Act 1:

Wardrobe Crisis

This piece is dedicated to the workers, whose labor is made invisible by the fashion industry.

Choreographed & written by Jenn Pray in collaboration with the dancers
Music: Steve Oxen, graham_makes, bone666138, RTB45, stocktune, Michael Wall
Lighting Design: Haven Haywood
Costume Design: Juliana Waechter
Performers: Jaidyn Davis, Allie Fairman, Sasha Lotz, Jenn Pray

Trindade (Trinity)

Please be advised this performance includes haze.

MORTAL LOUCURA, Gregório de Matos MORTAL MADNESS, Gregório de Matos

Na oração, que desaterra … a terra, In a prayer, which unearths … the earth,
Quer Deus que a quem está o cuidado … dado, God wants for whom that owns the care... given,
Pregue que a vida é emprestado … estado, Preach that life is a loaned … is a state,
Mistérios mil que desenterra … enterra. Thousand mysteries that unearth … and bury.

Quem não cuida de si, que é terra, … erra, Who that does not care of itself, who is earth,… fail,
Que o alto Rei, por afamado … amado, For the high King, famous … beloved,
É quem lhe assiste ao desvelado … lado, Is the one who assists him on the unveiled … side,
Da morte ao ar não desaferra, … aferra. From death to air it does not let go, … it clings.

Quem do mundo a mortal loucura … cura, Who from the world to the mortal madness … cures,
A vontade de Deus sagrada … agrada The sacred will of God … pleases
Firmar-lhe a vida em atadura … dura. To bind its life in a bandage … hard.

O voz zelosa, que dobrada … brada, Oh zealous voice, which doubled … cries,
Já sei que a flor da formosura, … usura, I already know that the flower of beauty, … usury,
Será no fim dessa jornada … nada. Will be at the end of this journey … nothing.

Dedicated to my mother, Conceição Duarte (1935-2025).
Much love, respect, and gratitude.

Choreographer: Armando Duarte
Music by Caetano Veloso and José Miguel Wisnik based on the poem "Mortal Loucura" by Brazilian/Portuguese poet Gregório de Matos
Lighting Design: Haven Haywood
Costume Design: Juliana Waechter, based on original costumes designed by Margaret Wenk-Kuchlbauer
Dancers: Maddie Burkhart, Ruby Gentzler, Ally Meinders

Special thanks to Maddie, Ruby and Ally for their work, shared artistry, and time invested in this process.

ceaseless

Moving and symphonic, ceaseless choreographed by Katelyn Perez, delves into the complex layers of Philip Glass’s most popular concerto, Violin Concerto No. 1 Movement II, through progressive variations of interlocking group work and endless motifs.

Choreographer: Katelyn Perez
Music: “Violin Concerto No. 1 (1987) Movement II” by Philip Glass
Lighting Design: Haven Haywood
Costume Design: Juliana Waechter
Dancers: Rachel Carpenter, Ellie Daley, Olivia Farmerie, Noah Fox, Victoria Lefler, Addy Magruder, Emily Pyburn, Lindsey Wildman

To my cast, thank you for your time, energy, and presence throughout this process. I’m so grateful to have shared space with each of you!

Silica

Silica is a chemical compound composed of silicon and oxygen, found in sand, glass, and quartz.

Choreographed by Lauren Linder in collaboration with the dancers
Music: "It Had to Be You" by Harry Connick Jr., "Eres Tú" by Carla Morrison, "First Slow" by Courtney Barnett, "The Bad in Each Other" by Feist. 
Edited by Kevin Swenson, Arranged by Lauren Linder.
Lighting Design: Haven Haywood
Costume Design: Abigail Garraty
Text written by Lauren Linder
Dancers: Garin Clinton-Nelson, Noah Fox, Ruby Gentzler, Katelyn Perez, Christina Yu

Orbiting Astros

Orbiting Astros brings outer space to the stage, demonstrating the ever changing and re-arranging climate of the atmosphere. With an emphasis on astrology, the dancers and choreographer worked together to form relationships based on each dancer’s individual astrological birth chart. Using each dancer’s astrological birth chart, we engaged in rituals of releasing and manifestation to heal from past wounds and call in rejuvenating, healing energy. We then used these rituals to create movement from improvisation and form a completed work. 

