil” and will present their data at 8:30 a.m. Thursday in Room 136 of the Browning Center.

Oral presentations and poster sessions at the conference, covering undergraduate research on everything from science and history to electrical engineering and legal studies, are open to the public.

For more information about “Coil,” call 801-626-6431. For information about the National Conference on Undergraduate Research, including presentation schedules, visit www.weber.edu/ncur2012.

 

The original article can be found here.

Published in Local News
Wednesday, 29 February 2012 13:42

Picturing Dance on Screen

By Kathy Adams

Special to The Tribune

First published Feb 28 2012 10:08PM
Updated 1 hour ago Updated Feb 29, 2012 11:51AM

Wim Wenders’ film “Pina” appears to have caught the attention of more than just dance fans. The movie’s Oscar nomination for best feature-length documentary came at a time when artists have been talking about creating and viewing dance for screens of various types. “Pina” seems to be part of a movement to make dance more accessible, while changing perceptions about the art form.

Certainly the 3-D technological wizardry of “Pina” is part of the intrigue. On the film’s website and in various interviews, Wenders has stated that using 3-D was the only reason he and Pina Bausch, the choreographer and subject, agreed to begin filming after 20 years of discussing the project.

Yet beyond technology, it’s Wenders’ judicious editing of an esoteric art form that might be the shot in the arm needed to attract new audiences to dance — without compromising artistic integrity. Wenders’ expertise as a cinematographer infuses visual richness into the work through context, point of view, and locations. The film works to capture the texture and emotion of the perishable art of choreography, but Wenders chose not to provide biographical depth or background on Bausch’s work. Instead, filmgoers are required to search out the choreographer and company backstory on their own.

“Pina” has sparked conversations about seminal dance films created for the big screen, such as “West Side Story,” released last year in a 50th-anniversary edition, but in contemporary culture those films represent just the tip of the iceberg. One example is the variety of amateur dance videos posted on YouTube, which range from fun to bizarre, yet don’t seem to account for taste or quality.

Digital distribution » That has led to the launch of websites such as TenduTV, which take the idea of distributing dance films seriously. The site offers profiles and interviews with world-renown dancers and choreographers, a blog, and informed descriptions of work, all intended to guide visitors to online rental or sales of its dance films through iTunes, Amazon and Hulu.

“We want to give people an experience where they can enjoy dance from all over the world that is worth their money,” said TenduTV founder and general manager Marc Kirschner in a phone interview. “We want to deliver it in beautiful high definition video with 5.1 surround audio.”

Kirschner praised the artistic work of Ellen Bromberg, a University of Utah dance and technology professor, as well as what he termed the “phenomenal program she has developed.” Bromberg’s compelling documentary on dancer/choreographer Molissa Fenley, “The re-staging of ‘State of Darkness’?” can be found on Hulu, via TenduTV. And Bromberg’s newest documentary on Judson Church dance artist Deborah Hay, “Deborah Hay, not as Deborah Hay” can be accessed through dance-tech.tv.

“What Mark [Kirschner] is doing by making dance and dance film more accessible globally is really important and it comes at a really good time,” Bromberg said. “The success of ‘Pina,’ casts new focus on dance and dance on film.”

Filming dance, in Salt Lake City » That brings us to the local choreographers and filmmakers who are a part of a national Dances Made to Order project, which Bromberg describes as part of an effort to “create a frame around dance and dance filmmaking and tie the country together.”

Dances Made to Order, launched in April 2011 by Los Angeles choreographer Kingsley Irons and filmmaker Bryan Koch, is a monthly, curated online series featuring 5-minute videos of dances created in just two weeks from ideas suggested by subscribers. The founders have extended the effort to 11 cities around the country. Ashley Anderson, a local dance advocate and founder of the loveDANCEmore website, was invited to curate the Salt Lake City edition. Anderson picked the artists, but subscribers will vote on their inspirations. (Themes will be posted March 7, and films will be created from March 16-April 1. .)

To Anderson, an important element of the effort is that artists are paid a percentage of subscription fees, in contrast to film festivals where artists pay a fee to submit work. “Since the U. has such a great screen dance program, I was able to pair and coordinate choreographers with filmmakers,” Anderson said. “The project is also a response to the uncurated dance videos that are all over the Internet. DMTO gives people an opportunity to see what experimental choreographers all over the country are thinking about and doing.”

