San Francisco International Arts Festival, Who Is She? 30-minute work choreographed and performed in collaboration with Rosana Barragan, Dana Lawton, and Jia Wu. Original music composed by EJ Youngblood. Southside Theatre, Fort Mason, San Francisco, CA, May 2010.
Davalos Dance Company 14th season, Six Questions, with all music composed by Martin Rokeach, performed live, ODC Dance Commons, San Francisco, CA, February 2009.
Bill Evans and Friends, premiered Terrain (duet), Centrum Center for the Arts, Port Townsend, WA, August, 2008.
Vision Series, Finding Equal (quartet), produced by SFDance Repertory, Cowell Theater, San Francisco, CA, December 2007.
MALCS Summer Institute and Conference, Borders, Spaces, and Brown-Eyed Girls, University of Minnesota, Twin Cities Campus, St. Paul, MN, August 2007.
Works in the Works, Blue Monkeys, Berkeley CA, November 2006.
Raw and Uncut, Blue Monkeys, Curated by Joe Landini (SAFEhouse), San Francisco, July 2006.
Women on the Way Festival, Dreams Suite, a full evening work, Dance Mission, San Francisco, January 2006.
Women of the World Festival, Return, Dance Mission, San Francisco, January 2006.
West Wave Dance Festival and Summerfest/Dance, premiered Shatter, Mend, Scatter, Bend, ODC Theater, San Francisco, July 2005.
Davalos Dance Company 10th Anniversary Concert Sacral Queens, Latinas, and Dreams, ODC Theater, San Francisco, January 2005.
Women of the World Festival, Aguas Calientes, Dance Mission, San Francisco, January 2005.
Printz Dance Project's performance, Encore 2, premiered Aguas Calientes, San Rafael, CA, April 2004.
Migrations: Rock, Paper, Song, a shared evening of dances presented by the ODC School and the ODC Theater. Presented two dances: Revised Dido, Clever Queen and Moon Dance (edited and revised for 5 dancers)., ODC Theater, San Francisco, CA, April 5 & 6, 2002.
"Pilot 35, Trajectory," a shared evening of choreography presented by the ODC School and the ODC Theater, premiered Moon Dance (with 10 dancers), and facilitator/director for the concert, ODC Theater, San Francisco, CA, June 27, 2001.
Two Dance, co-choreographed with Dana Lawton for the Southwest Region, American College Dance Festival, University of New Mexico, Albuquerque, NM, March 9, 2001.
"Pilot 33, Tapestry," a shared evening of choreography presented by the ODC School and the ODC Theater, premiered One Size Fits All, ODC Theater, San Francisco, CA, November 1, 2000.
One Size Does Not Fit All, a new work created for the Women's Studies Conference with the same title, Saint Mary's College, Moraga, CA, October 7, 2000.
Borders, Spaces, and Brown-Eyed Girls, a full evening work presented by the Committee for Lectures, Art, and Music of Saint Mary's College, Le Fevre Theatre, Moraga, CA, October 3, 1998.
"Summerfest/dance '98," an annual festival of the Bay Area's most talented choreographers, premiered The Fainting Room, Theater Artaud, San Francisco, CA, July 18 &19, 1998.
"Multicultural Dance Concert," produced by "Off Seventh Street Dancers", premiered Your Cheatin' Heart, and presented Population 345, and With Jade in Mouth, Martha B. Knoebel Dance Theater, CSU Long Beach, Long Beach, CA, April 4 & 5, 1997.
"American But Hyphenated," an evening of choreography from the Davalos Dance Company repertory. Premiered Return, Direct Current, Population 345 and presented Persimmon, Legal Alien, and ˇÓrale!, produced by Highways, Santa Monica, CA, October 17, 18, 19, 1996.
"Voices in Motion 5," presented Legal Alien, produced by Samuel Donlavy and Phyllis Douglass, LACE, Hollywood, CA, 1996.
"Davalos Dance Company in concert," premiered Fourth Generation with Borders Spaces and Brown-Eyed Girls, co-sponsored by the Department of Dance, Martha B. Knoebel Dance Theater, CSU Long Beach, Long Beach, CA, April 11, 12, 13, 1996.
Borders, Spaces, and Brown-Eyed Girls, premier, a full evening work produced by Highways, Santa Monica, CA, September 23 &24, 1995.
"Chicks and Salsa '95," Wind-Chill Factor, created for Chicks and Salsa and produced by VIVA, Lesbian and Gay Latino Artists, Beyond Baroque, Venice, CA, November 11, 1995.
"Children's Cultural Festival," performance and workshop, excerpt of From Women's Mouths, Long Beach Museum of Art, Long Beach, CA, 1995.
