DSAworks: The Real Deal

The Dance Student Assembly (DSA) has been putting together monthly hour long workshops held by professional dancers working in the industry. Some have even been Michigan Alumni!

This past week we were lucky enough to be taught by Dee Tomasetta, a Michigan alumni. Dee has been working professionally in New York City since she left Ann Arbor. Some of her work includes: playing Peter Pan in the Broadway First National Tour of Finding Neverland, Starring in Broadway Labs and Pre Productions of Mrs. Doubtfire, Bliss the Musical, Kalevala the Musical, and the Storm, appearing on So You Think You Can Dance a top 15 female finalist, receiving the Emerging Artist Alumni Award from the University of Michigan’s School of Music, Theatre & Dance, and so much more. In addition to working professionally, Dee is also a faculty member at the American Musical and Dramatic Academy (AMDA) located in New York City. She continues to share her knowledge, love, and passion for the arts teaching at various dance institutions and conventions throughout the country.

Dee taught a 45 min class, challenging the dancers to a fast combination from the Broadway show Six, which was supposed to be opening this week on Broadway but of course was postponed. It was so great to be able to learn from and dance with Dee. She is extremely talented and dynamic in her movement. The combination was so fun, and despite having to be socially distant and limited to our small spaces, it was so fun to dance together as a department.

After class Dee lead a Q & A, where students sent in their questions to her before the workshop. It was so great to hear her insight on making it in the industry, as well as staying motivated during a time when our livelihood is on pause. She is constantly looking towards the future and her inspiring words gave the department the hope of life getting back to normal and dancers starting to go back to work. What an inspiring way to start the weekend!

A still image of me, Tal, and Dee all dancing together during the workshop.

+KHAOS+ EP.2: Beginning of a Chapter

EP 2: BEGINNING OF A CHAPTER

EP2: BEGINNING OF A CHAPTER

Unit 3 SALV also known as Ed meets with Milo, a child who Unit 3 is assigned to protect whenever a meteorite strikes in the bleak and arctic climate of the Earth. Milo is the younger brother of Doctor who contributed to the production of SALV, specifically Ed.

 

+Author’s Comment+

Hi all, hope everyone’s doing well and had fun celebrating Halloween. Christmas getting closer…but wait! There’s Thanksgiving.

For those who are curious about how SALV is meant to stop the extinction of humanity: SALV protects people in various ways, such as sheltering people when the Earth’s weather conditions become too harsh or when an unexpected meteor hits earth.

My Art Instagram account: @kats.art.folder

There, I Will Wait

In the dance department, the first year dance majors are part of a company (first year touring company) their second semester. The department brings in two outside choreographers/professional dancers to set pieces, as well as,  three juniors are chosen to set choreography on the freshman. For the juniors chosen this is many of their first times choreographing and setting movement on dancers in a formal setting. I was one of the lucky juniors chosen. I was so excited to workshop my choreography with the group of freshman that I hand picked to be my cast, however, our time was cut short before I had the opportunity to finish and clean the dance, and before the freshman had the opportunity to perform any of the dances they had been working on for the semester.

Working with the First Year Touring Company (FYTC) was amazing. My cast was a group of open-minded, talented, and welcoming seven dancers. I wish I had more time with them in rehearsal to clean and polish this dance and I wish that they would have been able to perform it. With the help of Zachary Morris, we recorded all of the hard work that we have put in to this dance this past semester before everyone went home.

Thank you to my amazing cast for being so open-minded and willing to try new things. Thank you to Zach for coming in and recording these talented artists so last minute. Thank you Claire Difranco for helping me edit this music because I didn’t know what I was doing. Finally, thank you FYTC for allowing me to choreograph for you, it was a pleasure 🙂

Music: There Will Be Time- Mumford & Sons and Baaba Maal
I Will Wait- Mumford and sons
Music cut: Claire Difranco and Sara Fox
Videographer: Zach Morris
Dancers: Jack Randall, Grace Mahalick, Hallie Atzen, Brooke Ester, Alissa Rebagliati, Katey Besser, and Chloe Chodorow
Choreography: Sara Fox
Video edit: Sara Fox

waves: blacklight

photo cred: me. in my apartment with my partner.

