Outro: A Modern Senior Concert

NIORS

A CONCERT BY MODERN DANCE SE

TIVE

HEARTLAND COLLEC WITH GUEST CHOREOGRAPHY BY

Concert Note Welcome to Outro, featuring the original works of each member of the Modern Dance BFA class of 2024 and a new original work by Heartland Collective.

Our cohort is made up of 9 incredible individuals. We each have rich personal histories and emerging dreams for our futures. Tonight, we celebrate each of our unique voices, as well as the love, and friendship we share.

This evening is a culmination of the hard work we have done, lessons we have learned, and precious relationships we have made these last 4 years.

Yes to the magic held in each precious human body, the magic that is the medium of our making Yes to risk

Yes to vulnerability and care Yes to experimentation, yes to research Yes to art that calls for liberation Yes to remembering the rhythms and spirals of aliveness, life is a dance To the Marriott Center for Dance and the people here who make our education possible, thank you.

To our professors and teachers, who have taught us so much about this creative form, who have mentored us, who have taught us to trust ourselves, who have taught us about boundless curiosity, thank you.

Our art-making reminds us of our shared humanity. This extends beyond the walls of this building and beyond the bounds of national borders. As a cohort, we would like to state our solidarity with the Palestinian people and express our demand for an immediate ceasefire and an end to the siege on Gaza.

We believe in the freedom and liberation of all people.

We thank you for joining us this evening and we hope you enjoy the show.

Sincerely, Modern Dance Senior Class of 2024 Leslie Jara, Ellie Russell, Henrik Gustafson, Madeline Nelson, Ray Toth, Lily Hammons, Elle Taylor, Charlotte Stehmeyer and Savannah Sherman.

title of the show inspired by the process with Heartland Collective

University of Utah Land Acknowledgment We acknowledge that this land, which is named for the Ute Tribe, is the traditional and ancestral homeland of the Shoshone, Paiute, Goshute, and Ute Tribes. The University of Utah recognizes and respects the enduring relationship that exists between many Indigenous peoples and their traditional homelands.

We respect the sovereign relationship between tribes, states, and the federal government, and we affirm the University of Utah’s commitment to a partnership with Native Nations and Urban Indian communities through research, education, and community outreach activities.

The Whimsy of Being Choreographer: Ray Toth Performers: Lainee Chase, Aspen Dalby, Jolie Ferguson, Birdie Hadden, Sophia McCausland, Sean Sullivan, Em Zinn Music: “Doctor Worm” by They Might Be Giants, “Waiting Room” by Fugazi, “Flamingo” by Rob Cantor Lighting Design: Kat Dringman and Katie Winslow

enthusiast Ray: “Lifelong cat ings silly.” th all of er joy and en

Lainee: “Just a

couple feet talle

r now.”

e u can see, I’v Sean: “As yo one.” y da e nc si me been the sa

Aspen: “Unlocking my inner silly, spunky, spontaneous child!”

up I loved dressing Jolie: “As a kid, rite vo fa my be to and pretending same rs. I am still the Disney characte art!” he at rl gi ey sn fun loving Di

this day, Em: “And to rk is still Jurassic Pa movie.” te ri vo my fa

Birdie: “Younger me crying over a kitten, little did small Bird know she has A LOT more reasons to cry now.”

Sophia: “Happy Birthday?”

One day I will be on time; Choreographer: Charlotte Stehmeyer in collaboration with performers Performers: Solveig Christianson, Kat Dringman, Lily Hammons, Madeline Nelson, Abby Pace, Izzy Sandston, Cooper Sullivan, Charlotte Stehmeyer, Elle Taylor Music: “Charmaine” by Lucienne Delyle, “Einklang” by Peter Michael Hamel Lighting Design: Meleah Paishon and Olivia Schmaltz Monologue written by Camden Barrett in collaboration with Solveig Christianson and Izzy Sandston

she who walks for eternity seeking, accumulating – not so blind to the balance of complexity, and the frustratingly simple.

of course seasons must come! why shed tears? does Candle burn through her wick? does your mother’s mother’s lipstick bleed into the fleshy volume of her lips? leaving behind – eroded, a sticky form reflecting, remembering the undeniable body. an act of love, of ritual, a step, a step, a step.

