Conversations
"Conversations" is a new collaborative venture between Erika Schonemann and Roxann Morgan Rowley. After taking pictures of all kinds of human interaction at Burke Lake Park in Fairfax, VA last fall, the two began to create this three sectioned improvised and structured group work, which is currently an ongoing development.
"Conversations" consists of three sections, two of which will be performed in "New Works". The first section is an improvised solo, performed around four almost motionless dancers and accompanied by a projection of the improvising soloist in the fall leaves of Burke Lake Park. The projection represents the quiet internal conversation of the lone person. The unison moments of the two dancers express a memory or a journey once taken. The dancer's dialogue with the projection of herself becomes her own meditative experience with spending time alone in the park. The second section is a series of duets constantly entering and exiting on a path while in improvised conversation. Each pair converses with their own distinguishing traits, separating them from the other pairs. The soloist is reintroduced as a random passerby reacting to the couples based on what she sees and hears.

Portraits of Her
Choreography by Roxann Morgan Rowley
I am often the person that, though content to sit by myself, is generally surrounded and engaged in conversation with other people. Most of the time they have chosen to sit by me and chat about something very personal. It always amazes me how much someone will share with me not just in conversation but in body language as well. I decided that since I love listening to people talk and reveal moments about themselves that I wanted to create a movement venue for five women to tell their stories. Like a painter who captures the details of his/her subjects, each movement portrait will capture and reveal parts of each woman’s movement history. The dancers come from a variety of backgrounds, in different stages of life and their movement career, and have their own movement style that shine through their portrait.
"Portrait of Her, Erika" takes a look at the young professional dancer who is in the prime of her career but has also had many life changes including an injury that has changed her performing and dancing career.
I premiered "Portrait of Her, Suzanne" at En Route last season. The choreography reveals a mover wearing many hats, mother/teacher/performer. She is balancing work and making a family, building her career and becoming older. For this portrait we chose to use picture frames of different sizes to divide her life and moments. She moves from a medium sized frame to a larger than life doorframe to smaller frames that measure and frame her body.
"Portrait of Her, Jean" will premiere in the April 12 & 13 at ADI. The portrait will be of an older mover, who came to dance late in her life. After her husband passed dance became a source of recovery and an outlet for self-discovery. She is continually adding to her movement experiences and exploring new sources of movement.
"Portraits of Her" is an ongoing process. All three portraits will be seen together in our "Conversations" performance on April 12 & 13th at American Dance Institute.

Essence
Choreography by Ilana Silverstein
"Essence" is a playful duet that explores the curiosity and wisdom of children and how they move. This piece is dedicated to my teacher and friend, Wim Aspeslagh. I am making this in his memory, to celebrate who he was--a young toddler and a wise elderly man all in one body, mind and spirit.
Every rehearsal begins with a contemplative movement practice (developed by Barbara Dilly), a combination of sitting meditation, personal warm up and group improvisation. During it, Amanda and I make a transition from emptying our minds of everything going on in our lives to being fully present in order to dance together; from an internal/personal focus to an external awareness of others.
I developed the movement from images I had been collecting of children. Amanda and I then strung them together and played with spatial patterns to develop a skeleton of the piece. Mid-process, I met musician Yoko Kamitani and began collaborating with her to develop the soundscore. Throughout the process, I have been keeping the intimacy of the venue in mind and shaping the piece so that it is accessible and engaging for the audience.