As eager audience members, the Young Choreographers Showcase and Prize feels like it couldn’t get here faster… but for the choreographers, time is quickly slipping away and the finish-line is in sight! We are grateful that they care taking the time to interview with us!
Next up, the ambitious duo Marygian Rebullar & Edrian Pangilinan have shared a little bit about their YCP work.
Tell us a little bit about your history in dance:
Edrian Pangilinan 20. I hail from the School of Creative and Performing Arts where I majored in Dance. My styles include Modern, Ballet, Jazz, Tap, African, & Hip Hop as well. I started dancing four years ago, immersing myself in as much dancing as possible because it has truly become a passion for me. In 2010, I had the privilege of working with Pablo Francisco Ruvalcaba and performed in Jose Limon’s “Missa Brevis” at SDSCPA. Also just this year, I’ve been able to work with a few of the most legendary dancers and choreographers, such as Christopher Huggins from the “Ailey Ailey Dance Theatre”, Jim May, the successor of Anna Sokolow from the “Sokolow Dance Theatre” and Donald McKayle, a legendary modern dance choreographer. Now that I am out into the real world, I hope to keep dance a part of my journey in life. What sets me apart from the rest is my strong drive and commitment to get better at my craft.
Marygian Rebullar 18. I’ve been dancing for about 3 years now. I started dancing when I auditioned on a whim for SDSCPA. I guess the teachers saw some potential, and granted me entry into what soon became my dream school. I could never afford dance classes outside of high-school so I threw myself into all the work scholarships I could find. Although my extension still isn’t the best it could be, I’m happy to say I’ve improved a lot. I will always credit the dance faculty of SCPA for everything I’ve learned. The wisdom of Mrs. Fetters, Morales, Warkentien, Anderson and Foster-King will always influence me. A special person is Andre Mergerdichian, now a dance professor at the Uni. of Jacksonville, who first introduced Limon technique to me. I’ve gotten to wok with some amazing people in the dance world, like Pablo Francisco of the Jose Limon Company, who has been a good friend and mentor. I’ve also worked with Jim May, the artistic director of the Anna Sokolow Dance Theatre Company. I have gotten to chat and get to know Donald Mckayle, Christopher Huggins, and have taken class with people from different companies from Complexions to the National Ballet Company of Senegal. I have been in pieces about global warming, a village coming together after their home was war torn, and danced to my death in a holocaust gas chamber- to list a few. My dancing experience is shorter than most, but it’s been quite a blessed and humbling ride.
In 100 words or less, why do you believe your work should win this competition?
I can speak for both Edrian and myself that this work should win because it’d be a great bonus. We submitted our piece because we wanted to make a statement about our subject-it was never about winning. We were, and still are surprised we made it in the first place. We’ve taken ourselves completely out of our creative comfort zones, to the point where we know that not only would we have a less than stellar place in the show order but lessened our chances of winning and completely giving the audience what they would want to vote for.
What are the themes involved in your piece? Is this a new exploration for you?
The themes involved in our piece is dealing with a disability everyday of your life, whether you’re deaf, blind, in a wheelchair, etc. Not only are disabled people having to work harder to function physically everyday, but have the need to emotionally fit in as well- to prove that they aren’t all the different from “normal” people. Nowadays, everyone is so politically correct in the fear of offending someone that they go overboard and end up offending them anyway. So this piece is a new exploration for Edrian and I. We couldn’t just piece together choreography, like we usually do. Every movement,from the eyes to the lips, to the hands and tips of fingers have motive. Nothing in our piece is in it because it is aesthetically pleasing- it’s there because it is emotionally and physically raw and true. We’ve researched everything down to a tea- not because we want to be “PC” but because we want to get the emotion, the physicality, the mentality right, so we can portray everyday living people with the dignity that each of us deserve to be given by each other.
What do you want your audience to know coming into the performance? Edrian and I will certainly give no disclaimers about our dance and let it speak for itself. All we want the audience to know is that we’ve worked hard to put this piece together, that the process was not only time consuming, but physically and emotionally as well. If anything, we’d like to ask the audience to completely open themselves up to our piece. To embrace it like it was a person itself, interpret, learn and use it to open their eyes in a positive light about the world and the people we pass by on an everyday basis.
Thanks Edrian and Marygian! We are looking forward to seeing your piece!
That’s the YCP 2013 inside scoop for today- more interviews with the other choreographers coming your way soon!
Get all of the details on this years Showcase & Prize at: http://www.sandiegodancetheater.org/ChoreographersPrize2013B.html
Remember, your vote counts!