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

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Reporting/Previews

• Houston dancers find a lot to like – and hate – in Black Swan (CultureMap)
• A Few Firsts for Neglia Ballet (Artsvoice)
• Second Annual Texas Dance Improvisation Festival (Dance Source Houston)
• Translating Cultures –- Yasuko Yokoshi’s Tyler Tyler Weaves Japanese and American Dance (DSH)
• THREE at the CORE: A Conversation With Sue Schroeder, Artistic Director of Several Dancers Core

Criticism

• LehrerDance: Buffalo Welcome to Roam in Houston Any Day (Dance Source Houston)
• Houston Ballet Introduces Three Winning Works (DSH)
• Untangling the Fringe Festival, Weekend One (DSH)
• Freneticore Declassified (DSH)
• A Travesty! This Review 100% Recycled Material (DSH)

Interviews

• Profile of an American Icon: A Few Words With Paul Taylor (Dance Advantage)
• Role Of A Lifetime: Returning To Dance As A Mom (DA)
• Attitude and Strong Technique Make Allison Miller One to Watch (DA)
• Have Your Barre and Eat It Too — A Real Food Snack Bar for Dancers (DA)
• First of All — A Chat with Prix de Lausanne Winner Emanuel Amuchastegui (DA)

How-To/Instructional

• 5 Ways to Get Out of Your Dance Teaching Rut (Betterfly)
• Helping Dancers Deal With Disappointment (DA)
• 15 Ways to Activate Brain and Body During Summer Break (DA)
• How To Discuss Problems With Your Studio Director and Be Heard (DA)
• 15 Things The Pirouette Pixie Can’t Do For You (DA)
• and many more…

Ballet: ONE/end/ONE, Choreographer: Jorma Elo Dancer(s): Artists of Houston Ballet, Photo: Amitava Sarkar

The term ‘winning’ may have changed in nuance of late but it still seems a fitting description of the three contemporary works Houston Ballet has delivered to its audience with Raising The Barre. Introducing a World, American, and Houston premiere, the company displays its versatility, the prowess of its members, and three impeccable examples of ballet’s alive-and-wellness with one fell swoop.

Jorma Elo, resident choreographer at Boston Ballet, is clearly winning throughout the ballet world with a characteristically playful, always satisfying catalog that now includes ONE/end/ONE, created for and on Houston Ballet. To be the instrument and focus of Elo’s creativity is a rather victorious notch in the HB belt, as well.

Adorned in straight black tutus and rich bodices with embroidered necklines for both, men and women, the dancers’ classical appearance is a red herring in this ballet. Classical lines and structure do embed the framework of ONE/end/ONE’s three sections but Elo turns tradition and expectation on their side, if not completely on their head, as he weaves in his unique language of quirk.

With head dives and kicking legs, hip swivels and the occasional body roll, the charm of Elo’s dances is that throughout their twists and surprises, we see something human. Personality. Elo’s work is full of it, and Houston Ballet’s eight couples each add his/her own to the work.

Connor Walsh and Karina Gonzalez have a romantic but mischievous chemistry as he ducks a rotating leg or leads her in a somersault offstage. Melissa Hough, having danced Elo during her time at Boston Ballet and with a strong background in jazz and contemporary forms, is unleashed in the energetic third section. Following this lightening round, ONE/end/ONE skids to a halt with the final strains of a Mozart violin concerto, played with wicked agility by the Houston Ballet Orchestra and featured violinist, Denise Tarrant.

America’s past and the music of its heartland is a fascination for many an artist ‘across the pond.’ New to Houston Ballet and surprisingly, on this side of the Atlantic, is the 10-year-old Grinning in Your Face by Christopher Bruce. Set to selections from guitarist, Martin Simpson’s album of the same name, Bruce bid farewell to Rambert Dance Company with this ode to America’s Dust Bowl. Simultaneously timeless and old-timey, the slide and scratches of Simpson’s acoustic folk renderings are immediately transporting while vocals rich and raw evoke the hardships of life in the Depression-era Midwest.

With a vocabulary that borrows more from modern and folk dance than ballet, Bruce’s choreography brings a barefooted ensemble to what you might imagine is a dirty, earthen floor. The men gamble, win hearts (or not), and swagger in work clothes. The women fret, confab, and tend to one another in loose feedsack dresses.

