Dancers Improvise in Blue Box #5.

27 Blue Boxes are painted on sidewalks in Downtown Orlando. These boxes were put in place for panhandlers and buskers. Busking is possible only during day light hours. Although set up for panhandlers, police often insist street performers must use the blue boxes. Performing outside the boxes can result in 60 days in jail and a $500 fine.

These Boxes represent the only places downtown where theoretically there is freedom of expression.

On February 22nd, Corinne Mele from Red Right Return Dance Company encouraged a group of dancers to utilize Blue Box # 5 as their stage. They had just rolled off of a performance of Guard Down at the Orange Studio on February 20th. They had also rehearsed the night before, but that didn’t dampen their enthusiasm to perform on the streets of Orlando.

I was the first to arrive and anxiously searched for the box with map in hand. The last one had been spray washed away but this one was pristine, looking like it had been painted yesterday. I got a text from Corinne. Construction had blocked access to this street from the East. I redirected her to let her know that the street was still approachable from the West from Parramore. Soon dancers started to arrive. Corinne drove a cute little car that was covered in an ad for hint which I believe makes flavored waters. The dancers came prepared, with water and sunscreen.

They were concerned that this was a rather small stage. All movement had to be linear and having two dancers abreast, limited what they could do. Corinne walked the blue dotted line like a circus high wire performer. She did a pirouette and when she spun out of the box, she abruptly stopped and walked like a pedestrian to re-enter the box from a new location. Dancers soon realized that their extensions would most certainly cut outside the plane established by the blue box stage but with one foot planted inside the box they decided they were within the letter of the law. The dancers had two collection bowls set out. There was however no foot traffic on the sidewalk. We were one block away from the UCF Center of Emerging Media and the Bob Carr Theater. Construction effectively cut off all vehicular traffic. The only hope for a tip might come from a student. Towards the end of the dance company’s improve session, a single pedestrian approached on our side of the sidewalk, Corinne bet the he would cross over to the other side of the street to avoid coming to close to the art. Sure enough twenty yards from us, he crossed over to steer clear. In a town where art is seldom experienced in public, it can be intimidating for the uninitiated. There is no fourth wall to protect the audience. Art in public is a rare beast that must be caged in blue boxes.

Heidi Busher and Corinne were the first dancers to perform a duet on the tight painted stage. They supported can other and negotiated the tight squeeze past each other. Paige Maxwell bent over backwards like a sheet of paper folded in half. Her goal was to grab her own ankles. She grabbed one but the second eluded her. I was absolutely astonished by her flexibility. Kim Matovina displayed incredible feats of strength and balance usually reserved for gymnasts. She balanced on one hand and folded in her limbs balancing with her face inches from the pavement. She then did a headstand using her forearms for support. All five dancers got in the box and tried to duplicate the move for a photo. Not everyone had the strength, but for the flash of an instant they all held the pose.

After several hours of dancing, everyone was sweaty and tired. Paige was unexpectedly hit in the face when another dancer spun with her leg extended, effectively doing a back kick. I heard the smack as if it were a sound effect in a Japanese Kung Fu movie. Paige’s eyes watered and she held her nose. Luckily there was no blood. On a larger stage the dancers would not need to be so dangerously close.

Though no tips went into the tip jars, and not a single pedestrian walked by, it was a beautiful day and I’m so thankful that these beautiful dancers shared their talents to help point out that art should not be boxed in. Winter Park will never experience such a spontaneous outburst of creativity expressed on a sidewalk in public. These aren’t criminals, but highly educated and trained professionals who love their craft and share it openly. Such joyous outbursts of creativity might happen more often if Orlando City Commissioners didn’t create ordinances that effectively treat artists, dancers and performers as panhandlers that need to be boxed in.

The Shift to feature a Multiple Dance Company Ccollaboration

Emotions Dance  founded by Larissa Humiston is teaming up with Orlando’s best in modern, improv, and contemporary dance to engage and enlighten audiences with new, experimental, and in-progress works all under one roof.

After the performance, there will be a Question and Answer session with the Artistic Directors to allow audiences to provide feedback as well as gain insight into the creative process.

A one-of-a-kind annual event hosted by Emotions Dance Company, The Shift: Calm and Chaos focuses primarily on shifting our perception of movement, dance, and art while allowing companies to grow and change as artists.

