Erica Rebollar and Friends: 40 and UP!

Joe’s Movement Emporium, presents a rare opportunity to experience original modern dance choreography by eight nationally and internationally acclaimed choreographers over the age of 40, organized by RebollarDance, on Saturday, June 17 at 8 pm and Sunday, June 18 at 4 pm, 2017.

In 40 and UP!, Erica Rebollar of RebollarDance partners with eight eclectic professional artists over 40 years of age to celebrate the works, wit and wisdom of age. Featuring the best choreographers from the DC/Baltimore area plus critically acclaimed out of town guest artists, 40 and UP! features work exploring everything from entangled lovers in Eurydice by Macolm Shute to empty promises in Giselle Ruzany’s Dry Cleaning. Featured choreographers joining Erica Rebollar include: Helanius Wilkins, Sharon Mansur, Carol Hess-Vait, Dan Kwong, Sandra Lacy, Jack Kirven, Giselle Rusany, and Malcolm Shute.

PURCHASENOW

Works Presented

  • Erica Rebollar, founder of RebollarDance, is the current full time Visiting Lecturer at UMBC’s Dance Department and adjunct faculty at GMU’s Dance Department. rebollardance.com. Rebollar’s “Rachmaninoff Prelude” is a condensation of quick-twitch, fast-fire movements performed at warp speed.
  • Helanius J. Wilkins, founder of EDGEWORKS Dance Theater, an all-male dance company of predominantly African-American men, is an Assistant Professor of Dance at the University of Colorado Boulder. helaniusj.com Wilkins will perform an excerpt from his crticially-acclaimed evening-length solo project, “/CLOSE/R”.
  • Sharon Mansur is an experimental multi-media dance and visual artist, currently based in Winona, Minnesota. mansurdance.com “In Between” is a site-specific improvisational duet, directed by Sharon Mansur in collaboration with Erica Rebollar, investigates the rich potential of gaps, thresholds and other transitional spaces.
  • Dan Kwong is an award-winning solo multimedia performance artist, videographer, writer, director, playwright and visual artist who recently received the prestigious Santa Monica Artist Fellowship for 2017. dankwong.com Kwong presents the premier of “The Healing Blade”, part of his long-term exploration of family and its impact on our relationships.
  • Sandra Lacy is full time dance instructor at UMBC, is as Associate of the Royal Academy of Dancing in London and a certified Gyrokinesis teacher. Lacy uses music by Ran Bango and voice directions of a GPS in “Lost”, which examines how we come to terms and navigate, both physically and emotionally, the dilemma of not being able to find our way.
  • Jack Kirven is a Wellness Coach with 18 years experience as a teacher, trainer, and writer. In “Best If Used By:” Kirven explores the complications of expiration dates when one’s entire identity, creativity, and career is based on the body, what it looks like, and what it can do.
  • Giselle Ruzany MA LPC is an adjunct faculty at the George Washington University and a Licensed Professional Counselor with a private practice in Woodly Park, Washington D.C. gestaltdance.com. Ruzany’s “Dry cleaning” explores what it means to be laundry: dirty, trapped, stained, ripped, wrong and broken, needing to by cleaned, while still holding on to hangers full of empty promises.
  • Malcolm Shute is an eclectic artist of movement. He has taught and performed around the world with his company Human Landscape Dance. org Shute’s duet “Eurydice” is based on the myth of two entangled lovers; retrieved from the afterlife by her husband, Eurydice is bound to Orpheus unless he looks her in the eyes.
  • Carol Hess-Vait Dubbed a “new wave tap dancer,” she became the first woman to perform Toccatafrom Morton Gould’s Tap Dance Concerto­. She is co-artistic director of Baltimore Dance Project, and chair of University of Maryland Baltimore County’s dance department, where she has taught since 1982. “Partial Recall II” is a new look on contemporary tap solo.
  • Maida Withers (dancer, choreographer, filmmaker, educator) – A powerful and commanding performer known for her daring in movement and edgy innovations as a choreographer.  Maida is a Professor at the George Washington University where she has been instrumental in creating BA, MA, and MFA degree programs. Visit: maidadance.com

 WHAT: RebollarDance

WHEN: Saturday, June 17th at 8 pm; Sunday, June 18th at 4 pm

WHERE: Joe’s Movement Emporium, 3309 Bunker Hill Road, Mount Rainier, MD 20712; free parking lot to the right of the building, ample street parking in surrounding neighborhood, short walk from 82, 84, 86, or T-18 bus stop.

