Salt Dance Fest

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Repertory Dance Theatre, Ririe-Woodbury Dance Company, and Salt Dance Fest (The University of Utah School of Dance) announce Dance West, a new three week immersive summer workshop/festival. The combined forces of Salt Lake City's premier contemporary dance entities, Dance West, bring together internationally renowned dance artists for three weeks of moving, collaborating, and dance making June 10 - 28


Faculty include: Dante Brown, Ann Carlson, Ohad Fischoff, Nina Watt, Tom Welsh, Yin Yue, and Noa Zuk, Daniel Charon, Molly Heller, Stephen Koester, Lynne Larson, and Repertory Dance Theatre and Ririe-Woodbury Dance Company members.

Complete workshop information coming January.

About

Poster CROP

Salt Dance Fest annually brings significant, influential artists to Utah to share their unique and acclaimed artistic perspectives, diverse aesthetics and approaches to dance. Salt Dance Fest, unique among dance festivals in the western United States, is committed to the exploration of the creative process in addition to contemporary technique and repertory work. With participants from around the country and the world, the workshop highlights and investigates the creative process and is designed to be a laboratory that nurtures and supports experimentation, exploration, curiosity, collaboration and the development of innovative choreography, artistry and thought.

Participants work intimately with acclaimed artists, developing and exploring ideas in dance and choreography. Now in its eighth year, past artists at Salt Dance Fest have included: Eiko & Koma, Chris Aiken, Angie Hauser, Teri and Oliver Steele, Marina Mascarell, Paul Selwyn Norton, Vickie Cortes, Kyle Abraham, Maura Keefe, Miguel Gutierrez, Netta Yerushalmy, Faye Driscoll, Zoe Scofield, Juniper Shuey, Pavel Zuštiak, Paul Matteson, Sara Shelton Mann, Jeanine Durning, Alex Ketley, Jennifer Nugent, Daniel Charon, Jesse Zaritt, Shinichi & Dana Iova Koga, Joanna Kotze, Katie Scherman and Idan Shirabi. The workshop is housed at the University of Utah – a hub of dance pedagogy, performance and choreographic creation for the American West.

Participants of Salt Dance Fest select from three blocks of daily classes, engaging with the artists in: Contemporary Technique, Improvisational Practices, Performance Research, Composition/Choreography, Creative Process, Repertory, Partnering, Interactive Media and Site Specific Work (see Class Descriptions). The Salt Dance Fest 2018 class schedule operates on a block system – participants may sign up for up to three blocks of classes as. Specific class requests, identified on the application form, are on a first-come first-served basis (further class information follows). The workshop/festival additionally includes a free morning somatic practice and /or barre as an introduction to the day, lectures and panel discussions with the guest artists, an improvisation jam and social events, as well as opportunities to present work in showings and concerts.

Workshop participants are expected to be mature, self-motivated dancers and young professionals interested in further developing choreographic, creative, performance and movement investigative skills. Participants must be 18 or older, and are expected to dance at an intermediate or advanced level. Enrollment is limited, providing more individual attention for each workshop participant. Housing and meals are available at an additional cost. College credit is also available.

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SDF participants may extend their studies in Utah at Repertory Dance Theatre’s Summerdance 2018 Workshop, Ririe-Woodbury Dance Company’s Move-It Summer Dance Workshop and/or Integrated Movement Studies Program (IMS – IMMERSION or full certificate program) (see information below). Info at rdtutah.org, ririewoodbury.com, and imsmovement.com

Workshop Blocks & Schedule

Free Morning Body Preparation Class (available to all workshop participants) — 8:45-9:25

Each morning will begin with an optional somatic-based class and/or barre open to all festival participants on a drop in basis. These classes will serve as a physical preparation for the day and an opportunity to get in touch with yourself and your body.

Block I Classes – 9:30-11:30 (sign up for one of the below)

  • Advanced Contemporary Technique - Katie Faulkner
  • Improvisation/Partnering – Omar Carrum
  • Alternative Technique - Wally Cardona

Block II Classes – 11:45–1:45  (sign up for one of the below)

  • Alternative Technique – Omar Carrum
  • Composition/Choreography – Katie Faulkner
  • Partnering/Choreography/Repertory – Eric Handman (week 1), Pablo Piantino (week 2)

Block III Classes – 3:00-5:00  (sign up for one of the below)

  • Creative Process - Wally Cardona
  • Site Specific and Digital Mediated Dance– Scotty Hardwig
  • Choreography Mentorship Project – various guest artists

SDF Blocks 2018 02

pdfDownload Full Schedule

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Class Descriptions

Advanced Contemporary Technique: Integrated Artistry – Katie Faulkner

This rigorous, highly physical contemporary technique class will consider the cultivation of sensitivity, listening and generosity as technical and performative skills as in need of practice as our neuromuscular coordination. Utilizing the somatic approach of Bartenieff Fundamentals to support greater functional efficiency as well as psychophysical integration, we will consider our dancing in relation to our body patterning, structural integrity, dynamic power and inner intent.

