The International School of Kuala Lumpur
IASAS Dance presents:
“A guise is the mask or appearance one presents to the world, typcially concealing the true nature of something.”
IASAS Dance Director: Karen Palko
Choreography: The Dancers
Lighting Designer: Adib Anas
Dance Technician: Md. Fadzil Md. Saad & Rahgav Mathur
Technical Coordinator & Set: Vincent Periasamy
Costumes: Donna Lyon
IASAS Dance Team ‘Mother’: Thea Kromhout
Program and Poster: Melissa Yip
Videography: Shadi Rosenow & Nikolai Joyce
Kinetic Typography for Chris’s Dance: Hugh Baillie
Kinetic Typography for The Opening Sequence: Shadi Rosenow
Program Art & Poster Photography: Everette Burke
Videography & Art Photography & Inspiration: Nikolai Joyce
Animated Drawing for Cathrine’s Dance: Lea Cerron
Dance Mentors: Brian Candler, Tina Casey, Tim Howe, Noren Sahari , Maria Sarnacki
Music: My Love Instrumental by S.I.A., Rain by Ryuichi Sakamoto, Skyscraper by Demi Lavoto, Breathe Me by S.I.A., Castle Walls T.I. ft. Christina Aguilera, Beautiful Lies VIP by B Complex
Anne Chua: I am the perfect ballerina…conflicted you might say. Although I dreamed of becoming a ballerina, now that I am, I don’t like the perfection associated with it.
Seira Fujii: I am the shy one…invisible you might say. I am just as good as everyone else but nobody ever seems to notice me. I desperately want to have the courage to stand front and center.
Chris Tabassi: I am the male…feminine you might say. I want to dance the girl’s part but I am not allowed. I’m tired of being guarded and want to be accepted for who I am without compromise.
Cathrine Slaatta: I am the vulnerable one…insecure you might say. I am not a size two nor do I want to be a size two. I am a good dancer. I just don’t want to dance next to them.
You Jin Reo: I am the novice... a marvel you might say. I have never danced before and everyone is astonished that I can do everything they can without any past dance training. I don’t want them to resent me.
Anouk Schaedler: I am the introverted one…guarded you might say. I am cautious because I am the one who is always experimented on for lifts and strange dance ideas. I just need more time to warm up to ideas.
Malaika Malik: I am the new one…different you might say. I just moved to a new school. They call me exotic which is a polite way of saying I am strange. I just want to fit in.
Carmen Kromhout: I am the confident one…vain you might say. I am very sincere, but my actions are misconstrued because I stand front and center. I don’t want people to feel threatened by me.
Kevin Jang: I am the unconventional dancer…rebel you might say. I don’t want to dance someone else’s steps like ballet and contemporary. I want to create my own moves and get the same acceptance from society as the ballerinas do.
Notes on the Dance:
Dance on film is one of the newer creative art forms slowly gaining an appreciative audience. Rather than simply filming live dance, this new art form integrates the film and choreography to create multiple layers and emotional/psychological depth. We wanted to experiment with this new art form and create the backdrop to our show completely on film, showcasing our dancers as individuals within a variety of dance class settings.
The Dancers create interesting and complex characters with struggles that are universal and relate able to an audience. Their stories can be empathized with, or, can surprise and intrigue an audience with the themes being explored because they transfer over to any situation where a group of people must work together. The characters will undoubtedly remind you of yourself or someone you know in your office, at your school, on your team, in your play. The dancers do not play the same characters throughout the dance. When they are not telling their ‘story’, they become part of the ensemble that makes up the balance of the class, helping to set the scene for the other dancer’s stories.
The Setting of different dance classes helps to tell each dancer’s struggle, and creates certain moods to help to portray their characters. Staged in a classical ballet class setting the dancers move through the structure of barre, center work and then leaps, turns and jumps across the floor. The contemporary class is grounded on the floor and then moves to the air with unconventional lifts and pairings. In the midst of the contemporary class we use props and explore emotional themes. The lyrical class moves to the routine with a call and response format. The hip hop class is typical of geometric spacing, skill and drill to patterns and spacing that creates a synchronized, high energy hip hop spectacle.
