Rebecca Jensen

The show opens this weekend! I’m going through a variety of emotions, as a choreographer and a dancer: happy, sad, frustrated, butterflies, proud, loud, scared, excited, stressed… you name it. I’m feelin’ it.
Being on stage with the costumes, the lights, the makeup, the hair…it is truly a gift. All my life, this has been my outlet, my hobby, my “thing.” The feeling is indescribable. The best description I can give is one that I’d most likely say to my ESPN-obsessed boyfriend: I feel like Brent Farve, I’d addicted and I can’t stop. I keep thinking this will be my last game, and I play like it too, but don’t be surprised if you see me on the field again. As a matter of fact, I think I’ll just keep playing forever, no matter how old I get. I’m addicted to dance (but not for the money like Brent of course).
My piece, “Chocolate” is stressing me out. I have five amazing dancers to work with in this piece, each with a different dance background. This dance has been through a lot, it underwent a TON of changes/corrections while preparing for this concert. While I told the girls to “commit to the movement,” I understand how it might have been hard for them to fully commit, especially since things kept changing. When the dance was finally completed, I could see the girls were worn out. Just as I, they were frustrated. The style, first of all, was new to the majority of the dancers, plus they were still trying to grasp the choreography. 4 weeks before the show, we danced the piece in the studio for the entire company to watch. They WERKED; I felt like a proud mommy. 2 weeks before the show, we had our first tech/lighting rehearsal…simply put, it looked like those girls did not want to be on stage. Now, more than ever, I need those girls to commit to the dance. I need attitude, character, teamwork, and authentic movement quality. Granted, this was their first tech rehearsal…everything was frantic…first time with lights, costumes, makeup, etc. Stressed and panicked, I called a last minute rehearsal last night.
Last night, I was reminded of why I love dance. For the first time, I felt like we were in this together. The girls understood the problems, and worked together to fix them. It was all very positive. I knew we’d be okay when Michele said to me, “It feels so different when you actually dance in character. It’s actually really fun and makes me want to dance harder. The movement feels complete this way.” Finally, I felt like I could breathe again. This was my goal, it’s all of our goals. This is why we dance, to have a good time and enjoy the gifts that were given to us- and that’s all I could ever ask from them. Not to mention, they rocked the shit out of that dance last night, I’ve never seen it look so good. I am yet again a proud mommy. Seeing them happy with their work makes me happy. I feel like they’re stoked to on stage and show the world how beautiful they are, and that makes me so excited! You’ll see, they’re freakin’ hot!

Photo: Sara Tollefson

Crystal Valdez

My last year in Orchesis

This is my 5th and last year on the Orchesis Dance Company and it is definitely a bittersweet feeling. Currently we are in the theater with blocking and lighting rehearsals so I really haven’t had anytime to reflect. But with a day off, my mind was able to wonder slightly and inspire me to write. If I can recall correctly I typically experience some type of either spiritual or philosophical enlightenment when we enter the theater during tech rehearsals. It’s always develops from a mixture of feeling the warmth of the stage lights, hearing the fullness of the music filling the theater and imagining the audience watching your every move. However, this year I haven’t felt that yet. At first it worried me just because it is something I’m used to feeling every year. But I realized I might have reached a new kind of awareness or you could say spiritual fulfillment from the Orchesis process. I’ve come to appreciate a lot more of the process and preparation for the show rather then the actual event of the show. Of course I love performing and have found no other activity or “drug” that gives me the same rush but instead of dreading all the tedious theater and blocking rehearsals, I’ve come to embrace them and really enjoy what we’re doing and working for. Maybe Diana has planted a seed within me when she told us that a very small percentage of our time is spent in the theater performing (maybe 5-10%) while the other 90-95% is spent preparing for it. I still have my rough days were tediousness wears away at my patience but we all do. However, what represents us on the stage I feel is only a fraction of our talent and artistry. Beginning with several voices coming from our directors, production manager, student and guest choreographers and all dancers, somehow all these ideas come together like puzzle pieces to create one production. Some of my most vivid memories are just watching the dancers in class that dance with their souls not just a flexible young body. We also develop a certain Orchesis “culture” that makes us a family you could say. Although it stems from less intellectual conversations of female reproductive organs, MTV reality television and “single” ladies we are all still connected by the fact we are articulate and gifted Cal Poly students with goals and aspirations in life. (Being able to balance a full-time school load, anywhere between 9-20 hours of rehearsal a week, and possibly a job is not a schedule every college student can handle) Plus, we all need a little silliness in our day! I wanted to arrive at a central point to conclude this but I think that may very well be my point. Orchesis not only gathers very talented and skilled dancers but also talented and skilled artists, architects, wedding planners, teachers, scientists, designers and engineers. There is so much more to our group and to our show that our audience doesn’t get the opportunity to see and experience. And I think that’s what I’ve enjoyed the most this year. From learning African inspired dance moves in SF to celebrating birthdays with delicious treats after class, from long intensive weekends with guest choreographers to hybrid drawings on the dance studio chalk board and from watching pieces develop throughout the quarter to witnessing the refined but not always finished product on the Spanos Theater stage, these episodes comprise my spiritual enlightenment that I have been experiencing since auditions. To all the Orchesis dancers, thank you for all the memories and sharing your art. To Diana thank you so much for all the wisdom and love for the art, I’ve truly reached a new understanding of dance and its form because of your words.