LEAP! for she will witness another winter, another spring.

Oh, you say, the whiplash of it all – abundant, unyielding, a celebration! don’t you think? for we are alive, she who walks for eternity.

- A collection of words from Charlotte

Break Free & Good Company Choreographer: Savannah Sherman Performers: Emilie Bishop, Hannah Kiers, Esther Simmons Music: “I Want to Break Free” by Queen; “Good Company” by Queen Lighting Design: Erin Hummiston and Sofia Marie Lusitana I Want to Break Free - Screendance: A screendance made by an amateur cameraman (Savannah) and three dancers willing to be silly. The costuming and concept were heavily inspired by the Queen “I Want to Break Free” music video and a good eye for the many windows on campus.

Good Company - Onstage Performance: Thank you to my dancers for exhibiting a genuine “play” in this rehearsal process and creating a nice connection between my ideas for a screendance and an onstage portion.

Myth of the Cowboy Choreographer: Henrik Gustafson in collaboration with the performers Performers: Max VanNocken-Witmer, Elijah Cook, Kiya Green, Katie Winslow, Madeline Nelson, Keily Tafiti, Leslie Jara Music: “Your Sweet Love” by Lee Hazlewood; “These Boots Are Made For Walkin’” by Nancy Sinatra; “Gentle On My Mind” by Glen Campbell Lighting Design: Lydia Smith Choreographer's Note: This piece explores the romanticization of the American West. I play with connection to family, and question how we see ourselves in the stories of our ancestors. I also reckon with the history of the land my family has occupied for generations, and question what to do with my family history in the historical context?

While oftentimes the cowboy is associated with outlaws, rangers, and sheriffs in the ‘Wild West’, most cattle drivers in the western United States were Mexican, Black, and Indigenous vaqueros. From the arrival of horses with the Spanish in the 1500s, vaqueros drove their cattle on the open land for three centuries. In the late 1860s, the invention of barbed wire and changing understandings of land ownership led to an end of the open range–the vaquero was stamped out of land and memory. During the 1950s, the United States was searching for an identity.

Through film, TV shows, and novels, depictions of a gunslinging hero taming the land were written as a romantic history of the West, becoming part of the American identity–and the mythical cowboy was born.

Thank you so much to my dancers, for whom I am forever grateful.

I'm so sorry I forgot to tell you I'm Unraveling Choreographer: Elle Taylor Performers: Cooper Sullivan, Kiya Green, Lily Hammons, Abby Pace, Marlee Stephens, Charlotte Stehmeyer, Elle Taylor Music: “Interlude” by Little Moon, “Rile Me Up," “Fake Falsey People” by Emile Mosseri Lighting Design: Lydia Morris and Sophia Kourtoglou

There's steadiness in my belly And the bottoms of my feet but I gave up and let my heart break this morning It seems its open (again) And so From the center of my chest I’m unraveling I’m unraveling

I don’t have to tell you its all too beautiful to bear with these 5 senses, no More More, more, more, more, And I’m only just beginning From the center of my chest I’m unraveling I’m unraveling And somehow it keeps going and I am learning The Something that keeps my heart pounding One day will move on Unraveling onward toward new madnesses of aliveness And I’m only just beginning - From Elle

Through a Dreamy Blur Choreographer: Lily Bella Hammons Performers: Cooper Sullivan, Charlotte Stehmeyer, Elle Taylor, Olivia Schmaltz, Kat Dringman, Lily Hammons Music: Overture “A Midsummer Night’s Dream”, Op. 21 & “Finale: through this House Give Glimering Light”, Op. 61 by Kathleen Battle with Boston Symphony Orchestra Lighting Design: Brianne Corbridge and Amelia Rukavina Choreographer's Note: They emerge as an ethereal partner. They hold a mysterious allure, hinting at hidden depths and dimensions beyond what is immediately visible. Blurring the boundaries between reality and imagination, shadows invite us to wander

through the delicate balance of the tangible world and the realm of dreams.

