Dances for Roble Theater
choreography by diane frank, aleta hayes,
alex ketley, and ronnie reddick
ABOUT THE PRODUCTION
GroundPlan — the first dance concert to perform in the newly renovated Roble Theater — features new choreography by TAPS faculty Diane Frank, Aleta Hayes, Alex Ketley, and Ronnie Reddick. Promotional Photos by Frank Chen.
ABOUT THE WORKS
This new work, Goat-trout-snake-lizard girl, is grounded in both earth and memory. It investigates feral, instinctual cellular developmental movement patterning that attaches to an essential animal self. Those movements are layered with deeply remembered experiences of the natural world. The original, live, electronic score, composed and played by Tim Russell, will source sound materials gathered from the Desolation Wilderness Preserve in the Sierra Mountains.
About the Artist
Diane Frank has enjoyed a long career as a professional choreographer, dancer, and teaching artist. She has received numerous NEA fellowship grants and awards for her choreography which has been produced by noted presenters and venues in New York, London, Paris, Washington, DC, and San Francisco. She trained extensively with Merce Cunningham, drawn to both the aesthetic sensibilities and radical beauty of his work. She was a member of the Cunningham Studio teaching staff for 8 years, selected by Cunningham to teach both technique and repertory at the Atalier Cunningham in Paris. She also danced with Douglas Dunn & Dancers for eleven years, touring domestically and abroad.
At Stanford since 1987, she continues to train and mentor a long line of Stanford dance professionals. In 2012, her choreography (performed by Stanford dancers) was selected by the American College Dance Association for the National Gala performances at the Kennedy Center for the Performing Arts. As a performer, she has worked with Ann Carlson for 3 years on the currently-touring “Doggie Hamlet”. Recent choreographic projects include multiple solo off-shoots of “Branch, Tendril, Vine” set on Bay Area dance artists, as well as a site-specific collaboration, “In A Winter Garden,” with composer Jaroslaw Kapusinski and sculptor Will Clift. In the Bay Area, she is an on-going guest teacher in the Dance Department of San Jose State University, a long-time choreographic mentor for The Young Choreographers’ Forum in San Francisco/San Jose, and the founding organizer of the Bay Area Dance Exchange (BADE), a thriving consortium of Bay Area university dance departments /programs, students, and faculty who gather to exchange best practices in dance training, creative processes, and performance.
Organizationally at Stanford, she has continuously worked for interdisciplinary collaboration and innovative exchange: Highlights of past projects include: Rehearsal Director for visiting artists Elizabeth Streb, Ann Carlson, Anna Halprin, Brenda Way, Parijat Desai, among others; a curated Screen-Dance Festival and lecture series on mediated movement; numerous site-specific performances traversing campus ( "Cantor, Re-Wired,” "RED ROVER," "CONSTRUCTION SITE," “SEQence"), and the investigation of dance practice within community challenged by Parkinson’s Disease (the Haas service-learning course “Dance, Movement & Medicine” in collaboration with neurologist Dr. Helen Bronte-Stewart and dance artist Damara Ganley).
All of the art, movement, and music for Night Landing was sparked by the idea of the flying body or "flying machine".
We returned to the potent imagery of flying over and over as we reflected on the role in the visions of one of the greatest polymaths that had ever lived, Leonardo da Vinci, whose 500th year birthday is celebrated this year. The concept of flight is carried in many cultures, symbols and visions, stories and dreams. There was even a flying myth of the African slaves in the New World who called themselves the people who could fly (back home to Africa). We present to you a lucid dream of flying, from which we have all awakened, but still vividly remember, in our performance of Night Landing.
About the Artist
Aleta Hayes is a contemporary choreographer, performer, and lecturer in the Department of Theater and Performance Studies. Before her appointment at Stanford, Ms. Hayes taught for eight years at Princeton University in the Program in Theater and Dance and the Program in African American Studies.
Aleta Hayes lived and worked in New York City for fifteen years, choreographing solo and group dance pieces, in which her performances often interpolated acting and singing. Highlights include having leading roles in major works by artists such as: director, Robert Wilson; composer/scholar, Bernice Johnson-Reagon; choreographer/director, Martha Clarke; choreographer, Jane Comfort; playwright/performer, Carl Hancock Rux; director, Ping Chong; playwright/director/performer, Daniel Alexander Jones. Aleta Hayes has also performed for and collaborated with, Harry Elam, Rush Rehm, Yusef Komunyakaa, Lava Thomas and Otobang Nkange.
In 2009, Hayes founded the Chocolate Heads, a cross-genre, dance and performance troupe that has created several original site-specific performances for new architecture structures within Stanford’s arts district including: Bing Concert Hall, the Anderson Collection, Mc Murtry Art and Art History Building, the Windover Contemplative Center and the recently renovated Roble Gym. Other notable performances and venues include Stanford Ted X, the Pace Gallery in Palo Alto, the Djerassi Artist Residency, The Cantor Arts Center and the Yerba Buena Center for the Arts in San Francisco.