{trigger warning: childhood illness}

this whole year has brought about many hours of reflection for me and my life. one thing i’ve been thinking about a lot and trying to process is my experience as a cancer survivor. i was diagnosed with stage 4 hodgkin’s lymphoma at 16 years old (my junior year of high school). while i’m in remission now, the trauma i have tied to that experience is something that comes up again and again — especially during something as stressful as a global pandemic. the precautions i take to protect myself and others from the virus (like wearing masks, washing my hands often, disinfecting everything i come in contact with) feels eerily similar to the precautions i had to take while protecting myself from infections while being treated with chemotherapy and radiation.

i don’t talk much about my experiences, and part of the reason for that is because, well, it isn’t pretty. having cancer, being treated for it, fearing that it will come back, and having a deadly virus going around that only intensifies my anxiety isn’t something i can talk about in a few minutes or hours and be done with. i think about it all the time. and i take the pandemic very seriously mostly because of my fears.

i just wanted to let anyone who is struggling with processing or navigating this pandemic know that they are not alone, and things REALLY suck at the moment and it’s okay to acknowledge that. it’s okay to not be okay, and it’s okay to fear the uncertain future ahead of all of us. it’s okay to talk through your feelings with people you love andcare about, including yourself. this poem, ‘blacklight’, is one of my many attempts to do so. fun fact: this is a contrapuntal poem, which means that it can be read in at least two different ways 😉

~~~~~~

 

that moment when you look                                                                            your eyes don’t adjust to the darkness

        it’s just dark                                                                                                             and thick wet black

        and i tell everyone i know it’s just my shadow                                          it’s just the back of the throat, i say

        and they believe me                                                                                           and no one asks further questions

        but i’ve been trying to figure out,                                                                                  like,

 

 

how do i come to terms with the tumors growing in my body?

how long have they been there?

was there a such thing as light before the universe?

did darkness come from a wounded womb?

has anyone found its keyholed belly?

 

blacklight 

 

What

Is the name you give to the tapeworm 

Nibbling away 

Keeping your stomach empty 

Something that to which your brain

Can’t help but wander

It made someone lace opioids 

Into their blood vessels 

So that their tangled veins force them to sleep 

For their mind to go to quiet 

Places 

That mingle

Regret with dreams. 

 

The Indian Artist – American Dhulan

When I mention the fact that my parents had an arranged marriage people look at me like I’ve stepped out of an 18th-century melodrama. At a young age, I never understood the semi-shocked looks or the elongated replies of “Ohhhhh interesting” that I would receive. Each one of my aunts and uncles had an arranged marriage along with all of my grandparents and their parents before them. It seemed like a normal thing that I was expected to partake in as well when I was ready to get hitched.

However, growing up in American society, and over time, veering away from the strict traditions of my culture, I have found myself torn between following in the footsteps of my ancestors and creating my own path. This is an aspect that I choose to discuss heavily through my art, the culture that I was born with versus the culture that I have grown up amongst, and the difficulties that come with being pulled constantly in different directions. As I am sure many kids growing up in an immigrant family with diverse backgrounds can sympathize with, this dichotomy, this constant battle between sticking to my roots while wanting to experience beyond the uber-traditional and what is “expected”, has proven to be more than challenging.

How about a little background before we dive in too deep? Both of my parents were born and raised in north India, coming from families that had strict ideals and followed tradition to a T. They were set up, married, and came to America for their educations, to start a new life, a life of promise and opportunity for their children. When my brother and I were born here, we were also raised in similar ways and held to the same expectations that my grandparents had set for my parents. Along with these expectations and all of the rules came the unspoken belief that I would one day grow up to blindly marry a man of my parents’ choosing. The mere thought of falling in love with whomever I chose, a man of any race, was something that wasn’t dared to be entertained.

The piece that I have shown represents this internal struggle and discusses some of the challenges faced by many children in strict traditional families. I chose to title this piece American Dhulan, once again representing the dichotomous relationship between my Indian upbringing in American society.

In Hindi, “dhulan” means the bride. This piece, done in various mediums ranging from watercolor, colored pencil, fabric, and gold leafing, is a rendition of a traditional Indian bride decorated in intricate ornaments and clothing. In the drawing, all of the jewelry has been removed in place of different scenes. Her necklace symbolizes the destruction of true love as two hands reach for each other but never meet. The earrings, nose ring, and forehead decoration are each whited-out. Instead, they are replaced by images demonstrating different modes of stress and mental health challenges many children face but are oftentimes overlooked.

As time has gone on, I have come to find solace in my culture while continuing on my own self-made journey. I have chosen to accept the very traditional parts of the Indian lifestyle and the difficulties that may come along with it as another part of the otherwise beautiful culture. However, now I choose what I want to be a part of my story.

In the following posts, I will dive into other aspects of my culture and how it has molded me into the person that I am today. If anything that I discussed in this post stands out or if any questions arise please comment and share your thoughts!!

Looking forward to next Sunday!

 

~ Riya

 

Personal website:   https://riyarts.weebly.com/