Senior Dance Capstone: From the Garden

capstone

UVU department of dance Presents

senior capstone:
from the garden

The Barbara Barrington Jones Family Foundation Theatre

April 10-12, 2025

Dean's Message

The arts possess the sublime power to inspire, engage, and transform. Just as a solitary note holds the ability to captivate, a single voice, gesture, or melody possesses the ineffable power to carry us away.

We invite you to embark upon a new journey with us this season at The Noorda Center—home to inspiring events and an exciting hub for the arts in Utah County. Our mission is to produce and present artistic excellence, which would not be possible without the generous support of our donors and sponsors. We thank them and express our deep gratitude to all patrons, supporters, and friends of
The Noorda Center.

Thank you for journeying with us this season to experience the profound and transformative power of the arts!

Courtney R. Davis, J.D., M.A.
Dean, School of the Arts

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letter from the director

We are proud to present our Senior Capstone performance, From the Garden. This performance showcases everything we have learned over the past four years through the Department of Dance, and how we have developed as dancers, choreographers, teachers, learners, and individuals. Every dance is unique, but they all stem from the same roots as they show the passion and investment of each individual choreographer.

As the title suggests, this concert shows how we are all from the same garden, but that we grow, shift, change, and bloom in many different ways. We all have different views and plans for life, yet we come from the same place and are connected through our roots. The seniors have put a lot of work into this performance and are excited to see how our personal gardens can grow beyond Utah Valley University.

We are extremely thankful for all the individuals that have dedicated their time and talents to make this concert happen, and to the audience for supporting this performance and the arts. We hope the audience can connect with the dancers and see how we’ve grown and changed over the last four years. We hope to inspire everyone to nourish your own personal garden, and to grow and spread your roots through the rest of life.

We hope you enjoy the performance!
The 2025 UVU Department of Dance Senior Class

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Program: Show A

abbie

sonder

Choreography: Abbie Simpson (in collaboration with dancers)

Music: "Opus" by Eric Prydz

Performers: Alina Bannavong, Sam Bickerstaff, Bronwyn Bigelow, Mackenzie Bradley, Sydney Jeffs, Kailey Schuster, Jazmyne Sharp, Bella Trionfo, and Josh Yorgason

artist statement

Abbie Simpson

In sonder, I aim to convey several significant ideas that resonate deeply with
the audience. One of the primary themes is the non-linear journey of success, emphasizing that each person's experience is uniquely their own. The piece highlights the importance of connection and community, showcasing how essential relationships can provide crucial support during difficult times.

This work is deeply personal for me and the dancers. To create this piece, I employed various choreographic devices and structures to highlight each dancer's individual story. The drawn road maps of life, exploring physical pathways, improvisation, and phrase work that travels across the stage are all used to showcase the unique experiences of each dancer. Partner work, weight sharing, and small lifts are also used to emphasize the importance of human connection in overcoming challenges. The beginning and ending are similar but not the same, reflecting the twists and turns that life can take. This piece is a testament to the beauty of human perseverance and the importance of community in helping us navigate life's challenges. I hope highlighting the physical and emotional labor that comes with pushing through setbacks and achieving a long-term goal resonates with all who experience this piece. I also hope that it serves as a reminder to find people to rely on and that it leaves a lasting impact on the Department of Dance at UVU as my last contribution to the program before graduation.

Passing Windows

Choreography: Kaarina Garlick (in collaboration with dancers)

Music: "L’habitude" (instrumental) by Francoise Hardy, "You" (instrumental) by Leslie Bricusse, "Opus 22" by Dustin O'Halloran, "Hummingbird" by The Gothard Sisters, "One Thing" by One Direction, "Lamellophone and the Gulf of Mexico" by Slow Meadow

Performers: Leah Ahlander, Lauren Butler, Emilee Cook, Lindsey Knowlton, Abbie Simpson, and Ashley Wilcox

artist statement

Kaarina Garlick

I am intrigued by the concept of individuality within the whole of society. Because of this, I am an individual who thoroughly enjoys people-watching. I am very interested in our opportunity as humans to view small moments of a stranger's life, bringing humanity to everyone I have limited or no interaction with. Watching people sing and dance in their car, friends reuniting in a busy hallway, overhearing a conversation of excitement or joy, and parents playing with or comforting their children are all examples of these simple, everyday moments of life that I am inspired by. I am using this work to show the importance and individuality of every person we know and see.