Improvisation/Partnering: Momentum (ESCript Improvisation and partnering) – Omar Carrum

The workshop aims to expand the possibilities of improvised language development.  To dig deeply into dynamic concepts during the execution allows the interpreter the development of the tools of communication with the observer. We will work on the sophistication of the channels that simplify or require such communication by studying body states, dynamics, biomechanics, emotions, sensations, images and partnering. That is why when we speak of movement we refer to the variety of its forms (mechanical, gestural, sound) and the possible ways of its specialization. Under the premises of uncertainty, instinctive impulse, repetition, and exhaustive exploration, tools will be given to expand the possibilities of the improvised movement. The participants will learn the importance of beginning, ending, limits, transitions and constructions of micro-scenes. Exploring different body states and developing their mechanical, gestural and sonorous reaches and natures, will allow us to construct a "corpus" that will act as a filter through which our ideas are materialized and distort to confront the complexity of what is being communicated. The workshop is developed though dynamic improvised exercises about continuity, explosiveness, resonance, change of speed, drawing, musicality, in search of a theatricality. With very simple limits and rules, the participants will develop their hearing sense to make decisions that contribute to the actions of the moment. The workshop implies constant analysis on the practice that inevitable will deepen on knowledge and skills for improvisation and instant composition.

Alternative Technique: Commitment/Willpower/Surrender/Devotion: Dancing a Dance – Wally Cardona     

This class revolves around learning an existent dance that is specific, detailed and rigorous. It is not a repertory class. To dance this dance successfully, one must embody it fully. But one must first learn it. The process of learning, the acquisition of technique and the path to embodiment – is what this class is about.

Alternative Technique: CONTINUUM – Omar Carrum

Based on continuous mechanics and kinematic principles, CONTINUUM is a training system that aims for the continuity of the kinetic chains of movement, its path, and a very specific and uncommon way to use momentum, impulse, space, motion script and physical principles. The class pursue the knowledge of our relationship with the floor and gravity and uses the body as a whole continuous mass instead of segmented parts where movement takes place from the study of weight placement, speed control, space density, planes, continuous movement and circular trajectories.  The use of hands, feet, elbows and head will be strengthened as substantial points for pivot, leverage, support and anchorage. We will aim for continuity and a sustained muscular and skeletal consciousness in order to learn how we can transfer, gather and spread our weight anywhere in our body, how the mechanics of each muscle and bone work, and how all our body parts can cooperate to move more efficiently, safely and smoothly.  Dancers will develop a new understanding of their bodies by exploring the principles of physics: inertia, centrifugal and centripetal energy, expansion, suspension, strength and resistance, all of which will sustain and generate new skills and abilities for moving, sliding, turning, jumping and falling.

Composition/Choreography: Dancing Alone: Solo Choreography – Katie Faulkner 

Designed for anyone interested in practicing making dances this class will focus on the creation of solo works. All participants will be encouraged to reflect on their current interests, instincts, habits, and curiosities and will be guided through processes for generating material that feel specific to personal goals. Rich and varied opportunities for reflection and feedback will be woven throughout the process as will approaches to intuitive working that are playful, messy, rigorous and specific.

Partnering/Choreography/Repertory: Eric Handman (week 1) and Pablo Piantino (week 2)

Week 1: Handman - Choreographing Partnering: Tools for a Creative Process

This workshop will focus on creative strategies for choreographing extended partnering sequences that are physically challenging, abstract, complex and potentially metaphoric. Methods for producing dense networks of complex group partnering will be the focus. Various devices and prompts will be introduced to initiate emergent processes whereby innovative partnering and choreographic structure will arise from a state of discovery.

Week 2: Piantino - Repertory

This workshop will be based on choreographic excerpts by Hubbard Street’s Resident Choreographer Alejandro Cerrudo. Through the choreography, contemporary movement vocabulary and partnering skills will be introduced and developed. The intricacy and beauty of Cerrudo’s work, will inspire the dancers and insight further curiosity into the world of European Contemporary Dance styles.

Creative Process – Wally Cardona

"Creative Process".  It's constant yet can seem elusive and slippery. (Respectable traits perhaps?) It's always best to trust it but one can still get twitchy and try to hop out of the cycle that is process. In this workshop, we'll be in a creative process by questioning how it is unique from, yet intimately related to, systems, protocols, and ways of making (dancing as well as dancemaking). 

Movement & Media (Designing Video, Projection, & Site-Specific Dance) - Scotty Hardwig

This workshop will take a creative approach to the lenses through which we see the performing body, including the photographic, filmic, sonic, and visual. With a multimedia approach, we’ll aim to develop two group works including a video study filmed in the Utah environment for the first week, and a live movement study with projection and sound design as a group for the second week. Some classes will take place in the studio, and some will take place in the Marriott Library's computer lab spaces.

Week 1: Site-Specific & Video
Starting with exercises in site-specific movement practices and outdoor work, we’ll look at how to frame these explorations through a photographic or filmic eye. Then we will start developing a group choreographic structure or idea to video in an outdoor space. We'll try to film this on the first weekend,so these participants would need to be available for a film shoot in an environmental location either the Saturday or the Sunday of the first weekend (transportation will be organized).

Week 2: Projection & Sound
For this week, we’ll look at how to design and frame live performance events through the use of projection and sound; an introduction to Ableton Live and Isadora will help develop concepts for a group choreographic or improvised structure using live projections.

