And&And&And Review

And&And&And is a piece created by Peter Redgrave and Lynne Price. The two artists created their work by the structure of various improvisation games leaving this show performed with only improvisation. Audience participation was used multiple times in this performance. Redgrave and Price created their own live soundtrack of breathing, stomping, clapping, spoken word from audience members, and singing within the performance. This performance was the first featured in the second BIDA season and was performed at Church on the Square.

When viewers entered the space, they saw gorgeous swirl patterns of red yarn all over the floor and white Christmas lights hanging from the ceiling. We were told to sit in different areas in the space, ranging from the sides of the room, the front of the room, and the balcony in the back of the space. This created the effect that there wasn’t a ‘front’ facing for the dancers and each viewer would have a different perspective of the performance.

And&And&And begins with Redgrave standing in the doorway and Price enters from the opposite direction. They slowly walk on the red yarn facing each other, both wearing a short blue patterned toga with yarn tied around their waist, while holding green yarn in their hands. They began flinging their green yarn loosely toward each other, which mushed the beautiful red yarn pattern all together. They both shifted their weight front and back as they swung their green yarn and rotated to face the opposite wall they were facing, still swinging their yarn. Redgrave remained with an up and down swing of the yarn and Price swung hers side to side as she twisted her torso right and left. The red yarn became a pile of noodles at their feet after the shifting and swinging of their green yarn.

Naturally, their individual green yarns get tangled like a web. They each take turns sticking their arms and legs into the holes of the web they created. The two found a beautiful counterbalance with each other, pulling their green yarn away from each other. Price then shifts to the floor and Redgrave pulls her around, by the yarn, slowly and then eventually running fast in a circle with the green yarn at his hips. Price slides along behind him holding onto the yarn.

Price then breaks away from the green yarn to perform indirect and flowy, yet powerful movements. Her head swept down to the floor and suspended her body up before her head led her to roll. She continued by putting weight into her hands, extending her leg up. Price then does a slight wiggle of her knees and pelvis while actively exhaling. Redgrave then moves into the same characteristic of movement quality of his dance partner, but done in a different way. He did many turns while off balance, which were so fun to watch, and carved his arms in space. Suddenly, Redgrave looks as if he can’t breathe. He points to his open mouth and stiffens his body. Price began making an “ahhhhh” panting sound to accompany her wiggling. She walks backwards with her head up and mouth still open. Redgrave moves internally, creeping forward with little steps, and gets smaller in his steps by holding his knees with his hands. It is as if he is trying to find his balance in this moment if he were walking on a tightrope. Price changes her exhale sound to an “ohhhh” and she slowly descends to the floor and finds stillness there. Redgrave finally audibly inhales, which initiates the next movement.

Price pops up from the floor and begins moving her body in different directions very quickly as she was saying things like “And I’m going to keep talking while I’m moving”. Price’s movements involved many twists and scooting of her feet. Redgrave began talking and moving as well saying things like “I choose not to stop it”. His movements involved stomping and jumping to make percussive sounds with his body. Price noticed her dance partner stop talking during his percussive movement and said “use our words Peter!” This section of the performance was so full and striking because the dancers were saying two different things in two different ways and moving completely different at the same time. I really wanted to listen and watch both of their dancing dialogues individually since they were both doing and saying such interesting things. Price was talking and moving very fast while Redgrave was speaking very intentionally, like a monologue, and he moved in a similar manner. Redgrave then says “It. Just. Keeps. Going” which initiated Price’s aerobic bouncing on her feet and a skittering bourree from Redgrave. Price then grabs the red yarn, which is now a tangled pile, and wears it around her neck like a scarf.

These two artists work so well together throughout this piece as they really listened to each other physically and audibly. A beautiful moment that demonstrated this was when Price was lying on the ground face down and Redgrave laid his body on top of hers for a moment of stillness. One of them exhaled a big puff of air that broke their bodies apart into their own individual movement again. Finding that long pause and breaking away at the same time after that long puff of air took great body communication. These two were performing their own movement phrases after they separated, but they both were throwing their arms up repeatedly. Redgrave then stood by a group of viewers and Price stood by another. They were throwing their arms up and looking at us intently. They kept doing this and Price started laughing. Then one audience member caught on: the dancers were trying to get us to do the wave! Eventually, almost all of the audience members were doing the wave around the whole space.

