GOUCHER COLLEGE
a student publication of the goucher college dance department
VOL. 28, NO. 1 | FALL 2012
Building Community: Early Arrival at Goucher Emily Polasik ’13
(Top) Dorie Chevlen ’15 in a modern class during Early Arrival. (Bottom) A modern class during Early Arrival. (Right) A ballet class during Early Arrival. Photos courtesy of Sarah Muskat ’13.
“Ago! Ame! I am listening!” shouted the Goucher dancers in their first dance class of the year—West African with lecturer Kwame Ansah-Brew. All 65 of those participating in this year’s Early Arrival—held August 2025—attended Ansah-Brew’s class in the Lilian Welsh gymnasium. Rick Southerland, director of the program, said his intention for the kick-off was to create an environment “where all dancers could come together in a space without mirrors or traditional dance attire and simply dance together as a group. I felt that this would enable students, and particularly with our large number of first-year students, to bring their energies together to ‘just dance.’”
Following the West African class, the students and faculty gathered for the annual welcome dinner, and department chair Elizabeth Ahearn gave remarks. After dinner, the Dance Mentors, a close-knit group of returning students who assist new students with their transition into the department and the Goucher campus in general, met with the incoming first-years and transfers to welcome them into the community. The dance mentors were extremely enthusiastic about the upcoming year and their duties as mentors. Maia Stam ’15 said, “I think there’s a lot of opportunity during Early Arrival and dance-mentoring activities to forge relationships and communicate
openly, which helps establish the department as a unit that works for and can be molded by the students, as opposed to a strict institution that the student has to fit [himself or] herself into.” Early Arrival also helps new students acclimate themselves with the Dance Department and Goucher before everyone else arrives on campus. “As a freshman,” says Christie Hoffman ’16, “the Early Arrival program was a great way to meet other dancers and learn the campus. By the time everyone else arrived, I felt that I had already adjusted to college life.” Building Community continued on p. 3
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Exploring the Spectrum of Color and Shape Carly Callahan ’14
Who knew so much movement inspiration could come from a child’s sculpture-building game? Challenging herself to choreograph outside her comfort zone, Linda Garofalo chose to do an abstract work depicting sculptural shapes and designs from the game “Zolo,” using only her dancers’ bodies. Her work, titled “Spectrum,” was featured in the Goucher Repertory Dance Ensemble Fall Concert, held November 16-18 in Kraushaar Auditorium.
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Garofalo, as a member of the Goucher dance faculty, has choreographed several works in the past. The greatest difference between her past choreography and this new work, she says, is that this piece was not a narrative; there was no story line or deeper meaning than movement for movement’s sake. She was very challenged by this way of choreographing but was excited to see where it went.
collaborative journey to create unique movement and sculptures to be manipulated throughout the piece. The piece required the dancers to work with a choreographer in new ways, bringing their compositional skills into play. It also required the dancers to be united as a team; they must be in synch for the sculptures and colors and lines to be seen by the audience in an interesting way.
Garofalo’s cast of 14 dancers was excited about the challenge as well. It was a
As for the music, Garofalo worked with student Cuong Nguyen ’14 to create an
Corrupted Culture Maia Stam ’15 “Let’s do it one more time,” prompted Associate Professor Juliet Forrest. The frequency with which Forrest used this line in rehearsals for her last choreographic project, “Corrupted Culture,” reflects her commitment to her work, her dancers, and her artistic integrity. Completing a dance with limited rehearsal time is a challenge, Forrest admitted. “Corrupted Culture,” which premiered in November’s repertory dance ensemble concert, “makes me miss my company,” Forrest said. She enjoyed working in a company daily and “getting the nuance of the movement.” Having the cast repeat her fast, intricate movement numerous times during her hour-and-a-half rehearsals was Forrest’s way of achieving the unison and complexity that her choreography required within the limited time available to her. Despite the time restrictions, Forrest refused to dilute her choreographic vision, which has been developing for more than a year. The idea for the piece originated from Forrest’s frustration with modern technology. After drafting more than 10 pages of text based on science and technology research from books, websites, YouTube videos, and other sources, Forrest began collaboration with composer Jon Scoville.