A huge THANK YOU to my family, friends and cast for your boundless encouragement and belief in me.

Nostalgic Echoes Choreographer: Ellie Russell in collaboration with performers Performers: Haley DeCamara, Sicily Demmerly, Grace Hurley, Emily Marsh, Drew Russell, Ellie Russell Music: “Jacob’s Prayer” by Emile Mosseri, “Amsterdam” by Gregory Alan Isakov, “Jacob and the Stone” by Emile Mosseri Lighting Design: Addison Cambia and Kiya Green Choreographer's Note: As my time here in this program comes to a close, I have reflected on my past four years here. There are so many cherished memories and experiences that I will remember forever. I have been thinking a lot about how even though change in our lives is good for us, it can bring about feelings of nostalgia for the past.

This piece explores fondness, tenderness, sentiment and how those emotions can lead to a want to relieve previous memories. Thank you to my dancers for having such open hearts and minds throughout this whole process.

To my family: thank you for your constant love and support in everything that I do. I owe everything to you all <3

Forever and a Day Choreographer: Madeline Nelson in collaboration with dancers Performers: Addison Cambia, Terra Killpack-Knutsen, Sophia McCausland, Allison Shafter, Ella Shippen, Ela Solmsen Music: “recently,” by Liana Flores, “Fairy Fountain” by Super Guitar Bros, “Candlescape” by aspidistrafly, “When You’re Drifting” by Mojave 3 Lighting Design: Haley DeCamara and Emily Marsh Choreographer's Note: Forever and a day is inspired by the admiration, curiosity, and awe surrounding statues and sculptures. The internal and inverted moments they are forever stuck in.

This piece explores the physicality of those moments, as well as the feelings regarding being stuck at a point in time forever.

Favorable or not, your moment is everlasting and never changing. Thank you to my dancers for your incredible dedication and investment in this piece. I could not have asked for a better cast & process.

A special thank you to my Mom, Dad, Grandparents, Brothers, Family, and Friends for your unwavering support and encouragement. I couldn’t have done these past four years without you.

The Gift Choreographer: Leslie Jara in collaboration with dancers Performers: Sicily Demmerly, Leah Fabela, Josie Kolbeck, Jilly Lewis, Haniel Lopez, Sala Malohifo’ou, Gio Miranda, Sean Sullivan, Keily Tafiti Featured performers (screendance): Stephanie Garcia, Angeline Bourgeault, Ella Spanier, Michelle Pina-Arriaga, Veronica Ortiz, Claudio Jara, Eric Jara, Richard Jara, Nicole Fielding, Kari Angell, Tylee Coates, Alejandro Romero, Bri Skaggs, Giselle Soriano, Jaqueline Leyva, Laura Parra, Mona Jordan, Mya Dixon, Paige Spenny, Brooke Maxwell, and Allegiant Dance Crew Lighting Design: Sophia Anderson and Mackenna Bonner Music: By Leslie Jara through free sound from pixabay.com and live audio with featured performers

Choreographer's Note: Inspired by the idea of “Aloha Leadership” taught by Richard Kaufusi and Latu Kinikini, and the idea of “Unapologetic Individuality” taught by Jeffrey Boom Louizia; The Gift was created in response to The Giver performed at our senior showing in December of 2023, meaning the gift of the present life, the gift of giving, the gift of being, the gift of individuality, etc. This piece is my gift to those that have supported me throughout these four years.

A gift to my family, friends, mentors, and my students for shaping me to be the person I am today. This is also my gift to you, the viewers. I hope this piece inspires you to be yourself unapologetically and to be grateful for the life you live.