The astrological elements are emphasized by the colors the dancers are wearing, each color representing one of the four elements: fire, earth, water, and air. Each element has unique qualities and traits attached to it, we strived to bring these traits to life throughout this work, letting each shine individually while working together as a functioning solar system. Overall, Orbiting Astros explores complex human relationships while emphasizing that we are all part of something so much great than us.

Choreographed by Olivia Farmerie in collaboration with the dancers
Music: "Den Lyssnande Maria" by Lars Vardagsrum, "Ghost Race" by Andy Hasenpflug
Lighting Design: Haven Haywood
Costume Design: Juliana Waechter
Dancers: Evelyn Becker, Gianna Cardamone, Fabiola Castaneda, Sydney Gorak, Madeline Greenberg, Ellie Junius, Ella Kempen, Brenna Labus, Samantha Lorenc, Addison Magruder, Allyson Meinders, Natalie Prill, Emily Pyburn

Plan A: Stories of Embodied Frontiers

Please be advised this performance includes controversial/adult themes, adult language, and strobe.

This work will be representing the University of Iowa at the American College Dance Association (ACDA)’s 2025 National College Dance Festival in Washington, D.C.

Choreographed by Emily Culbreath in collaboration with the performers
Music: "Here Comes the Cowboy" by Mac Demarco, "thumper." by Pheel., "Plan B" by Megan Thee Stallion
Lighting Design: Haven Haywood
Costume Design: CJ Johnson
Dancers: Rachel Carpenter, Katelyn "KP" Perez, Lindsey Wildman (Farmer Lindsey), Garin Clinton-Nelson, Jaidyn Davis

Special thanks to original cast of dancers who helped shape this work: Grace Noonan, Talia VanSanten, Emma Proch, and Kendall Hicks "The truth is, not one of us is free until we're all free." - Maya Angelou

Act 2:

Touch A Breath - The Body Tells (excerpt)

Please be advised this performance includes the use of haze.

Touch A Breath - The Body Tells is a collective reflection of life experiences, a search for peace and strength, and a longing for a deep connection with one’s self. The goal of this artistic endeavor is to reveal vulnerability as a form of strength, encouraging us all to view fragility as an opportunity for growth and positivity.

This show is grounded in my experience and exploration of African Contemporary movement forms. I am committed to preserving the rich culture and traditions inherent in indigenous African movements, while making them relevant for current and future generations.

While the body is the medium through which this story is told, and the poem “Our true home is in the present moment” by Thich Naht Hahn as inspiration, I ask, “What is your true home?”
 

Choreographed by Gloria Sitso Ahlijah in collaboration with dancers
Music: "Jarabi" by Sona Jobartey , "Tsunami-chaos" by Gabrielle Roth & The Mirrors, "Duality" by Tumbara, and a Poem by Tich Nath Hahn
Lighting Design: Haven Haywood
Costume Design: Emma Fashion, Gloria Sitso Ahlijah
Dancers: Natalie Prill, Andi Bartlein, Garianna Clinton-Nelson, Gianna Cardamone, Cece Robinson, Elizabeth Shanahan

Special thanks to my dancers.

Lágrimas do Paraíso

In a world lit by screens and shaped by streams, we are at once endlessly visible and painfully alone. Lágrimas do Paraíso draws you into that fragile space where performance and authenticity collide—where identity, love, and the human longing for intimacy play out beneath the glare of social media’s stage.

“All the world’s a stage…”
— As You Like It, William Shakespeare

Shakespeare’s immortal insight reminds us that life unfolds in acts and scenes, with each of us both actor and audience to our own curated personas. Today, the impulse to perform has only intensified: we polish our posts, edit our stories, and sculpt an online self for public consumption—yet beneath the surface, we all hunger for something unfiltered and true.