The Music is predominantly pop music using the text in the music to heighten the emotional states of the dancers and choosing well-known music creates a level of accessibility for the audience. The music selections also suit the style of each dancer’s choreography, helping to evoke their emotions. Together with the film backdrop, these two aspects of the dance help create a context that is integrated into the choreography, not separate from it.
We hope you enjoy our 'experiment'. It has certainly been interesting putting this together and we have enjoyed the artistic challenge.
Anne Chua: I am the perfect ballerina…conflicted you might say. Although I dreamed of becoming a ballerina, now that I am, I don’t like the perfection associated with it.
Seira Fujii: I am the shy one…invisible you might say. I am just as good as everyone else but nobody ever seems to notice me. I desperately want to have the courage to stand front and center.
Chris Tabassi: I am the male…feminine you might say. I want to dance the girl’s part but I am not allowed. I’m tired of being guarded and want to be accepted for who I am without compromise.
Cathrine Slaatta: I am the vulnerable one…insecure you might say. I am not a size two nor do I want to be a size two. I am a good dancer. I just don’t want to dance next to them.
You Jin Reo: I am the novice... a marvel you might say. I have never danced before and everyone is astonished that I can do everything they can without any past dance training. I don’t want them to resent me.
Anouk Schaedler: I am the introverted one…guarded you might say. I am cautious because I am the one who is always experimented on for lifts and strange dance ideas. I just need more time to warm up to ideas.
Malaika Malik: I am the new one…different you might say. I just moved to a new school. They call me exotic which is a polite way of saying I am strange. I just want to fit in.
Carmen Kromhout: I am the confident one…vain you might say. I am very sincere, but my actions are misconstrued because I stand front and center. I don’t want people to feel threatened by me.
Kevin Jang: I am the unconventional dancer…rebel you might say. I don’t want to dance someone else’s steps like ballet and contemporary. I want to create my own moves and get the same acceptance from society as the ballerinas do.
Notes on the Dance:
Dance on film is one of the newer creative art forms slowly gaining an appreciative audience. Rather than simply filming live dance, this new art form integrates the film and choreography to create multiple layers and emotional/psychological depth. We wanted to experiment with this new art form and create the backdrop to our show completely on film, showcasing our dancers as individuals within a variety of dance class settings.
The Dancers create interesting and complex characters with struggles that are universal and relate able to an audience. Their stories can be empathized with, or, can surprise and intrigue an audience with the themes being explored because they transfer over to any situation where a group of people must work together. The characters will undoubtedly remind you of yourself or someone you know in your office, at your school, on your team, in your play. The dancers do not play the same characters throughout the dance. When they are not telling their ‘story’, they become part of the ensemble that makes up the balance of the class, helping to set the scene for the other dancer’s stories.
The Setting of different dance classes helps to tell each dancer’s struggle, and creates certain moods to help to portray their characters. Staged in a classical ballet class setting the dancers move through the structure of barre, center work and then leaps, turns and jumps across the floor. The contemporary class is grounded on the floor and then moves to the air with unconventional lifts and pairings. In the midst of the contemporary class we use props and explore emotional themes. The lyrical class moves to the routine with a call and response format. The hip hop class is typical of geometric spacing, skill and drill to patterns and spacing that creates a synchronized, high energy hip hop spectacle.
The Music is predominantly pop music using the text in the music to heighten the emotional states of the dancers and choosing well-known music creates a level of accessibility for the audience. The music selections also suit the style of each dancer’s choreography, helping to evoke their emotions. Together with the film backdrop, these two aspects of the dance help create a context that is integrated into the choreography, not separate from it.
We hope you enjoy our 'experiment'. It has certainly been interesting putting this together and we have enjoyed the artistic challenge.
No comments:
Post a Comment