What kind of memories do we create after we’ve had meaningful conversations? What becomes of those pivotal discussions? Are our memories the direct result of that significant interaction? How do we mark those moments in time? These questions and more are explored in Guest Artist Gina Gibney’s new work, “Drafting Foresight,” which will make its
“We find ourselves in a time of transition and unpredictable change,” says GWDT Executive Artistic Director David Shimotakahara. Shimotakahara’s world-premiere work, titled “Against Night,” for GroundWorks’ 2017 Spring Series explores change, transitions and connectivity and how we traverse these elements. These themes were a starting point in the creative process, he says. “For some reason
We are proud to reprise Salt Lake City-based choreographer Eric Handman’s highly-anticipated work “Remora” during our 2017 Spring Dance Series. Handman’s “Remora,” a critically-acclaimed “substantial and intensely physical work” first created with GroundWorks in 2015, is rooted in its physicality, the demands of its execution, its complexities and its nuances of timing. Together, these elements
The timeless (and timely) themes of connectivity, changeability and transition will be explored in GroundWorks DanceTheater’s upcoming 2017 Spring Dance Series, featuring world premiere works by GWDT Artistic Director David Shimotakahara and Gina Gibney of Gibney Dance, as well as the highly-anticipated reprise of “Remora” by award-winning choreographer Eric Handman. “We find ourselves in a
Coming off of a wonderful Spring Season and record-breaking It Takes Two Benefit, it’s exciting to share what we’ve been up to in the way of making new dance! Today we’re sharing notes from a recent conversation with Executive Artistic Director, David Shimotakahara. He and the dancers are in the midst of the creative process
“All performances, in some way, inhabit memories of someone or something else,” says Greg Luce, Violinist & member of Aeolus Quartet. “In some ways it’s easier to be removed [from the time in history that you are referencing in your work] – there’s a certain purity that comes with distance from that person or thing.
It's clear to hear him talk about his life that Robert Moses has always been artistically curious. "When I was very small, about 6 years old, my mother noticed something. She got me a small organ that had 16 keys...but I didn't stick with that. Later on, she signed me up for classes at Temple University.