We live in a very self-centered society where most people view the people around them as nothing but background, without recognizing that every person has their own intricate and personal life. People watching teaches empathy and humility as it shows that we know nothing about those around us, just as they know nothing about us.

Through the use of pedestrian movement and a natural setting, contrasted with solo and duet moments, this work expresses the small moments of humanity and personal relationships. To show the intent of people watching, dancers spend time witnessing the others during their solos and duets. The solos and duets are created collaboratively to offer a feeling and setting of authenticity, which is one of the most beautiful aspects of people watching, seeing the most authentic self of each person.
This work expresses the beauty that is found in the mundane, everyday moments of life and the humanity and individuality of every person around us. It is such an honor to be a witness to a stranger's personal experiences and recognize the humanity and individual life of every human. People watching teaches empathy and humility as it shows that we know nothing about those around us, just as they know nothing about us.

emily

The Weight of Stars

Choreography: Emily Gidney

Rehearsal Assistant: Clara Robertson

Music: "Brilliance" by Kevin Terry, Philip Daniel, and Shawn Williams

Performers: BreAnna Bratton, Katy Gidney, Elizabeth Hansen, Christian Klingler, and Grace Loertscher

artist statement

Emily Gidney

I believe dance reveals the unspoken truths of the human heart. My work explores our emotional landscapes, connecting inner worlds with outer realities. The Weight of Stars investigates the cyclical nature of emotions, the interplay of grief and joy, tension and relief. It acknowledges sorrow while celebrating resilience. Believing in dance's healing power, I explore how physical tension and release mirror emotional catharsis. My work weaves diverse vocabularies into a unique language, amplifying each piece's emotional core.

The Weight of Stars began with my own experience of joy within sorrow at my grandmother's funeral, illuminating the human capacity for light in darkness. This personal reflection, combined with conversations with other dancers about memorable dances, solidified my focus on catharsis and finding equilibrium amidst emotional fluctuations. This piece explores our tendency to seek release, to find joy even in grief. The title, The Weight of Stars, evokes this duality – immense pressure contrasted with hope's glimmer.

The choreography embodies this principle. The Weight of Stars draws on influences from Doris Humphrey's fall and recovery to Marian Chace's work on connection, the African dance and music principles of polyrhythm, and the Viennese waltz. I adapt these into a unique vocabulary. Dancer relationships, weight shifts, and sudden releases visually portray the push and pull of emotions. A recurring reaching and retracting motif symbolizes the interplay of hope and despair. The music evokes longing, like a dark sky with fleeting stars. The Weight of Stars explores the human condition, expressing the profound impact of internal and external pressures. Through tension, release, grief, and joy, the piece culminates in catharsis, leaving dancers, and perhaps audiences with renewed hope and a deeper understanding of their own emotional landscapes.

The Homestead

Choreography: Cambria Harris (in collaboration with dancers)

Music: "Serve No Tea" by Shire T, "anxiété" by Pomme

Performers: Samantha Bickerstaff, Mackenzie Bradley, Caitlen Harris, Nancy McGee, Bella Trionfo, and Brianna Winters

artist statement

Cambria Harris

I consider my dance style to be light flowy movements with a soft playfulness of the world around me. I use this style to my advantage and make movement that feels comfortable within my body. During my college experience I had many opportunities to create choreography for myself and others. There were many times where I created movement through improvisation and choreographic devices. I found that it is enjoyable for me to create movement based off my experiences, along with imagery to help me sketch ideas. For The Homestead, I used physical pictures of memories and created movement based on them. I am passionate about dancing and have continued to gain knowledge and skills as my life goes on.