Companies participating this year include: Voci Dance, Yow Dance, Dawn Branch Works, Canvas Creative Coalition, Red Right Return Dance Company, Mary Love Dance Projects, Coby Dance Project and more!

Mark Your Calendar! The Shift: Calm and Chaos  will be performed on

Friday September 19 and Saturday Sept 20, 2014

8pm

at the Lowndes Shakespeare Center’s Mandell Theatre

(812 E Rollins St. Orlando FL). Presale tickets are available Aug 12 until September 12
GA- $18
Students/Seniors (65+)- $14
At the door- GA- $20
Students/ Seniors (65+)- $15
Discounted tickets available for parties of 10+.

Also on the horizon is  7 Deadly Sins happening October 17-25th at The Venue (511 Virginia Dr, Orlando, Fl). 7 Deadly Sins is an original work that combines
contemporary dance, visual art, performance art, poetry, music and
culinary art to examine topics of temptation and sin. Lust, pride,
gluttony, sloth, wrath, envy and greed come together to entice audience
members through an interactive art gallery setting. 

Featuring performances
by Emotions Dance Company, visual art by award winning body painter and
Skin Wars Season 1 contestant, Shannon Holt, visual art by award
winning body painter, Brit Lytle, artwork by Patrick Fatica, Amanda
Wegman
, Scott Hodges, Thomas Thorspecken and others, spoken word
performances by E.J. Younes, J. Bradley, and Ashley Inguanta, aeral
performances by American Circus Academy, and a variety of refreshments
from local food vendors to satisfy your inner glutton.

Friday October 17
Saturday October 18
Friday October 24
Saturday October 25

7-10pm

The Venue (511 Virginia Drive. Orlando FL)

Presale tickets- $20 (available Sept 19-Oct 12)
At The Door- $25

This program contains some mature themes and may not be appropriate for children under 13.

Sylvia

On Friday April 18th, I went to the first of two performances by Red Right Return Dance Company at The Venue (511 Virginia Dr, Orlando, FL.) Elise Frost was the director and she was kind enough to let me know about the world premiere performance by this new dance company. RRR was formed in the summer of 2013 by a group of like  minded artists hungry for a space to play and develop as movers and creators. Sylvia was the culmination of their work showcasing how they discovered each other as artists and humans. Sylvia is the first destination on their journey.

The mission of RRR Dance Company is to establish a platform for the development of contemporary dance in the Central Florida community. The company seeks to create risk taking works through experimentation of movement, act of play and the creation of a fearless creative space. This performance was an incredible first step. The program began with a quote from Poet Sylvia Plath, “Can you understand? Someone, somewhere, can you understand me a little, love me a little? For all my despair, for all of my ideals, for all that – I love life. But it is hard, and I have so much – so very much to learn.”

The line of dancers progressed slowly up the wheel chair access ramp at the back of the stage. They moved as if in a funeral procession and then the lead dancer would scuttle back in live. There was pushing and shoving in the endless procession. On stage groups of dancers would huddle together seeking solace in each other and in human contact. The groups would move like a single entity. Dancers were often off balance trusting that they would be supported by someone else. At times, couples would pair off and dance to their own embrace. There was an intimacy in the interactions. At times dancers might be face to face, forehead to forehead looking into each others eyes. One dancers spun and fell loudly repeatedly. The sound of the fall was so loud that I was concerned she might hurt herself. She rose up and flung herself into space again with no fear.

A group of dancers pushed a fellow dancer up against the rear wall of the stage and they supported here there in a Christ like pose. They kept here there the longest time looking a bit like the solders who raised the flag on Owo Jima toward the end of World War 2. The dancers formed a line down the center of the stage facing the audience. They pressed forward and the lead dancer would stare above the audiences head in horror at some terror in the distance. That dancer would try to escape to the back of the line but never without a struggle. Each dancer on turn would face the horror and struggle to escape.

Suddenly the music changes and the lights all glowed red and the dancers broke into a joyous dance of celebration and abandon. With this sudden explosion of energy, the audience applauded. Some of the dancers I recognized, like Ashley Kroft and Darci Ricciardi so as an artist I felt invested in the off balance chances that the company took. There was a raw naked abandon to the entire performance. It was exhilarating. This is the face of change in an otherwise homogeneous clean cut town.