Dance Alabama! (DA!), the largest dance-focused student organization at The University of Alabama (UA), recently held its second annual #SICKMOVES concert on February 17, 2024, in the Dance Theatre. All concerts DA! produces are organized by UA students; rather than targeting the UA student body, however, this one-night-only performance was created with the Tuscaloosa community in mind. The colorful playbill read “Dance Alabama! is dedicated to bringing people together to share our love of dance. Therefore, our goal in producing this show is to give children and community members the opportunity to witness the importance of the arts.” DA! opened the show to the public at no cost to support this goal of promoting community and artistry.
In another move toward honoring community, DA! honed in on a more inclusive method of casting with this specific dance production. All student dancers that auditioned were cast in at least one number. In most other academic and professional settings, dance concerts are cast through general open auditions followed by callbacks. In many cases, most dancers that audition for a production will get rejected. DA! is changing this narrative and promoting inclusivity with #SICKMOVES by giving all auditionees an opportunity to perform.
The inclusive casting allowed for multiple large group numbers, including the opening piece, “Let’s Da!nce”, a fun take on Whitney Houston’s “I Wanna Dance with Somebody.”Choreographed by DA! President, Hannah Mixon, this number showcased twelve dancers clothed in bright colors. The choreography featured showy turn sequences, leaps, and tricks that fit with the up-tempo pop melody.
With such a large piece, a sense of trust must be built within the whole ensemble. Without this connection, the composition is at risk of being out-of-sync and logistically falling apart. Despite these challenges, it was evident Mixon worked with her cast behind the scenes to develop these off-stage relationships. Their energy while performing radiated all the way to the back where I was sitting, and audience members’ cheers echoed. The choreography was engaging, and it was clear this opening piece left the audience excited for the concert ahead.
Of all the dances in the concert, Kylie Blake’s self-choreographed solo “Tales of a Teenage Girl” tugged at my heart-strings the most. I saw glimpses of my young adult years throughout the choreography that shed light on the hardships of growing up as a female. Dressed in a white dress with a bow in her hair, Blake took on a youthful persona as she explored different temper-tantrum-type movements. Fittingly set to Brenda Lee’s “Emotions,” this piece was full of passion as Blake used sharp movements to indicate that she was experiencing frustration, joy, sadness, and everything in between.
The song lyrics echoed through the theater, “Emotions, give me a break. Let me forget that I made a mistake. Oh, can’t you see what you’re doin’ to me? Emotions, please set me free!” Just as you could hear the longing in Lee’s voice to break free from her overbearing thoughts, Blake’s acting choices helped to convey how her mental state influenced her physically.
There was a clear contrast between moments in which she felt happy, in love, and excited versus angry, frustrated, and upset. The melody and choreography flowed together with ease; there were even moments where it almost felt as if Blake’s dancing and Lee’s singing were one collective voice. Because there was clear chemistry between Blake and her track, the dancer was able to convey her journey in a genuine way. It left me reflecting on my personal experiences throughout girlhood and the wave of emotions that time of life evokes.
A piece that specifically struck me for its poignant emphasis on human connection was “I’ll Get By.” Choreographed and performed by Maggie Haimelin, Jenna Laurent, and Anna Claire Weske, this piece was my favorite of the concert by far. In their director spotlight, these dancers wrote, “the three of us met and became close friends experiencing our first DA! together… we spent endless hours bonding in and out of the studio.” The bond that they share was clear as the choreography began to unfold onstage. There was a comfortability with each other in their physicality which enabled an emotional connection I didn’t see with any other piece.
The trio varied staccato and legato movements that enhanced the shifting dynamic contrasts within their music. There was a melodic build during the song, but when it reached its climax, the dancers made a strong choice to stand motionless onstage and then shrug their shoulders. The lack of movement to emphasize the emotion was powerful and sucked the air out of the entire room. This use of stillness wasn’t something that I saw in most other pieces at #SICKMOVES, so “I’ll Get By” stood out. I was initially drawn in by the connection between the dancers, but the unique choreography choices kept me invested throughout the duration of this piece.
What #SICKMOVES proves is that the community that can be found within the performing arts world is stronger than what the public may realize. DA!’s commitment to casting all dancers who auditioned speaks to the community-focused mission. What I witnessed at #SICKMOVES was a place for all students with a love for dance to connect, engage, and support each other however they chose to do so.
By producing this show free-of-charge and targeting young dancers as their audience, DA! is exposing young eyes and ears to a change in narrative. Rather than excluding dancers based on talent alone, DA! has made a place at the table for anyone who has a passion for this art form. Artists who love to dance and choreograph deserve the space to be allowed to do so. Walking out of the theatre, I felt moved by many specific pieces; but mostly I was touched by DA!’s commitment to bringing all types of people together and encouraging their love for dance.
#SICKMOVES was produced by The University of Alabama dance students in the English Building Dance Theatre on February 17, 2024. Opera Theatre in Bryant-Jordan Hall on December 10, 2023. With direction provided by Ellie Congemi and Presley Bauer, it featured 52 choreographers and over 120 dancers. Pieces specifically noted in this article include: “Let’s DA!nce” choreographed by Hannah Mixon and performed by Lacey Alligood, Edie Anthony, Sam Born, Isabella Catalano, Maddie Glass, Melanie Harris, Alli Hoeni, Emma Honer, Reagan McMullan, Katelyn Midgett, Michaela Sebby, and Avril Sharp; “Tales of A Teenage Girl” choreographed and performed by Kylie Blake; “I’ll Get By” choreographed and performed by Maggie Hamelin, Jenna Laurent, and Anna Claire Weske. Stage management by Gabi Gonzales, Emilia Stuart Lynch, and Mary Payne. Operating the light board was Joe Solomon, and the sound board was Brayden Mahatekar. Lighting design provided by Raina Grosswald, Hannah Mixon, and Dominique Watson. Comprising the production committee was Kelsie Allen, Raina Grosswald, Isabella Lange, Izzi Parrot, Addie Pridemore, and Joe Solomon.