Choreography Mentorship Project – various artists of choice

Participants are provided space in which to work on the creation of one’s own choreographic project.  Along the way, the work will be regularly viewed by SDF artists in which the artist will provide their input and mentorship.  On-going one-on-one artist/participant dialogue about the work is a key element of this project.  Participants request which artist(s) they would like to serve as their mentor.  The goal of this project is to develop a work or work-in-progress that would be shown as part of the Artists Concert June 14.

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Guest Artist Bios

WallyCWally Cardona

A choreographer/dancer/teacher living in Brooklyn, Wally’s work has been presented in the Americas, Europe and Asia, and commissioned by Brooklyn Academy of Music, The Joyce Theater, Portland Institute for Contemporary Art, The Kitchen, EMPAC and others.  For several years, Cardona created large works that demanded highly controlled working conditions in order to be made. In 2009, he began to cultivate a practice of undoing by initiating intimate yet crowded collaborative conditions for his practice to mutate in proximity to others.  Works coming out of this practice include THE SET UP: ISLAND GHOST SLEEP PRINCESS TIME STORY SHOW, co-created over the span of six years with Jennifer Lacey and seven master artists who have dedicated their lives to their respective dance traditions: I Nyoman Catra (Balinese Topeng), Proeung Chhieng (Cambodian), Junko Fisher (Okinawan), Saya Lei (Mandalay-style, classical Burmese), Jean-Christophe Paré (French baroque), Kapila Venu (Indian Kutiyattam) and Heni Winahyuningsih (Javanese refined); TOOL IS LOOT, resulting from games of aesthetic disorientation, made with Lacey and composer Jonathan Bepler; Interventions 1-7, a series of encounters in which Cardona voluntarily subjected himself to the requests and opinions of “outsiders”, including a sommelier, astrophysicist, architect, social activist, and group of acousticians; Really Real, a "people piece" for 100 individuals; Revival, for 30 dancers in the abandoned upper balcony of the old Metropolitan Opera House in Philadelphia; and A Light Conversation, a physical dialogue on aesthetics vs. ethics, love, commitment and sacrifice, made with Swiss/British choreographer Rahel Vonmoos.

Awards include the Doris Duke Performing Artist Award; Asian Cultural Council Fellowship; John Simon Guggenheim Memorial Foundation Fellowship; NYFA Fellowship; Creative Capital; and a New York Dance and Performance “Bessie” Award.  Recent residencies include Krannert Center’s Reflection Time Residency; LMCC’s Extended Life Dance Development, Robert Rauschenberg/Danspace Project’s Captiva Residency; Portland Institute for Contemporary Art’s Creative Exchange Lab; and Vermont Performance Lab. wcvismorphing.org

OmarOmar Carrum

Omar is a Mexican dancer, choreographer teacher and video maker, He joined DELFOS danza contemporánea as a founding member from 1993 to 2017. He has received two times The National Dance Award as performer and choreographer and seven grants by FONCA (National and State Funds for Culture and Arts in Mexico). In 1998 he co-founded, with Claudia Lavista and Victor Ruiz, EPDM (Profesional Dance School of Mazatlán), which has emerged as one of the leading dance conservatories in Mexico and Latin Americ.  In 2007 he became the Academic Director and under his lead the EPDM earned in 2008 the award  RAÚL FLORES CANELO. He started an exchange program with the Duncan Center in Prague and in 2007 created the project  HABITAT, where he lead every year a team of artists to teach dance to 300 children in 4 poor neighborhoods in Mazatlan. In 2012 he developed CONTINUUM as an integral system for training with specific principles that challenged the use of speed, momentum, floor work, special planes and movement script. He has been a featured performer in over ninety works of dance, theater, and opera, working with an international roster of choreographers performing in some of the world’s most prestigious theaters and festivals for dance.  As a choreographer he has created over 55 works for Delfos, EPDM and ADM in Mexico; Camaleão in Brazil; Aurora, Semountnori & K-Grace in Japan; Boston Conservatory, Bates College, Bates Dance Festival, Smith College, Middlebury College in the US; The Duncan Center in Prague, and Festival Prisma in Panama. His short film Fifth Wall, co-directed with Dutch Rall was selected by the Short Film Corner in CANNES (2013), and by Agite y Sirva (2014). In 2009 he became the first Mexican choreographer to receive the GUGGENHEIM fellowship, in 2014 he becomes a member of SNCA (the National System of Arts Creators) and from 2018 to 2020 he receives the Grant as a Creator/interpreter with trajectory from FONCA, which are two of the most important recognition for artists in Mexico.

Since 2010 he collaborates with the Colombian artist, Vladimir Rodriguez and creates ESCrito Absurdo and in 2016 consolidates ESCorporart & WORLdrobed as formal platforms to continue his creative and pedagogical research. He is currently working as a guest artist with the Spanish company La Intrusa directed by Virgina García & Damián Muñoz.  omar-carrum.com

KSKatie Kaulkner

Katie Faulkner is a choreographer, performer, filmmaker, teaching artist and the Artistic Director of little seismic dance company. Since founding the project-based company in 2006, Faulkner has received support in the form of numerous grants, commissions, residencies, and awards. She was an Artist-in-Residence at San Francisco's ODC Theater from 2009-2011 and has been in residence at the Shawl-Anderson Dance Center, the Marin Headlands Center for the Arts, the Djerassi Resident Artist Program, the Rauschenberg Residency, and the Maggie Allesee National Center for Choreography. She has received two CHIME Grants from the Margaret Jenkins Dance Company enabling year-long choreographic mentorships with choreographers David Gordon and Erika Chong Shuch. Faulkner has also received multiple Isadora Duncan Dance Awards and nominations, the top prize for her work in the Joyce Theater A.W.A.R.D. Show!/San Francisco competition, and the 2010 SF Bay Guardian GOLDIE (Guardian Outstanding Local  Discovery) Award for dance.