Opening night in less than a week.....let’s not only do this but enjoy it!

Photo: Sara Tollefson

Lisa Delanty

This past week I have been thinking a lot about how much dance really means to me. In particular, being on stage has brought back that feeling of pure joy and excitement to share my feelings with others. The six dances I am in allow me to portray different emotions and situations that I go through in everyday life: happy, sad, serious, silly, intimidating, joyful, flirtatious, and the list goes on and on. Also, this week I have focused my energy on enjoying every moment I have on stage. It seems that we constantly work so hard for so long on various dances, and before we know it, it will be the last performance! I find rehearsals to be so tedious and that I wish I could just receive instant gratification. However, performing on stage makes every hour of practice worthwhile! Every aspect about performance gets me so excited! The lights, costuming, makeup, the audience, and all the butterflies and nerves! I love that we can all come together and create an amazing show! I absolutely can't wait until opening night!

Student Choreographer Bios

Rachel Saalsaa is a third year Social Science major and Dance minor. She has been dancing since she could move, but officially has trained in ballet, jazz, hip hop, and contemporary for 16 years. She attended Salt Lake Dance Center and also spent a year living and dancing in L.A. with amazing teachers and professionals. This will be her third year with Orchesis and her first time choreographing.

This is Meghan Hudson’s last year at Cal Poly and with Orchesis. She is finishing up her degree in Recreation, Park, and Tourism Administration with a minor in Dance. This is her second year choreographing for Orchesis. She would like to thank her family for supporting her passion for dance and her fiancé for encouraging her through countless hours of rehearsals and many sore days.

McKenna Friend hails from the tiny farm town of Pixley, California but has always loved the “big city” style of dance. She has worked with various artists including the legendary Henry LeTang as well as with the Russian Festival Ballet. She received the majority of her classic training from the Sierra Performing Arts Center and performed for a decade with the Pallas and Company Dancers. This is her third year in Orchesis and her second choreographic experience with the company. McKenna would like to thank her family for all that they've sacrificed in order for her to follow her bliss and sends love to Colorado.

Jessica Thoma is a 5th year Architecture student, striving to keep her passion in dance very much alive. Being both a choreographer and designer helps bring aspects of creativity to her schoolwork and to dancing. She feels these are each similar challenges in their own fun ways. In the past she has choreographed for Orchesis and for her studio where she started dancing 18 years ago. She has enjoyed her last 3 years in Orchesis and looks forward to choreographing and dancing for the company again but focuses on the tasks at hand, including being this year’s Vice President.

Heidi-Marie Vigario began her dance training in Elk Grove, CA. She started with ballet and grew to enjoy other styles as well. Upon graduation from high school, she moved to San Luis Obispo to attend Cal Poly. Heidi continued her dance training at Cal Poly taking modern, jazz, and advanced ballet classes. This is Heidi's third year in the company and second time choreographing for an Orchesis concert. She graduated in June with her Bachelor of Science in Liberal Studies and received a Multi-Subject Teaching Crendential in December. One day, Heidi wishes to combine her love of dance with teaching, and bring dance and creative movement into public schools.