"Fierce Tongues, A Celebration of Latina Art & Artists," presented Persimmon and Legal Alien, produced by Luis Alfaro and Monica Palacios, Highways, Santa Monica, CA, 1995.
"Mixed Company" an evening of dance featuring the choreography of three CSULB Alumni.
Premiered Persimmon, ˇÓrale!, and presented Legal Alien, produced by the Department of Dance and the "Off Seventh Street Dancers," February 18, 1995.
"Durham Blues: Moving to the 21st Century, Student Concert," Doblez performed at the American Dance Festival, Durham, NC, July 1994.
Fourth Generation 1996
Direct Current 1996
Population 345 1996
Brown-eyed Girls 1995
The Three Shades 1995
From Women's Mouths 1995
Wind-Chill Factor 1995
Legal Alien 1994
Mariquita Negra 1994
With Jade in Mouth 1993
Who Is She? (2010) A 30-minute work choreographed and performed in collaboration with Rosana Barragán, Dana Lawton, and Jia Wu. Original music composed by EJ Youngblood. Who Is She? examines female icons like from the abstract to the literal. Marilyn Monroe and the Virgin Mary appear side-by-side in this dance theatre work.
Coda (2009) a solo for the choreographer with music composed by Martin Rokeach, the dance explores aging in a body that wants to keep dancing.
Terrain (2008) is a duet for two Chicanas navigating the fast lane. As the dancers reach for something, they are constantly dodging and swerving to avoid a collision. When they can finally settle in one spot, their interactions are gentle and they are reminded of the blessing of each other. They are not alone. The original score was composed by Martin Rokeach.
Borders, Spaces, And Brown-Eyed Girls (2007) Davalos developed this work into a solo performance for the MALCS Summer Institute 2007. The full-evening work was developed into six sections. Borders, Spaces, "Simple things please me…", CatherineMarie You Look Like a Tree,
Return (1996), and Brown-Eyed Girls.
Finding Equal (2007) is a trio that searches for equality, power, and finally peace. Why are women still fighting for this right in the 21st century?
Blue Monkeys (2006) was created after a second visit to Mexico. The text celebrates what it is like to finally feel at home, "they have pink houses, and blue monkeys." Living in California as a Latina never felt comfortable. How is it that upon vacationing in Guadalajara one finds her place? The music is Lila Down's rendition of "La Cucaracha." The set is designed by David Gaylord and includes a life-size painting of the Virgin of Guadalupe. This dance is a solo.
Storm (2006) also has a score written by Martin Rokeach. This trio is one of betrayal. Although all of the platforms remain onstage, one "bed" occupies the spotlight as this dance explores a more confined space with fervor and physicality. The tension in the "room" is only magnified by the tension in the music. The three dancers never find peace and the conflict remains unresolved.
Sleepless Night (2005) was inspired by New Music Composer, Martin Rokeach, of Composers Inc. It is sometimes witty, slightly neurotic, and the mood is wedded to the music. The composer describes his score as "a sense of restrained agitation, an inability to find repose, that reminds [one] of lying awake in quiet turmoil." In the first movement, the four dancers calmly approach their beds with an almost seductive flirtation. Yet as the second movement unfolds, their confidence dissolves and the nightmares begin.
Shatter, Mend, Scatter, Bend (2005) features live African drumming and a moving floor. Four platforms become the floor and the walls in this dance. The texture they create gives the dancer the option to bounce, hang, and jump, from the "bed" all while it is moving through space. This dance is about unions and departures. The material juxtaposes luxurious phrasing with stillness. This counterpoint lends itself to moments of contact and separation that are sometimes witty, sometimes daring, sometimes surprising. The composer/musician is master drummer, Pope Flyne. The set is designed by David Gaylord.
Bedtime Rituals (2005) is a fun and quirky dance with an element of competition and comedy. The dancers race to the finish line, play tag, and "red light, green light," only they are not exactly recognizable as your favorite childhood games. The two dancers portray adolescents who would do anything to stay up late. However, their routine of zany bedtime rituals is simply a race to see who will turn out the light.
Aguas Calientes (2004) gets it name from the city in Mexico from which the Davalos family originates. The dance has various inspirations: hot water, as the title suggests, plus the sculptures of Rodin and the paintings and life of Frida Kahlo. This is a trio of water goddesses that does not necessarily follow a linear tale, but rather speaks to the moods and richness of the quality of water. The music is a mix of latin composers: Elliot Goldenthal, Paco de Lucia, Ciro Hurtado, and Ottmar Liebert with costumes by James Meyer.