In addition to her direction of little seismic, she works as a freelance choreographer developing works for a variety of platforms. She has been commissioned to create multiple works for universities, presenting agencies and professional companies throughout the country and enjoys the balance of these projects with those of her company. As a dancer she has performed the works of Bill T. Jones, Stephen Petronio, Alex Ketley, Victoria Marks, Susan Rethorst and Ann Carlson, working with several of these choreographers as a dancer with AXIS Dance Company from 2003-2007. She has been an active educator since 2002 and is currently on faculty at the University of San Francisco, UC Berkeley, and ODC. In January 2015 she received her certification in Laban/Bartenieff Movement Analysis from the Integrated Movement Studies program. She was recently invited to be a 2017-2018 Truth Fellow with the Yerba Buena Center for the Arts.  littleseismicdance.org

EHEric Handman

Eric Handman is a choreographer and an Associate Professor at the University of Utah's School of Dance. Prior to receiving his MFA from the University of Utah in 2003, he earned a BA in English from Skidmore College in 1991. He was a member of New York Theatre Ballet and then a dancer in various New York–based modern dance companies such as Doug Varone and Dancers, Nicholas Leichter Dance and Joy Kellman and Company. He has worked with David Dorfman, Lisa Race, Wendy Perron, Stephen Koester, Charlotte Boye-Christensen, Koosilja-Hwang, Eun Me Ahn, Pooh Kaye and many others. His choreography has been commissioned domestically and internationally, been shown at the Kennedy Center in Washington, D.C. and won the 2014 “Pretty Creatives” International Choreographic Competition for the Northwest Dance Project. He has served on the board of directors for the Congress on Research in Dance and the American College Dance Association. Handman is a Fulbright Specialist and a member of the Entrepreneurial Faculty Scholars at the University of Utah for his work on choreographic thinking, virtual reality and autism. 


ScottyHardwickScotty Hardwig

Scotty is a dancer, choreographer, educator, and digital media artist originally from the Appalachian mountains of southwest Virginia.  He most recently was a dance with the AXIS Dance Company.  As a performer, he has had the honor of working with internationally recognized choreographers like Stephen Koester, Johannes Wieland, Joe Goode, Eric Handman, Yannis Adoniou, Satu Hummasti, and Stephan Koplowitz. His own artistic practice melds an articulate, athletic movement vocabulary with a specialization in digital dance, photography, video, projection and sound design for live performance. As an educator he has served on the faculty of the University of Utah and Middlebury College, teaching improvisation, aesthetic theory and dance history, anatomy and kinesiology, dance media, as well as contemporary technique and composition. He received his MFA in Dance from the University of Utah, and was most recently a resident emerging artist at Bates Dance Festival (2015), as well as the artistic director of the Dance Company of Middlebury (2016-17).   www.hardwigDance.com

 

PabloPablo Piantino

Pablo is originally from Mendoza, Argentina, where he began dancing at the age of 14. His training includes private seminars with Héctor Zaraspe and studies at both the Colón Theatre Ballet School and The Juilliard School where he received his Bachelor of Fine Arts. After dancing with both the Colón Theatre Ballet Company and the Juilliard Dance Ensemble, Pablo joined the San Francisco Ballet in 1999 where he danced a broad span of classical and neo-classical repertory. In 2005, he joined Hubbard Street Dance Chicago and had the pleasure of working with choreographers such as Nacho Duato, Mats Ek, William Forsythe, Jirí Kylián, Ohad Naharin, and Twyla Tharp, among many others. Pablo received a Master of Fine Arts degree in Dance Education from the University of Washington in June 2015, where he was also a member of Chamber Dance Company. During the past years, he has taught at the University of Washington, George Mason University, West Virginia University, Hubbard Street Dance Chicago, and The Joffrey Ballet Trainee Program among several other institutions. Pablo has remounted works by Hubbard Street’s Resident Choreographer Alejandro Cerrudo at Aspen Santa Fe Ballet, Ballet Arizona, George Mason University, Pacific Northwest Ballet and Tulsa Ballet. He has also restaged, with his wife Penny Saunders, Jardí Tancat by choreographer Nacho Duato, both at the University of Washington and at Hubbard Street Dance Chicago. Pablo is an Assistant Professor in the School of Dance at the University of Utah.

 

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Fees

3 Blocks of classes (3 classes per day) – $690 ($630 early bird rate if paid before April 16)
2 Blocks of classes (2 classes per day) – $460 ($420 early bird rate if paid before April 16)
1 Block of classes (1 class per day) – $230 ($210 early bird rate if paid before April 16)

Participants are encouraged to take the entire workshop, three classes daily for two weeks. Participants may elect to take only one or two blocks of the class, one/two classes daily for two weeks. It may also be possible to arrange taking only one week, which is the minimum that a participant may enroll in one of the afternoon classes (contact SDF if you wish to request this option).