While we were still doing the wave, Price gets a microphone and told one of the viewers sitting behind me to start talking about waves. He began saying things like “it starts calm and then it grows”. The microphone got passed on to the two other people beside me, and to me as well. “Ice in the waves”, “Huge waves!”, “There is salt in your hair”, “Woosh!”, and “Waves” were said by the viewers. What was fun about this part of the piece was that an audio tool was used to make the viewers’ words record and repeat on a loop as it was played. “Huge waves!” was my favorite part to hear. The viewers’ recorded voices became the soundtrack for this duet’s movement. As these words were heard, Redgrave reacted to the words. He moved his body loosely one side to another as if he was being tossed about in the ocean. Price joined the physical reactions as well as our voice recordings continued to play. Price waved her body beginning with her head and snaked down to her tail. She also scooped her arms in and out, moving as if she were the waves we were talking about. Price then got audience participation again. Hanging from the balcony were strings of green yarn and Price prompted the people sitting in the balcony to twirl the yarn to add to the wave inspired movements.

This led into Price directing one side of the audience in singing “na na na na, hey hey hey, goodbye”. Redgrave led the opposite side of the audience in the same tune, so the whole audience was singing in a canon. The artists finish this piece by chasse-ing sideways in a circle facing each other and playfully swinging their arms with smiles while the audience was still singing. They end by giving the musical ‘rest’ symbol in both of their hands held above their heads.

And&And&And was one of my favorite pieces that I’ve seen a while. This piece invigorated me as it was so playful and was filled with games and movement, for movements’ sake. I left the Church on the Square with a smile on my face and wished that all dance could be this fun. I am so pleased to know these artists and I definitely applaud their bravery because being so free and so bold in front of an audience is not easy.



By Shianne Antoine

BIDA 2nd Annual Showcase Review

The BIDA 2nd Annual Showcase was a two day performance of ten different pieces. Each piece was choreographed by a different artist. The showcase was made of different themes and movements, but there were many similarities between the pieces. This was a show of many solos, chairs, and contemporary dance. The audience was very lucky to witness such a rich performance.

Ronderrick Mitchell’s Boy En Vogue

The first thing the audience saw is Mitchell sitting on chair and putting on red shoes that match his fierce red costume. The audio began with a debate between two people and transformed into a melodic soundscape with Hilary Clinton speaking in the background on LGBTQ rights. Mitchell performed a repetitive motif of giving the sign of the cross on his body with two fingers while sitting on the chair. His solo felt like self- discovery with his wavering between quick smooth movements and slow direct reaches with his limbs.

Samantha Hopkins’ Contents May Shift

This duet opens with Hopkins sitting in a chair and Polly Hurlburt lying her head in Hopkins’ lap. Throughout this playful duet, the two dancers found creative ways to lift and share weight with each other. A striking moment was when Hurlburt goes into a handstand and Hopkins grabs her partner’s feet behind her back and over her shoulder. Hopkins leans forward and Hurlburt gets back onto her feet, like a front walkover. The two emote a kind friendship with each other as they support each other in playful ways. A memorable moment was when the two counterbalanced with their necks pressed against each other, and they walked around in a circle in this counterbalance. That is something I definitely wanted to try after seeing this duet! Contents May Shift ends with a surprising lift: Hurlburt sits on Hopkins’ shoulder blades and presses her feet into her back. Hopkins then walks offstage out the door with Hurlburt on her back. This audibly wowed the audience.

Imani Shabazz’s Extra Terrestrial Bodies

This was a duet that was filled with gracious energy flowing through the dancers’ arms and torso that was accompanied with Wassoulou music. This piece felt like a religious offering as the dancers often beckoned their arms upwards. A memorable moment was when the dancers were kneeling facing each other and tapped their stomach, chest, forehead, and then opened their arms in a high release. They repeated this movement in different speeds, which was very satisfying to watch. Shabazz and Tadesse danced with smiles on their faces and kept the high energy flowing throughout Extra Terrestrial Bodies.