and he requested a simpler page of twoline vignettes,” Forrest said with a smile. Reducing the text changed the quality of her movement, making it more clipped and rhythmic, with the phrases becoming simpler and more repetitive. Forrest added that the work constantly continued to evolve as she endeavored to accommodate the styles of the dancers and the music rather than strictly impose her own style upon them. “[This has] been one of the best collaborations I’ve ever done with a composer and with 15 dancers,” she asserted. “I’m trying to move more like you guys [the dancers] than myself… to pick up qualities about the way you guys move.” Forrest’s ultimate goal was to make “a sardonic comment on technology, and also on human relations.” She conveyed this through fast-paced, expansive movement, theatricality, and text read by Scoville’s wife, Tandy Beal. While Forrest conceived the idea for “Corrupted Culture” from the feeling of “being one step behind” in technology, she urged her dancers to remain one step ahead in timing and accuracy, no matter how many times they must repeat the movement “one more time” to get it right.
Scoville viewed a video of Forrest’s previous work, “Junk Shot,” for which he had composed the score and told Forrest that he would love to collaborate with her again. As an admirer of his work, Forrest jumped at the offer, sending the composer her text as a stimulus for the original score. “I sent him multiple quotes, (Left, Top, Middle) Dancers in rehearsal. (Bottom) Dancers rehearse Linda Garofalo’s piece. Photos courtesy of Kate McKenzie ’15.
Building Community
original score. It was an interesting learning experience for Nguyen, as well as Garofalo, to have the music be created as he watched rehearsals and truly let the movement inspire the music. An exhilarating work both interesting and aesthetically pleasing, “Spectrum” reflects Garofalo’s and the cast’s deep care and respect for the choreography.
Continued from cover
During the following week, students took the standard modern and ballet classes but were also exposed to techniques that generally aren’t offered during the semester—capoeira, yoga, improvisation, hip-hop, zumba, and even Civil War dances with Professor Chrystelle Bond. Guest artist Brian Flynn from the Pascal Rioult Dance Company came to re-set the work Wein on Goucher dancers, as well.
Southerland, overall, was very pleased with how the week went. He said his goals of creating a sense of community within the department were definitely established, and he received positive feedback on the variety of classes that were offered.
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A Week with Melissa Barak Emma Voorhes ’16 On September 28, a group of Goucher student dancers presented a sneak preview of a new piece from Melissa Barak, the culmination of Barak’s week in residence. Named one of the “Top 25 to Watch” in Dance Magazine in 2002 and a previous member of the New York City Ballet, Barak is a ballet dancer and choreographer currently based in Los Angeles. After the showing of the piece, Barak spoke with the students and answered questions they had. She explained that she created the piece step-by-step as it went along, initially having no expectations or specific ideas. She simply liked the music and went from there. Barak enjoys being spontaneous and having a large amount of freedom to put together movement in a way that touches her spirit and the souls of the dancers. Barak described her cast as “great, hardworking dancers that have been coming through for [her] everyday,” and noted that she “didn’t come here knowing exactly what [she] was going to do.” Barak looks for a sense of musicality as well as strong, capable dancers that have an appetite to dance and who clearly love to dance. The dancer must have fun with what they are dancing and show much of their own personality through their movement. “Knowing who they are as people reflects who they are as dancers,” she said. Barak advised the students to get friends to dance with and just practice all the time, as much as they can, and simply to have fun doing so in order to improve their technique. She also recommended that they build their own résumé by just putting themselves out there and doing anything they can to get noticed as a dancer. Barak is building a new ballet company in L.A., and said she is “trying to make a change and make it better for the art form.” She does not want her company to be “cookiecutter” ballet and wants to create a fresh new environment in which the dancers have more power in what and how they dance. The work was premiered as part of the Goucher Repertory Dance Ensemble Fall Concert. Associate Professor Elizabeth Ahearn coordinated the residency and served as rehearsal director.