Individual Contemporary Technique class – $20

Open to public on a space available basis. Drop-ins may not be accommodated if the class is considered full.  Classes available for drop-ins are : Advance Contemporary Technique – Faulkner and Alternative Technique – Carrum.

Returning Participant Discount

If you were a Salt Dance Fest participant in the past, we want you back. Those who were full participants (3-blocks) once in the past, receive a 10% tuition reduction. Those who were full participants (3-blocks) twice in the past, receive a 20% tuition reduction. To take advantage of this discount, contact .

SDF participants may extend their studies in Utah at Repertory Dance Theatre’s Summerdance 2018 Workshop and/or the Ririe-Woodbury Dance Company Move-It Summer Workshop. Take two workshops (including Salt Dance Fest) and receive 10% off each workshop. Take all three workshops for a 15% discount. For further information about taking two or more workshops at a discounted price contact . Those in the Integrated Movement Studies Program (IMS – IMMERSION or full certificate program), can receive a 10% discount on SDF tuition. Info at rdtutah.org, ririewoodbury.com, and imsmovement.com.

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Location, Arrival & Orientation

Location

Salt Dance Fest is housed on the University of Utah campus in the Marriott Center for Dance, which features six large studios and a 330-seat theater. The campus is situated in the foothills of the Wasatch Mountains overlooking Salt Lake City.  The surrounding area offers tremendous recreational activities both for urban and wilderness exploration.  Salt Lake City is known for its unique, vibrant culture, including as for its museums, nightlife, mountains, deserts, the Great Salt Lake and the Salt Flats. Salt Lake City has numerous bus lines and TRAX (an extensive light rail system) allowing for easy travel around the Salt Lake Valley without needing a car.

images/SDF_Campus_Image.jpg

Arrival & Orientation

Salt Lake City is a Delta hub and served by multiple other airlines. Taxis and TRAX to campus housing are inexpensive. The University is linked to downtown Salt Lake City by light rail (TRAX). Salt Dance Fest participants should arrive on Sunday, June 3 in order to check in at the orientation meeting, 7pm at the Marriott Center for Dance.  Out of state participants have also arranged their own housing off campus through airb&b.

Rooms & Meals

Campus housing is available for Salt Dance Fest participants. Participants may be housed in University dormitories, typically in single rooms. An on-campus meal plan is available; there are multiple other eating options on or off-campus convenient to the Marriott Center for Dance.

On Campus Housing: $400 for 13 nights (assuming arriving June 3 and leaving June 16). Additional or fewer nights may be arranged. Those staying on-campus are requested to reserve their room by May 5. If paying $400, you may pay on-line by credit card. Other arrangements must be paid in cash or check.

Meals: 25 meals for $200 (plus tax) or 50 meals for $387.50 (plus tax) (rates subject to change)

For questions or to arrange housing, contact or 801-581-7327. To arrange meals, please visit www.dineoncampus.com. Meals may also be purchased upon arrival.


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College Credit


Salt Dance Fest participants may receive college credit for the workshop/festival, 1 or 2 credits at $200/credit – 1 credit for 2 blocks of classes and 2 credits for 3 blocks of classes.

To register for credit contact or 801-581-7327. Credit may be arranged during the workshop.


Credit may also be earned through the below Summer Dance Workshops in Salt Lake City.  For further information about taking two or more workshops at a discounted price contact .


Repertory Dance Theatre’s Summer Workshop Series. June 18-29
For further information: 801-534-1000 or www.rdtutah.org.

Ririe-Woodbury Dance Company’s Move-It Summer Workshop – July 16-27.

For further information, contact 801-297-4241 or www.ririewoodbury.com.

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Apply/Register

To be considered fully registered for Salt Dance Fest 2018, you must compete 2 steps:

1. Complete the online application here

Submit Salt Dance Fest applications early to insure placement with artists of choice. Enrollment is limited in order to offer an intimate working environment and is on a first-come first-served basis. Once a class is full, Salt Dance Fest participants may be placed in an alternative block class. Application materials must be complete and tuition paid in full in order to be registered.

2. Pay your full Salt Dance Fest 2018 Tuition here

You can complete payment with a credit card securely online (below) or by mailing in a check/money order (payable to the University of Utah, School of Dance).

To pay full 3 Block tuition online
To pay 2 Block tuition online
To pay 1 Block tuition online

Cancellation & Refund Policy

Salt Dance Fest fees will be fully refunded (less $100 administrative fee) only if written notice of cancellation is received on or before May 29. Room and board fees may also be refunded (less $50 administrative fee) if cancelled on or before May 29.

SDF 17

2017 Artists

Shinichi and Dana Iova-Koga

As Artistic Director of the San Francisco-based performance company ink Boat, founded in 1998, Shinichi creates opportunities for exchange amongst diverse artists. The company has toured in North America, Europe, South Korea and Japan, often collaborating with local artists in museums, theaters, studios and site-specific locations. Shinichi is a certified teacher of Action Theater. His current interest and practice includes Qi Gong, Aikido, Noguchi Taiso, Noh Theater and Shakuhachi. His consistent mentors include Anna Halprin (Dance Maker), Ruth Zaporah (Action Theater), Masayuki Koga (Shakuhachi), Ralph Lemon (Dance Maker), Jan Nevelius (Aikido), David Wei (Qi Gong) and Damo Mitchell (Nei Gong). In the 1990’s, his training and regular performances with Hiroko Tamano and Yumiko Yoshioka left the distinct mark of Butoh Dance upon him. Shinichi has co-directed works with Anna Halprin, Ko Murobushi, Sten Rudstrøm, Yuko Kaseki, Takuya Ishide and KT Nelson (ODC). He is the author of the book “95 Rituals” and has been teaching dance composition at Mills College since 2009.