Grinning is the theatrical centerpiece of Houston Ballet’s program, displaying a series of encounters rather than a single narrative. Assuming the velocity of a hummingbird, Melody Mennite (formerly Herrera) flits charmingly through one scene as the yellow-winged “Little Birdie.” The heart sighs along with Rupert Edwards and Jaquel Andrews as their duet recalls the exuberance and mischief of young love. Their entanglement resolves with a twinge of menace before giving way to lighter subject matter, including a stamping, sweeping social soirée featuring the full cast. As a lone motherly figure, Jessica Collado is the witness weaving each episode into the fabric of memory.

Where war seems at times celebrated as the boon that brought America out of their 1930’s economic depression, Bruce wraps up his work with a disquieting homily reminding us of the cost and violence of combat. The connection this Texas audience has with the often somber but heartfelt Grinning In Your Face is palpable.

In contrast to the sepia palette of Grinning, Christopher Wheeldon’s acclaimed Rush cascades onto stage with a splash of color. The elegant geometry of the costume design and opposing lines and diagonals of the staging have a cool art deco feel. The ballet, originally choreographed for the San Francisco Ballet in 2003, has a familiarity rooted in Balanchine and the traditional ballet hierarchy of two principals, four soloists, and a corps of ten.

Having attended the Saturday performance, I missed the pairing of Houston Ballet’s new addition, Danielle Rowe with Simon Ball. It was my good fortune, however, to view the exquisite Sara Webb whose quintessential feet and legs seem to go on forever as they envelop partner Ian Casady. Though a single red line of light extends across the backdrop, the central pas de deux frequently surrenders Webb to the floor and the air in what seems an unbroken helicoidal pathway. Is the homage to the spiral intentional? Who knows, but Wheeldon breaks through this aloof and evasive magic with more canon and color, ending it all in a gratifying flourish.

Ripe with prepossessing charm, all three works are welcome additions to the Houston Ballet repertoire. This city is winning as our resident ballet company continues to raise the bar… barre.

Raising the Barre performances continue this weekend, June 3-5. Visit houstonballet.org or call 713.227.2787 for tickets or more information.

Reprinted from Dance Source Houston

A Few Firsts For Neglia Ballet

Jose Neglia, Sergio's father, dancing his celebrated title role in Jack Carter's "The Witch Boy"

New works, Balanchine, and a son honors his father

In early October 1971, seven-year-old Sergio Neglia was in the audience for his father’s final performance. “It was a Sunday,” explains Sergio. “The next day he got on an airplane with nine other principal dancers from the Colon Theatre [the main opera house of Buenos Aires]. The plane went down and nobody survived.”

Nearly 40 years later, on May 14, during An Evening of Mixed Repertoire by Neglia Ballet Artists at the Rockwell Hall Performing Art Center, Sergio Neglia will finally step into the role of the Witch Boy. This title character, from the ballet by Jack Carter, is a role for which Sergio’s father, José Neglia, won great acclaim, including the Vaslav Nijinsky Prize from the International Dance Association and the gold star at the sixth International Festival of Dance in 1968. It is also the same role in which José last appeared.

José Neglia’s superior artistry in The Witch Boy (El Niño Brujo)…
Read more: http://artvoice.com/issues/v10n18/dance_feature#ixzz1OKnnBOHz

Sergio Neglia and Silvina Vaccarelli in Romeo and Juliet. (photo by Gene Witkowski)

Collaborators blend dance, music, and story to present Prokofiev’s Romeo and Juliet

Though Neglia Ballet premiered their Romeo and Juliet in 2008, this marks the first time it will be performed with live music. “There is no comparing a performance with live music to a performance with CD,” says Halt. “The actual sound of the music is so much richer.”

Indeed, the audience and the dancers are more keenly aware of the details of Prokofiev’s score, one of ballet’s most lush and lyrical orchestrations, in a performance with live musicians. “My favorite music is when Juliet has a moment of clarity before her tragic end and at that moment she resolves to do what she has to do. The melody of the bedroom pas de deux, the lovers’ farewell, is repeated but much stronger and somewhat desperate. For me it is the climax of the score,” observes choreographer Sergio Neglia, who is also the production’s Romeo.

Unlike other ballet narratives, which can have sketchy storylines and a variety of musical interpretations, Prokofiev provides a “roadmap” through Shakespeare’s very familiar plot. “The music tells me exactly what needs to happen in Romeo and Juliet,” says Neglia, who like Prokofiev, sticks closely to the original character-driven tragedy. Adds Halt, “Sergio is a great storyteller and is quite remarkable in conveying what he wants. When he demonstrates the character, he is the character.”

