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This groundbreaking concert features work by RDT alumni Francisco Gella, Sarah Donohue, and Angela Banchero-Kelleher plus the winner of

1 APRIL 2018 CURRENT Study Guide and Program Information Presenting a generation of new dance-makers who articulate the physical and emotional energy of contemporary life. It's fresh, it's current, it's now. This groundbreaking concert features work by RDT alumni Francisco Gella, Sarah Donohue, and Angela Banchero-Kelleher plus the winner of the 2017 REGALIA choreographer competition, Nichele Van Portfleet. RDT Dance Center on Broadway Open House is April 7, 2018 from 9-3pm. Come and try out all of our class offerings for only $10! Bring your friends!

work spanning the modern repertory from Duncan to Zvi Gotheiner.

2 About the Choreographers Angela Banchero-Kelleher, MFA, is an Associate Professor of Modern Dance at Utah Valley University. She has had a professional career spanning over twenty years, including 15 years with Repertory Dance Theatre (RDT), during which time she was a featured dancer in both the classical and contemporary work spanning the modern repertory from Duncan to Zvi Gotheiner. Her performance/teaching career has taken her to venues worldwide, including the La Bella Vita Arts dance workshop in Italy for 4 years and as a guest teacher at Repertory Dance Theatre s summer workshop specializing in Humphrey/Limon technique. She maintains a deep commitment to RDT and continues to teach and reset roles for the company, most recently the solo from Pigs and Fishes by Elisa Monte. She has presented her choreography internationally, notably Lacuna in Copenhagen at the daci International conference and Blackbird in Austria. Material Tokens of the Freedom of Thought, was selected for the gala concert at the regional ACDA concert in Missoula, Montana and was performed by Repertory Dance Theatre this past spring. she is currently pursuing scholarship that reflects her interest in dance as a vehicle for social and political activism,. Angela was awarded the School of the Arts Faculty Excellence in Teaching Award, Sarah Donohue danced professionally with Repertory Dance Theatre from where she taught workshops, choreographed, and performed the work of Isadora Duncan, Michio Ito, Doris Humphrey, José Limón, John Butler, Yvonne Rainer, Merce Cunningham, Zvi Gotheiner, and others. Along with colleague Aaron Wood, Sarah co-directed and choreographed for My Turkey Sandwich, a dance theatre company they founded in My Turkey Sandwich produced three evening-length performances and set work on Contemporary Dance Ensemble at Utah Valley University. Sarah began her formal training and dance education at the University of Arizona where she received a Bachelor of Fine Arts in Dance. After moving back to Colorado and teaching all levels and genres of dance for two years, Sarah came to Salt Lake City to earn a Master of Fine Arts degree in Modern Dance from the University of Utah. During graduate school, Sarah completed the Integrated Movement Studies Program to become a Certified Laban Movement Analyst. She has performed, taught and choreographed nationally and internationally. Sarah s research surrounds the topic of physical humor and how LMA can reveal incongruent movement patterns that produce humor. Still Life with Flight, was performed at the American College Dance Association s National Festival at the Kennedy Center in Washington DC.

Francisco Gella s distinguished twenty-five career as a dancer, choreographer, artistic director, and dance educator, began when he took his first formal dance class at the University of Washington

His award-winning, innovative choreography, and highly effective teaching methods are sought after by professional companies, universities, and conservatories across North America and around the

3 Francisco Gella s distinguished twenty-five career as a dancer, choreographer, artistic director, and dance educator, began when he took his first formal dance class at the University of Washington at the age of nineteen. Francisco danced with Repertory Dance Theatre for two years. His award-winning, innovative choreography, and highly effective teaching methods are sought after by professional companies, universities, and conservatories across North America and around the globe. Francisco s choreographic commissions include Repertory Dance Theatre, Ballet Pacifica, California Ballet, Pennsylvania Ballet s Shut-Up and Dance Production, PHILADANCO and many others. Francisco is the founding artistic director of NUEVO School of Contemporary Dance and COLABO Youth Dance Collective ( ); founder of Francisco Gella Dance Works; founding director of ARIA Ballet Intensive, Ballet+ (beyond technique) workshops, the Preprofessional Dancer Institute, New Year s Training Camp and the New Century Dance Project (a youth dance festival). Born in Bacolod City, Philippines, Francisco now resides in Santa Fe, New Mexico. Nichele Van Portfleet is a dance-artist currently living in Salt Lake City. Born and raised in the San Francisco Bay Area, Nichele worked as a dancer, choreographer and teacher in SF, Oakland, and the North Bay before relocating in 2016 to SLC for the University of Utah s graduate program in Modern Dance. While in the Bay she had the honor of working with choreographers Christine Cali, Kristen Daley, Joe Goode, Nancy Lyons, Virginia Matthews & Mo Miner, among others. Since her arrival to Salt Lake City, Nichele has been actively engaged in the community alongside her work at the U. The winner of Repertory Dance Theatre's 2017 Regalia contest, Nichele was honored to receive the opportunity to work with the company on a new commission. Over the course of a week in July Flood emerged. Nichele was also thrilled to spend this past summer studying with Doug Varone through his DEVIC- ES mentorship program, through which she premiered Stranger Kin in NYC, August This summer Nichele looks forward to developing her thesis work and sharing dances in both SLC and San Francisco.