Under Shinichi’s direction, inkBoat has received 5 Isadora Duncan “Izzie” awards, 3 National Endowment for the Arts grants, 3 Doris Duke Charitable Foundation and Andrew, W. Mellon Foundation’s MAP fund grants and many others. Shinichi was named one of the “25 to watch” in 2008 by Dance Magazine and awarded a “Goldie” by the SF Bay Guardian in 2007. In 2007, he and his wife Dana Iova-Koga built and founded the dance studio inkGround in Northern California, running an annual summer workshop, “Dance on Land,” that explores the relationship of wild nature with dance, utilizing the surrounding forests, rivers and ocean-side as new media for the life/dance investigation.

Dana’s first dancing role, at age 4, was a cloud. Almost 40 years later, she’s still practicing forming clouds in her body. She graduated from NYU’s Experimental Theater Wing where she had many stellar dance teachers, including Tamar Rogoff, Mary Overlie and Wendell Beavers. It was during her time at ETW that Maureen Flemming introduced her to Butoh dance. She went on to spend several years in Japan working on Min Tanaka’s farm and dancing in many productions under his direction. The time spent farming and dancing in Japan began Dana’s exploration in the connection between the dancing body and the non-human natural world. This exploration continues in the annual “Dance on Land” workshops she co-teaches with life partner Shinichi. Dana has been dancing with inkBoat since 2006. She is currently studying Chinese Internal Martial Arts. And meanwhile her two children, masters of improvisation, ensure that life remains rich and colorful.
inkboat.com

Joanna Kotze

Joanna is a Brooklyn-based dancer, choreographer and teacher who has been part of the New York dance community since 1998. She received the 2013 New York Dance and Performance “Bessie” Award for Outstanding Emerging Choreographer. Her choreography has been presented at the National Arts Centre in Ottawa, Baryshnikov Arts Center, American Dance Institute (ADI), Danspace Project, Bard College, Jacob’s Pillow, New York Live Arts, Dance New Amsterdam, Movement Research at the Judson Church, and other theaters and galleries. Joanna has created new works on Ririe-Woodbury, Toronto Dance Theatre, Zenon Dance (Minneapolis), and the James Sewell Ballet (Minneapolis). Her next evening-length work will premiere at New York Live Arts in Spring 2018.

Joanna has received support from: the Jerome, Mertz-Gilmore, and Harkness Foundations; the New York Foundation for the Arts (NYFA) BUILD; Brooklyn Arts Council; Yellowhouse; and the Foundation for Contemporary Arts Emergency Grants. She is a recipient of two Process Space residencies through Lower Manhattan Cultural Council (LMCC) and was a 2013-2015 Movement Research Artist-in-Residence. She has had residencies at Sedona Arts Center, Marble House, The Camargo Foundation, Jacob’s Pillow, Baryshnikov Arts Center, Djerassi, the Bogliasco Foundation, Mount Tremper Arts and Gibney Dance Center.

She danced with Wally Cardona from 2000-2010 and currently dances for Kimberly Bartosik/daela, Kota Yamazaki, and Stacy Spence. She has also worked with Netta Yerushalmy, Sam Kim, Sarah Skaggs, Christopher Williams, the Metropolitan Opera ballet, Daniel Charon, and others.

Joanna is on faculty at Movement Research and Gibney Dance in NYC. She has taught at and created original works for students at Barnard College, NYU’s Tisch School of the Arts, The New School, Long Island University, Alvin Ailey American Dance Center, Purchase College, Southern Utah University, Miami University and the American Dance Festival. She has studied Klein technique with Barbara Mahler since 2003, is originally from South Africa and has a BA in Architecture from Miami University (’98).
joannakotze.com

Katie Scherman

Katie Scherman is originally from California and has performed with Houston Ballet, Alonzo King’s LINES Ballet, Washington Ballet, Hubbard Street 2, Zhukov Dance Theatre, Terpsicorps Dance Theatre, Bodyvox, and in numerous festivals and galas around the world. In 2009, she was honored with a Princess Grace Award in Dance. Scherman holds a BFA in Dance from LINES Ballet/Dominican University and an MFA in Dance from the University of Oregon. She is the 2015 recipient of the UO Graduate Student Emerging Artist Award, and was awarded a 2016 Alembic Guest Artist Residency at PWNW. Her choreography and teaching have been presented throughout the US. Scherman has held guest residencies at Pacific University, University of Utah, LINES Ballet/Dominican University BFA program, and the Bodyvox Junior Artist Generator program. For the spring semester 2017, Scherman will hold a visiting assistant professor position with the Dance Department at the University of Utah.
katiescherman.com

Idan Shirabi

Idan was born in Israel, 1984. He graduated Thelma Yellin and The Juilliard School before he danced in Netherlands Dans Theater and Batsheva Dance Company. He was chosen to create for NDT Upcoming Choreographers 10′ and has won The Zeraspe Award 06′, Copenhagen International Choreography Competition 2012 & 2014, The Mahol Shalem International Competition 13′, and The Hannover International Choreography Competition 2014.
Idan received the PAIS grant for performances of existing shows in 2015 for Interviews/Makom, Minister of Culture Prize for Best Performance of 2015, Balletmester Albert Gaubiers og Poul Waldorffs Fond scholarship in Denmark, and received Dododotan Best Performance 2014 for "We Men" as a performer.

