Dance in Concert

Performance livestreamed October 23 at 2 p.m.

What does it take to access "spirit" within the art form; what does it take to offer that finding beyond the computer screen?

From October 23 to 25, students will work with PRICEarts Executive Director Noelle Price to find freedom within their four walls.

We invite you into the process on the last day, October 25, at 2 p.m. to witness the cumulative exploration and dialogue with the students about their findings.

Since relocating to Seattle WA in 2015, Noelle has performed with Karin Stevens Dance Company 2016-17, set work in festivals Full Tilt (Evoke Productions), Men in Dance Adjudicating Showcase, Tint Dance Festival and performed for the 2018 premier of Beautiful Carcass, a Maya Soto and Nico Tower collaborative project among other things. Price self-produced an evening length work titled An Ode to Marlin and wrote/performed her first one women play Death and Other Rude things both in 2016. 2019 her evening length work Remember Me Young received a Seattle Dance Crush Award for its commitment to advocacy.

Noelle Price Performance Program

Performances livestreamed November 21 & 22

Created by Cameron McKinney, DREAMS OF A SLEEPING WORLD is a hyperphysical interpolation of visual artist Oscar Oiwa’s installation of the same name that encompasses onlookers in overwhelming black and white swirls of marker and acrylic. The work uses contemporary floorwork-oriented movements to juxtapose the lively ensemble moments against a series of solos and will feature visual art by WWU faculty and/or students.

Cameron McKinney Performance Program

Performances livestreamed December 4 & 5

A True Move: An American Movement Alphabet Journey

A Statement from Quilan "Cue" Arnold:

Salsa has the Salsa step, Hip-hop has the Bart Simpson, Tap has the Time Step. Modern has the Lateral T and Postmodern has the Bartenieff X. All of these dance forms are unique languages constructed from vocabulary and technique that speak to a specific time, people, and place in the United States. However, English -the most commonly used language in the U.S. for both dancers and non-dancers- has not been used (to my knowledge) as the base source to create and/or develop our main U.S. dance forms.

WWU students and I are in an experimental process; co-constructing a movement system built upon English phonemes and our individual dance experiences. We are tapping into self-knowledge, American Sign Language, Laban effort qualities, and International Phonics to imagine what an embodiment of our ABC’s can look like. This process will culminate in an online performance for the audience to gain a fresh perspective on a language many take for granted.