2015 Digital Dance Concert Gallery


Artist’s Statement: In this experimental short dance film, the discordant image of train tracks within a redwood forest serves as the backdrop for the investigation of mankind’s relationship with nature. The fragile balance and the precarious quality of our connection are explored as we follow the journey of two lives converging in this magical landscape. The film was shot on and around train tracks found in a redwood forest in Henry Cowell State Park in Santa Cruz County, California. The redwood trees provide the perfect metaphor for permanence, juxtaposed with the fleeting movements of the human body. The dual images of the redwood forest and the railroad tracks show the contrast between nature and the manmade world, which parallels the relationship between the organic nature of the moving body and the contrived realm of edited dance video. I have always been interested in finding ways to incorporate the power and presence of the natural world into my choreography. Filming this project in the redwoods provided me with the opportunity to fully realize my desire to integrate dance and nature and to explore the issues of humankind’s relationship with nature. By working in an improvisational manner with the video camera rolling, I was able to capture the rawness of my initial investigations of the physical space. The medium of film allowed me to make the spontaneous and momentary movements inspired by this glorious environment “permanent.”

Ilana Goldman is an Assistant Professor of dance at Florida State University and has taught and choreographed for schools and companies across the United States. She received her BFA from the Juilliard School, where she was awarded the John Erskine Prize for Artistic and Academic Excellence, and her MFA from the University of Washington. Ilana danced professionally as a principal dancer with Oakland Ballet and Sacramento Ballet, as a guest artist with Alonzo King’s LINES Ballet, and as a member of Trey McIntyre Project. Ilana’s paper “Performance Matters in Community Dance” was published in the World Dance Alliance’s Journal of Emerging Dance Scholarship and presented at the Hawaii International Conference on Arts and Humanities in 2013.

Key Notes


Artist’s Statement: The stage version of this solo, which was inspired by the music by George Winston, was originally created for and premiered at the World Dance Alliance – America’s 2013 Conference in Vancouver. The stimulus behind Key Notes is perfectly summed up by Janet Smith in her review of the premiere. “A solo that really did use the whole body to explore… the frantic, impassioned energy that runs behind the serene composure expected of a classical pianist. The piece was as much an ode to the music–you could see the notes ripple through Rockwell’s core–as it was to a musician.” In 2014, Rockwell transformed the piece into a screendance, utilizing the various viewpoints unique to film in order to present a more intimate perspective of the performers emotional and psychological journey. The dance kinesthetically translates the flurry of anxiety and excitement often masked by the calm flow of fingers on keys accompanied by the dazzling sound poured out from this percussive instrument while under the command of a brilliant musician.

Erin Scheiwe Rockwell (MFA, 2008) a Specialty Instructor of dance at Belhaven University in Jackson, Mississippi, holds a MFA in dance from California State University, Long Beach and a BA in dance from St. Olaf College. She is certified in Pilates with BASI and teaches and manages a local Pilates studio, Pilates Place of Mississippi. Her choreography has been presented around her home state of Colorado and across the U.S. from Los Angeles to New York City. During the four years Erin lived in New York City, she choreographed and performed for Notes in Motion in addition to working with independent choreographers. In recent projects, whether for stage or screen, she has enjoyed incorporate dance and film. Erin is co-founder and co-director of Front Porch Dance, a Mississippi based contemporary dance company established in 2008 (www.frontporchdance.org).



Artist’s Statement: “Transit” is dance film inspired by Hillary Harris’ “9 Variations on a dance theme” and Yvonne Rainer’s video work for “Trio A.” In each film the main constant is the movement for both the performers and for the camera as intimate participant. “Transit”, based on the concept of astronomical and star transit, is a short film with choreography and performance by Greg Catellier and Kristin O’Neal and conceived and directed by Jeff Curtis. This dance film explores the physical and emotional space within relationships between three bodies–two dancers and a camera.