Between 2011­ and 2014 he created for companies: “TheProject” of The Israeli Opera House, KCDC, The Israel Ballet, Ballet Junior de Geneve, NND, ZDT, and EBBC Madrid. In 2012, Sharabi was chosen to be one of the nine promising young artists of Israel by American Express and founded his group, Idan Sharabi & Dancers, in September 2012 . Since then, he has created several works for the group which were invited to festivals in Sweden, Denmark, Canada, Italy, Holland, Russia & Israel. Throughout the years, Sharabi has been teaching and creating with students/young dancers in schools & companies such as Contemporary Dance School Hamburg, Gothenburg Ballet Academy, Alvin Ailey School, The Italian Dance Alliance, Springboard Dance Montreal, The Maslool Dance Program, The Sadna in Ga’aton, Israel, Ballet Junior De Geneve, Zhukov Dance Theater SF and more.

His 2014/15 residencies included companies such as DDT, Royal Danish Ballet, Ballet Chilleno, NDT II, and he will premiere an original work in March 2016 with Ballet Luzern. Sharabi has been supported by American Express TYP Project, Israel Ministry of Culture, The Israel Festival, Suzanne Dellal, Bikurey Ha’Itim, The AICF, The Israeli Opera House, The Juilliard School Donors and a donor of The Dance Library of Israel Organization.

Molly Heller

Molly is a dance artist based in Salt Lake City. Her movement research investigates performance as a healing practice and the relationship between physical expression and emotion. Her research is conducted as a solo practice, along side others in choreographic projects and it is interwoven into her pedagogical beliefs.This is Molly’s second year as a Visiting Assistant Professor in the School of Dance at the University of Utah as well as adjunct faculty at Westminster College. She has also been on faculty at SUNY New Paltz (NY) and Dance New Amsterdam (NYC) and has taught for: Utah Valley University, Middlebury College, University of Nebraska at Omaha, Creighton University (Omaha, NE), SaltDanceFest (University of Utah), Ririe-Woodbury’s 2014/2015 Professional Intensive (SLC), Boise State University and Balance Dance Company (Boise, ID).

Molly’s choreographic work has also been presented in venues such as: Kingsbury Hall for TEDx SaltLakeCity, Gowanus Art + Production (NYC), Danspace Project at St. Marks Church (NYC), Movement Research at the Judson Church (NYC), Green Space (NYC), 2010 DUMBO Dance Festival (Brooklyn, NY), The Mahaney Center for the Arts (Middlebury College, VT), Balance Dance Company (Boise, ID), Boise State University, Westminster College (SLC), Sugar Space Studio for the Arts (SLC) and the Ladies’ Literary Club (SLC).

Molly holds an M.F.A. from the University of Utah where she received the Thomas G. Stockham Medal for Conspicuously Effective Teaching (2015-2016), the Scott Marsh Mentorship Award (2014) as well as a University Teaching Assistantship (2013-2014). Molly holds certifications in Pilates and Reiki and is co-owner of SLC’s loose-leaf teahouse, the Tea Grotto. Currently, Molly is creating a new dance work, “very vary,” for the Eccles Regent Theater (SLC) that will premiere May 2017. mollyheller.com

Satu Hummasti

Originally from Helsinki, Finland, Satu is a dancer, choreographer, writer and teacher who has performed and taught throughout the United States, Europe, South and Central America, and Russia. Her work has been seen internationally in Medellin, Colombia; Bordeaux, France; Edinburgh, Scotland (as a part of the 2007 Edinburgh Fringe Festival); St. Petersburg, Russia (as a part of the Open Look Festival 2011), Helsinki Finland, Oulu, Finland (as part of the 2015 Arctic Steps Festival) and San Jose, Costa Rica; and nationally in New York, Boston, Phoenix, Salt Lake City, and Seattle. She performed in New York City with Fred Darsow Dance, Barbara Grubel Projects and Sari Nordman, and has done projects with Stephen Koester Dance, Mary Fitzgerald Dance, Bebe Miller, and A. Ludwig Dance Theater. In NYC she has shown dances at Dance New Amsterdam, Chashama, The Construction Company, Sal Anthony’s Movement Salon, and at The John Ryan Theater at White Wave, as a part of the d.u.m.b.o.and Cool New York Dance Festivals. Her work has been commissioned by Compañía de Cámara Danza UNA in San Jose, Costa Rica. Repertory Dance Theater in Salt Lake City, and Kannon Dance Company in St. Petersburg, Russia. She is currently an Associate Professor in the Modern Dance Department at the University Utah. Her current choreographic interests include building work with both text and movement from an improvisational base.