How it works » The filmmakers give Irons a list of inspirational creative topics, and subscribers to dancesmadetoorder.com vote for their favorites. The top three themes must be used in each dance, no matter how wacky a combination. For example, three subjects for a recent series of Los Angeles films were: 1. Sugary/salty; 2. A film within a film; 3. Would you be better off if you hadn’t...?

Kirschner said the need for DMTO “extends out of the fact that in other countries the opportunities for dance film artists is much greater than in the U.S. because television networks have budgets which include commissioning dance.”

Instead, for American dancers, new media has created a virtual town hall for artists around the globe.

“When I came here 11 years ago, most students didn’t have email,” Bromberg said. “Now there are so many opportunities for students to think about the field and get their work out. They can create and put their own dance films up online.”

 Josie Patterson-Halford » Earned a bachelor’s degree in dance from Weber State University. Her work has been featured at the American College Dance Festival, and in 2010 she served as a regional coordinator. She has performed with inFluxdance Company, and her solo choreography has been featured throughout the state of Utah.

Scott C. Halford » Weber State University graduate with a degree in integrated studies. While attending school, he founded the multimedia production company Foursite Studios, and later organized the Foursite Film Festival. Halford has made more than 60 short films. 

Published in Student News

Nick Whitaker, playing the role of Gideon in Centerpoint Legacy Theatre's "Seven Brides for Seven Brothers," is comfortable on the big screen, but appearing in stage productions is still a bit new to him.

The 22-year-old Farmington man took his first acting lesson at age 8 and began landing roles in films with the help of an agent at age 9.

His mom, Bonnie Whitaker, a songwriter, met his dad, John Whitaker, while he was a member of the Young Ambassadors, a performing group at Brigham Young University that travels worldwide.

"My whole family has been involved in music or acting at some point," Whitaker said.

For young Nick, that meant securing the role of Chase Patterson, one of three young boys trying to crack a voice-mail code and evade gangsters in the 2000 movie "Message in a Cell Phone."

In 2001, he appeared in the Richard Dutcher murder mystery "Brigham City," as the younger brother of one of the girls who was murdered, and in a children's movie titled "Bug Off."

In 2004, Whitaker played the role of 14-year-old Colby in "Benji - Off the Leash," a film that grossed more than $3.8 million.

Though it was difficult to be away from school so much for his acting career, Whitaker said, most of his teachers were willing to give him work to take on the road with him. "It's a worthy sacrifice for my art," he said of other activities he may have missed.

In 2005, he secured another major role as the young Joseph Smith Jr. in the movie "Joseph Smith: The Prophet of the Restoration," shown at the Legacy Theater in the Joseph Smith Memorial Building in Salt Lake City and in visitors centers for The Church of Jesus Christ of Latter-day Saints throughout the world.

In 2006, Whitaker had a role in his first Disney Channel movie, playing Alan in the "High School Musical." The show became one of Disney's most popular TV films.

That led to a part in "High School Musical 3" in 2008. He was also a basketball player in the Disney Channel movie "Hatching Pete" in 2009.

Whitaker has always loved acting, but didn't discover his passion for the stage until last summer when he played Tom Sawyer in "Big River" at Sundance's outdoor theater.

"I grew a lot in my personality and just fell in love with theater," Whitaker said.

"I realized there was a whole aspect of the world that I loved that I was missing out on," he said of his introduction to the world of musical theater.

He hired a voice coach and enrolled in the musical theater program at Weber State University, where he will return to his studies in the fall.

For now, he spends his days as a performer at Lagoon and his nights working on "Seven Brides for Seven Brothers."

"Between the two, I am dancing for 10 hours per day. But, I love it. It is intense but rewarding. I'm living my dream."

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There have been tears aplenty over the leaving and letting go.

She will miss the students and the making of memories. She will miss rehearsals and concerts and a brand-spanking-new dance studio.

And she will miss the costumes.

Yes, 30 years worth of costumes that dance teacher Melanie Clifford loves so dearly that she has even given them names.

There are the beautiful white Icarus dresses, named after a dance about the character in Greek mythology. And the classy formal attire for her "Fred (Astaire) and Ginger (Rogers)" holiday waltz. And the "Singing in the Rain" umbrellas.

"Some of them are named after students, because it was their dance," Clifford says.