Para mis padres…gracias por apoyarme siempre en mis sueños tan locos y grandes.

Los amo con todo mi corazón. Esto es para ustedes y para Freddy. “SI SE PUDO!!”

OUTRO: our last wish Direction & Choreography: Heartland Collective (Florian Alberge, Molly Heller, Marissa Mooney, Melissa Younker) Choreography & Performance: Henrik Gustafson, Lily Bella Hammons, Leslie Jara, Madeline Nelson, Ellie Russell, Savannah Sherman, Charlotte Stehmeyer, Elle Taylor, Ray Toth Original Music: Nick Foster and Michael Wall Costumes: Heartland Collective and Senior Class 2024 with the School of Dance Costume Shop Lighting Design: Emily Bertelli and Max VanNocken-Witmer Rehearsal Assistant: Alexia Maikidou Poutrino

The People of the School of Dance FACULTY

Christopher Alloways-Ramsey – Assistant Professor, Recruitment Director Melissa Bobick – Assistant Professor Douglas Corbin – Professor (Lecturer), Musical Director Daniel Clifton – Associate Professor (Lecturer) Joselli Deans – Associate Professor Natalie Desch – Assistant Professor, Recruitment Director Pamela Geber Handman – Professor Eric Handman – Associate Professor, Director of Graduate Studies Molly Heller – Assistant Professor Satu Hummasti – Associate Professor Jay Kim – Associate Professor, IBSI Director, Director of Undergraduate Studies Kym McDaniel – Assistant Professor, Screendance Program Head Christine McMillan – Associate Professor (Lecturer) Melonie Murray – Professor, Director, School of Dance Pablo Piantino – Assistant Professor, Director of Undergraduate Studies Sara Pickett – Associate Professor (Lecturer), Director of Undergraduate Studies Ben Sandberg – Assistant Professor (Clinical), A/V Specialist Mary Ann Walton Lee – Associate Professor (Lecturer), Artistic Director Tanner Dance Maggie Wright Tesch – Professor (Lecturer), UBSI Director Luc Vanier – Professor

ADJUNCT FACULTY

Rebecca Aneloski – Adjunct Instructor Rosie Banchero - Adjunct Assistant Professor Lynne Larson - Adjunct Assistant Professor Christine Moore – Adjunct Assistant Professor Justine Sheedy-Kramer - Adjunct Associate Professor Jasmine Stack - Adjunct Assistant Professor

FACULTY EMERITI

Bené Arnold – Distinguished Professor Emerita, Distinguished Alumna Ellen Bromberg – Distinguished Professor Emerita Jacqueline Clifford - Professor Emerita Abby Fiat - Professor Emerita Barbara Hamblin - Associate Professor Emerita, Distinguished Alumna Phyllis Haskell - Professor Emerita, Distinguished Alumna Stephen Koester - Professor Emeritus Sharee Lane - Associate Professor Emerita Conrad Ludlow - Associate Professor Emeritus Loabelle Mangelson Clawson Professor Emerita Shirley Ririe - Professor Emerita Brent Schneider – Professor Emerita Jon Scoville - Associate Professor Emeritus Donna White - Professor Emerita Joan Woodbury - Professor Emerita

MFA CANDIDATES

Constance Anderson – MFA Candidate Emma Capen – MFA Candidate Roxanne Gray – MFA Candidate Rebekah Guerra – MFA Candidate Carly Herrmann – MFA Candidate Ruger Memmott – MFA Candidate Alexia Poutrino Maikidou – MFA Candidate

ADMINISTRATION

Melonie Murray - Director Will Maguire - Administrative Manager Sheridan Hutchinson Administrative Assistant Merritt Mecham - Marketing & Design Hope Ferguson – Office Assistant

COSTUME SHOP

Christopher Larson – Costume Shop Supervisor & Resident Designer Madeleine Mann – Draper Clover Kelly – First Hand Makayla Cussen – Head Stitcher Sofia Marie Lusitana, Katie Winslow, Brianne Corbridge – Stitchers