About the Choreography Material Tokens of the Freedom on Thought (2014) Choreography: Angela Banchero-Kelleher Music: Kilar This piece reflects my efforts to come to terms with my mother s passing

4 About the Choreography Material Tokens of the Freedom on Thought (2014) Choreography: Angela Banchero-Kelleher Music: Kilar This piece reflects my efforts to come to terms with my mother s passing over 3 years ago. Culturally, mother/ daughter relationships are often characterized as either a Carol/Marsha Brady relationship or Mommy Dearest. Neither of these tropes honestly reflected my relationship with my mother. I knew that we loved each other deeply, but our relationship was often complicated, difficult, messy, tangled, loving, and beautiful. The cognitive dissonance that arose as I created a narrative that reflected our deep love for each other did not match the actual day-to-day turbulence that was also a reality. This piece is a material token of the process of negotiating that divide. It is complicated, difficult, tangled and hopefully, beautiful. Still Life with Flight Choreography: Sarah Donohue Music: Berlin by Overnight and The Four Seasons Spring by Antonio Vivaldi; 4 95 by Michael Wall My research focuses on the physicality of humor. Within the many layers of a humorous moment, I am exploring what in terms of the movement itself is humor-producing. In the moment of humor, the senses are tickles by information and messages, both commonplace and incongruent. In fact, the juxtaposition of sense-making and altered expectations is the recipe for humor. Still Life for Flight approaches humor by revealing a relationship of incongruence and resolution through commonality. That is not to say this piece is comprised of gut-busting choreography or that the dancers should try to be funny while dancing. My goal is to create movement that is genuinely human, accessible to a range of audiences, and reveals the lighter side of life, which of course, is inextricably linked to the darker, more serious side of life think Greek Comedy and Tragedy masks and the significance of this inexorable connection. Still Life with Flight is about two strangers who find themselves seated uncomfortably close together on a bus and negotiate a wild ride and evolving relationship.

Aloneness (World Premiere) Choreography: Francisco Gella Music: Paul Spaeth This dance is a personal meditation on the meaning of solitude and was inspired by the illustrated children s book,

The ingredients of space, light, darkness, scale and time are combined in various configurations to evoke the emotional spectrum between loneliness, solitude, and love.

5 Aloneness (World Premiere) Choreography: Francisco Gella Music: Paul Spaeth This dance is a personal meditation on the meaning of solitude and was inspired by the illustrated children s book, Aloneness, by Gwendolyn Brooks. This simple but impactful story explores the difference between being alone and being lonely. The ingredients of space, light, darkness, scale and time are combined in various configurations to evoke the emotional spectrum between loneliness, solitude, and love. Shubert Impromptu (2015) Choreography: Francisco Gella Music: Shubert Flood (World Premiere) Choreography: Nichele Van Portfleet Music: Creating Flood for RDT was an exhilarating, whirlwind process. Knowing that I would have only five or six full afternoons to create the work, I spent quite a bit of time beforehand listening to music and day dreaming about what might be possible. I especially considered what elements in my work at the time I would be interested in and excited to explore further with the RDT Dancers. The possibilities of sharing momentum physically was of particular interest in the making of this work. When we finally got into the studio together, I had decided on music and a few movement scores and ideas that I wanted to begin with, but left the rest open to develop along the way. We generated material in quite a few different ways. I gave the dancers prompts to respond to, created movement in the moment, and often directed from the outside, manipulating phrases and piecing bits together. Overall, I was interested in playing with a severe unraveling, and my own anxieties about the world are in the work in ways that may be less symbolic than simply physical manifestations.

Thoughts from a RDT Former Dancer, Sarah Donohue, about her role as Choreographer Greetings. I choreographed the piece Still Life with Flight, which you will see in RDT s concert today.

