Dance-Forms 76th International Choreographers’ Showcase. 
⭐⭐⭐⭐⭐ MUMBLE CIRQUE

 

My Accidental Departure

Posted on August 7, 2019 by yodamo

 

I have recently observed the majesty of human movement’s capabilities. My Accidental Departure, by Susana B. Williams, was one of an excellent series given at the Dance-Forms 76th International Choreographers’ Showcase. The third one to be precise, following Kelly Schoger’s avant garde ‘Beauty, Identity, Release,‘ & the trident-twirling bodhisattva that was Shoko Tamai’s ‘Dancing Siva.’

Next to step elegantly onto this most sophisticated of catwalks was Matthew Ball, whose immensely-chiseled body felt like David had just stepped down from his pedestal outside the Palazzo Vecchia. In 2019, Matthew is the Royal Ballet’s principle dancer, & no-one on Earth could question his elevation to such an esteemed position. He is blessed not only with extreme physical prowess, but also the imagination needed to entertain.

Working with Matthew means having the opportunity to present my work at the highest technical level. – Susana B. Williams

My Accidental Departure is a an emotive dance-theatre elegy to Susana’s son, whose life was taken from her by a fatal accident when he was just 36. From grief sometimes comes timeless art – as a poet I rate most highly Shelley’s ‘Adonais’, & Tennyson’s ‘In Memoriam,’ – & there is a similar moving outpouring of artistic beauty into My Accidental Departure. The piece is synchronized to Max Richter’s arrangement of Vivaldi’s ‘The Four Seasons: Summer,”‘ with the aching screech of violins wrenching to life Renaissance sketches of Man. The soft, yet powerful heaves of Ball’s movements convoked in me a sense of Prometheus striving for release & straining at his chains on his stormy rock, arms whirling like windmill sails. Half-way through, all goes red & Ball plummets to the ground for some desperately tragic floor-work, like a Dantean shade reaching out for mercy. This is theatre, this is dance, this is art, & I hope Susana has found an element of cathartic release in creating a piece loaded with the aforementioned majesty of human movement.

Damian Beeson Bullen

 

 

 

Working with Matthew means having the opportunity to present my work at the highest technical level. – Susana B. Williams
Read the full interview…

 

 

 

 

Dance-Forms 75th International Choreographers’ Showcase
at St Stephen’s Theatre
* * * * -
-Kerry Teakle, The Weereview, Edinburgh Festival Fringe.

Delivers six distinct works by choreographers from the U.S.A, Italy, Helsinki and the UK in a programme shining with originality, athleticism and grace.

REVIEWS / DANCE / DANCE-FORMS 75TH INTERNATIONAL CHOREOGRAPHERS’ SHOWCASE KERRY TEAKLE | 8 AUG 2018

Celebrating 17 years at the Fringe, Dance-Forms’ 75th International Choreographers’ Showcase delivers six distinct works by choreographers from the U.S.A, Italy, Helsinki and the UK in a programme shining with originality, athleticism and grace.

Choreographed by Hayley Descavich, Subway Creatures displays great energy as two bare-footed dancers dressed in dark suits move to music by Balkan Beatbox as though they are weaving their way through a crowded subway.

An Edinburgh premiere, If, choreographed by Mariuca Marza, uses the words of Rudyard Kipling and calming music (Salento-Plaisirs D’Amour by Rene Aubry) as the dancer, Francesco La Macchia moves across the stage, beautifully interpreting the words of the poem.

Time and No Time, is another Edinburgh premier with choreography by Susana B. Williams, in collaboration with Brandon Lawrence, principal dance artist with the Birmingham Royal Ballet. Lawrence also performs the piece to music by Bahramji & Maneesh De Moor’s Call of the Mystic. With great athleticism and wearing nothing but ballet shorts, there’s something very tribal and warrior like to the moves and the long lines that Lawrence creates is a thing of beauty.

Paging Into the Realm of Imagination is a section of an evening length work, titled Page, which will premiere in the summer of 2019 in Chicago. The dance, supported by the fund of Vilas Distinguished Achievement Professorship at the University of Wisconsin, sees four dancers – three females and one male – dancing to choreography by Jin-Wen Yu and unlike the majority of the other pieces uses props in the form of a table, crumpled pieces of paper and an old fashioned cast-iron iron, but this piece fails to move me.

She Hits a Wall, choreographed and performed by Hannah Myers in collaboration to music by Douglas Taige McMahon gives a nod to the Graham technique, the cornerstone of American dance and that opposition of contraction and release.