Dancers in rehearsal Photos courtesy of Mariah Halkett
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Faculty Profile: Jerome Herskovitz Grace Harman ’13 “You know, a lot of this music career has to do with timing and luck and being in the right place at the right time,” Jerome Herskovitz says during a pause in his interview, and it does appear that this was the case for the dance faculty member. University of Michigan recruiters visited Cass Technical School, the high school with an “excellent music program” that he attended in his hometown of Detroit, and awarded him a scholarship to attend. His senior year, he transferred to Wayne State University after accepting an offer to play with the Detroit Symphony for a year. After graduation, he took a yearlong position with the Kansas Philharmonic, after which he moved to New York City. After playing in various settings for a decade, a good audition turned into a 10year gig as a percussionist with the Alvin Ailey American Dance Theater in New York. But Herskovitz is a master not only at this business of right places and times, but also of the right skills for the job.
was a more integral part of the dancing. However, this belief doesn’t mean Herskovitz doesn’t want to “stay with it” and keep up with present styles, as anyone who has been privileged to hear the sounds of his synthesizer during a modern class in Todd Dance Studio can testify. Herskovitz believes the Dance Department has only grown stronger during his 15 years at the college, citing the greater number of classes offered, students’ many opportunities to work with visiting choreographers, and the department’s involvement in the current dance world. He also feels very happy and appreciated at Goucher; he is just as proud to do this job as any of the others. Herskovitz loves what he does, his love for music spilling onto the dance floor and then into energy that dancers pick up. The best note he ever received was left on his music stand one day during his time with Ailey: “You know Jerome, you always remind me that dancing is supposed to be fun.”
All of Herskovitz’s formative training from middle school through high school was strictly classical, with explorations into jazz in college and afterward in New York. This is why he often emphasizes the fact that he’s “old school,” which he says differentiates him from the other percussionists in the Dance Department; each has his own style. “I’m not a music snob,” he is quick to point out, “but if you’re talking about concert dancing and music, there are certain standards.” Part of this “old school” mentality comes from his interactions and relationships with choreographers like Alvin Ailey, Pearl Lang, and others, who possessed a deep knowledge of the history of music. Furthermore, these legends tended to use music as the inspiration for choreography, not the other way around, so that the music
Ashley Daigle ’14: Taiwan, Dance Eve Holmes ’13: Taiwan, Dance
WHERE ARE OUR DANCERS THIS SEMESTER?
Zoe Thomas ’14: Australia, Dance Joanna Wan ’14: China, Chinese Studies
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The Goucher Dance Invasion Dorie Chevlen ’15
Last spring and summer, 17 Goucher dance students studied abroad in 10 different countries, focusing on both dance and other academic interests. They traveled to Scotland, Italy, Israel, Argentina, South Africa, Ghana, India, Indonesia, and England to fulfill their study abroad requirement (a requirement that marks Goucher College apart from all other colleges in the country). Though not everyone went on dance-specific programs, they all discovered, as Emily Gnatt ’13 explains, “As a dancer, you’re always going to find dance.”
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Indeed, though Megan Simon ’13 went to Argentina to study Spanish, she still found time to experience some of the country’s dance culture—especially its most famous dance, the tango. Likewise, while studying public health and Indian studies in India, Gnatt took advantage of the unique opportunity to learn Indian classical dance, even getting to perform what she learned toward the end of her stay. While teaching English in South Africa, Jessica Bukowski ’13 brought her dance knowledge with her by
incorporating movement into her vocabulary lessons at the Grahamstown Elementary School. But many of these Goucher dancers studying abroad also discovered that dance could be more than just an art. While living in nonEnglish speaking countries, they discovered how dance could also serve as a means of communication. Without the ability to speak Indonesian fluently with her host family and fellow dancers, Melanie Hedal ’13 discovered that “through dance, I was able to connect with them.” Likewise, before leaving Ghana,
Grace Harman ’13 used dance to tell the story of her experience there.
stories, though she could only understand every few words they spoke.