Neglia often takes on several of these roles almost simultaneously during his choreographic process, admitting that this can sometimes drive his cast crazy.

Artistic director and choreographer, Sandra Organ Solis has gathered together thirteen capable dancers with a variety of strengths for her company. They work well as an ensemble in the character-driven Joplin and Johnson. This mash-up sets the vibrant work of William H. Johnson, an artist of the Harlem Renaissance, against the King of Ragtime’s jaunty melodies. Though living and working during different but consecutive eras, the two artists share commonalities, including somewhat tragic ends, which are revealed by the brief biographies projected prior to the dance work. The juxtaposition is complimentary and the comedic, often slapstick performances are entertaining, making the most of the dancers’ unique abilities.

New works premiering earlier on the bill are undermined by clunky costumes and performances that lack conviction. The adjustable domino-like aprons in Dominoes aka Bones seem like an interesting concept as dancers move about like pieces in a game, but the dancers end up looking as uncomfortable and stiff as the awkward fabric they are wearing. Similarly, the Big Parade quartet looks more inhibited than jazzy in their red marching band regalia.

Fortunately, the dancers appear more at home in the Act I closer, Rails, Rows, and Seasons (also new for 2011). Solis draws inspiration from Four Seasons, a work by muralist, draftsman, and lithographer, Dr. John Biggers. Even if his name is not familiar, it’s likely you’ve seen Biggers’ work around Houston. His murals grace Wortham Center, and the Texas Southern University and University of Houston campuses. Accompanied by a sophisticated Bobby McFerrin groove, the company (costumed in this work by Pat Covington and Pat Padilla, with some additions from Aaron Girlinghouse) is awash in golden hues pulled directly from the artist’s palette. Solis cohesively weaves four female soloists, each representing one of Biggers’ seasonal matriarchs, among a chorus of dancers. This corps moves regally in response to the four season characters, an embodiment of the rail lines and shotgun homes featured as a backdrop in Biggers’ lithograph.

Rock, Paper, Scissor (2004) is revitalized and contributes to Luck of the Draw’s game of chance theme. Sketches of the three basic hand signals for this popular pastime prove unnecessary as the dancers scissor their legs, roll, and float in three distinct sections of choreography. Less clear is the motive for the quartet’s military fatigue attire. However, the partnering is inventive, highlighting the athleticism of dancers Corey Greene and Le’Andre Douglas (two young men versed in urban dance and working with URGEWORKS), and Candace Rattliff and Courtney D. Jones.

Other revived works are included in the program. Between Us is a flirtatious pairing of two duets that never quite sizzle. Angry and Bookends are a coupling of short works inspired by an hilarious boxing sketch (once again delivered to the audience as a precursor). Featuring Flip Wilson, Richard Pryor, and Tim Conway, the real fight occurs between rounds. Not exactly a one-two-punch, Solis’s response to the skit takes a solemn tone, while a more direct re-creation finds its way into Joplin and Johnson. Delight Songs features poetic contributions from young students recorded in 2002 for an assignment within the Writers in Schools Project. The audience views this simple and elegant interpretation twice in a row, the only change, a different piece of music. The experiment becomes a bit of a game as the audience can cast a private vote for their favorite. For the record, I preferred what was behind door #1.

Though the artistry and performances are not always consistent, Earthen Vessels (SODC) is particularly and uniquely strong in its delivery of history and genuine entertainment through the contemporary dance medium. Luck of the Draw presents enough variety to provide a little something for everyone and would be especially enjoyable and educational for families.

Performances of Luck of the Draw continue at Barnevelder Movement Arts Complex next weekend, February 25-26 at 7:30pm, and Sunday, February 27 at 2:30pm. For tickets visit organdance.org.

Reprinted from Dance Source Houston

Houston dancers find a lot to like — and hate — in Black Swan

Natalie Portman calls the film “a conversation piece,” and Black Swan, Darren Aronofsky’s dark riff on ballet, certainly has the dance world talking. The movie captivated the attention of …

Five (Plus) Questions

Encore: Jane Weiner’s Village of Waltz returns with a new attitude

Jane Weiner can describe Village of Waltz in three words: Community. Magic. Ensemble. Making Nancy Wozny’s Top 10 of the decade, Village of Waltz has also been described as …

Houston Ballet’s precious Jewels is a real gem

Bling isn’t really my thing. In fact you might even say I’m ornamentally challenged. But when the curtain lifted like the lid of a fine jewelry box, revealing …

See them all at CultureMap Houston

The Blog-Health-o-Meter™ reads Minty-Fresh™.