Zakari Jaworski’s Scheduled Interruption

This trio begins with three dancers rolling onto the stage. The music that played with this piece changed many times and it dictated the feeling the dancers were portraying. As I watched this piece, I thought about the transformation of television over time and how the dancers were seeming to tell that historic story. The music and movement raged from playful to aggressive to soothing. An exciting moment was when Ledesma climbed onto Jaworski’s back with effort and then drapped his body sideways over Jaworski’s back. Jaworski then held onto Ledesma’s body and spun him around rapidly. This piece had beautiful moments and comical moments, such as the ending of the piece with the dancers replicating the well-known painting “The Creation of Adam”.

Domineka Reeves’ Your Day Will Come

Reeves’ solo began with her running onstage and slowly rubbing her hands on her arms and body. This piece felt very emotional as Reeves performed protective gestures such as covering her head with her hands and caressing her body for comfort. Your Day Will Come encompassed the emotional melody of the same titled music very well and was performed with evident passion.

Madeline Maxine Gorman’s Bitten Tongue

Bitten Tongue is a solo performed by Kayla Clancy. This solo was incredibly energetic and manipulated movement sequences with repetition that was not overdone. Clancy performed beautifully as she was seen repeating a backwards roll and quickly lunging to the pulsing beat of the music. This piece began with Clancy standing in a spotlight and she began to speak, but the sound of gunshot interrupts her and shoves her out of the spotlight. An eye catching moment was when Clancy was ticking and twitching her head and arms very quickly like a malfunctioning robot, but she crumbled to the ground as a human when laughing becomes audible in the sound score. Clancy builds her movement back up to its ferocious quality. The solo ends with Clancy back in the spotlight and finally getting to speak saying “I am not afraid, I am not ashamed, I am strong!” This piece was a great energetic conclusion to the Saturday night show.

Melissa Hudson’s The Weight of Waiting

The Weight of Waiting is a group piece of seven dancers. This piece displayed a gorgeous flow and technique from the dancers. The beauty of the canons and individual solos was the consistent backbone of this piece. This group also worked with chairs and seeing seven of them, used by seven dancers, was so appealing. The dancers moved the backs of their chairs into a small circle and the group moved from chair to chair smoothly. A favorite moment of mine was when one dancer stood on her chair in center stage and slowly leaned her body into a long lateral T. The movement grew from direct with ease to strong and quick as the piece progressed. Another memorable moment was when the dancers had their chairs in a vertical line and one by one they tip toed slowly and carefully down the line of chairs. It reminded me of walking on clouds while they were lifting their arms freely as they stepped from chair to chair. Hudson’s choreography is inspiring and stunning.

Natalie Boegel’s Verguenza

This was a solo performed by Hannah Soares. Soares performed this solo with such power and grace. There is no doubt that she is a powerful dancer and can quickly change movement quality, as this was a theme in Verguenza. Soares spent most of her time swiping her legs and arms on the floor in various movement phrases, but what remained, whether on her knees or standing, was a motif of her right hand creeping around the back of her head and spoking her elbow towards her left knee sharply. The contrast between the smooth movements and the sharp movements were massive and made this solo stimulating.

Colorful Soles’#NineTen

This was performed by a group of seven dancers. #NineTen was made up of lovely canons and graceful movements. The dancers’ movements made me think of angels. The dancers were lifted and moved their arms in carved shapes through the air. It was clear that these dancers work well together and dance seamlessly as a group.

Torens Johnson’s In My Head

This is a solo performed by Diedre Dawkins. This was an expansive solo that showcased Dawkins’ lovely technique and power. She performed jumps, penches, and high releases, all while dancing on and around a bench. Dawkins performed Johnson’s choreography with a pleasant smile on her face, which made this solo even more exciting to watch.