6 Thoughts from a RDT Former Dancer, Sarah Donohue, about her role as Choreographer Greetings. I choreographed the piece Still Life with Flight, which you will see in RDT s concert today. The piece was selected from the American College Dance Association Conference in 2016 to represent the Northwest Region at the National Festival at the Kennedy Center for Performing Arts in Washington DC. Resetting the work on RDT has brought my career as a dancer and educator full circle. From a young age, I always had my heart set on being a professional dancer, but I did not realize that I would be an educator as well. I grew up in a small town in Colorado where I jumped at every dance opportunity, but prospects were far and few between, so my real training began when I enrolled at the University of Arizona where I earned a BFA in dance in After completing my degree, I moved back to Colorado where I taught all ages and genres in local studios. Through two years of studio teaching, I found that I truly loved education and wanted to teach at the university level. I moved to Utah where I earned my Master s degree in Dance and certified as a Laban Movement Analyst at the University of Utah. While most of my focus was steered toward teaching and choreography, a lingering voice from my childhood dreams continued to ask if I would dance professionally. After graduate school, I began teaching at Utah Valley University but continued to audition for Ririe- Woodbury and Repertory Dance Theatre. With a career in higher education well on its way, the pieces finally fell into place. In 2009, at the age of 29, I was offered a position with RDT. I quit my job as a Lecturer of Dance and joined the company for 5 extraordinary years of dancing, touring, teaching, choreographing, and performing. I was finally living my dream. The only regret I have is that I did not get to dance professionally for longer. In 2014, a position at UVU opened up again, and knowing that my love for teaching would eventually be the other lingering voice, I left RDT to return to education. Career paths are like any good dance improvisation. Remaining adaptable and open to what is before you, will benefit the journey, yet having a clear voice and making deliberate decisions is necessary to keep the movement flowing. ~Sarah Donohue

Create A Line Dance What are the movements that make up a typical line dance? Steps, forward, backwards, sideways, with a touch with a bend, etc.

7 Lesson Plan Ideas All the works in this concert are tied to the interactions of community in the present. The following lesson plan is designed to help students work together to achieve a desired outcome, a goal and through the experience discover more about themselves and those around them. Create A Line Dance What are the movements that make up a typical line dance? Steps, forward, backwards, sideways, with a touch with a bend, etc., claps, turns, pauses, arm movements or the turn of a head, maybe even a jump or hop. Ask the students what movements they can think of as well and make a list of 6-8 things. For example: grapevine, clap, level change, direction change, kick, arm gestures, a yell or vocalization. Etc. Divide students into small groups. Have them select an order for their line dance from these categories. Then have them create their own movement for each category. String these together to create a new line dance!

8 Why Use Dance in the Classroom? Dance is the oldest language. Dance is a total experience involving the physical, intellectual, emotional, spiritual, and aesthetic dimensions of an individual which helps us perceive and communicate who we are and what we aspire to become. Dance is a great resource for teaching and opening minds and imaginations. Dance is a form of non-verbal communication, a powerful language that everyone can understand. Dance allows all children to explore their own physical and creative potential in a non-competitive environment. Standards for Arts Education: Utah Core Curriculum Moving: Increasing strength, flexibility and endurance Investigating: Discovering the elements of dance: time, space energy and the body Creating: Exploring the creative process Connecting: Appreciating dance, its historical, cultural and per- The Elements of Dance There are four elements of dance: time, space, energy (force and flow) and the body. The body is the instrument of dance. It is the vehicle of communication, based upon the dancer s kinesthetic sense. Dance exists in both time and space. Time can be rhythmic and based upon meter, or body rhythms and breath rhythms. Space is concerned with the visual design of dance. It consists of body shape, levels, floor patterns, group relationships and volume. Energy relates to the force with which the movement is released. Another term for energy is dynamics and may be described by specific qualities such as: percussive, staccato, sustained, swinging, suspended, vibratory and collapse. A variety of energy levels make a dance more interesting and create texture within the movement. It is important to realize these elements are also those of everyday How to Prepare for the Dance Performance Turn off and put away all cell phones, mp3 players and any other device which may cause distraction, and remove any chewing gum. Clear your mind of other thoughts (general or personal). Open your mind and spirit to the moment; concentrate and raise your awareness to the immediate environment. As the lights lower and/or the music begins, take a deep breath and relax in your seat. You are beginning to watch motion, movement, shape, line, rhythm, tempo, color, space, time, energy...dance. Allow yourself to release the notion that you already know what dance means, or has to mean, or that you have to figure something out. Release the notion that you have to look at dance as if you were reading a book. Dance doesn t necessarily have a storyline. If you watch the dance with openness, you may experience an emotion, an image, or a feeling that you may not be able to describe. You may not know why or where reactions come from, but don t worry. That is a part of the magic of theater. Every piece of choreography has a reason for being. Dances may be celebrations, tell stories, define moods, interpret poems, express emotions, carve designs or visualize music. As you watch a dance, a story may occur to you because of your past experience. However, not all dances tell stories. The sequences do not have to make literal sense. Allow images and personal feelings to come to the surface of your consciousness. After the performance, feel free to discuss your thoughts with others, but do not be disturbed if you find others have a different reaction than yours. Think about your own personal images and thoughts. Was it fun to watch? Did the dance remind you of any experiences in your own life? Did the choreography inspire you to express yourself, write a poem, draw a picture, or make up your own dance?

