Gina Hoch-Stall, Choreographer and Co-Producer
As a child I loved to jump from high places, climb trees and spin. Later I corralled these impulses into the technique of ballet in a bright room with pepto bismol colored walls--my favorite part was dancing with the scarves at the end of the class. Eventually the grim reality of being a ballet dancer descended and I realized that all the things I didn't really enjoy that much in class: the tendues, frappes, and petite battement were necessary to achieve serious tutu status. I thought I had moved on until I discovered modern dance that wasn't about 'being a tree'; modern dance that used all of my jumping, climbing, leaping and rolling energy and turned it into something exciting and beautiful--a dance form that made even tendues fun again. And I've been doing it ever since.
Price Campbell, Filmmaker
I've never quite understood film, but I've always been attracted to it. I started out playing with any camera I could get my hands on, then wondering how footage becomes edited, to finally suffering through the labors of making my first movie. It was a very personal process, but it was a ton of fun.
I came to film as a movie lover. Kubrick was the first director to blow my mind. Then I grew a bit older and became a snobby art house kid. Then I started working at a video store and watched everything I could. Now I think rinky-dink YouTube videos are just as relevant as anything made by Bresson or Bergman.
Although I've had many great experiences working on sets and analyzing films, I prefer the perspective of an outsider. I've come full circle to realize that good cinema is everywhere, and as long as there's some sort of genuine emotion involved it'll be alright. Just as long as the camera is held straight.
I came to film as a movie lover. Kubrick was the first director to blow my mind. Then I grew a bit older and became a snobby art house kid. Then I started working at a video store and watched everything I could. Now I think rinky-dink YouTube videos are just as relevant as anything made by Bresson or Bergman.
Although I've had many great experiences working on sets and analyzing films, I prefer the perspective of an outsider. I've come full circle to realize that good cinema is everywhere, and as long as there's some sort of genuine emotion involved it'll be alright. Just as long as the camera is held straight.
Katelyn Reiersen, Co-Producer
When Katelyn was little, she had a grandiose vision. Her bedroom, really, too massive for comfort, she craved a tinier space. The bathtub looked about right. She could put her clothes underneath the sink, pile blankets in the tub, put her books next to the toilet. She calculated the hours saved in not having to travel far for a cup of bedtime water, to brush teeth, use the toilet. She could use the backyard hose to shower...
In presenting this vision to her mother, she could not understand it's rejection.
Years later, she realized it doesn't matter where you sleep, most importantly, that you do.
And that it's best to have your visions explored, however strange they may be.
In presenting this vision to her mother, she could not understand it's rejection.
Years later, she realized it doesn't matter where you sleep, most importantly, that you do.
And that it's best to have your visions explored, however strange they may be.
Adams Berzins, Dancer
Adams Berzins found his love of dance while studying at Ursinus College. His primary medium is Contact Improvisation as well as Improvisational Performance. Adams has ahd the good fortune to work with some amazing choreographers and dancers, most notably, "Bodies in Urban Spaces" with Willi Dorner in the 2009 VelocityDC Dance Festival in Washington DC and the 2008 LiveArts Festival in Philadelphia, "Residue" by Tina Bacciale (Heuges) and Winged Woman Dance Company, "Contest" by Jeb Kreager in the 2006 LiveArts Festival, the Glue performance series, the Koresh Dance showcase, Festival 42 and individual works and performances with Adrianna Carey-Berzins, Graeme McHenry, Nicole Bindler's PNMDE and Amnesiac Dance, Summer Schultz and Karin Bookbinder, as well as choreographing a dance for competition in the Latvian Song and Dance Festival of 2004. Adams is currently working on a suite of works set to the music of Tom Waits.
Enza DePalma, Dancer
To me, movement and dance are the world's universal language. Since I was three dance and movement have become a valuable way for me to communicate and through the years I've come to realize that no matter what language you speak or how knowledgeable you are of dance, movement can speak. We see it in sign language and in everyday hand gestures, but also onstage in concert dance. I'm fortunate to have fallen in love with modern dance, a genre and medium that I get to explore and perfect every day. This project relies on dance to demonstrate how life experiences can be translated into movement and presented to you, the audience. Each movement has a meaning, a story that the performers of this project have put together into what we call "the evolution of this moment". I'm excited to be telling my stories stories and the experience that have brought me to this very moment and I'm happy to be doing it through dance.
Shelby Lynn Joyce, Dancer
Ever since I can remember I was either performing for my family, or for anyone who would pay attention to me. From stealing my sister’s dance shoes that were 5 sizes too big, to singing through a microphone my grandma rigged up for me, I loved to be in the spotlight. My obsession with movement began, and took over me completely. As soon as I was old enough for my mom to sign me up for dance classes, I was eager to learn and grow in every aspect. Continuing through my love and passion for dance I have turned it into my career. In my fourth year of college as a dance major, I am eager to be thrown into this world of artists, and to continue my love and passion for dance.
Molly Jackson, Dancer
I began my dance career at the age of four, dressed in fringe and flashing peace signs in front of hundreds of people, while my Dad’s band (The Band That Time Forgot) busted out classic 60’s tunes. When I wasn’t on stage, my best friend and I would blast tunes in the backyard and pretend we were world famous go-go dancers on the set of a 1960’s beach bum movie. I learned early on that ballet didn’t do it for me, and kept it eclectic throughout the years, focusing mainly in the areas of African, hip-hop, modern, swing and salsa. Most of my teenage years were spent choreographing routines to almost every song that hit the radio, choreographing anything dance related in school and burning up the dance floor at any public dance I could get myself into. I came to Temple University with spirit and spunk, and eventually, through hours and hours of sweat and dedication, left with a BFA in Dance and the talent and technique I strove for. For now, I'm trying to dance my heart out, keep on spreadin' the good karma and hope someday to change the world...either that or go on tour with Lady Gaga.