Gustav Klimt’s The Kiss offers a striking visual counterpoint. Two figures, enshrined in golden mosaic, appear surrendered to love’s embrace—yet Klimt himself was famously uneasy with intimacy and committed relationships. In this ballet, we do not recreate his painting; instead, we reimagine its shimmering patterns and tension.

This work is my personal reflection on contemporary existence—an interpretation of culture, experience, and the moment we all share. Premiering as the opening exploration of our Faculty/Graduate Concert, Lágrimas do Paraíso lays the conceptual and movement groundwork for Dance Gala 2025, where these themes will be further illuminated.
 

Choreographed by Eloy Barragán
Music: "Lágrimas do Céu" and "Fado é Amor" by Carminho, "Loucura" by Mariza
Lighting Design: Haven Haywood
Costume Design: Juliana Waechter
Dancers: Victoria Adams, Abbey Thorton

We hope the audience embarks on this voyage from performative to authenticity. 
May you discover a mirror of your search for truth and intimacy within these tears of paradise.

Special thanks to Victoria and Abbey for their beautiful dancing, talent, and amazing commitment to it; and to the Production Unit for their great support to all our productions.

Flowering Body

Flowering Body engages improvisational methods of recomposition, blurring the boundaries between choreography and improvisation, and allowing for an unfolding embodied intelligence and corporeal imagination.

Choreographed by Mikey Rioux in collaboration with the dancers
Music: "Flowering Body" by Mika & The Lover's Light
Lighting Design: Haven Haywood
Costumes sourced by Mikey Rioux and the dancers
Dancers: Lilly Aylward, Clare Danz, Sydney Gorak, Lillie Smithhart, Erin Muntz

Fear Not to Soar (dnarig regorcim)

Things are getting scary..... Peace, be still...

Choreographed by Christopher-Rasheem McMillan in collaboration with Ethan T. Hooten
Music: "Vogt Dig For Kloppervok" by the Books
Lighting Design: Haven Haywood
Costume Design: Juliana Waechter
Dancer: Ethan T. Hooten

Suite Donuts

Suite Donuts is a co-commission between the José Limón Dance Company and the American Dance Festival for the company's 75th Anniversary Season in 2020. The piece is a tribute to the life and music of James 'J Dilla' Yancey, acclaimed hip hop producer and musical pioneer who passed away in 2006. J DIlla is known for an organic and soulful production style that infused artists such as Erykah Badu, D'Angelo, A Tribe Called Quest, the Pharcyde and other groundbreaking musicians with a distinctive and transcendent sound. The symphony from which the score is derived 'A Suite for Ma Dukes' was composed by Miguel Atwood-Ferguson in 2010 as a tribute to J Dilla's artistic life and as a gift to Dilla's mother Maureen 'Ma Dukes' Yancey.

Choreographer: Chafin Seymour
Rehearsal Director: Victoria Lefler
Faculty Advisor: Melinda Jean Myers
Music: Miguel Atwood-Ferguson, James 'J Dilla' Yancey, Erik Satie
Sound Design: Chafin Seymour
Lighting Design: Haven Haywood
Costume Design: Juliana Waechter
Dancers: Soraya Cohen, Claudia Jacobson, Madison Burkhart, Trinity Woody, Isabella Kees, Savanna Kratochvil, Victoria Lefler

Thank you to Melinda Myers for the trust, support and invitation to remount this work and to the University of Iowa Department of Dance for bringing me in for this wonderful opportunity. Thank you to the Limón Company for their contribution to the construction of the original work and to the American Dance Festival for the commissioning support. Thank you to my family, wife and other loved ones for their constant inspiration and support. Finally, many thanks to this excellent cast for their strength, clarity, intelligence and soulful embodiment of this piece.

Meet the Team