Fresh Tracks New Works

This season’s Fresh Tracks artists present their new work in a shared evening in the theater. Fresh Tracks Residency & Performance program is a season-long residency for emerging movement-based artists in support of new work creation and professional development. This season marks the 60th year of Fresh Tracks, which was a signature program of Dance Theater workshop to bring new choreographic artistry to the forefront.

ABOUT THE WORKS

Maxi Hawkeye Canion | flesh-talker

Maxi Hawkeye Canion’s flesh-talker is an evocative solo performance emulating a theatrical trailer. It is a visual sonnet glossing through unfinished lists, existential fever dreams, chipped canines, how to digest a dystopia, Sisyphean bed-rot sessions, memories of suburbia, thumb cramping app refreshes, and hope-ing in the shower. Featuring music by Maxine de las Pozas; video by Laura Carella and dramaturgy by Angel Glasby and Kuffasse Boane; with special effects by Nina Carelli and video art by Serotines.

Kashia Kancey | I’m in the Middle of the Ocean, and I Can’t See You

I’m in the Middle of the Ocean, and I Can’t See You is a series of vignettes exploring mortality, rebirth, grief, passion, and the pursuit of freedom, by Kashia Kancey. At its core, the piece examines the many versions of the self—those we know and those yet to be discovered—while prompting reflection on the lengths one is willing to go for liberation. Created by Kancey and performed by Kancey, Cristina Moya-Palacios, Alondra Balbuena, and Chanel Stone, this work responds to the 1899 novel The Awakening by Kate Chopin, engaging with its themes of defiance, repression, and self-determination through a contemporary lens.

Jade Manns | Untitled New Work

This new work by Jade Manns is a dense, overlapping world of movement, enacted by four dancers navigating varying environmental levels and self-awareness. Two dancers, Kalliope Piersol and Noa Rui-Piin Weiss, move in parallel through compulsive repetitions, their forms mutating between animal and human. Meanwhile, an autonomous duet, Chelsea Hecht and Cove Barton, entangles and separates, shifting between one body and two. With sound design by Derek Baron and costumes by Willa Schwabsky, the piece explores the porous boundaries between self, environment, and other.

Ayo ohs | to: dance

ayo ohs’ to:dance is a solo performance that traces the tight confines of obsession, codependency, and unrequited love through the lens of a life on stage. ohs creates a shadow of a dance, a staccato form of failed gestures and punctuated phrases. ohs attempts to answer what a lifetime in dance adds up to and what can carry dancers through. In this love letter, farewell, and solo reckoning, a dancer, adept and agile, endeavors to express and confess. A body, aging and unreliable, attempts to move, but too layered with meaning and commentary, revolts. A voice, attempting autonomy and agency, loops, harmonizes, and repeats, building momentum with only itself. Together in various states of injury and decay, creation and liberation, ayo ohs’ solo is a trio of the conflicting and perfectly matched elements of what makes a performer.