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Just in Up next Portrait City Guide Live Contents

There is nothing simple about Kansas City’s

Quixotic Fusion. If you ask members of the music and dance ensemble what it is

they do on stage, the explanation becomes more of an extensive list

of artistic genres than any real description. If you ask them what a typical show includes, they hem

and haw until eventually admitting they themselves don’t necessarily know, because each of their

shows is catered to the venue they will be performing at.

“A show’s got really energizing music, it’s got lots of visual effects. There are so many elements happening at once: aerial, dance, lighting, music, costumes, make up and hair –– its got a bit of everything. The cool thing about the group is we can focus on different areas from show to show.

“There’s a lot of people who really like the per-

Mica Thomas, co-artistic director for Quix-

forming arts side of the group,” Thomas says,

otic Fusion, says the group’s goal is to go beyond

“and the younger demographic likes the edgy mu-

what an audience would expect to see.

sic and fashion. We try to stay very current and

Thomas describes the group as a “full sen-

stay up on technology. Because the group has so

sory experience,” something many people with

many branches, we can be very dynamic in the

different artistic interests can appreciate.

types of performances we do.”

“A show’s got really energizing music, it’s got

Magliano, who also works as a sound design-

lots of visual effects. There are so many elements

er and artistic director for the group, says the goal

happening at once: aerial, dance, lighting, music,

in creating Quixotic Fusion was to intertwine

costumes, make up and hair –– its got a bit of

multiple disciplines of art, creating something

everything. The cool thing about the group is we

greater than the sum of its parts. “My background is playing rock shows,” he says. “I just wanted to create something that had

can focus on different areas from show to show. That way we can really reach out to a wide demographic of people.

a bigger production value and integrated more

“There’s a lot of people who really like the

types of disciplines and artists. It’s cool to see a

performing arts side of the group,” Thomas says,

projection designer and a 3D-effects artist work- “and the younger demographic likes the edgy muing with a dancer and a cello player. It’s all to sic and fashion. We try to stay very current and stay up on technology. Because the group has so make this big picture.” many branches,

we can be very dynamic in the types of perfor-

rple hairs.’ It’s a funny comment, because we’ll

mances we do.”

have those older, arts-loving people, and we’ll

Magliano agrees, saying a wide variety of

have the 18-year-old punk-rock girl with the pur-

people appreciate Quixotic Fusion’s grandiose,

ple hair. It’s definitely something very diverse. An

eccentric performances.

18-year-old girl will feel cool bringing her parents

“The best thing I’ve heard about who comes to our shows, one lady was like, ‘You

to this show.”

“The best thing I’ve heard about who comes to

Thomas says touring with this band will be a mul-

our shows, one lady was like, ‘You guys reach

ti-faceted affair, with nearly limitless possibilities

out to the blue hairs and the purple hairs.’ It’s a

for show types and performance locations. He

funny comment, because we’ll have those older, says the ensemble’s future will include incorpoarts-loving people, and we’ll have the 18-year-old punk-rock girl with the purple hair. It’s definitely

rating more technology into the show. “The idea is to go on tour more –– do more

something very diverse. An 18-year-old girl will

stuff all over the place,” he says. “We want to hit

feel cool bringing her parents to this show.”

festivals, performing arts centers, hopefully get

The next phase for Quixotic Fusion, Magliano

a residency somewhere so we can do things for

says, will be stretching out from its home base in

longer periods of time. When you load in a show

Kansas City and playing to new audiences around

really quick for a place, you have a really short

the country. The group has been so busy with just

run, but with a residence show you can kind of

their home city, however, that this has proved dif- dig into the space. Artistically, we’ve been playficult at times.

ing with dancers’ moving, triggering lighting and

“Logistically, we’ve been trying to get out

projections. As we build more as a group, I think

and do more, but with our setup everything’s

we can build with our technology and move for-

a bit more complicated. We require a bit more. ward.” We’ve done shows in smaller venues, but to do the shows the way we want, we need the space. We have people flying around. We’d rather perform less but pull it off the way we visualize it.”

Sonya Tayeh

has always been known as a dynamic whirl-

wind of movement and energy onstage, but her career has taken on a new level of intensity as of late. Born in New York but with deep roots in Detroit, Tayeh’s recent work has found her bringing her unique style as both a choreographer and a judge to the primetime television masses via the FOX Network’s reality dance competition SO YOU THINK YOU CAN DANCE. Yet as they say, a body in motion will stay in motion, so it’s no surprise that Tayeh also continues to lend her talent to crafting new and exciting work for the stage, including Quixotic’s upcoming production LUX ESALARE, set to debut at Kansas City’s Spencer Theatre on June 19th. Catching up with the daring dancer and renowned instructor during a recent rehearsal break, Tayeh answered a few questions about working with the Quixotic ensemble and the preparations for LUX ESALARE.

