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Simultaneous Solos
July 2006
Performances:
Palo Alto Jewish Community Center
March 2007
Stanford Alumni Concert
November 2006
Deborah Slater Dance Theaters’
Dance ‘til you Drop! Annual Fundraiser
October 2006
Summerfest/dance.2006
July, 2006, San Francisco, CA
UCSD Studio 3
San Diego, CA February 2006
Jon Sims Center for the Performing Arts
Artist-In-Residence 2005-06
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Music : “Weather” by Michael Gordon
Lighting : Sara Linnie Slocum
Costumes : Brittany Brown Ceres
Dancers:
Claudia Hubiak, Elizebeth Randall, Gianna Shepard, Emma Stewart , Brittany Brown Ceres, Cari Bellinghausen
Duration : 11.5 minutes
Photo : Tim Isom, pictured L-R: Gianna, Elizebeth, Claudia and Brittany performing at Deborah Slater Dance Theaters' Annual Fundraising Extravaganza: "Dance 'Till you Drop!"
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" Brittany Brown Ceres may be WestWave Festival producer,
but her Simultaneous Solos, premiered at the top of the bill last Saturday (July 22) earned its place through talent alone. An abstraction for five women set to Michael Gordon's industrial strength "Weather", the piece was carefully plotted. Vibrating wrists seemed to unleash a contrapuntal exercise constructed with almost lapidary precision. Movement motives were introduced austerely and leavened with group strides; the trajectory was swift and irresistible.”
– Allan Ulrich, Voiceofdance.com, July 2006
"The ideal dance." -Tony Kramer, Department Director of Stanford Dance Division, November 2006
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In Simultaneous Solos, I thematically and formally address the simultaneity of difference how when individuals meet, they co-exist in a quietly understood state of agreeable dissimilarity for a time, until they slowly become closer and more familiar with each other.
While they undoubtedly change to accommodate one another, they also remain individuals.
The work is built on the following question: “as we grow closer and more familiar, does the level or even the degree of our inherent difference actually change?”
For the first time in my career, the movement language was not generated collaboratively by was built on my body and translated to the performers. It is a language very much my own. Because I built this work on my body and then translated it, articulating my own physical paradigm to the dancers is something that suddenly became very important. So, instead of being content with each dancer throwing their arm into the air, I have actually solidified each angle, each beginning, each ending and the quality necessary for completing the movement. Translating my body’s kinesthetic language exactly in each of the five solos has opened up a new doorway for me – offering a level of ownership and a new commitment to my movement palette.
Special thanks to Marlena Penny Oden. This piece was made possible through a JSDance Residency at the Jon Sims Center for the Arts, 2005-06.
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