At times when dance was not a communicative option, some Goucher dancers experienced comical misunderstandings. While studying dance in Israel, Rachel Schachter ’13’s daily bus commute to school was often made more interesting by busy women frequently trying to hand their babies off to her in order to pay their bus fare. Similarly, riding the bus through Italy, friendly passengers would often tell Sophie Kurek ’13 their entire life
Whether or not they were focusing on dance in their programs, every Goucher dance student still managed to incorporate dance into their studies in a meaningful way. Indeed, though these students traveled to different places and had very different experiences, they all left agreeing with Harman’s assertion that it was “the most transformative period of my life…I’m not the same person I was before coming here.”
Clockwise from left: Grace Harman ’13 with her host sister in Ghana, courtesy of Grace Harman ’13.
Melanie Hedal ’13 studying Balinese dance with the students at Sanggar Seni Santhi Budaya. Dancers perform in Italy, courtesy of Emily Polasik ’13. Melanie Hedal ’13 in traditional Balinese attire. Grace Harman ’13 and Obruni’s marching on Ghana Independence Day, courtesy of Grace Harman ’13. Dancers perform in Italy, courtesy of Emily Polasik ’13. Grace Harman ’13 dancing for her final project, courtesy of Grace Harman ’13.
Melanie Hedal ’13 with the Balinese dancers who performed her choreography.
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Wien with a V: Brian Flynn in Residency Emily Polasik ’13 “Dance vomit—it’s everywhere. I love it!” Sounds like a residency you wouldn’t want to be a part of? Think again! Brian Flynn, a current company member with Pascal Rioult, came to set the work Wien (pronounced veen) on Goucher dancers during this fall semester’s Early Arrival modern residency. Originally set for three men and three women, the Goucher rendition featured six female dancers and was certainly not a piece for the fainthearted. “Sometimes when performing it dancers get so caught up in the emotions and tragedies of the piece that they come off stage and throw up,” Flynn warned. Rioult, a former member of the Martha Graham company, originally choreographed Wien in 1995 to illustrate the despair and
evil that occurred in Vienna during the Nazi takeover during World War II. Goucher faculty member Trebien Pollard performed in one of the original casts of Wien while he was dancing with the RIOULT Company. As residency coordinator and rehearsal director, Trebien shared that the piece has become much more refined through the years than the original cast’s version. There is now more specific and technical placement of arms and musical cues; when the work was originally choreographed, the focus was primarily on the emotions associated with the violence of a disintegrating society. That is not to say, however, the focus of the piece has changed completely. In order to perform this work efficiently, the dancers must commit themselves to dancing as a group instead of six individual performers.
Therese Ronco says, “Wien has been a very centering experience for me; the movement literally pulls you into your core. It is like getting sucked into a whirlpool where the only constants are your fellow dancers and the music—it is very humbling.” Despite the morbid nature of the piece, working with Brian was quite the opposite. His professional yet fun attitude made learning the choreography an entertaining experience. Brian has been dancing with the RIOULT Company for 13 years and, not surprisingly, taught a very Graham-based technique class during the week of Early Arrival that reflected this. Wien was presented as part of the Goucher Repertory Dance Ensemble Concert that took place November 16-18, 2012, in Kraushaar Auditorium.
Clockwise from left: The cast performs at Meet the Artist. Emily Gnatt ’13 and Brianna Hollimon ’14 in rehearsal. Gretchen Funk ’13 in rehearsal. The cast performs at Meet the Artist. All photos courtesy of Sarah Muskat ’13.
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Alumna Profile: Jayme Klinger-Host Allisyn Grantham ’13
Dido and Aeneas: Transcending Theatrical Boundaries Ellen Bast ’14
Jayme Host dancing on the beach. Courtesy of Jayme Host.