Crystal Valdez is a 5th year Orchesis dance company member and is very thankful for all the once in a life time opportunities that Orchesis has offered. She has choreographed for 4 years on the company, exploring her interests in ethnic and modern dance forms and styles. She graduated from Cal Poly in Fall 2009 with her degree in biochemistry and currently waiting responses from graduate schools in hopes of one day becoming a chemistry professor.
Kathleen Helm, a fourth year Recreation Administration major and Dance minor, has been dancing since the age of three. She credits her training and experience to Momentum Dance Center, located in Yorba Linda, California, and Lois Ellyn Ballet School, in Fullerton, California. Some highlights of her dance career include teaching ballet and jazz at Momentum Dance Center, performing as a member of the Nouveau Chamber Ballet, being captain of the El Dorado High School dance team, and competing throughout Southern California. Kathleen has choreographed various pieces at Cal Poly, including “In the Kingdom of Enticement” and “REM Cycle”. She is currently the president of the Orchesis Dance Company and had the honor of directing “Multiple Exposures”, the 2008 Cal Poly Spring Dance Concert

Alexandra Thomsen-Wolfe is living the dream life here in San Luis Obispo with her husband, Brandon, and dogs, Maggie Mae and Sam. She couldn't ask for anything more!

Rebecca Jensen is a fourth year business student with a concentration in marketing management. After returning home from a year abroad in London, England, she is happy to be back with her Orchesis family. Rebecca grew up in Carmel, California and began dancing 9 years ago at the Carmel Ballet Academy. Raised a competition dancer, she was required to explore various dance styles at an early age, including jazz, ballet, hip-hop, tap, commercial and modern. She is most fond of the contemporary jazz style. Although Rebecca has choreography experience, this will be her first time choreographing for Orchesis Dance Company. While this is her last year at Cal Poly, she is sure that this will not be her last year dancing.

Darren Bridges first started dancing 5 years ago for his High School Dance Company where he learned his basics of dance and explored many various dance styles. He later joined Broadway Academy Dance Company and NCDC Contemporary/Modern Dance Company. Always striving for new experiences, he auditioned for and was accepted to the Alvin Ailey School of Dance Summer Intensive and also had the opportunity to dance with the Limon Modern Dance Company at the Mondavi Center. Hoping to always do better and take his training to the next level, he has now dedicated 2 years of his college career to Orchesis Dance Company and hopes to learn many new things in the years to come. He hopes to inspire others to dance because there is no other feeling like it.

Heidi-Marie Vigario

Yesterday was the first rehearsal in the theater for my piece in the show. The night before, I had a dream that no one could remember my dance! Not a good way to wake up; especially when your first rehearsal in the theater is also your only rehearsal in the theater. But rehearsal went wonderfully! It was great to see my piece onstage.

Being in the theater has me thinking about the differences from last year to this year in regards to my choreographic journeys. Last year was my first year choreographing for Orchesis, and I was nervous and anxious the entire time. I put so much time and effort into choreographing during the school year. This year I actually started choreographing over the summer, months before Orchesis auditions. I didn’t have any music, but I had ideas about what I wanted my dance to be. It was weird to me that I could be creating some serious chunks of movement without any music. This is definitely not the way I usually choreograph. Once I had my music and dancers set, my dance kind of just came together. The ease of this year’s process almost has had me nervous because of the lack of nerves!

So, here we are: blocking rehearsals in the theater, lighting on Saturday, and dress rehearsals next week. Some of us are tired from tons of rehearsals, others happy to be in the theater, and a few starting to get cranky from being around each other 24/7, but this is an exciting time in Orchesis, WE ARE IN THE THEATER! In two weeks, the empty seats will be filled and the curtain will be going up. How crazy is that??? After seeing Momix last week, I hope that I can emulate the talent, professionalism, and fun that I saw when the Momix dancers were onstage. I am so excited to be in the theater, 2 weeks away from opening night. Merde Orchesis dancers! Let’s have another great set of shows!

Photo: Prem Ananda

Diana Stanton

Oh how wonderful it is to have a good rehearsal. But what makes a good rehearsal?
On Friday I didn’t get as much cleaning done as I wanted, I am stressed that I need more time to rehearse this dance, new transitions that I built don’t look as I envisioned (that is nothing new,) and there are still a few blank spots to fiddle with. The beginning of rehearsal proved difficult as I struggled to get “spatial relationships” to work – and they didn’t. But, what happened toward the end of rehearsal simply made my day – my week, and probably my month as well.
There is something magic about “working together toward a common goal.” At this point in my life as a choreographer/educator, process is ultimately more important than product. On this particular day we (me and the dancers in the piece) worked together toward a common goal without me having to direct, encourage, prod, scold, nag, cheerlead, or any of that. As I worked with a quintet, another group of 6 took it upon themselves to refine and rehearse their section. Simple, I know, but watching young people making choices, taking ownership of their experience, and working together proactively is nothing short of inspiring.
As educators, we can only wish that students enjoy experiences that we have found valuable. We hope that they not only listen and perhaps understand what we are really doing here, but that they actually use the concepts and bring their own strengths, vision and creativity to any given project. This is an ultimate joy. Dances end, styles and popular aesthetics change as fast as you can pirouette, audience applause - as fleeting and rare as it is – disappears, (one is wise not to base their worth on it,) and the curtain ultimately closes. Friends and colleagues graduate and move on, and “secret dancers,” are forgotten. But, these experiences, and the character they build, become a part of the psyche, and are used and developed in new and exciting ways - owned forever.
I know, I am such a geek.