Overall, the BIDA 2nd Annual Showcase was a success. I am so thrilled with the performances on both days. The performances showcased the Baltimore dance community in all its similarities and differences. The choreography was emotional, comical, graceful, beautiful and powerful. This was such a great opportunity for the audience to see great choreography performed by great dancers. I am definitely looking forward to what the 3rd Annual Showcase will bring.

by Shianne Antoine

Verguenza and Your Day Will Come

We are so excited to present the artistry of local choreographers and performers on March 24th and March 25th at Baltimore Theatre Project. 
We'd love for you to learn a bit more about our featured showcase artists.



Natalie Boegel is a freelance dancer and choreographer working in the DMV area. She graduated magna cum laude from Fordham University with a BFA in Dance. Natalie has performed works by Alvin Ailey, Martha Graham, Adam Barruch, Brice Mousset, Adriane Fang, and Yin Yue, among others. She currently dances with The Collective and BlueShift Dance. Natalie studied composition with Kazuko Hirabayashi. Her works have premiered at The Ailey Citigroup Theater and Baltimore Theatre Project.

Natalie will be performing Verguenza on Sunday March 25th at 3pm . Verguenza was conceived during the height of the #metoo movement, and is an intimate work which explores the interior landscape of the contemporary female.

Follow her ig: n_boegel

Visit her website:



Neka Reeves what we call a BIDA alum. She performed solo work and presented choreography twice during our inaugural season and is a celebrated member of our ever growing family and Baltimore dance community. She will be performing  Your Day Will Come ; a dance that explores how we navigate the uncertainty of our futures on Saturday March 24th 2018 at 7pm.


 Domineka Reeves was born in Washington D.C. and was raised in Baltimore Maryland. She received her A.F.A at Anne Arundel Community College, and her B.F.A. at University of Maryland Baltimore County. She recently received the opportunity to create an evening length dance piece titled “Together We Stand”, which premiered at Baltimore Theatre Project last year. Currently she has been teaching, and mentoring the next generation of talented dancers. 

Follow her ig : @d.y.r._dance

For artists who have considered throwing it all away when the work stops working


We are artists. We create. We share. 

And then one day we hit a roadblock.

Suddenly the inspiration dwindles and the solutions feel out of reach and the project feels beyond repair. Sometimes the work just isn’t working.

We’ve all been there.

No matter how hard we try we just can’t seem to figure out how to move forward or how to save the work. In the worst-case scenarios we panic thinking we may have to throw the entire project away.

But what if  we had a magic bag ? A tool box of tricks for support ? Something we could rely on at 2 am when we just can’t seem to figure out what the next step, section, musical arrangement, or story arc, should be ? Perhaps we could reach into our bag and wonder: 


And then maybe we decide to


Or we could 


These inspiration cards are designed to help in the most frustrating of times.

Interpretations of the prompts are completely your own and will change each time you apply them. Pick one at random, turn it into a game, use a combination, meditate and set an intention and then let the universe guide you. Results may vary according to your project, industry, medium, mood, season etc. The possibilities are endless and you're only limited by your own imagination. 


             click here


1.Save and Print the free download

2. Keep it for yourself or Pay it forward by sharing this post and the download with other artist friends, students or colleagues who could use the energy boost.



Second Annual Choreographer's Showcase: Submissions Open!

We are excited to open submissions for the Second Annual Choreographer's Showcase!

This year's showcase will take place at Baltimore Theater Project. We have two show dates: Saturday, March 24, 2018 at 8pm and Sunday, March 25, 2018 at 3 pm

Submission fee is $15 and will be requested via Venmo within a few days of receiving your application. Submissions are open until January 31, 2018.

Submissions can be finished works or works still in development.

Gather your materials now and submit!

Submit Here

Blogpost: The Choreographers Showcase (Lynne Price)

The End of the Season!

Last night, BIDA closed out our inaugural season with a wonderful showcase of local choreographers. The BIDA Choreographers Showcase took place at the currently developing Mondo building, one of Le Mondo’s ambitious projects. Though the space is still in progress, it was warm and inviting and you walked in and immediately felt the potential of the space. It worked perfectly for our somewhat informal showcase. We were able to host 5 local choreographers/groups, each one with their own unique and distinct artistic vision.