The final piece, Vivir, is choreographed and performed by Aylin Eleonara. Along with Time and No Time it is the standout performance.

Although born in Helsinki, Eleonara has perfected her craft of flamenco dancing by studying in Barcelona, Spain. This is a performance of two halves. In the first, she is dressed in a sumptuous black dress with silver glittery panel inlays. She captivates the audience as she executes the flamenco moves with great expression, fierce feet stomping, and graceful arm movements. The piece builds to a passionate crescendo as she uses a vibrant, bright orange scarf, which she sweeps around her much like a matador. A quick costume change into a white, wedding-like dress is as equally passionate. She wraps the dress around her, creating beautiful folds in the material, accentuating some of the Flamenco moves to finish this display of hugely impressive Spanish dancing.

This showcase in most cases is choreography stripped bare with few, if any props, and nothing but the dancers interpreting the moves. It’s a wonderful celebration of dance.

 

 

Review of "Dance-Forms' 72nd International Choreographers' Showcase" by Lucy Komisar.

http://www.thekomisarscoop.com/2016/09/edinburgh-fringe-dance-is-classical-jazzy-sometimes-almost-like-sculpture/

Edinburgh Fringe: dance is classical, jazzy, sometimes almost like sculpture

The Fringe is not only about theater. There is also dance. Here are performances I found important.

Dance Forms

The classic “Studies in Red,” 3 girls 2 boys, twists, turns, high kicks and poses in excellent form was a highlight of the Dance Forms show at Edinburgh.

This choreographers’ showcase has been presented at the Fringe for 15 years, and it’s a good chance to see an eclectic selection of creative dancers, ranging from traditional to minimal. In this case, the best were traditional! Of the dozen performances, I liked these four best.

Choreographer Lauren Speirs, who also danced in the piece, uses Philip Glass’ “The Hours” to set the mood, and the mode, which is on toe. The other very good performers are by Clare Bassett, Nicole Fedorov, Diamaid O’Meara, Gearoid Solan.

And the best of classics, Luisa Chaluleu of the National Ballet of Guatemala shows great technique in her modern, elegant, fluid interpretation of Bach’s Violin Concerto in A Minor, Allegro Moderato. “Multidirectional Concepts” was choreographed by Susana B. Williams.

For a change of pace, I liked “Get It While You Can,” Jada Rose Cunningham and David P. France dancing to France’s steps, music Terry Callier “Love Theme from Spartacus” and Joe Sample’s “Hippies On a Comer.”

It is jazz ballet at its best, angular, reaching, turning, they leap, arms flying to the “swing” piano.

In “Bound,” by McClaine Timmerman, danced to “Twins” by Gem Club, two couples, Dana Husary, Sarah Hong, Edgar Aguirre, John Barclay, put together the classical and the jazzy in their leaps and turns. Crisp and clean and appealing.

For information about how to participate in "Dance-Forms' International Choreographers' Showcase" contact Susana B. Williams, director at danceformspro@aol.com

 

 

Dance-Forms 74th International Choreographers’ Showcase

Posted on August 11, 2017 by Julie Morrice

·                                  

Summary

The dancers here clearly have a variety of experience.

5.0

With a punchier show title and a less-challenging start time, this delightful and thought-provoking smorgasbord of contemporary dance would be packing them in.

As it is, at 9.15am the Emerald Theatre in Nicolson Square is sparsely populated. That is a great shame because there is a lot to admire and enjoy here.

At nearly two hours this looks like a lot of dance but it goes by in a whirl of intriguing movement and strong young dance personalities. Time pressures meant I had to leave before the final two numbers (out of a total of 11) and I was really sorry to go.

Variety is the name of the game here. But whether it is Roxanna Lewis’s “String Theory” which combines speech, singing and dance or the tongue-in-cheek pantomime of Douglas Dunn’s “Oh Acis” or the glorious physicality of Susana B. Williams’ “Angel” all the choreography has an honesty and directness that makes it a pleasure to experience.

Part of that honesty lies in the way the dance expresses and extends the music that inspired it. In Shelley Siller’s performance of her own piece “Sol”, Beethoven’s Moonlight Sonata seems to flow through the dancer’s limbs and thus out into the audience with a simplicity and directness that is almost childlike and deeply moving.

Likewise Jin-Wen Yu’s “Fine, Without Me/You?” – a quirky love story set to a delicious French score – comes tumbling out of its two performers with all the wit and finesse of the great chansonniers.

All sorts of ideas and emotions are explored in this quick-fire succession of pieces but perhaps the most telling is ‘Singular Movements of Unravelling Truth” performed by Kathy Diehl and Leanne Rinelli which explores ideas of individuality and relationship in a subtle and fluid duet.