Crunchy numbers

A Boeing 747-400 passenger jet can hold 416 passengers. This blog was viewed about 4,000 times in 2010. That’s about 10 full 747s.

In 2010, there were 10 new posts, growing the total archive of this blog to 45 posts. There were 19 pictures uploaded, taking up a total of 3mb. That’s about 2 pictures per month.

The busiest day of the year was February 16th with 43 views. The most popular post that day was Tap is Back in Space City.

Where did they come from?

The top referring sites in 2010 were danceadvantage.net, facebook.com, dancebloggers.com, bigextracash.com, and mail.yahoo.com.

Some visitors came searching, mostly for ballet, sweet, ben stevenson, jeanine durning, and houston ballet.

Attractions in 2010

These are the posts and pages that got the most views in 2010.

Tap is Back in Space City February 2010

REVIEW: Houston Ballet’s Ben Stevenson Academy Showcasing Bright Futures April 2009
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Sweet on Aspen Santa Fe Ballet May 2009

Flash Response: “Marie” Houston Ballet March 2009

Images December 2008
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Wake by Matt Dippel - Revolve Dance Company | Photo by David Bullanday Photography

Revolve Dance Company is the kind of ensemble that makes dancing look effortless when you know full well it isn’t. On Friday, December 10 they made this abundantly clear to a packed Barnevelder Movement/Arts audience with their sixth full-length concert, Premieres6.

The performance included, you guessed it, six premieres with works by foundational members, Amy Cain, Dawn Dippel, and Matt Dippel, plus guest choreography by Houston dance artist, Lindsey McGill, and nationally known choreographer, Wes Veldink, a frequent Revolve collaborator.

The eleven-member company’s repertoire is decidedly contemporary and somewhere in the jazz genus, but they show restraint when it comes to movement pyrotechnics, particularly for a professional company born and cultivated at a suburban competitive dance studio. All of the overstated power moves and flashy stuff are MIA, unless you consider consistently good dancing, flash.

In the middle of a mostly mellow lineup, Matt Dippel’s Wake is a welcome diversion. Opening under the midnight blues of Jeremy Choate’s contoured lighting, the company sits bowed and kneeling like monks before eventually engulfing Dawn Dippel in a pulsing, dystopian but not quite menacing mob. Ms. Dippel’s flame red hair shines like a beacon in the half-light hues, but it is her command of the stage that makes it difficult to tear your eyes away.

Science revealed recently that Earth’s moon does, in fact, hold water – more than we ever thought, actually. Yet, when has the moon not ‘held water’ for those that look upon it? Lindsey McGill’s romantic ode to moon gazing, …when the moon holds water, is layered with articulated, if not mysterious, gesture. At first it whispers, inviting witnesses to a private slow dance between dancers Amy Cain and Matt Dippel. Nuzzling, tracing, and measuring both the corporeal presence and the space once occupied by the other, the duo are folded into the geometric undulations of the full company. The choreography builds to a splash of unison at its climax, then wanes like the lunar surface, all under the ever-present double orbs in Choate’s orange heavens.

Ms. Cain’s Of This World is an exploration of the four terrestrial elements, capped with an earnest coda set to Antony & The Johnsons’ rhapsodic lament for the natural world. Houston Ballet Academy instructor and former HB dancer, Beth Everitt completed a goddess-like Air trio that also included Cain and Dawn Dippel. But, it is Matt Dippel and Lauren Difede who almost single-handedly cleanse the work of platitude with their breathtaking partnering as Water. (Jennifer Stricklin performed with Dippel in the Water duet for Saturday’s performance.)

Dawn Dippel’s Restful Retreat has familial charm and lives up to its title, though a jumble of images and props sometimes amount to contextual clutter. Everest featured three of Revolve’s junior company members and guest performances by the Senior Performance Company of North Harris Performing Arts, the studio co-owned by multiple Revolve Dance Company members. The dancers looked at home among professionals even if the dance in this context amounted to an exclamation point that NHPA is running a top-notch program. Veldink’s lyrical And I Love You, Bye is winsome but doesn’t fight hard enough to be more notable than its accompaniment. It was Cain and Ms. Dippel that demonstrated they could rival a song as big as Florence and The Machine’s Dog Days Are Over in a go-for-broke torrent of movement that morphed into a curtain call on steroids.