Tickets: $25 Admission; $15 Student/Senior/Military with ID

Advanced Tickets (Online Only): $20 | To purchase tickets, visit http://www.joesmovement.org or call 301-699-1819

PURCHASENOW

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Event Annoucement: J.A.M. SE7EN – A Dance Spectacular Musical Revue

J.A.M. the Revue, returns to Joe’s Movement Emporium come Fall for another razzle dazzle production sure to have all ages dancing in their seats!

The metropolitan area’s exciting song and dance revue is back in Mount Rainier, MD with an ALL NEW production. Why return? Choreographer Jeremy A. McShan tells us he just couldn’t wait to get back in Joe’s; “The space was amazing, staff was amazing!”

This year McShan will present his newest iteration of his fabulous dance spectacular revue: J.A.M. SE7EN.  The show starts its journey by paying tribute to some of music’s greatest legends from yesteryear, high kicking its way to the sexy songs of Broadway, and ending with an electrifying finale honoring the artists that have created some of today’s greatest pop hits.

These dance-floor favorites are sure leave audiences singing the whole ride home! Featuring the J-Mac’s, the show’s beautiful and talented dancers, and some of DC’s best singers. This 90 minute production, suitable for all ages, is sure to be a crowd pleaser!

Tickets sold out last year, nab yours now!

Show Information:
Friday, September 23 at 8pm and Saturday, September 24 at 8pm
Joe’s Movement Emporium, 3309 Bunker Hill Road, Mt. Rainier, MD 20712

Online $20 Adults; $15 Kids 12 and under
$25 (Door)
Find J.A.M. the Revue on Facebook  – www.facebook.com/JAMtheRevue

DREAM ISLAND… coming June to Joe’s Movement Emporium

DREAM ISLAND

Show description

A highly charged physical expression, ‘Dream Island’ is part carnival, part laboratory, part archeological trip. Melding movement, text, music, and installation, it concocts thirteen vignettes infused with playful, humorous, explosive, and dark absurdity. Initially inspired by a Japanese theme park built on the buried landfill called ‘Dream Island’, this piece digs, examines, and reveals layers of debris, getting deeper and more distant from the reality. The audience is asked to bare witness as five characters attempt to search, reconstruct, and uncover memories and histories, both tangible and fleeting, personal and collective.

Direction and structure by Naoko Maeshiba, created by Emily Hall, Sarah Lloyd, Donald Roderick, Danni Tsuboi, & Naoko Maeshiba, sound design and light installation by Khristian Weeks, environment design by Khristian Weeks, Naoko Maeshiba, & Sarah Lloyd, Lighting design by Helen Garcia Alton.

Naoko Maeshiba/KIBISM

Founded in 2002 by Naoko Maeshiba, Kibism [kibizm] has been creating and performing works that explore the intersection of movement, voice, music, object, and video images in order to discover a new form of perception.

The mission of Kibism is to offer a theatrical experience that taps onto different states of consciousness and opens multiple channels of communication. Body is the main medium for Kibism works. Examining the body’s potentials as a place where the external and the internal stimuli encounter, as a vessel through which images germinate, as a landscape for memories and histories, Kibism works investigate the relationship between our bodies and the environments we live in.

‘Kibi’ in Japanese means ‘strange beauty’. It also means ‘delicate inner workings which might not appear on the surface’. This idea forms the foundational aesthetics of our creation. Primal passion, vivid sensuality, and refined physicality collide, harmonize, and synthesize, illuminating rich layers of abstracted narrative. Kibism aspires to delve into the obscured aspects of the society, unearth the ephemeral moments in life, and seek out this strange beauty of our existence on the universe.

