“Daela / Limberly Bartosik Hunger for you”
Introduction
“Daela / Limberly Bartosik Hunger for you” was played on Thursday, January 30th, at the Dance Center Columbia College Chicago. In Hunger for you, it profoundly internalized strength of confidence, viciousness, life strain, and kindness pulse through bodies that exist in a mesmerizing starkly beautiful, regularly perilous world. In a world characterized by light and its absence, the work looks profoundly into the heart of the drive to lose oneself in happiness, custom, want, and looking, riding an edge of scarcely controlled forsake and vibrating stillness.
The dance was choreographed and directed by Kimberly Bartosik. It was created in close collaboration with the performers such as Christian Allen, Dylan Crossman, Lindsey Jones, Joanna Kotze, Burr Johnson, Dahlia Bartosik-Murray. Roderick Murray did set design and lighting. The music composition was done by Sivan Jacobovitz, arranged with Kimberly Bartosik. Harriet Jung designed the costume, Dramaturgy, by Melanie George and sound engineering by James Bigbee Garver. The play was made possible by a great Film and performing arts known as the Lumberyard Center.
Two dances: One from each half
For nine years, Kimberly Bartosik had performed with the Merce Cunningham Dance Company for nine. The principal of “I hunger for you,” she said, is an echo of faith — of all varieties, not only religious — and its control to change the body. If I stood to set it in, one line, it arose from my retort to what I feel is the sorrow and rage that we are resounding in our physiques at this second in time. I choose two dances, one from each half. They include Ballet and modern dance.
Movement description
The dance generates a space where coopted forces of conviction pulse over dancers’ bodies, which agitatedly, fondly, and sadistically offend one another. The dancers used to Punch, Glide, Dab, Slash, Flick, Wring, Press, and Float elegantly. This set of practice includes physical prompts that open the body to substantial involvement and the subject characterizing `i` starvation for you; confidence, savagery, life constraint, and kindness. The hone includes physical and imagistic works out that energize an experience with and association with one’s body. It is also associated with the history, recollections, and, the palpability of time passing, and the quickness of being lively.
I choose Ballet before the intermission. It is a fascinating form of dance. The dancers performed Ballet looked very elegantly at all postures with trained and high discipline with qualities of hard work and dedication. Proper devotion was essential to glide fluently across the stage. One thing that all ballet dancers have in common is the love for beauty, grace, and disciple. Both men and women can learn this type of dance style.
After the intermission, I choose modern dance, which the dances. A raw elegance of dance, contemporary dance is a countenance on the dancers’ rapport to the floor, as well as approaches of retrenchments, movement, and release, along with the performers of breath. Though its heritages are in antagonism to the ostensibly oppressive rigor for traditional Ballet, modern dance and Ballet are carefully linked in the intricacy of system, musicality, and coordination.
Production detail
The presentation and creation of I hunger For You is made possible in part through a commission from the BAM Next Wave Festival and the LUMBERYARD Center Film and performing Arts through an inaugural year BAM/LUMBERYARD partnership. The work premiere at LUMBERYARD center for film and performing arts where is also received significant development support in LUMBERYARD’s residency program. `I hunger for you` has also received generous funding from The Map Fund, primarily supported by the Duke Charitable Foundation with additional funds from the Andrew W. Mellon Foundation. Additionally, New England Foundation for the Arts National Dance Project Production Grant, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon; Foundation General Operating Support was made possible by the New England Foundation for the Arts National Dance Project. They have helped with funding from the Doris Duke Charitable Foundation; Production Residency and Community Engagement Fund funded by the New England Foundation for the Arts National Dance Project.
I hunge for you was created in part during a National Dance Project Late Stage Production Residency at National Choreographic Center-Akron (NCC-Akron); Accueil studio residency at Center Choregraphique National-Ballet de Lorraine; Bogliasco Fellowship; Marble House Project Residency; Upstream Residency at Kaats International Dance Center; and DANCENOW Silo. Mid Atlantic Arts Foundation supports the engagement through USArtist International in partnership with the National Endowment for the Arts, the Andrew W. Mellon Foundation, and the Howard Gilman Foundation.
Interpretation/connection
.The element led me to understand Collin College Dance Appreciation 230, Cardwell-Wilson, to be known for greatness in move education, execution, and choreography, Collin College’s Move Division features notoriety for planning students for a prestigious college dance program.
The choreography explained things perceived in mind, by the motions and gestures of the body. To a sensitive ear, he will add a sensitive eye and incomparable sensation for composition. It gave the gift of direction, the aptitude to motivate other dancers. Daela / Limberly Bartosik Hunger for your choreography pointed out the adopted strength of self-confidence, viciousness, life strain, and kindness pulse through bodies through the choreographed dance. It existed in a mesmerizing, starkly beautiful, regularly perilous world. It showed a world characterized by light and its absence, the work looks profoundly into the heart of the drive to lose oneself in happiness, custom, want, and looking, riding an edge of scarcely controlled forsake and vibrating stillness. It was a beautiful dance that inspired a lot of me. It displayed the journey of life, the pain the struggle, and the strive endured in life. The dancers coordinated with patience and respect, dedication, and liveliness.
Conclusion
Suspended in light and its stark absence, bodies beat with internalized strengths of faith— restlessly, softly, and savagely going up against one another. I hunger for you exudes from choreographer Kimberly Bartosik’s (an alum of Merce Cunningham Move Company) individual encounter with Charismatic most profound sense of being. Diving profoundly into the heart of losing one’s self in bliss, custom, and want, this evening-length work rides the edge between scarcely controlled forsake and vibrating stillness.
Reference
https://prezi.com/adchavuqmghl/web-dance-production/?utm_campaign=share&token=46f5d168e221c1a8e47213e1a719c89274d2f09e4c15b0e76b151fb853237aec&utm_medium=copy
:https://dance.colum.edu/video