Revised Dido, Clever Queen (2002) gets its inspiration from Vigil's Aeneid and Christine de Pizan's The Book of the City of Ladies. Instead of Virgil's "poor Dido, unhappy Dido" we emerge with the woman that ruled a country, tricked her cruel brother from her own death, defeated the gods and goddesses that bewitch her into loving Aeneas, and in this version she lives to tell the story. This abstract narrative is choreographed to the score "Six Questions" by award winning composer Martin Rokeach of Composer's Inc. The dancers push, cut, and mold the space. They are allies with their armor of rolling shoulders and thrusting hips. Together, they all rewrite Dido's story. This dance features Shaunna Vella as Dido, and and a chorus of four queens.
The Fainting Room (1998) A "fainting room" is a small room at the top of the stairs in a Victorian home; originally it was used by women to rest after walking up the stairs. Undoubtedly, they were out of breath because their corsets were so tight. The dance is an exploration of freedom built around the physical and figurative limitations of the corset. The Fainting Room is choreographed with two distinct sections. The first section was choreographed in 1995 and was titled Persimmon. The second section was choreographed for summerfest/dance '98.
I Persimmon (1995) A persimmon is a round, fleshy fruit. It is smooth and soft and very feminine. The piece embodies the characteristics of the fruit. Two women alone in a deeply wooded forest, have taken off their heavy and confining dresses to bathe and enjoy the sunlight. The piece begins as one woman is taking the braids out of the other woman's hair. They lie there together enjoying the warmth of each other's bodies and the closeness they share. The duet is a sensual exploration of the female body and the joy they experience by being together.
II Throne (1998) The second section deals with the heavy and confining dresses of the Baroque period; i.e., the skin of the persimmon. The women are now in a world in which they are told how to act, what to wear, when to smile, when to speak, etc. There are six dancers in this section. They begin the dance with very small gestures of the hands sitting on their "thrones." As the dance progresses, an accidental fall from the throne produces momentous results. They are free to explore their surroundings and the confines of their clothing. The costumes are reminiscent of the Baroque period and the thrones are pieces designed by artist, David Gaylord.
Return (1996) is performed to "Volver, Volver" the "Mexican National Anthem" in East LA.
The work is a machismo caricature of a person so distraught by the loss of a loved one that he will even throw himself against a wall to be "in your embrace once again." The choreography plays with the drunken quality of the music which is performed by Los Lobos.
Borders, Spaces, And Brown-Eyed Girls (1995)
No one told me
So how was I to know
that in the paradise
of crisp white cities
snakes still walk upright?
-Angela De Hoyos
This full evening work was choreographed for five dancers. This dance is an autobiographical work about growing up with brown skin in Southern California. The work encompasses a multitude of borders and spaces from the safe to the dangerous with multilayered works that "speak" to the issues of blending, mixing, contradictions, dissonance, and harmony. Set Design by David Gaylord.
It has five sections:
Borders is an introduction to the evening. It is a slap in the face, wake-up call to the reality of living with brown skin in a woman's body. The work speaks to the audience about her personal borders both mental and physical.
Music: El Chicano
Spaces is a challenge, a confrontation, demanding an answer to the question, who's space is this? The energy is masculine and seductive involving construction and de-construction.
III "Simple things please me…"
Music: Elliot Goldenthal
This short vignette is the turning point of discovery. Davalos asks, "why am I so difficult?" Yet, the unsaid is even more poignant. Why is life with brown skin so difficult?
IV CatherineMarie You Look Like a Tree
Music: Elliot Goldenthal
The power of her own voice, her own skin color, becomes her focus, as Davalos confirms her identity.
V Brown-Eyed Girls
Music: Van Morrison performed by El Chicano
Davalos asks that you provide your own interpretation and conclusion about where this journey has lead you.
ˇÓrale! (1995) is a girl-power dance. It was originally created after teaching dance to Latinas in Hawthorne (a suburb of Los Angeles). After three months it was clear that these women were different. They must have had radical feminist role models, or they knew how to make changes on their own. The music is a compilation of the songs from War, El Chicano, and Malo. The cast ranges from 10 to 30.
Doblez (1994) is a multilayered piece about relationships, identity, changing roles of strength and tenderness, learning to love oneself and one another. The title was chosen because its meaning has many layers as well. Doble is translated as "double," and doblez spelled with a "z" means duplicity. The word also refers to the creases or folds in a pair of pants suggesting the vato or pachuco aesthetic. On another level the dance is a reflection of Davalos embracing her Mexican heritage which the male dancer represents. This dance was performed at the Kennedy Center in Washington, D.C. when Davalos was nominated as Dance Magazines' Choreographer of the Year 1994, and the American Dance Festival in North Carolina in 1994. The music is by Ciro Hurtado.
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