The dancers here clearly have a variety of experience. Some, such as Jane Krantz who performs Hannah Myers “La Chica de Rojo” with huge style and character, are professional. Others are perhaps students but all give convincing and committed performances. It’s a joy.

 

"Time And No Time" Edinburgh Premiere

Relevant Reviews

'Dance-Forms' 74th International Choreographers' Showcase'Reviews

Five stars review for 'Dance-Forms' 74th International Choreographers' Showcase' by Julie Morrice.

http://young-perspective.net/dance-forms-74th-international-choreographers-showcase/

Arms swinging, body twisting, muscles rippling, Brandon Lawrence, soloist with Birmingham Royal Ballet performed “Angel.” Are his bent arms wings and his high kicks flight?. Indeed, he seems godlike in this improvised piece driven by electronic music by a Massive Attack (Mad Professor Remix) concept and directed by choreographer Susana B. Williams, who also helms Dance-Forms Productions

http://www.nytheatre-wire.com/lk170810t.htm

Lucy Komisar/The Stage

It gives me great pleasure to share the article/review "Dance at the Edinburgh Festival Fringe" written by David Mead for Dancing Times Magazine. Click on the files acrobat link and scroll down to the second page of the article, you'll be able to read the review of "Dance-Forms' 74th International Choreographers' Showcase" with pictures by Garry Platt. Hard copy of the October issue of Dancing Time Magazine is available at www.dancing-times.co.uk

https://files.acrobat.com/a/preview/2b6922f2-3418-4e97-b249-5d67b84d4ef7

Danceforms' 60th International Choreographers' Showcase

Danceforms' 60th International Choreographers' Showcase: Review: ★★★★

Broadway Baby review for

Danceforms' 60th International Choreographers'
Showcase

by Heather Doughty on 7th
August 2012

Holding the attention of an audience for an hour of
dance, especially with a mish-mash of different styles, can be a challenge.
Granted, this performance is a ‘showcase,’ highlighting work from multiple
‘distinguished choreographers,’ so I was expecting to see variety. However, the
end result is a show lacking identity, splattered with some shining
performances which were few and far between and I found my mind drifting off
during certain solos.

The show presents five unrelated, and
uneven, pieces of choreography. We are welcomed in by a solo performance by
Emma Draves who performed her mix of ballet, contemporary and classical Indian
dance with polish and beautiful control. However, the accompanying chimes of
music left me rather cold, reminding me of sounds one might hear in a spa whilst
receiving a stress relief massage. For me, the highlight of the show was a
section titled ‘Come Change,’ performed and choreographed by Vincent E. Thomas.
The only piece in the concert using text, Thomas completely drew the audience
in with his frank address and honest discussion of quotidian stereotypes and
labels. This thought-provoking monologue linked seamlessly to his movement, an
exciting fusion of street and contemporary dance. Recognizing his passionate
performance, the audience whooped and cheered as his section came to an end -
far too early for my liking. I would recommend this show if only to see his
inspiring piece of choreography.

The other pieces were interesting and diverse, but didn’t strike the
same emotion for me as Thomas’ solo. There were flashes of fluidity and grace
from energetic partner work when dancers effortlessly rolled into each other’s
movements, building up a stimulating momentum. These moments were deeply
satisfying, and I was a disappointed when the energy dropped. Overall, the
concert is an enjoyable experience, full of passion and talent, yet nothing
presented was remarkably innovative. I feel Danceforms could have pushed the
boundaries further to really live up to their ‘award-winning’ hype.

---

"Ixquic"

Fascinated with the stories of the Popol Vuh, the book of the myth of the Maya-Quiche people of Guatemala,  I created "Ixquic" to express through dance the encounter of Ixquic with Hunah-Pu. The scene takes place on the road to Xibalba where Ixquic finds the tree with the skull of Hunah-Pu, one of the twin brothers of the first generation who lost the Ball Game to the Lords of Xibalba. The spirit of Hunah-Pu seduces Ixquic, who will become the mother of the second generation of twin brothers named Ixbalanque and Hunah-Pu.

http://www.youtube.com/watch?v=GQmUDfio85I&feature=share&list=UUcm9yO58fkluGb3FBKj0WNg

 To those interested in the myth of the Maya-Quiche people of Guatemala I recommend the reading of the Popol-Vuh.

