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As the heart of Psophonia Dance Company, co-founders and Artistic Directors, Sophia Torres and Sonia Noriega have been pumping out new dance work for 13 seasons.
Their partnership has even survived a transplant. “Sonia has lived in Chicago for 5 years now and I don’t think in all that time we’ve had a break in our stride,” Torres reflects.
In that vein, the two are keeping the work flowing even while giving up their choreographers’ chairs to some fresh blood – their dancers. New Pulse, which presents at Barnevelder November 18 and 19, will feature original choreography by current and former members of the company.
Nurturing young talent and providing company members with production and artistic support is an idea that’s been on the table for some time. It’s also giving the company’s two matriarchs a chance to clear their heads before scrubbing in on any new operations. “I actually went through a creative spurt this spring, setting three new works on Psophonia, one on University of Houston, and one on Houston Community College students. I was ready to step back and regenerate,” explains Torres.
To assemble the program, Noriega and Torres asked the dancers to submit work that had been previously set. The dancers proffered work created in college or for other companies and events. While the choreographers who wanted to revise sections of their work were given support and suggestions on editing, the content was left in their hands. “Sophia and I have always respected and encouraged each other for our individual choreographic voices to develop,” says Noriega, “so giving them their freedom and encouraging them to express their work as they see fit just seemed natural for us.”
New Pulse will feature seven works from seven new choreographic voices.
Patty Solorzano’s “Entre Irse Y Quedarse/Between Going and Staying” is inspired by childhood recollections of Mexico and her struggle to adapt to a new culture when her family relocated to the U.S. Dancers manipulate long skirts in this contemporary work influenced by Mexican Folkloric dance and prop photographs represent memories and a boundary between past and future. Fittingly, Solorzano’s challenge was transmitting the movement and emotional context of the piece to the performers in only one week before making her next big transition, a move to Michigan.
Tapley Whaley premiered “Cry of 146” at “Not For Sale”, a concert benefiting the anti-human trafficking organization, Love 146. “The subject matter is current, intense, and tragic, “ remarks Torres. “I applaud Tapley for choosing to tackle such a weighted subject and working with other organizations to raise awareness.” Whaley took time away from the company in March to have a baby. Now raising a seven-month-old, Whaley considers the creative opportunity to re-set “Cry of 146” and time with other dancers a blessing.
Jeanna Vance, who is also on leave from the company to start a family, describes the personal adversity she faced during a two-year period of her life. “It was like a storm that wouldn’t end.” A resulting introspection and surrender, bringing waves of relief and peace, inspired “First Breath”.
Collaborators Kendall Kramer and Marielle Perrault provide an element of surprise with some clever light manipulation in “I. Photo II. Synthesis”. “I don’t want to give the ‘secret’ away, but it is great fun to watch,” says Torres.
Meanwhile, Emily Bischoff manipulates sound in “Shenanigans”. Recording discussion from the current cast of dancers, she has edited and reversed their voices to accompany a section of the piece. This work emerged as Bischoff contemplated the complexities of the brain, which seems to generate information in curious ways. “Random events stirring up organized and clear thoughts,” Bischoff observes.
“Boroto”, set to the contemporary African music of Badenya Les Freres Coulibaly, originated with the music. Choreographer Marielle Perrault explains, “I created movement inspired directly from what I heard. Every step is a reaction to the drums, the vocals, the climactic build.”
But words, specifically ‘lush’ and ‘sensual’, are the foundation for “Strolling le Carré”, Stephanie Beall’s nod to the bateleur, street entertainers, of France.
For Beall, putting her work in front of an audience is a milestone. “I’ve never thought I was a good choreographer and had a fear of pursuing that avenue.” She and the other dancers-turned-choreographers express their gratitude to Noriega and Torres for the opportunity to revisit their dances. “I felt their support throughout the entire process,” says Solorzano.
Each also conveys appreciation for the chance to present work on a full stage with costuming, lighting, and ticket sales. Perrault summarizes, “Usually these factors are minimally accessible for beginning choreographers, but Psophonia knows the importance of developing a new generation of choreographers.”
Fans of Psophonia can take heart that Noriega and Torres will produce new work in 2012. Unlike many companies that spend months creating new choreography for a one-weekend show, they will continue to take their repertory on the road to places like Dallas, Chicago, and Cincinnati. This season, look for the company in Imagine Christmas at Moody Gardens. “This was an unexpected performance opportunity and we are excited about going to Galveston in December and performing daily for about two weeks.”
Intentions are to make New Pulse a regular event in Psophonia’s programming, making it an artistic, ahem… artery for future young dance-makers.
Psophonia Dance Company presents New Pulse Friday and Saturday, November 18-19 at 8pm at Barnevelder Movement/Arts, 2201 Preston St. To purchase tickets visit www.psophonia.com or call 713-802-1181.ext. 4.
Reprinted from Dance Source