Naoko Maeshiba BIO

Naoko Maeshiba is a performer/choreographer/director. With body’s expression at the core, she aspires to create a shared experience that affects people’s perception and releases their imagination. Rooted in the minimalism of traditional and contemporary Japanese theatre as well as improvisation and surrealist art, her work pursues truth in abstraction through the interplay of kinetic, auditory, and sculptural elements revealing the obscured and ephemeral moments in life. In 2002, she founded a performance lab, KIBISM, in order to pursue her inquiries about the depth of the body. In 2006, she began her investigation about the solo body and experiments on the approaches and strategies for improvisational dance, descending into the most vital, raw, and personal space and pursuing moment-to-moment truth in her consciousness.

Her works have been presented in both traditional and non-traditional venues in the North America, Europe, and Japan including John. F. Kennedy Center of Performing Arts (DC), Hirshhorn Museum at Smithsonian Institute (DC), Theatre of Yugen Noh space (SF), Tank (NY), Joyce Soho (NY), Ko Festival of Amherst (MA), Baltimore Theatre Project (MD), Questfest (MD), Dialog of Four Cultures Festival (Lodz, Poland), International New Media Festival (Warsaw, Poland), International House of Tokyo (Tokyo, Japan), Theatre Jo (Tabor, Czech Republic), Dance Hakushu (Hakushu, Japan), Dance Place (DC), Warehouse Gallery (DC) and Woolly Mammoth Theatre (DC).

Naoko Maeshiba Artistic Statement

I’m a performer/choreographer/director creating both solo and ensemble performances in traditional and non-traditional venues since 1998. With body’s expression at the center, I aspire to create a shared experience that changes people’s perception and releases their imagination. Rather than using the body as a tool to create movements, I focus on choreographing senses, letting the body speak itself in a carefully prepared environment. My curiosity lies in both visible and invisible movements.

Rooted in the minimalism of traditional and contemporary Japanese theatre as well as improvisation and surrealist art, my work pursues truth in abstraction through the interplay of kinetic, auditory, and sculptural elements revealing the obscured aspects of society and unearthing ephemeral moments in life. The past productions have tapped onto the crucial issues in our era: aging, youth violence, departure and arrival, traces in our bodies, and home and family.

In 2002, I founded a performance lab, KIBISM, in order to pursue my inquiries about the depth of the body. ‘KIBI’ stands for ‘strange beauty’ or ‘inner working of things that doesn’t surface’. Through workshops and classes on what I call ‘Essential Body”, I’ve been seeking out a way to have each performer perceive and identify the strange beauty (KIBI) of our existence.

In 2006, I started furthering my investigation about the solo body and experimenting the approaches and strategies for improvisational dance. There is something extremely honest, immediate, and intimate about working in solo. It gives me an opportunity to face myself and descend into the most vital, raw, and personal space. I pursue moment-to-moment truth in my consciousness. Such investigation provides me with a way to re-learn how the body as a micro-cosmos perceives and captures the environment and how the movements are created as the body’s resonance with the larger universe.

My works have been presented in both traditional and non-traditional venues in the North America, Europe, and Japan including John. F. Kennedy Center of Performing Arts (DC), Hirshhorn Museum at Smithsonian Institute (DC), Theatre of Yugen Noh space (SF), Tank (NY), Joyce Soho (NY), Ko Festival of Amherst (MA), Baltimore Theatre Project (MD), Questfest (MD), Dialog of Four Cultures Festival (Lodz, Poland), International New Media Festival (Warsaw, Poland), International House of Tokyo (Tokyo, Japan), Theatre Jo (Tabor, Czech Republic), Dance Hakushu (Hakushu, Japan), Dance Place (DC), Warehouse Gallery (DC) and Woolly Mammoth Theatre (DC).

I have received Individual Artist Award in solo performance (dance, theatre) and choreography from Maryland State Arts Council and Baltimore City Arts Council,  ruby grant, ‘b’ grant, and Individual Artist Fellowship Grant in directing from DC Commissions on the Arts and Humanities & NEA.

Since 2009 I have been engaged in a somatic practice called Feldenkrais and searching to integrate its holistic inclusive view into my artistic practice.