Posts Tagged 'Rosie Trump'

Two Alike Preview

By Rosie Trump

“A mutual love fest” is how choreographer Jack Ferver describes his collaboration with visual artist Marc Swanson for Two Alike, premiering September 15-17 at DiverseWorks Theater.  While both these artists are based in New York, it took a commissioning partnership between two Houston arts organizations (the Contemporary Arts Museum Houston and DiverseWorks) to bring Ferver and Swanson together.  Despite the affection these artists share for each other’s work, Two Alike was born from a darker seed, the journey through childhood loneliness.

“This piece is many firsts for me.  This is my first time collaborating with a visual artist, and in fact, my first time having a set,” confesses Ferver.  After a series of studio visits, rehearsals and long talks about their personal histories, Ferver and Swanson decided that the main theme of Two Alike work would revolve around the woods, which both artists had spent a lot of time in as children… read more

This article was originally published at Dance Source Houston

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Dancing to sink teeth, eyes and heart into

Photo by Figmentree.com

Preview Psophonia’s Rip inthe Atmosphere

by Rosie Trump

In the back studio of Barnevelder Movement Complex, eight sweaty dancers pull on knee pads as they prepare to rehearse Sophia Torres’s The Long Hallway, one of the six dances in Psophonia Dance Company’s upcoming performance Rip in the AtmosphereThe dancers tumble to the floor and bound again to their tip toes, their breathing is labored but the execution is fierce… To read the rest of the story click here

Win, Lose or Luck of the Draw

Dancers (L to R) Lauren Perrone, Candace Rattliff, Kelly Schaefer and Roberta Cortes in Luck of the Draw

On February 18, 2011  Earthen Vessels, the Sandra Organ Dance Company opened their newest showcase Luck of the Draw.

To read the review by Rosie Trump please click here

Digital Dance in the Inland Empire

Maral Yessayan in "about the house"

Digital Dance in the Inland Empire

by Rachel Holdt

This past week, the dance department at Mt. San Jacinto College hosted a Dance for Camera screening on campus.  This showing was offered for viewing not only to the students, but also to the local community and, as such, was well attended.

Dance for Camera explores experimental movement for screen, and is specifically designed to delve into the capabilities that are available through film.  Although all four films shown were of exceptional quality, I was able to interview the creator of the pre-screening clip that was being looped upon arrival at the screening room.  Rosie Trump, a former associate faculty at the Mt. San Jacinto College was willing to share some of her creative inspiration and personal insight into the piece entitled, “…about the house…”

Much of Trump’s works center around a single woman, and this piece did just that.  Unbeknownst to me as I entered the screening room on the Menifee campus, it was not clear that this film was being looped.  Originally a twenty minute piece, the clip being shown was only a few minutes long.  Because of the unique way in which it was filmed, with several concurrent scenes happening on split screen and abrupt scene changes, the looping was almost an addition to this effect.  The connections between loops stood out as a very intentional disconnect while intensifying the overall peculiarity of the film and the sense of duality—which is a Rosie Trump signature.

The film began with a single female inside an older house.  The camera captures a few outside shots of the front lawn, fence, and porch rocker.  The soundscape is inclusive of daily noises such as a lawn mower, and the rocking chair on the porch swaying back and forth with the breeze.  The young woman opens and closes the door a few times as though dancing a duet with the doorway.  An abrupt scene change takes the woman into the kitchen where she lays down sideways on the kitchen table and pedals her feet as though riding a bike.  In yet another sudden scene change, the split screen captures two tea kettles on the stove.  Opposite this shot is the female standing in front of the fireplace peering into a long mirror on the mantle.  Dishes and silverware sounds are heard as the only sound in this scene.  The next scene finds the female sitting on a chair in front of the fireplace speaking directly to the camera person about a purse while a cat plays on the mantle behind her.

The film captured a lot of imagery and symbolism, which, in a nod to Rosie Trump’s style, was very intentional.  Avoiding any typical choreography, Trump prefers, “movement with the choreography of the camera.”  Trump also likes intentionally “forcing the audience to choose” what to watch by her use of split screen and multiplicity on the screen.  In this work, Trumps whimsical and very unique perspective by using the camera as a voice in dance is clear.  With every element of the film intentionally peculiar, Trumps purpose to create that “nagging sensation of daily living”, and to link the very private space of a home with the outside world is certainly seen through her very inimitable portrayal of dance in this film.