Jeffrey Curtis is a choreographer, film maker and video artist. He received his BFA in dance from the University of Iowa and his MFA in dance with emphasis on new media from the University of Washington. As a dancer, Jeffrey was a company member with Shapiro & Smith Dance. With regards to video work, Jeffrey has created a large scale projection for the Dallas, TX Opera house exterior, projections for theater productions, multi-screen video installations, and documentaries and short films.

Greg Catellier is Senior Lecturer at Emory University in Atlanta GA. In addition to his work at Emory, Catellier has been manufacturing eclectic dances for Atlanta’s discerning local community since 2002. Catellier Dance Projects, founded in 2010, is an organization dedicated to creating intimate dance performances for the Atlanta community. His award-winning dance for camera collaborations with dance/media artist Jeff Curtis have been selected for many festivals. Catellier started dancing at Webster University then earned a BA in dance from Arizona State University and MFA in dance with an emphasis in design and production from Ohio State University.

dirt, light, me

Artist’s Statement: “dirt, light, me” is a solo with the essential elements of life, dirt, light, and existence. The tone and location are ideally experienced in a site specific manner in order to attract the senses to simplicity and nuance. The dirt provides sound and fragrance that is both playful in character and haunting with reality. The light engages perspective shifts as well as provokes empathy and mystery. Me, myself, the choice maker, the story teller, the one who holds the compass, navigates through this abyss of a both a familiar yet desolate habitat.

L. Brooke Schlecte is the artistic director of Out On a Limb Dance Company (OoLD Co.) since 2003. Schlecte is director of the {254}DANCE-FEST in collaboration with Waco Cultural Arts Fest. She holds a Masters of Fine Arts in Dance from Texas Woman’s University in Denton, Texas, where she received the “Excellence in Choreography Award” in 2007, as well as honors in her Bachelors of Fine Arts in Dance from the University of Texas at Austin. Schlecte’s choreography has received critical comments such as “seized…[the] opportunity to go avante-garde”, “her work is drawing attention” (Dallas Morning News), and her work Streetlights. People. at Big Range Austin was said to be “smart and whole” as well as “dirt, light, me” at Big Range Austin as “gritty and personal”(The Austin Chronicle). OoLD Co. collaborates with artist all over the nation. We are interested in collaborations across state lines and artists’ interested in interdisciplinary, collaborative, gritty, experimental work. As dance-makers we seek to create original dance languages that explore ideas about the nature of human experience and how the dance process can then create change or maneuver our own life experience.

the edge of it


Artist’s Statement: At its most fundamental level, my choreographic research involves exploring and exploiting the intersection between light and movement. I work with light as an integral element of choreographic design rather than as a post-choreographic element of the design and production process, replacing traditional stage lighting with projections of animated video sequences from a varied number (depending on the work) of projectors positioned around the stage. I create video animations that I refer to as “light vignettes” and investigate the interactions between light and the moving body, always beginning with 4 basic interactions: light moving, dancer moving; light still, dancer moving; light moving, dancer still; and light still, dancer still.  My aesthetic is minimalist. Movement choices are determined by a simple need for locomotion, to provide ways for the dancer to come in contact with light: walking, running, and rolling, etc. The video animations, which I create in Adobe AfterEffects, are composed of variations of white lines: thin, thick, vertical, horizontal, moving at various speeds and directions, or full screens of color. The heart of the work emerges at the intersection of movement and light, grounded in the complexity of a viewer’s emotional response to the presence and/or absence of light – how that determines not only what we are able to see, but also how we make meaning of the information our eyes are taking in. Light is exposed, or revealed, when it is interrupted – intersected – by a body, an object, or a surface. Depending on direction, texture, and color, light also suggests emotional intent. In my work, light is an active participant, rather than a supportive element; as the performer moves through the animated shapes/textures, the intersection of performer and light becomes the driving force that directs the eye of the viewer.  For “the edge of it,” I use only one projector, positioned downstage right. The video score consists of light vignettes that utilize directionality and color, seeking to indicate, at times, a causal relationship between dancer and light. In the final section, a single line of light becomes visible only when the dancer runs through it, focusing the viewer’s attention on moving piece of light in a dark field.