Goucher dance alumna Jayme Klinger-Host ’93 may have graduated from Goucher and gone out into the dance world, but she has certainly not forgotten her time here – it laid the stage for her entire career. In an interview, she discussed her experiences at Goucher, teaching philosophies, and advice for students pursuing dance. Klinger-Host’s education includes a B.A. in dance focused on performance, choreography, dance history, and criticism; an M.F.A. in modern dance from the University of Utah; and later, secondary teacher certification. With the “strong academic foundation” that Goucher’s liberal arts program provided, KlingerHost has been able to spread her love and knowledge of dance to students in many schools. She continues to teach dance for Goucher Summer Arts Institute (GSAI) and Lock Haven University, where she developed the university’s dance minor program. For Klinger-Host, there were many reasons for choosing Goucher: It offered equal emphasis on modern and ballet technique, and a foundation of knowledge for the performance and technical aspects of dance. When she came to Goucher she was looking for a “program that bridged the road from student dancer to professional, with great guest-artist residencies, placement for internships, and professional connections.” Goucher professors were integral to her experience. She found all faculty members inspiring, and specifically mentioned professors Chrystelle Trump Bond, Amanda Woodson, and Jane Ward Murray. She also spoke of Associate Professor Juliet Forrest, who “nurtured all her students,” and even took Klinger-Host to New York City for graduate school auditions. The support that she received at Goucher led Klinger-Host to move to Pennsylvania with her husband of 20 years, Andrew, and their three children, Tanner, age 15, Talia Rose, age 12, and Jack Mason, age 10, to pursue a position at Lock Haven University
in Pennsylvania. At Lock Haven, she has had the opportunity to develop a new dance program inspired by Goucher Dance’s founding mother Chrystelle Bond. The decision to leave local teaching positions here at Goucher and at Carver Center for the Arts was not an easy one. While she loved working with the two schools, the opportunity of a full-time tenure-track position was perfect. At Lock Haven she could develop and design a new dance program and simultaneously support her individual dance philosophy. KlingerHost’s time at Lock Haven has been successful and rewarding. When up for promotion, she ranked first out of 15, and only the top three professors were promoted. With the opportunity to create her own dance program, Klinger-Host was able to incorporate her dance philosophies as they relate to anatomical, kinesiological, and other academic concepts. She tends to utilize terminology from many academic disciplines to explain her modern dance movements and choreography. “The arts do not exist as a separate entity to society, but they are the very fibers that support the structure of society,” Klinger-Host says. Therefore, incorporation of other subjects is important for a well-rounded dancer, especially when subjects like kinesiology and anatomy lead a dancer to understand her/his body. Today she is happy in her teaching position, and as a dancer and choreographer she continues to be “captivated by humanity and feel blessed every day to be in this art form and able to tease out my thoughts, convictions, and quandaries through movement.” For current Goucher students she says, “When you leave, you will have been given the tools to accomplish whatever you set your mind to, if you continue to be committed, determined, and creative. I have always been so proud to say that I am a Goucher Gopher!”
Goucher College is all about transcending boundaries, and the Dance Department has been no stranger to this sentiment. This semester, in an unprecedented collaboration, faculty member Kathi Ferguson teamed up with the Music Department’s Opera Workshop for a production of the 17thcentury opera Dido and Aeneas. Composed by Henry Purcell, the hour-long opera recounts the love story between the Carthaginian queen Dido and the Trojan hero Aeneas. Though the opera emphasizes ballet and features many dance scenes, Ferguson’s choreographed movement is anything but classical. Pointe-shoe-clad dancers portray witches, wenches, ocean waves, and cherubs. However, this is by no means a story ballet either. In the witches’ scene, for example, dancers have the opportunity to improvise; they frenetically run about as if they were casting spells upon each other and the audience—all while balancing perfectly en pointe. As cast member Gillian Bowen ’16 explains, “I find Kathi’s choreography to be very original and innovative. Her use of the classical technique to create completely new movements is extremely impressive. Also, the way that she ties the beginning of her dances to the end is almost as if she is finishing a sentence for the audience. Overall, her choreography is very technically challenging. But when the dancers produce her vision, it is stunning.” The choreography also dictates that the dancers explore more characterdriven, theatrical movement. Rehearsals for Dido and Aeneas were an adventure. Ferguson was always innovative with her approach to choreography and often gave out high-fives or metaphorical pennies for your thoughts when her dancers collaborated in her creative process. Cast member Annie Fortenberry ’15 reflected upon the rehearsal process, noting, “It has been exciting watching Kathi generate choreography and see all that she can build from this story and music!” Excerpts of Dido and Aeneas were featured as part of the Goucher Repertory Dance Ensemble Fall Dance Concert in Kraushaar Auditorium, which took place November 16-18. The fully staged opera production was held December 5 and 6, also in Kraushaar Auditorium.