Christine Hands presented “A Duet with Melissa,” a multi-media piece where Hands dances with a projection of her sister, Melissa, whose mobility is dependent on a motorized wheel chair. The work explored Melissa’s physicality, first by showing us a video of Melissa dancing and then Hands inviting us to perform some of her movements, and then later with Hands expanding on and translating the gestures into full-bodied movements. As the piece evolved, we began to hear and see Melissa giving Christine instructions such as “move to the left,” “spin around,” “tap dance,” and “clap your hands three times,”—first as a video and then as a voice for Hands to respond to live while we watched a beautiful video of the two of them dueting in a park in Hands’ hometown in Illinois. The deeper we got into the duet, the more I sank into the beauty of their relationship.

Polly Mizani presented “She Named Her Opaline,” a creepy work set to “Breezeblocks” by Alt-J that felt like it could have been, or perhaps should have been, the music video for that song. Mizani’s interpretation takes the line “Please don’t go, I’ll eat you whole, I love you so, I love you, so I love you so” and creates a narrative based on an evil little girl archetype, terrorizing and consuming her mother. Mizani’s physicality is that of someone possessed, greedy, and monstrous (literally, she looks like a giant mouth monster sometimes) and Kelly Alt, the mother, is passive and exhausted (though, not inactive by any means), reminding me of someone at the end of a long, difficult struggle. This work was previously performed for the Baltimore Dance Invitational but the intimate setting of the Choreographers Showcase, similar to the Collective’s SHORTS show where the work originally premiered, allowed the audience to see each detail and feel the creepiness deeper.

Matthew Williams presented an untitled work of his movement research practice. Williams’ piece was not performed on the stage space but instead took place in the round in an intimate space underneath a loft. Clad in only a jockstrap, Williams moved in silence, lying on the floor, in what I saw as an exercise in tension and release while shifting his focus back and forth from internal to external. It created some beautiful moments of floating and allowed us to see every muscle engaging and disengaging to create this floating image, subtly exposing the fallacy of this notion of floating when in relation to gravity. Slow and consistent we were brought into a very intimate, private practice and it was lovely to see such vulnerability.


LucidBeings Dance, which is made up of Franki Graham and Jeanna Riscigno, presented “Symbiotic,” a duet exploring the beauty of dependent relationships. The work began with the two bodies as separate entities but they soon merged to be a single unit, engaging in lifts and intimate partnering work with the pair rarely leaving contact. They supported each other, strangled each other (gently), wound themselves around each other, climbed each other, and intertwined. One moment consisted of Graham holding Riscigno parallel to the ground while spinning around and around while Riscigno unfolded her arm, searching for the sky or the next place to grasp on. While not a unique lift, seeing it with this subtle addition of a searching arm points to the full-bodied awareness and attention LucidBeings paid to each moment.

The evening concluded with Sarah Schmitz’s “The H Dilemma,” a quartet exploring relationships and connections. Set to an Erik Satie piece and a Library Tapes song, the dancers rotated through numerous combinations—solos, duets, trios and quartets—exploring such themes as trust through weight sharing. The structure was complex and ever-changing, constantly challenging our expectations. As the work progressed, the relationships became more strained, the energy becoming more desperate, and the vulnerability and connections established at the beginning began to feel threatening. The work concluded with the dancers fleeing the stage, resolving the dance with a sense of unrest.

Despite Peter and my fumbling with the lights and audio, it was a wonderful event celebrating local choreographers. Some are new to the area, some have been around for a while, some are just beginning to present work, and some have been doing it for years. It was a joy to be able to present, witness, and share in the evening. We, BIDA, are very excited to be able to say we have finished an entire season and are excited to jump into round two (with all the lessons we learned from the first one moving us forward)!

Written by Lynne Price

Photos by Christine Hands

Review: Together We Stand (Madeline Maxine Gorman)

Photo credit: Ken Harriford

Photo credit: Ken Harriford

After receiving an Emmy award in 2015, Viola Davis famously said in her acceptance speech that “the only thing that separates women of color from anyone else is opportunity.” Davis is not the only artist to address the lived experiences of women of color. Her speech is part of the history of strong female artists using their art to further their political beliefs.