ACCOMPANISTS

Amy Bach – Accompanist Vilena Barekyan – Accompanist Mark Chaney – Accompanist Wayne Coons – Accompanist Jordan Fajardo-Bird – Accompanist Max Hall – Accompanist David Herrmann – Accompanist Tristan Moore – Accompanist Brian Pappal – Accompanist Tatsiana Rasmussen – Accompanist John Rukavina – Accompanist Wachira Waigwa-Stone – Accompanist Kimball Whitaker – Accompanist

PT/ATC

Christopher Michaels – Athletic Trainer

PRODUCTION

Production Director - Emily Bertelli Technical Director - William Peterson Production Stage Manager Rebecca Johnson Video Director - Benjamin Sandberg Videographers - Leo Lynn, Joon Park, Yeohna Lee Run Crew - Susan Burnap, Beckett Chambers, Derek Morales, Charlize Nguyem. Abish Noble, Liam Oaks, Ela Solmsen, Max VanNocken-Wtimer

The School of Dance akcnowledges and thanks the following donors for their generous support during fiscal year July 1, 2022 - June 30, 2023 Contributors | $2,500+ Christie Walker Brandon Walker Gordon and Connie Hanks

Benefactors | $1,000 - $2,499 Andrew De Camara Allison De Camara Jean Sabatine Anne Riffey John Veranth, PhD and Martha Veranth Abby and Jerome Fiat

Patrons | $500 - $999

Henning Haffner Sophie Kane Cafe Zupas Lou Leberti The Field Foundation Sheila Ainlay and Michael Steiner Sean Carter

Friends | $200 - $499

Brent Schneider and Kim Blackett Rae Barnes Arkansas Community Foundation Melonie Murray, PhD and Steve Murray Edward Folts The Benevity Community Impact Fund Intel Corporation Corporate Office Andrea Nelson Eastern Arts Society Michael and Carolyn Stransky Karyn Strickler

Brenda Daniels Melissa Panek Dixie Moore West Point Ballet Academy Brendan M. Guiliano Jennifer Guiliano Andrew and Alice Sullivan Jonathan Scoville and Tandy Beal

Fans | $100 - $199

CENGAGE Learning Robyn Connors Isabel Shimanski Grant Smith, PhD Marsha Knight and Leigh Selting Kim Morris and Rheba Vetter, PhD Panda Restaurant Group, Inc. Eric and Pamela Handman Chipotle Mexican Grill Lisette Miles A. Kent Greene, JD and Jan Greene Judith and Bruce Frumker Jean Christofferson Paul Keir Bob Knous Marla Polk Linda Jellison Joe Rejsek Dianne Shelden Howe Trust Dennis and Margaret Tesch Janet and Gregory Shaw Wendy Thompson Patricia Rubley and Raymond Rubley, Jr. Maureen McGill Dianne Howe, PhD Thomas Welsh, PhD and Sue Carpenter Priscilla Campbell, CPA Michele and Lawrence Holzman

SELECT PERFORMANCES WILL BE LIVE-STREAMED We recognize that the arts are a vital part of our connection to one another, and we need connection now more than ever.

So, we, in the School of Dance, have made the decision to provide free access to any patron who would like to be moved by our movement this year.

For those who would like to help us make our art available to more, or who would like to support the work of our talented faculty, staff and students, we welcome your financial contributions.

But for now and while we can, we’re letting the art be free.

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This year marks the College of Fine Arts 75th anniversary, and as new faces join our community, we can’t help but think of all who came before, leaving their mark on the unique history of the College of Fine Arts. Each is a vital component of our expanding creative ecosystem. We are filled with gratitude for where we have been and anticipation for where we’re headed.

Your gift in honor of this monumental landmark — no matter the size — fuels dreams taking root in the College of Fine Arts. Thank you for investing in our future.

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