Dance Criticism and Questions for Written Analysis and Discussion Criticism (writing or talking about dance) or evaluation of a dance performance is affected by past experience, sensitivity,

When you write or talk about a dance performance you should consider or analyze four different aspects of the dance.

9 Dance Criticism and Questions for Written Analysis and Discussion Criticism (writing or talking about dance) or evaluation of a dance performance is affected by past experience, sensitivity, involvement, and personal judgment. Criticism involves three processes: description, interpretation, and judgment of a particular piece being analyzed. When you write or talk about a dance performance you should consider or analyze four different aspects of the dance. The choreographic elements: the overall form, use of space, rhythmic and timing factors, use of dynamics, style, music, and movement invention The performance elements: the technical skill of the dancers, their projection, commitment, ability to communicate. The production elements: the costumes, lighting, props, sets, and music The general impact: the clarity of intent, concept, invention of the dance performance. When answering the following questions, try to be multi-dimensional in your responses by describing visual and auditory perceptions and feelings. Make sure you state your reasons for anything you liked or disliked. 1. What emotional reactions did you have? What moved you? 2. What was the most interesting feature of the performance? 3. What in particular do you most remember about the experience? 4. Was there an apparent motive for the dance? Was it dramatic, abstract, a mood piece, etc.? 5. Were there any social, political, or historical elements? 6. What did you notice about the form of the dance? 7. Were the performers skilled technically? 8. How well did they portray their characters or communicate with movement? 9. What kind of music was used? 10. What were your reactions to the technical or production elements, the staging, décor, props, lighting, costumes? These questions may stimulate great discussions in the classroom, or may allow the students to delve deeper into their performance experience. RDT s Goals for Arts-in-Education Using dance as a way to help people become more: Connected, Compassionate, Aware, Inspired, Original, Focused, Courageous, Passionate, Human \ To provide alternative ways of learning in order to achieve basic educational objectives such as concentrating, creative problem solving, planning, visualizing and conceptualizing To develop skills and insights needed for emotional maturity and social effectiveness-sharing, cooperating, integrating, and interacting. To develop an individual s physical and mental discipline at all levels of ability. To open participants minds and imaginations by developing tools of communication To develop feelings of self-worth, confidence, and achievement by giving students and teachers opportunities to explore movement, the art of improvisation and the creative process. To develop an understanding and appreciation of American Modern Dance. To deepen the understanding of the relationship between art and life. To develop Life Skills by encouraging good citizenship, by helping students be responsible and understand their relationship to the other members of their group, family, class or community.

RDT and Arts Education REPERTORY DANCE THEATRE founded in 1966, is a professional modern dance company dedicated to the creation, performance, perpetuation, and appreciation of modern dance.

The company of outstanding performers, teachers, and choreographers has created new pathways for audiences to experience and value the art of dance.

RDT s residency activities are specifically designed to assist teachers and students in achieving the standards for arts education.

10 RDT and Arts Education REPERTORY DANCE THEATRE founded in 1966, is a professional modern dance company dedicated to the creation, performance, perpetuation, and appreciation of modern dance. RDT s long standing commitment to arts in education focuses on enriching young students lives and providing on opportunity for students to experience the joy of living through dance. The company of outstanding performers, teachers, and choreographers has created new pathways for audiences to experience and value the art of dance. Residency activities that include demonstrations, movement classes, and teacher in-service workshops encourage students to integrate movement into their learning and teaching process. RDT s residency activities are specifically designed to assist teachers and students in achieving the standards for arts education. The following organizations and donors generously support Repertory Dance Theatre s Arts-in- Education Activities: Jarvis and Constance Doctorow Family Foundation Salt Lake City Arts Council Arts Learning Grant Salt Lake County Zoo, Arts & Parks Program George S and Dolores Dore Eccles Foundation Emma Eccles Jones Foundation Utah State Board of Education POPS Program Ally Bank Lawrence T & Janet T Dee Foundation Utah Division of Arts & Museums and the National Endowment for the Arts HR Burton Foundation BW Bastian Foundation 4Life Deluxe Corporation Foundation For more information about Repertory Dance Theatre, our upcoming workshops, performances, residencies, etc. Please visit our website at or contact us at

Students may receive credit through Dance 200/300/400 for participating in these performance opportunities.

Students may receive credit through Dance 200/300/400 for participating in these performance opportunities. Dance 1 Dance Degree Offered Bachelor of Arts in Dance The Dance program offers a four-year undergraduate program leading to a Bachelor of Arts (B.A.) degree. Students have the opportunity to develop and