Meghan Hudson

The End is Starting

Tonight is our first rehearsal in the theater. I am both overjoyed and dreading it. The theater is a sacred place for me, it is where I feel like I can make a difference in the world. So, as exciting as the first theater rehearsal is, I am also scared to start the whole process. Everything in my life, senior projects, graduation evaluations, wedding planning, all point to the closure of this chapter of my life. Even this first rehearsal in the theater is marking a last time. But tonight, I will go to the theater and make it the best, first, last rehearsal of my college dance career. I will never stop being an artist, and I, God willing, will never stop performing in my sacred place. I cannot let my fear of the future get in the way of my present.



And now that I am getting teary in the library, On With the Show!

Photo: Sara Tollefson

Carolyn Taylor

I wanted to discuss the very different choreographic processes that I
have been experiencing so far this quarter in regards to a couple of
the dances that I am in. In Kathleens' rehearsals we learn so much
every time. She comes to the rehearsal with counts, formations, names,
and choreography all written out, ready to go and completely prepared.
I am always impressed by her ability to create a beautiful,
imaginative and challenging product. She really seems to love to see
her ideas in her mind come to life in her dancers exactly the way she
saw them. In Crystals' rehearsals on the other hand, not to say by
any means that she is unprepared, but simply in a different way that I
admire and respect equally. Crystal also comes to rehearsals with
things written down, however, it is in a much more
"free-spirited"/"brain-stormy" way. She keeps a journal with her and
writes in it when she is inspired during class, riding the bus,
studying or really whenever she feels the need to make a note. This
alone inspires me. I find it fantastically impressive that she can be
so dedicated to her creative mind and can allow herself the freedom as
well as the structure that is required when creating such a wonderful
art form as dance. She always has concepts and phrases that eagerly
await rehearsal time and for us all to try and experiment with. One
can really see that she loves and is inspired by her dancers, people
in general and really everything that is around her. These two
choreographers are so very talented and creative and I always feel so
privileged to be a part of something so special. For a dancer, it is
such a joy to have the chance to experience such different
choreographic approaches and to have the opportunity to work with such
incredible people. It has just been so exciting and interesting to
experience both of these unique processes and dances. I have
especially enjoyed seeing how these two choreographers have grown in
the past 2 years. They are both inspiration to my life as a dancer.

Photo: Sara Tollefson

Emily Deckert

After much mental and physical preparation, I auditioned for Mike Esperanza's piece. This year, above all other years, I feel a sincere sense of urgency in that I am graduating and am unlikely to encounter another dance experience similar to Orchesis again. Sure, there'll be studios and master classes, but the incessant practices, where you are surrounded by the same dancers you were surrounded by the previous day, will be gone. The opportunity for choreographic experimentation, theatrical performance creation, and consistency in dance material is a unique one, and we are all lucky to experience it. Because this is my last year with Orchesis, I am feeling not only like I need to savor every moment, but that I am running out of chances to grow as a dancer.

From this perspective, being in as many groundbreaking dances as possible is the highest goal. Therefore, it is not surprising that Mike's piece was of great importance to me. The day of the audition, I succeeded in holding back nothing. I put as much effort, grace, and emotion into the audition phrase, which we cycled through endlessly across the floor, as I could in that moment. After two minutes of discussion, Diana and Mike announced the dancers who would be in the piece. All I heard was my name, as understudy. I was thrilled. A few tears collided with my beet red face as I made my way outside.

The rehearsal started that day. Being understudy meant that I was to learn all the parts, which is a sizable task. Simply learning one part, and dancing it accurately and to the level desired by Mike was a challenge. In order to accomplish the role of understudy, I needed to be completely focused and dedicated. So I danced HARD. I took as many opportunities as possible to learn other parts, and continually practiced individually throughout the weekend. The dance is a beautiful piece of art, and yields itself nicely to complete devotion by the dancer. I utilized the power of the piece to focus myself so that I could keep up. I am still pushing myself to get better at the choreography and to be aware of all the parts. That weekend of dancing pushed me and helped me grow. I wouldn't have wanted to spend the time any other way.

Photo: Sara Tollefson