Andee Scott is an interdisciplinary dance artist investigating the intersections between light, projection design and the body in motion. Her work has been performed nationally and internationally, most recently in Guadalajara, Mexico as part of Proyecto al Margen, funded by FONCA. She curated and performed Woman’s Work: Reconstructions of Self, a solo dance project, and toured works from the award-winning project in the U.S. and Mexico, and in Italy, with the Deja Donne company. She was a member of Sharir+Bustamante Danceworks and Blue Lapis Light in Austin, TX, and performed with David Dorfman Dance and AlienNationCo, under the direction of Johannes Birringer. Andee was a resident artist at Djerassi in 2011, has conducted residencies and taught master classes around the world and is on faculty at the University of South Florida.  Her newest project, Dance Linkages, is an organization she created to build a contemporary network of artists connecting across disciplines to develop new work. Sola, the inaugural project of Dance Linkages, brings together performers and choreographers from all over the country to create an evening of solo performances that premiered in Tampa, FL and tours to Texas, Vermont, Michigan, and New York City over the course of 2014-15.

Protean Hearts


Artist’s Statement:  “And finally I twist my heart round again, so that the bad is on the outside and the good is on the inside, and keep on trying to find a way of becoming what I would so like to be, and could be, if there weren’t any other people living in the world.” – Anne Frank, The Diary of Anne Frank.  “Protean Hearts” is an exploration of humanity’s great capacity to blanket the world with so much good, yet at the same time infuse our lives with so much pain. The duality of our nature, which lies within each individual, is examined through the intricacies of human relationships. Two men and two women find both comfort and conflict as they move through the very ordinary steps of their daily lives.

Elizabeth Shea has taught and presented at many venues nationally and internationally. Recently called “a remarkable contemporary dance-display” by arts critic Jay Harvey, Upstage, her choreography has been produced by the American Dance Guild, Boston Contemporary Dance Festival, DUMBO Dance Festival, Midwest Alternative Regional Dance Festival, World Dance Alliance, Regional Dance America, the International Computer Music Association and the 13th Bi-Annual Symposium in Arts and Technology. Her work has recently been seen at the 92nd Street Y Harkness Dance Center, the Ailey Citigroup Theatre and Dance Theatre Workshop in NYC, and in Tel Aviv at Warehouse #2, home of the Israeli Choreographer’s Association. Liz’s choreography Minor Bodies was chosen for the National College Dance Festival last spring and appeared at the John F. Kennedy Performing Arts Center in Washington, D.C. Liz has additionally served as a guest artist for several professional dance companies such as Dance Kaleidoscope, Eisenhower Dance, Karen Reedy Dance and the Jerusalem Academy of Music and Dance. Liz teaches somatics at Dance Italia in Lucca, Italy each summer is serves on the dance faculty at Indiana University where she is Director of Contemporary Dance.


Artist’s Statement: In Static, we are investigating the idea of readiness; the often “fuzzy” act of syncing up movement with other dancing bodies and the internal building of energy that comes with that process.

The idea behind Big Rig Dance Collective (BRDC) sprung up in 2010 on a road trip from Denton to a performance in Austin, TX. Like highways connect cities, we aim to connect diverse communities through performances, community classes, and collaborative events. In our creative process, we value what each individual brings to the group, and that is often the impetus for our work. Whether our collaborations lead us to light-hearted theatrical movement or raw energy and explosive physicality, we always start making dance by looking to what drives us in the here and now. Our methods for creating often include improvisation, choreography, and collaborations with other artists. BRDC is directed by Crysta Caulkins-Clouse, Whitney Geldon, Amanda Jackson, and Lily Sloan and creatively developed with many DFW area dance artists.