iMove_2.0: iCandy was built around the theme of love. Naomi Rhema and McClaine Timmeran started writing love notes on long strips of paper and envelopes as they waited for the dance rehearsal to start. The long strips of paper were used to construct a paper chandelier which hung in the center of the performance space much like an upside down wedding cake. Full Sail students were busy hanging lights and setting up a second installation with light bulbs hanging from long wires and flexible PVC zip tied to the rafters. 
Actually, a female student was at the top of the ladder the whole time doing all the work while the male student stood at the bottom of the ladder checking instant messages on his cell phone. The Full Sail students all volunteered their time to get all the lighting and high tech projections in place. They may have worked several all-nighters to get this show up in time for ArtsFest.
Genevieve Bernard explained that this installation was all about technology and how it affects romance. I loved an act between dances when McClaine acted like a high school girl talking on a Touch-Tone phone. She danced around excitedly stepping over the cord and then wrapping herself up in the cords embrace. This was lighthearted fun in keeping with much of the show. There were also cell phones hung with care and some very old computers and video games.
The dancers went through a routine in which they all wear LED-head lamps. There was something haunting and tribal about this performance. Periodically, I would be blinded by a dancer,s high beam if she turned her head in my direction. When the warehouse is dark, this dance should looked amazing.
In the several rehearsals I sat in on, I only saw a small fraction of the final show. This keeps me hungry, always wanting to stick around for one more sketch as the drama in motion unfolds. This was one of my favorite ArtsFest events, and it required a whole lot of love and commitment to bring it to life.
iMove_2.0: iCandy
The romantic and playful evening of iMove_2.0: iCandy has come and gone, so now I must simply report on what you missed. The multiple dance routines took place in a large open warehouse. My wife, Terry, and I were the first to enter. Brian Feldman was on hand to offer any crowd control that might be needed. There was no assigned seating. As a matter of fact there was just one couch, so for the duration of the evening people milled about gathering in different areas of the warehouse to watch the various dances. I said hello to Zac Alfson who was busy seeing if he could get his tweets up on the big screen. I think he also was taking photos with his phone all night.
What I loved about the show is that art truly imitated life in this open and vibrant setting. The dancers between dances, would mill about the room checking their iPhones or chatting playfully on old telephones with cords! It was fascinating because many of the audience members were themselves tweeting or checking Facebook status updates. They bowed reverently to the glowing information presented on palm sized screens. Terry can be seen checking her iPhone to the right. A screen on the far wall scrolled tweets and movies were projected on large seamless walls. A kissing booth was set up but it offered no actual privacy so I think it went unused. The Twitter bird icon was animated, flying about the room on the walls. Love letters and long streamers with love notes and hearts were everywhere. I picked up a strawberry flavored heart lollipop and put it in my pocket for later.
I sat on my portable stool next to Genevieve Bernard, the choreographer, and I heard her say “Nice choice” when a dancer had to adjust her movement to avoid running into the crowd. Genevieve said she was nervous right before the event because she was concerned people might not understand this open playful way of presenting a performance. Once she saw everyone was mingling and sipping wine, she relaxed and enjoyed the show. She even went out of her way and got me a red wine while I sketched. I spilled a little on the sketch in the upper left hand corner but I don’t think it hurt anything.
Doug Rhodehamel, an amazing local artist, stopped over and said hello. I have been trying to arrange to sketch him hard at work on his Spore Project. He explained that there might be a mushroom making party next week sometime, which would offer the perfect sketching opportunity.
My favorite dance routine of the evening involved three dancers who began the dance seated in three chairs. Two of the dancers, Leah Marke and Amanda Oost Bradberry, were constantly drawn to each other in romantic embraces circling and becoming closer, while the third dancer, McClaine Timmerman, would try and get close to the couple while never fully becoming part of the couples dance. In the end she remained alone, her staccato movements reaching towards the heavens as if imploring, yet never answered.