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When They Aren’t Teaching Us…
Capoeira, Vogue-ing, and B-Boy…Oh My! Sarah Muskat ’13
Department chair Elizabeth Ahearn recently finished a chapter, “Pilates: Securing Its Place in Secondary and Postsecondary Education,” for Peter Fiasca’s new book. She also serves as vice president for regional planning of the executive board for the American College Dance Festival Association. She recently began work on three new choreographic works, one of which will be set on members of the Goucher Repertory Dance Ensemble this spring. When she is not on campus, she enjoys watching her daughter play tennis and cheering on her son at his football games. Professor Chrystelle Bond enjoys walking her two toy poodles, Jean Andre and Louis Philippe. She is also researching the history of dance at Goucher as a cultural manifestation/metaphor of dance in higher education and reconstructing historic dances for Chorégraphie Antique. She writes book reviews for CHOICE and gives lectures off campus. Ballet faculty member Laura Dolid can be found at the Sudbrook Arts Centre, where she teaches students ages 5-18, holds rehearsals for an upcoming production of the Nutcracker, and takes care of administrative tasks. She also teaches at the Peabody Institute once a week. Otherwise, she is outside training her Labrador retriever for field trials or is inside sewing for her grandchildren. She does a lot of cooking and baking as well. Modern professor Juliet Forrest is a student herself, attending workshops, taking master classes, and traveling to summer conferences such as Bates Dance Festival and the American Dance Festival. She frequents dance and music concerts and art exhibits. She also does laundry and buys copious amounts of chocolate for her eternally grateful students. Ballet faculty member Kathi Ferguson serves as director of the Howard County Ballet in Ellicott City, MD. There, she stays busy with activities such as the Nutcracker and the Young Choreographer’s Showcase. Director of the Pilates Center and instructor for the academic Pilates course, Michelle Mulreaney, is pursuing a master’s of science degree in holistic nutrition through Hawthorn University. Modern professor Rick Southerland travels, cooks, and gardens. This coming spring, he will team with faculty chair La Jerne Cornish in leading the Goucher intensive course abroad Rural and Township Education in South Africa.
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In mid-September, Goucher dancers gathered in Lilian Welsh Dance Studio for the second guest-artist-in-residence audition of the fall semester. Doug Elkins, this semester’s modern resident, is a New York-based choreographer who has a background in b-boy technique, vogue, hip-hop, modern, and martial arts, specifically capoeira. His eclectic training has led him to create works that include influences from multiple art forms. The audition began with a brief warm-up that introduced some material later seen in the phrase work. Elkins stressed the importance of having a relaxed environment to work in by shaping the audition more like a class. He encouraged dancers to get with partners and work out the phrases as a collaborative effort, an approach he used often throughout his week at Goucher.
This is not to say the audition was not physically demanding. The dancers were working hard to pick up the phrases, rolling around and leaping off the floor. Elkins also spent a lot of time helping the dancers acquire a deep understanding of the quality of the material, which was appreciated by the dancers when it was time to perform the phrases in front of him and rehearsal director, Rick Southerland. After three hours, and one or two—maybe more—entertaining stories told by Elkins, the audition finally came to an end. The next morning, the cast of 13 dancers had class, followed by a full day of rehearsal. The rehearsal process consisted of both experimentation and collaboration. The first few days, Elkins started rehearsals with a martial arts workshop where he introduced some elements of capoeira
Facing Page: Top: The cast performs at Meet the Artist. Bottom: The cast performs at Meet the Artist. This Page: Left: Therese Ronco ’15 performs at Meet the Artist.