All of this will be left behind as Clifford steps down this month from three decades as director of the performing arts dance program at Ben Lomond High School.

"It's time," says Clifford, whose exit stage left was prompted by a recent knee injury that leaves her unable to demonstrate dance steps to her students with the passion she believes is necessary.

"I can't give them what they need," she says.

Even so, saying goodbye is difficult, because dance has always been Clifford's passion, from the time she was a 4-year-old living in Iran and twirling about in exotic costumes to piano music played by her mother.

"I always thought of myself as a dancer," the graduate of Weber High School says. "Nobody ever told me I wasn't."

For love of dance

Despite the sadness, the move to retire is exciting, too, Clifford says.

"There are so many things to learn. I feel like I'm just graduating from high school again -- what am I going to do?"

Maybe she'll learn to play violin, or pick up her guitar again, besides exercising to improve that knee and enjoying her family.

"I'm not going to teach high school dance again, I'm going to dance with my grandbabies instead," the North Ogden resident says.

Not much dancing was going on at Ben Lomond High School when Clifford first arrived in the fall of 1982. There were only two dance classes and not even a room where the students could practice.

"We danced on the stage," Clifford says, or if the theater students needed to rehearse there, "I just taught wherever I could find a hall."

But by the next year, Clifford had a full program of dance classes and her own studio. Today, the recipient of 1989's Utah Dance Educator Award estimates she's schooled more than 6,000 students in the art of modern dance.

A wide range of students have been drawn to Clifford's program "for the love of the dance," says Peggy Dooling-Baker, acting principal of Ben Lomond High, and Clifford has helped stretch and expand their knowledge and creativity.

"We just love her and we're going to miss her desperately," says Dooling-Baker.

But the program Clifford established and nurtured will go on. "We want to build on the foundation she's given us and make it stronger."

Something more

Although her training was in the classical realm, Clifford says she's always gravitated -- ever since her childhood dancing in Iran -- to the modern dance she taught at Ben Lomond.

"My base was ballet, but my innate sense was modern," says Clifford, who also taught at Kearns High School and Ogden's Mound Fort Junior High before coming to Ben Lomond.

What does she love about dancing?

"I think it's the expression of it and the ability to touch hearts where maybe words can't," the Weber State University graduate says.

That feeling is something Clifford wants to pass on to her students, the idea that "they can move, they can express the joy of the moment."

But her job is really about much more than teaching teenagers how to execute dance steps, she adds. Through dance -- through all of the arts -- students learn about working toward a goal, communicating, cooperating and being kind to one another.

"I don't care if they become dancers," Clifford says, "but they need to become better people."

Taking wing

At the dance company's final concert under Clifford's direction in May, the students gave their instructor 34 red roses -- one for each of her years of teaching.

"Mrs. Clifford changes lives; Mrs. Clifford changed my life," said Linda Sanchez, a senior member of the dance company, after the concert.

Sanchez said she had never danced before she enrolled in Clifford's class as a freshman and now she plans to study dance at college next fall.

"I love her. ... She opened my eyes to different views of everything," Sanchez says.

For Faith Shreve Chapman, a 1995 graduate of Ben Lomond High and former member of the dance company, it's hard to imagine her alma mater without Clifford -- "the heart of the school."

The dance instructor had a gift of turning students who "felt invisible" in school into performers, says Chapman, even when those students didn't fit the expected mold of what a dancer should be.

"She never gave up on anybody," Chapman, of Ogden, says. And Clifford was always passionate, Chapman adds, often telling her students, "I will push you just far enough -- just far enough -- until I know you can fly."

Clifford, who is also an honors English teacher, admits she's "kind of a preacher" to students at her school. One message is encouraging teens to look beyond high school and plan for their future, such as attending college or trade school.

"Success finds a way, failure finds an excuse," she often reminds them.

The instructor also arranges for her dancers to perform at Weber State University or work with professional Utah dance companies so they can see that "people who have goals and go for it, they can succeed."

Dance allows her students an outlet for expression, Clifford says, for themes ranging from the joy of sisterly love, to the horrors of abuse, to the desire to take care of the planet.

They are dances this teacher never forgets -- just as she never forgets the dancers.

"Some of these kids will still write me or send me an e-mail and say 'A song came on the radio (that we danced to) and it made me think of you.' ... It touches your heart."

 

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