"Ixquic"

Choreography: Susana B. Williams

Music: Duas Voces by Egberto Gismonte and Nana Vasconcelos

Costume: Original Mayan outfit

Performer: Susana B. Williams

About the artist: www.dance-formsproductions.com 

Danceforms' "The 40th International Choreographers' Showcase"

The Montenegrin National Theater

Susana B. Williams, Director of Dance Forms Productions, has chosen the Montenegrin National Theatre in Podgorica, Montenegro to present "The 40th International Choreographers' Showcase."

Those interested in an exciting program of contemporary dance are invited to attend performances of "The 40th International Choreographers' Showcase" at the Montenegrin State Theatre on May 28 and 29, 2008 at 20:00 hours. Seating is limited so pick up the phone and make your reservations now! Two performances only! For reservations call (502) 222-2273 or e-mail Dance-Forms Productions at any time. Our e-mail is danceformspro@aol.com
Montenegrin National Theatre, Podgorica
ul. Stanka Dragojevica br.18.
Tickets: 8.00 Euros / $6.00 Euros

Box office: +38181/243-476

Program

"OtionlessM"
Premiered at Theatre Golovine in Avignon, France on August 2, 2007
Choreography: Susana B. Williams/ Music: Benoit Jutras
Performance: Susana B. Williams
Sponsored by Friends of Dance-Forms Productions

"Read Me"
Premiered in Jalapa, Mexico on June 16, 2004
Choreographer: Colin Connor in collaboration with Debra Noble/ Music: Nina Simone
Costume Designer: Fontella Boone
Performer: Debra Noble
Performance of this solo is made possible thanks to the kind sponsorship of Friends of Colin Connor and Debra Noble

"L'Eclat des Lucioles"
Montenegro Premiere
Choreographer: Balkis Manoukian/ Music: Oudjaroum by Koussam Achod
Costume Designer: Balkis Manoukian
Performer: Balkis Manoukian
Performance of "L'Eclat des Lucioles" is made possible thanks to the kind sponsorship of the Conseil Général de Vaucluse

"Future Memories"
Premiered at Excello Dance Space in Miami, Florida on April 25, 2008
Choreographer: Karen Peterson/ Music: Uakti (composed by Phillip Glass), Foday Musa Suso (collaboration with Phillip Glass) and Kronos Quartet (composed by Elliot Sharp)
Costume Designer: Karen Peterson
Performers: John Beauregard, Enid Harum Alvarez, Jessica Pusceddu, Jennifer Smallwood, Erin St. John dancers with Karen Peterson & Dancers, Inc.
With support by: The Miami Dade County Department of Cultural Affairs, the Board of the Miami Dade County Commissioners Florida Department of State, Division of Cultural Affairs and the Florida Arts Council and the Southern Arts Federation

"News Falls Like Rain"
Premiered in Newport, RI on July 13, 2007
Choreographer: Colin Connor in collaboration with Debra Noble/ Music: Maurice Ravel
Costume Designer: Colin Connor and Debra Noble
Performer: Debra Noble
Performance of this solo is made possible thanks to the generous sponsorship of Friends of Colin Connor and Debra Noble

"Sardonyx"
Premiered at the Roxy Art House, Edinburgh, Scotland on August 8, 2007
Choreographer: Ivo van Zwieten/ Music: J. Brahms, Piano Concerto No. 1 (Adagio)
Costume Designer: Anna Sophie Howoldt
Performer: Attila Joey Csiki, dancer with Lar Lubovitch and Rasta Thomas Companies
Performance of "Sardonyx" is made possible thanks to the kind sponsorship of Ivo Van Zwieten's supporters

Two performances only! Make your reservations now! By phone calling Dance-Forms Productions at (502) 265-7041 or by e-mail sending your message to danceformspro@aol.com

More information about the dance-artists, visit Dance-Forms Productions on line at http://www.dance-formsproductions.com/

Danceforms' "The 41st International Choreographers' Showcase"

Vincent E. Thomas

Festival Estivo dell' Università di Danza & Teatro
and
DANCE-FORMS PRODUCTIONS
Present
"The 41st International Choreographers' Showcase"
A Giovinazzo di Bari, Italy
July 8, 2008-20:00 Hours

Program

"otionlessM"
Premiered at Theatre Golovine in Avignon, France in July 2007

Choreography: Susana B. Williams/ Music: Terre Aride by Benoit Jutras
Performance: Susana B. Williams
Sponsored by Friends of Dance-Forms Productions

"Tickled"
World Premiere
Choreography: Leeanne Rinelli/ Music: Koop, Mocean Worker / Costumes: Designed by Leanne Rinelli
Performance: Leanne Rinelli
Sponsored by friends of Leanne Rinelli