All photos courtesy of Kate McKenzie ’15.
to his cast. He then guided them through choreographic exercises in which they worked in pairs and sometimes larger groups to build phrases using some of his earlier material. Through these workshops, the dancers gained more awareness and knowledge in floor work, inversions, choreography, and partnering. After developing all the different phrases of movement, they were strung together to create a high-energy piece based on the idea of social dance. The piece is broken up into three movements: a duet, a quartet, and a group section. The three movements reflect each other in material but are very different in quality. Elkins fostered a collaborative approach not only in rehearsals but also in the technique and choreography classes that he taught during his week at Goucher. It is an approach
that he uses with his company in order to create a relaxed environment in which dancers and choreographers can learn from one another and work together to create. The ability to work and collaborate with a choreographer is an important skill for any dancer to obtain, and the cast is lucky to have had that opportunity to begin to acquire that skill. Elkins’ goal for class was to introduce to the dancers some concepts that are not necessarily found in the curriculum here at Goucher. Students learned floor work based on b-boy technique that he explained using a modern dance framework, much appreciated by all dancers who have had little to no training in b-boy technique.
anatomical explanations. One Goucher dancer even said, “After three years of working on inversions, he finally explained it in a way that made sense to me.” The student has been seen in the dance hallway upside down ever since…congratulations! Elkins challenged his cast through the rehearsal process by expanding their choreographic abilities and encouraging them to continue the collaborative process while rehearsing the work during the remainder of the semester. The cast and other members of the Dance Department walked away from that week bruised and sore, but with a lot of new and valuable information.
He also included many unique inversions in his class and clarified them in a way that helped a lot of students, sometimes using
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Calendar of Events Darrell Grand Moultrie, Modern Guest Artist in Residence February 8–16, 2013 Performer, master teacher, and choreographer Darrell Grand Moultrie will teach modern classes and will set a work on Goucher dancers for the Goucher Repertory Dance Ensemble Concert. Moultrie’s impressive performing career spans the ballet, modern, and Broadway worlds. Master classes are open to highintermediate and advanced modern dancers. Class fee: $20. Meet Darrell Grand Moultrie February 15, 2013, 6 p.m. Todd Dance Studio Meet Darrell Grand Moultrie and watch a rehearsal of his work that will be performed by the Goucher Repertory Dance Ensemble in April. Deborah Wingert, Ballet Guest Artist in Residence February 23–March 3, 2013 A former member of the New York City Ballet, Deborah Wingert danced more than 25 principal, soloist, and featured roles. She has traveled throughout the United States and
Europe setting Balanchine repertoire and will set Concerto Barocco on Goucher dancers. Master classes are open to high-intermediate and advanced ballet dancers. Class fee: $20. Meet Deborah Wingert March 1, 2013, 6 p.m. Todd Dance Studio Meet Deborah Wingert and watch Goucher dancers in rehearsal for the upcoming Goucher Repertory Dance Ensemble Concert in April. Goucher Repertory Dance Ensemble Concert April 19–20, 7:30 p.m., and April 21, 2 p.m. Kraushaar Auditorium Enjoy ballet and modern works by guest artist Darrell Grand Moultrie, Goucher faculty Elizabeth Ahearn, and students. Also on the program will be George Balanchine’s Concerto Barocco, set by Deborah Wingert. Preperformance discussion: 6:45 p.m., April 19, Rosenberg Gallery. $15 general admission, $5 students with ID, senior citizens, and anyone with a valid Goucher OneCard. Reserve tickets online at www.goucher.edu/tickets.
GOUCHER COLLEGE
a student publication of the goucher college dance department
Faculty Adviser: Juliet Forrest Hillary Blunt ’14
Photo Editor:
Ellen Bast ’14
Editor-in-chief:
Writers: Carly Callahan ’14, Dorie Chevlin ’15, Allisyn Grantham’13, Grace Harman ’13, Sarah Muskat ’13, Emily Polasik ’13, Maia Stam ’15, Emma Voorhes ’16 Photographers: Mairead Jacobs– Dougherty ’13, Mariah Halkett ’14, Grace Harman ’13, Melanie Hedal ’13, Kate McKenzie ’15, Sarah Muskat ’13, Emily Polasik ’13 13303-J1750 12/12
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