Word: divelbliss
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...most original performance of the night came right before the intermission. “Flicker,” choreographed by Continuing Education and Special Programs Instructor Brenda S. Divelbliss, offered an interesting—though dark—perspective on ballet. Electronic contemporary music, namely DJ Alexandre’s “Toma Toma,” inspired an unconventional blend of ballet and break dancing. The combination was ideal for Shee, who stood out as the only male in the show. The eight female dancers, clad in disheveled, sequined tutus of varying lengths and colors gave a performance...
...duet choreographed by Brenda Divelbliss to a Johnny Cash song, was another example of how “Levity” suffered from a lack of expression or communication. Although James C. Fuller ’10 expertly used his body and facial expressions to converse with his partner, Todorova, as well as with the audience, Todorova wore the same blank expression throughout the piece. This stark difference between the two performers changed the total effect of the piece, overshadowing both the choreography and the dancing...
...contrasts between fluidity and rigidity which characterize the piece. The dancers are successful in bringing Balanchine’s choreography and Tchaikovsky’s stunning score together masterfully, producing a delightful performance.The second number is “Habit,” a modern piece choreographed by Brenda Divelbliss, artistic associate of the Harvard Dance Program. Although it is an abrupt transition from “Serenade,” the style of the work is fresh, edgy and strangely addictive. The dance tells the story of two couples (appropriately costumed in attire that evoke a high school homecoming...
...upbeat music and flashy background lights. Overall, the result was a cohesive rendition of popular dance and popular music. The second half opened with the premiere of “Drift,” a work put on by the Harvard Radcliffe Dance Company and choreographed by Brenda Divelbliss of the Dance Program in collaboration with the dancers. The piece lived up to its name; throughout the performance, dancers drifted on and off stage in a seemingly random fashion. Although drifting seems to imply freedom, the choreography felt limited as many dancers repeated similar motions throughout. The dance that followed...
...rave-up “Afro Blue.” As thrilling as these antics were, they raised troubling questions about the propriety of cultural appropriation that were not answered, or even addressed, in the context of the recital. “Shadows,” choreographed by Brenda Divelbliss, a Harvard Dance Program instructor, conformed most closely to the stereotypical notion of modern dance. Unlike the other pieces, the abstract “Shadows” did not adhere to any particular narrative or seem motivated by an aesthetic originating outside the world of modern dance. While the piece?...