What was your first exposure to Quixotic and what sort of impression did that make on you? Sonya Tayeh: “When Quixotic contacted me I was very intrigued. Their team of artists is very inspiring and very talented. They are all individuals with an amazing talent to provoke and maintain an essence of quality work.”

When you consider everything that could potentially be happening on stage, what’s your approach to managing all these elements? ST: “I make every detail as clear as I can in the rehearsal process. So when it hits the stage it’s no longer my responsibility to take care of it anymore. I trust what’s meant to happen happens.”

What’s the most important thing you try to instill into your choreography? ST: “The words I constantly use in the rehearsal process are ‘conviction,’ ‘details,’ ‘trust,’ and ‘intention.’”

What’s been the most interesting thing about working with Quixotic? ST: “Choreographing dancers with more of a ballet influence was very challenging for me. But what came out of it was so impressive. They brought fluidity and softness to my ‘rough’ elements.”

What do you want the audience to take away from your work? ST: “I want the audience to ask questions, be provoked and affected by my movement. I’m not looking for everyone to love it. I’m looking for everyone to wonder about it. I want to challenge the mind and spirit.”

Nico Vega Nico Vega have released their new EP, Nico Vega Covers Nico Vega And Rod Stewart. The EP features a refreshed collection of the band’s select familiar songs that have been re-imagined in a series of different styles as well as a brilliant cover of Rod Stewart’s, “Young Turks” – for good measure. From the beat dropping electronica version of “Million Years” to the twanging outlaw country, “So So Fresh,” Nico Vega have transcended sonically, delivering an eclectic collection of six great tracks. Big thumbs up. Tell all your friends.

The Low Anthem Folk music doesn’t need to be reinvented for it to come alive – just performed. If you’re looking for a solid folk spooker to open the year, your search ends here. At heart this is a traditional collection of folk songs, their straightforward rhythms and instrumentation intermittently embellished with musical saw and pump organ, their lyrics of loss, redemption and death occasionally startling, with such vivid imagery as that of a Bible in a bath of formaldehyde.

Life in a Day United Kingdom (Director: Kevin Macdonald) - Life in a Day is a historic global experiment to create the world’s largest user-generated feature film. On July 24, 2010, professional and amateur filmmakers captured a glimpse of their lives on camera and uploaded the footage to YouTube, serving as a time capsule for future generations.

Bobby Fischer Against the World U.S.A. (Director: Liz Garbus) - The drama of late chess-master Bobby Fischer’s career was undeniable, as he careened from troubled childhood, to World Champion and Cold War icon, to a fugitive on the run.

Reagan U.S.A., United Kingdom (Director: Eugene Jarecki) Reagan examines the enigmatic career of one of the revered architects of the modern world - icon, screen star, and two-term president Ronald Reagan.


Austin City Limits

conversation with anyone, I

Flaming Lips, had summed up the 2010 Austin

If Bonnaroo ever comes up in

just always tell them the exact same thing:

Amidst all the chaos, Coyne, lead singer of The

City Limits Music Festival in that one sentence.

Everything that happened at Zilker Park this past weekend came together; every music fan

had now learned how to love music harder,

and how to live a little more passionately, and to take all the joy, pain, misery, confusion, and That said, the festival is not for the faint of heart. Yes, it can be

love of all the bands they heard with them wherever they go.

scorching hot or muddy and

Austin City Limits is the yearly music festival

Notebook. Yes, our tent had

tal of the world. Since its inception, the festival

rainy like that scene in The collapsed and flooded when we got back to the campsite at 4am

the last night of our first year there. Yes, the porta-potties are usually nasty unless you know how to synchronize your bowel

movements. But the festival is flat out unforgettable.

that has given Austin the title of musical capi-

has grown into a monster, with three days of music and 130 bands on eight stages.



sic, the road leading to Wakarusa Music Festival

vals around! I take issue with

There are many roads you travel down to see muwas one of the most splendid treats about partaking in this years fest. Winding up and down the hills of Arkansas, through the lush Ozark Forest there lay the top of Mulberry Mountain.

One of the friendliest festiany review that says anything

about hipsters and their attitudes at this festival.

There was a lot of hype about the location moving to Arkansas last year, I know personally the

negative attributes connected with the festival being held in Lawrence, Kansas.

There were many attributes to this years Wakarusa that will be talked about for years to

but I saw nothing but great interaction between festival goers

come. Being the collaborations and appearances and talked to so many stranby the acts who made it possible or the behind

gers I think my mom’s spidey

gathering off. The expanded draw to this land is

up at night.

the scene workers who pulled this fabulous

one which cant be denied as next years Festival

begins to assemble, the anticipation deepens to return to this blissful place again.

senses were surely keeping her

Pitchfork music festival is an

essential and fantastic part of

both indie music and Chicago’s total culture!

Cache Magazine  

Student graphics magazine project

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