2017 Classes

Technique Laboratory – Joanna Kotze

Both laboratory and technique class, we will delve into the body’s architecture and its unique potential, gaining more information, trust and range throughout the week. Through technical studies, set movement phrases and improvisational practices, we will discover and challenge habits and pre-conceived notions while practicing our relationship to time, space and each other. Concentrating on the forces through the legs into the floor will lead us to finding more range, opposition and weight in the body. Let’s experiment, succeed, fail, keep trying, and have fun!

Japan Avant-Garde (Erase Your Body) – Shinichi and Dana Iova-Koga

In the 1960’s, the avant-garde arts in Japan flourished in an atmosphere of protest and civil dis-obedience. At that moment in Japan’s history agrarian transformed to urban, small neighborhoods were replaced by high-rises and Japanese identity was confusingly intertwined with American values and cultural transformation. Within this bewildering environment, performing arts such as Butoh Dance and Tadashi Suzuki’s theater emerged, touching on and deconstructing the extremes between Western modern dance and Japanese traditional arts (such as Noh Theater and Kabuki). This workshop will examine some of the avant-garde forms that emerged from that potent epoch. The training will encourage physical and mental receptivity, a reduction of contracted muscles and awareness of minute bodily adjustments and interior textures. We will employ imagistic practices utilized in Butoh Dance with attention to water body metaphors found in Noguchi Taiso. Sharp physical engagement and precision will be addressed through Body Weather exercises and Tadashi Suzuki’s Method of Training. Our aim is to integrate polarities within the body, the inside/outside, left/right, head/toe, visceral/refined, image/sensate. This builds a coherent body ready to embrace the chaotic stream of the subconscious.

Contemporary Ballet – Katie Scherman

Class molds classical ballet technique with contemporary movement. Inspired by the philosophies of Alonzo King and Piña Bausch, Scherman guides students on a journey that values artistic risk-taking, independent thinking, and problem solving through exploration and dedication. Students will explore the technical potential for each step, as well as their own potential within the step. Scherman sees great benefit in giving students the time and space to make intelligent artistic decisions within a movement phrase. With intense focus on musicality and freedom, students will push themselves physically, mentally, and artistically.

Tennis Shoe Technique – Molly Heller

Utilizing (and playing with) athletic shoes as a medium for developing new dynamics within the body, spatial surfaces and partnerships, we will engage our feet as the living, feeling, deciding and probing extensions of ourselves. We will bounce, spring, direct and texture our active feet, testing our perceptions of effort, nuance and rhythmic complexity. This class will also train and foster adaptability – promoting vitality, resilience and expansion (physically, energetically, spatially and communally) within one’s dancing. We will grow our technical range dimensionally, work hard, sweat together, and get gritty.

Creative Process – Idan Shirabi

The work starts with breathing, usually on the floor. Recognizing and locating parts of the body and finding isolation in it. Later on the work concentrates on the accumulation of details, and finally it deals with letting go, reflecting on the progress in a more sophisticated body. Eventually, the work deals as well with time and memory, while playing with both choreographed & improvised materials. The workshop is made to expose dancers to Sharabi's movement language, as well as give them improvisational tools and technologies to use their creativity for their own research.

Repertory – Idan Shirabi

Using his personal tools for movement investigation as described above in his Creative Process class, Shirabi will develop a work with participants to further familiarize participants with his movement language, and tools and processes for choreography.

Performance Practice/Creative Process – Joanna Kotze

The practice is the performance and the performance is the practice. During this class we will work to realize the potential of the body in each moment in relationship to space, each other and the viewer. Through this process, we will attempt to reveal different parts of ourselves as a way to access less known movement and create a more intimate connection with the viewer. Using practices and scores, we will create and take apart, build and dismantle or take apart and create and dismantle and build, with the goal of honing a more alive performance experience for both performer and audience.

Improvisation (Each Instant is Everything) – Shinichi and Dana Iova-Koga

This is a practice for living well. Every step, word and action extends an invitation to surrounding bodies. The cultivation of internal feeling states and the play of timing relationships become compositions in real time. We cultivate the 3rd-Eye (outside observer) view. A body in space stands in relationship to everything. Interruptions and unexpected actions are welcomed. We learn to say “yes” to the situation that alters feeling and to the feeling that alters the situation. The material presented is rooted in Action Theater, an embodied improvisation practice pioneered by Ruth Zaporah. In her words, this practice “incorporates the disciplined exploration of embodied exercises that lead to increased skills of strong, clear, spontaneous, and artful communication. Action Theater addresses and expands the vocabularies of expression including: movement, vocalization, and speech. Action Theater is a tool to examine one's perceptive and responsive process, bringing awareness to and thereby disempowering distracting thoughts of self-obsessions, fears, judgments and analysis.” Participants are asked to commit to the unknown. We will move, sound and speak in duets, solos and groups. Wear loose clothing and be prepared to shed your planning mind.

Improvising Dialogue – Satu Hummasti

In this class, we will work with movement, text, voice, song, and dialogue in an improvisational setting to build dances/vignettes/dialogues from a dramaturgical base. Instead of writing scripts to accompany movement, we will work with movement and textual improvisations to build situations and scenarios into longer dance theatre scores. No experience in dance theatre is necessary, just a willingness to play and improvise with both movement and text. Together, we will work on building a dance with text that comes from the inside out.


For questions and further information, contact 801-581-7327 or .



For questions and further information, contact 801-581-7327 or .