 Recently, UMBC senior Domineka Reeves continued that tradition with Together We Stand, presented at Baltimore Theater Project. She explained that the work is about “identifying how the past and current situations have effected women of color and our generation.” The piece was just under an hour in length and featured four performers, including Reeves herself. It was divided into three sections titled “Lost in a World,” “Fear,” and “Support.”

Overall, there were several compelling moments and recurring themes. The dancers were expressive not only in their movement, but also through their breath and facial expressions. They wore matching simple, black dresses. Reeves stood out as the lead with her fiery crimson hair, dynamic energy, and because of the rope handcuffs tied to her wrist. The choreography itself was an amalgamation of modern and ballet vocabulary. The dancers would frantically scrub the floor with their hands, suspend through a plank, and send slow, piercing looks towards the audience. In addition, video was projected onto the cyclorama behind the dancers. The video included interspersed clips of the dancers’ bodies from close up, hands pressing against fabric or a shower door, and the dancers moving in a studio.

The earlier sections lacked unpredictability. While they were beautiful, at a certain point I was able to sit back and know what was going to happen next. While there were hints of the drama that was to come, including a gesture in which the dancers appeared to be choking, I found myself feeling antsy for development. However, “Support” was absolutely striking. The whole stage was flooded with red light and, rather than melancholy or defeated, the dancers seemed proudly defiant. With the words of Maya Angelou reminding them that “everyone else and everything else are also God's creation,” the dancers’ virtuosity increased drastically. In the “Support,” section, I was truly able to see each of the dancers’ artistic voices. Near the end, Reeves performed a solo which included sensual movements, mimicking the act of being shot multiple times, and a bitter scream. It was heart-stopping.

Reeves stated that “Together We Stand shows audience members how throughout history women were constantly dealing with the same struggles. Women still have a long way to go for our rights and respect in society, but we need more female artists voicing their strong opinions and creating long lasting work.” The performance did artfully evoke the history of women of color—from physically being prisoners as slaves to feeling like prisoners within their own skin. Together We Stand not only conveyed Reeves’ message, but also was an artistic success for each performer. Reeves should be extremely proud of her work, her dancers, and her performance. As she said herself, there is a real need for female artists to create strong work and Together We Stand accomplished this goal.

Article written by Madeline Maxine Gorman

Preview: Together We Stand (Lynne Price and Andrew Sargus Klein)

Last night, Andrew and I, along with the other BIDA members, had the pleasure of witnessing the first half hour of Domineka Reeves’ full-length work Together We Stand, premiering this Saturday, April 22, at Baltimore Theater Project. The work is sophisticated and rich choreographically, personally, and politically. The quartet of young women tackles the experience of being women of color—the struggle, the fear, the support, and empowerment, with choreography that ranged from patient and minimal to complex and multilayered.

The first section, titled “In a world,” mixes brief solos with group work. The dancers exit and enter the space multiple times, as if searching out and testing boundaries. We are reminded of tenderness, femininity, and community. They gather in a group several times and rub their hands against the floor and themselves evoking an almost frantic sense of cleaning/tidying, the washing of skin, the smearing of blackness.

The second section, titled “Fear,” opens with beautiful visuals of the soloist and her body projected onto a backdrop—the politicized body of a  black woman in flesh and digital form. The work transitions to more intimate duets shared between the dancers.

The overall pacing is slow and deliberate, with several repeated choreographic motifs to tie the sections together. There is a building sense of tension, energy and possibly anger. We were left waiting for the cathartic exigence which we anticipate will explode in the third section, titled “Support.”

Neka Reeves is a senior dance major at UMBC but her work is as strong as any evening-length dance you might find in the area. She’s a powerful woman with a compelling point of view, full of conviction, and a true artist. I’m so excited by her and I hope you come out and support this emerging voice in the field of dance. With the integration of stunning photography and videography and a gorgeously abstracted score, you will leave the work with an intimate understanding of the world through this young woman’s eyes—a world that is dark, confusing, frustrating, cold, lonely, painful as well as full of light, beauty, support, camaraderie, community, and tenderness.

Co-written by Lynne Price and Andrew Sargus Klein