"Lifeline"
Premiered at the Little Theater of Long Island University, C.W. Post Campus, New York in April 2005
Choreography: Michelle Durante/ Music: Steve Nagle (live) / Costumes: Designed by Jenn Rice
Performance: Kati-Ann Ashworth, Jillian Denis, Michelle Durante, Michelle Gilligan, Carla Reitano
Sponsored by friends of Immersion Dance Company

"Feet Don't Fail Me Now"
Premiered at Centro Cultural "Miguel Angel Asturias in Guatemala City on June 28, 2007
Choreography: Leeanne Rinelli/ Music: Telefon Tel Aviv/ Costumes: Designed by Janet Reed
Performance: Leanne Rinelli
Sponsored by friends of Leanne Rinelli

"Changeover"
Premiered at the Jericho Public Library Theater in New York on December 2, 2007
Choreography: Michelle Durante/ Music: Pachelbel / Costumes: Designed by Michelle Durante and Carla Reitano
Performance: Kati-Ann Ashworth, Jillian Denis, Michelle Durante, Michelle Gilligan, Carla Reitano
Sponsored by friends of Immersion Dance Company

"Memory Box"
From the Grandmother Project
Premiered at Dance Place, Washington, DC (2006)
Choreography: Vincent E. Thomas/ Music: Jimmy Scott / Costumes: Designed by Vincent E. Thomas
Performance: Vincent E. Thomas
Sponsored by Towson University College of Fince Arts & Communication, Friends of VTDance, Baltimore Office of Promotion & the Arts, Maryland State Arts Council

For information, please call Dance-Forms Productions at (502) 265-7041 or by e-mail at danceformspro@aol.com
http://www.dance-formsproductions.com/

Danceforms' "The 44th International Choreographers' Showcase"

Dear Choreographers, One of the most important presentations of Dance-Forms Productions for 2008 is "The 44th International Choreographers' Showcase" which will take place in two performances at Centro Cultural "Miguel Angel Asturias" in Guatemala City on October 25 and October 26, 2008.

Centro Cultural "Miguel Angel Asturias" is one of the most beautiful theaters in the Americas. With a large stage, excellent technical support, and seating capacity for more than 2000 people, performing at Centro Cultural is an unforgettable experience.

Mainstage: 21 meters wide x 17 meters deep, plus wings and fly spaceState-of-the-art sound system, closed circuit video systems, extensive stage lighting and dimmer systems, including three spotlights, full complement of black velour stage draperies, backdrops, scrims and cycloramas. Complete fly system rigging, dressing rooms for 50+ people.
View the theater visiting www.danceformsproductions.com/guatemal.html

The two performances are accessible to people of all ages. Members of the audience will purchase admission tickets priced in Quetzales. We look forward to welcoming a large audience like in previous years.
This exciting trip from October 23 day of arrival in Guatemala, through October 28, 2008 day of departure, will give choreographers an excellent opportunity to present their work, to network with directors, producers, other artists (hopefully to negotiate new engagements!) and to earn a share of the revenue from ticket sales of two performances.

Solo performers receive hotel accommodation in twin rooms with private bathroom/shower. We provide a complete production package which includes two performances, lighting and sound, technical assistance, publicity, printed programs, box office and pre-show rehearsal arrangements. All for a participation fee of $1,500.00 for each solo-artist on stage (airfare excluded).

Groups pay $2,500.00 participation fee for up to ten dancers (airfare and hotel accommodation excluded).

Choreographers are invited to submit their condensed professional resume, color pictures of the performers in JPEG format and program notes. A VHS NTSC FORMAT video or a DVD with the work to be presented is important to us to better serve your needs.

A not refundable deposit of $300.00 to reserve space in the showcase is due right away. The payment will be mailed in the form of a check or international money order in US dollars made payable to Dance-Forms Productions to our mailing address:

C/O Susana B. Williams

Dance-Forms Productions

307 North 4th Street

La Grange, Kentucky 40031

USA

We also accept payment with Visa, Master Card, Amex, Discover. A processing fee will be added to the payment.

We encourage participation from choreographers who are willing to invest in themselves and who are interested in expanding their knowledge of other cultures, as well as promoting their work abroad. We invite choreographers who see this thrilling event as an opportunity to benefit their professional development.

Please mail your materials and initial payment without delay. If you have further questions email us a message. Our email is: danceformspro@aol.com

I look forward to your participation and greeting you in Guatemala.

Sincerely,

Susana B. WilliamsDirectorDance-Forms ProductionsTel. (502) 265-7041 E-Mail: danceformspro@aol.com Web Site: http://www.dance-formsproductions.com