Her current interests include StratLab, (founded by Hayes in 2012), to research improvisational strategies and practices used by artists to access new creative pathways, that may also be applied across non-artistic disciplines. This project has led to the development of pedagogically innovative workshops in embodied leadership, hosted by the d.school and STVP at Stanford, and Google X, that draw from performance techniques and histories, design thinking, social innovation, and entrepreneurship.
FAIL/FAIL (ecstatic discernment)
Over the ten weeks of Stanford’s Fall quarter with the dancers, we built up movement that ranged in tone from ecstatic, ridiculous, complex, and moving. That movement is the the foundation for the creation of this new work. Broken into four sections, FAIL/FAIL (ecstatic discernment) celebrates the messy and beautiful complexity of what it means to be human and engaged in movement, dance, and performance.
About the Artist
Alex Ketley is an independent choreographer, filmmaker, and the director of The Foundry. Formally a classical dancer with the San Francisco Ballet, in 1998 he left the company to create The Foundry as a platform to explore his interests in alternative methods of devising performance. The company has allowed Ketley to pursue projects that would be difficult to realize within his commissioning career. A few examples of these are; Syntax, an hour long duet systemically using the mechanics of language as an organizing mechanism, Lost Line researched how the application of environment effects the generation of movement and studied in direct response to California's diverse physical landscapes, Please Love Me jettisoned the structure of performing in a theater context and was developed with a curiosity about how people connect and experience artwork, and the No Hero Trilogy which was a multi-year project that explored what dance and performance means to the lives of people living throughout rural America. For his independent work as a choreographer he has been commissioned extensively throughout the United States and has received acknowledgement from the Hubbard Street National Choreographic Competition, the International Choreographic Competition of the Festival des Arts de Saint-Saveaur, the Choo-San Goh Award, the Princess Grace Award for Choreography, four Maggie Allesee National Center for Choreography Residencies, the Gerbode-Hewlett Choreographer Award, the Eben Demarest Award, three CHIME Fellowships, the Artistry Award from the Superfest International Disability Film Festival, and his work was featured on So You Think You Can Dance. His pieces have also been awarded Isadora Duncan Awards in the categories of; Outstanding Achievement by an Ensemble, Outstanding Achievement in Choreography, and Outstanding Achievement by a Company. As an educator he has taught throughout the world and is currently a Lecturer at Stanford University’s Theater and Performance Studies Department and was the Resident Choreographer at the San Francisco Conservatory of Dance for fourteen years until its closure in 2018.
THIS IS HOW WE DO IT: A journey thru Hipstory
Music has always inspired how we moved thru the years. THIS IS HOW WE DO IT: A journey thru Hipstory is a visual and aural experience thru the last few eras of dance, and the music that inspired those dance moves we learned while growing up. Sit back, relax, and come join us on a fantastic journey through "HIPstory", four decades of funky music, dance moves, and inspired fashion.
About the Artist
Ronnie Reddick is one of the Bay Area’s most dynamic and multi-talented choreographers with an edge of what’s happening in the world of dance and fashion today. This multi-faceted San Francisco based Choreographer/Dancer made his mark by combining Hip Hop, Jazz, Fashion and Theatrics to create one of the most explosive and dynamic styles to hit the dance scene recently, making him one of the most sought after Hip Hop/Contemporary choreographers in the Bay Area and beyond. Along with his busy career, Reddick is also the Choreographer/Show Director at Asia SF. This unique restaurant/dining experience is taking the world by storm and features one of the most beautiful gender illusionists in the world.
In the entertainment world, Reddick has worked with such artists as Michael & Janet Jackson, Deborah Cox, Paula Abdul, Kristine W., Tony, Toni, Tone, Jody Watley, Santana, Kelly Price, RuPaul, Robin Thicke, Snoop Dogg, Overtone Band and M.C. Hammer along with many corporations like Sony, Sony PlayStation, Intuit, Prudential, Gap, Macy’s, MAC Cosmetics, Nordstrom, Starbucks, API, Apple Computer, Google, Yahoo, Xilinx, Sun Micro Systems, BEBE, Univision Television, E*Trade, Coca Cola, and Microsoft.
In addition to teaching at Stanford, Reddick teaches at Santa Clara University and has taught master classes around the world, including Princeton University, Japan, South Korea, Mexico and Canada. He continues to work with, train, and inspire dancers that are now dancing around the world. Reddick also teaches dancers about the business of dance and how to work in today's world as a professional commercial dancer.
“Technique is only the beginning of what makes a memorable dancer, and we don’t start dancing to end up doing chorus," says Reddick. “You have got to have that extra something.” It is through his experience and selfless devotion that Ronnie Reddick is inspiring a new generation of talent.
DATES + TIME
Thursday, February 21 through Saturday, February 23 at 8pm.
Tickets are sold-out, but there's still a chance to see the show via or wait-list policy! Learn how by clicking below.
There will be no late seating or re-seating during this performance.
This concert runs approximately one hour with no intermission.
WHERE TO GO
This production plays in Roble Studio Theater, located in Roble Gymnasium. For maps and parking info, click here.