2022 was the year SB Dance went all in on Curbside Theater, which was seen by 2,000 people from around State (see the action on the IG feed) in a pretty fun outdoor season.
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In the last post, I wrote about how universities have come to be the dominant player in American contemporary dance. This post describes my theory about how universities have caused a decline in attendance.
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A pandemic took place between the last blog and this one. Lots happened, including our creation and development of Curbside Theater. This entry is a geeky look at the US modern dance world, and how its most important institution has become university dance programs.
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Originally, June 2020’s New Creation– tentatively titled The Broken Bridesmaid– was going to be a collaboration with Satu Hummasti and Daniel Clifton, both excellent artists and faculty members at the U of U. I remember the last planning meeting in early March. The three of us were in a coffee shop. Just getting over a cold, Daniel had a lingering cough that sounded like a foghorn. (Oh the days when people coughed in a crowded room and didn’t cause a panic. Now I cross the street to avoid someone on the sidewalk and they thank me.)
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A sold out show that opened Fest Salt Lake Stages 2020, the second year of the Kinky Beast Cabaret was even more mind-blowing than the first. Let me count the ways.
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