Voci Dance – iMove_2.0: iCandy
Sketching Voci Dance rehearsals for iMove_2.0: iCandy, which has its final performance tonight, has been a pure joy. I sit still for so long in the wings, and I am so quiet that I think the dancers forget that I am even there. This suspicion is confirmed when the dancers start joking with one another about their boobs getting in the way during certain dance moves. Genevieve Bernard, Voci’s artistic director and choreographer, shouted out to me from where she was sitting, that such discussions are quite common among the dancers. The choreography is athletic and challenging but the dancers fearlessly push themselves time and again until the moves are worked out. This routine being worked out was being co-choreographed by two of the dancers, Leah Marke and Amanda Oost Bradberry. When giving notes, Leigh acted like a Russian taskmaster for a moment; saying, “You must focus!” (pronounced fuckus). Everyone laughed. McClaine Timmerman said to the choreographers, “You must get twice the pay, as dancers and choreographers.” Later Genevieve explained to me that everything in this show had to be begged for, borrowed or stolen. This was being thrown together on a showstring with love and faith that it would all fall together come performance day.
The music for this piece was a light enjoyable song with the refrain of love, being sung seven times. One challenging move took the longest time to develop. It involved Kathryn Tosh lying on her back, and Naomi Rhema running towards her crouching down and allowing her pelvis to be supported by Kathryn’s feet. She would then use her legs like springs and launch Naomi backwards and up. Other dancers supported Naomi, allowing her to gracefully float back and then land. I didn’t try to catch the dancers in moments of fast motion but instead focused on their relaxed poses as they discussed notes and shared ideas. This was a constant collaboration; ideas came from everyone. Critical thinking was relaxed so they could explore and find new territory.
In the spirit of audience interactivity toward which the event is geared, a cell phone photo contest has been initiated in which you could win a date with a Voci dancer. Darn technology is always stealing the thunder from urban sketchers. Tonight is your last chance to see this amazing show and shoot some sweet cell phone photos.
iMove 2.0: iCandy
Genevieve Bernard invited me to stop in and sketch some Voci Dance rehearsals. The first rehearsal I sketched was at a dance studio in Baldwin Park right near Colonial Drive. As often happens, I had trouble finding the place. I actually pulled right into the parking lot, but the door said it was an art gallery so I left and searched for another building. I finally returned and opened the gallery door. The art gallery was dark. In the far back corner of the gallery I saw a bright light coming from a back room and I noticed mirrors and realized I was at the right place.
When I walked in, dancers were still stretching in the back room of the art gallery. Since rehearsal hadn’t started yet for these dancers, I decided to sketch them as they warmed up.
The first dance routine they started rehearsing involved the dancers sitting in chairs in a large circle. I was still finishing up the first sketch when Amanda Oost Bradberry asked if she could use the chair I was sitting in and she offered me a cushioned folding chair as a replacement. I was glad to oblige. I rushed the gallery sketch so I could get into the dance studio and see what they were doing. I often find myself struggling to finish my art as life plows forward.
The chair routine was graceful and a joy to watch. I liked seeing how the dancer’s backs arched and their arms flowed in serpentine patterns. In a part of the routine the dancers ran their fingers through their hair as if they were sensually washing it.
The dance studio had one mirrored wall and it resembled a stage even having curtain dividers going back stage. A large black garage door could be opened to join two studio spaces making one large space if needed. There was a playful experimental quality to the whole rehearsal. There was a constant high energy as these women pushed the limits of what was physically possible in dance. I grew exhausted just watching them work and stretch themselves, yet I could not convince myself to leave. I constantly felt the next moment would hold yet another great sketch opportunity.
iMove_2.0: iCandy will be performed February 5th and 6th at 7:30 PM at the Say it Loud Warehouse (1121 North Mills Avenue, Orlando). The building is bright orange on the corner of Highland Avenue and you can not miss it. The first 50 tickets each night are free from the United Arts web site. Otherwise, $10 at the door. There is parking on Mills and all the side streets. This promises to be an amazing event. More posts to come…