Contemporary dance can sometimes be identified by its boring apparel parade of pants and tunics. Therefore, deserving of mention is dancer and resident costumer, Jane Thayer who works with each choreographer to create a mosaic of costumes that manage to be individual and sometimes even surprising without being ostentatious.

Revolve Dance Company puts on a satisfying show that runs with the same kind of precision shown in the dancing. Their work is imaginative without breaking any rules. A homegrown collective, Revolve’s members are easily some of the best contemporary dancers performing in Houston and can be counted on to impress with a dignified elegance.

Reprinted courtesy Dance Source Houston

Dancer Nasty Nate in the middle of a cipher. Photo by Eric Hester.

Dance Houston has been presenting hip hop festivals annually on proscenium stages at the Wortham and Hobby Centers for the last 5 years. Last Friday night they brought the city’s best dance crews back to the club with a debut event, H-Town Get Down. Held at Warehouse Live, the interaction was more palpable and conversational between fans and performers in this informal setting.

Woven throughout eleven dance crew performances, were national acts like hip hop luminary, Mr. Wiggles (Electric Boogaloos and Rock Steady Crew) and Mike Song of Kaba Modern, known for their appearance on America’s Best Dance Crew (ABDC), plus performances by rappers K-Rino and Cl’che’ from So South.

Over 25 bboys, many from the dance crews presented, entered the qualifying round of a tournament-style battle included in Dance Houston’s crowded event mix. Late in the evening, two dancers, Joel “Judo” Rivera and Emilio Dosal remained. The winner, declared by Mr. Wiggles himself, was Rivera of HIStory dance crew.

In energy and entertainment, the eleven crews on the roster brought their A-game. The combined talent in Houston’s fledgling and fixture hip hop companies is considerable. Still, just out of reach from any one group’s performance was the optimum blend of virtuosity, ingenuity, and storytelling. A few came close.

HomeGrown, recent winners at World of Dance Chicago, gave a fiercely tight performance. The troupe, reared at SoReal Studio (as in SoReal Cru, runners up in ABDC Season 2) hammers its musically dynamic choreography with precision. Dramatic shifts in speed or mood are inserted with scientific accuracy to stir up the crowd and leave them wanting more.

About half of HIStory’s core members performed at H-town Get Down, their small troupe bolstered in number by special guests, many from emerging crew, Inertia. HIStory’s trademark theatricality was not lost when forces joined for “Somebody To Love Me.” Missing were some of the physical zingers I’ve witnessed in past HIStory performances. However, with a trio of female dancers added to the cast, the buoyant choreography included some glistening moments of partnering that would fit easily into any contemporary dance performance.

Planet Funk Team USA’s otherworldly ELC 14: Fire & Ice featured elaborate costuming and sets. Thematically, it was all over the place but many of the night’s most jaw-dropping skills were on display amid the clutter.

In case you thought hip hop was a boy’s club, forget it. Wyld Styl’s ladies, especially, hit it every bit as hard as the guys, and 8^th Edition and JD Showtime increased the temperature in the room with a whirlwind of Salsa footwork and pair dancing. Other performances by FLY, Fatal Fever, Ghost Crew, and Fuzion Dance Company highlighted the raw talent found in Houston.

The transition from theatre to club wasn’t without bumps. Though Dance Houston’s promotions indicated a start time of 7:30, there were delays behind the scenes and doors to Warehouse Live didn’t open until 8pm. Attendees, who had waited in line to see their favorite crews, waited another 40 minutes before the first company appeared onstage. While the battles and rap artists are certainly a fit for the event, these additions meant some crews didn’t hit the stage until after 9:30 – a late and long time for the all-ages audience to stick it out in a standing room only environment. A good portion of them didn’t make it.

Most notable about H-Down Get Down is the evident camaraderie and positivity that charges the hip hop community Dance Houston brings together under one roof. A cross section of Houston, members mingle in an inclusive and supportive way that is rare in a group so diverse in style, race, orientation, and background. Kudos to Dance Houston for continually working to spread Houston’s awareness of its own outstanding and thriving hip hop community.

Reprinted from Dance Source Houston