The Homestead is centered around my childhood. When I was a little kid, my family and I would go up to Idaho once or twice a year. My grandma and her sister live there and own the most beautiful property. My family and I have always referred to this property as “The Homestead.” I have a handful of memories of this place and am still creating more and more each time I go up there. A few memories included in my piece are the game signs, the hideouts around the yard, and all the beautiful flowers and gardens. These memories hold a special place in my heart and the meaning behind this piece is how precious and powerful memories can become. Throughout my process I created my own movement along with collaborating with the dancers, having them interpret some pictures taken up in Idaho. I found it exciting to create movement and reminisce about my childhood.

Petrichor

Choreography: Mikayla Milligan

Music: "Elevator Song" by Keaton Henson, Ren Ford. "Petrichor" by Keaton Henson, Ren Ford

Performers: Mylee Borsella, Megan Hernandez, Sophie Jensen, Alyssa Lange, Natalie Newbold, Olivia White, and Ashely Wilcox.

artist statement

Mikayla Milligan

This choreographic exploration is born from the intersection of personal experiences that reflect a universal aspect of human nature. Though my experiences are unique, the struggles that accompany life's journey are a shared commonality. Through this process, I've discovered that shifting my focus from adversity to gratitude has brought me greater joy, confidence, and fulfillment, while diminishing stress, doubt, and fear.

Each of us has much to be grateful for. This choreographic journey has been both meaningful and enriching. My dancers and I have crafted a piece where every step is intentional, contributing to a broader narrative. This collective effort has allowed us to transcend our individual perspectives, glimpsing a more expansive landscape.

Through this creative process, I've undergone a transformative shift in how I perceive my personal struggles and those of others. I've cultivated a deeper sense of empathy and charity for those around me. The term "petrichor" – the scent that accompanies the first rain after a dry spell – resonates deeply. Creating this work has been a breath of fresh air during a challenging time, reminding me of the beauty of gratitude and its power to illuminate life's joys.

As I reflect on this journey, I'm reminded that the interplay between adversity and gratitude is a fundamental aspect of the human experience. It's a paradox that allows us to appreciate the sweetness of life, made all the more precious by the bitter moments.

Man! I Feel Like A Woman!

Choreography: Tess Graham

Music: "Man! I Feel Like A Woman!" by Shania Twain

Performers: BreAnna Bratton, Kenna Fisk, Cali Hunter, Gabbi Lawson, Nancy McGee, Kassidy Olson-Nelsen, Heather Reavis, and Nicole Taylor

artist statement

Tess Graham

My choreographic inspiration stems from my desire to bring something unique to a ballroom piece. This piece will feature an all-female East Coast Swing routine that radiates fun, energy, and joy. The concept is inspired by the excitement of a girl’s night out with her best friends, dancing to their favorite song, and celebrating the simple pleasure of being together. My personal motivation comes from my own experiences of going out dancing with friends. Watching people come alive and truly enjoy themselves on the dance floor is one of my favorite aspects of dance, and I hope to capture that spirit in this routine.

Interrelation

Choreography: Bailey McMillan

Music: "Notre-Dame-des-Sept-Douleurs" by Klô Pelgag, "DON’T LET GO" by PJ Morton, "Moon in Your Eye" by Kaitlyn Aurelia Smith/Emile Mosseri

Performers:Laura Bermann (Danneman) and Andy Sefcik

artist statement

Bailey McMillan

My college experience did not go as planned. After a major injury and several surgeries that took me out of the dance studio, I felt disconnected and alone. I spent a year observing, preparing, and eventually coming back to my happy place. I realized I missed out on so much more than the physical benefit—I missed my community. It was through this challenge that I learned to reflect on, appreciate, and strengthen my relationships with those around me. Connection is about so much more than physically standing next to someone. It is an emotional understanding of each other that can only be accompanied by effort. This realization was the inspiration for Interrelation, a piece that aims to define the relationship between two people.

The first section is called “Disjoint.” There is an obvious separation between the two dancers that is both emotional and physical. There is no effort to sustain the relationship, and the focus is on the individuality of the dancers. As they meet each other physically, they enter “Periphery.” This movement focuses on a physical relationship that lacks emotional intent. While they may be standing next to each other or even holding one another up, there is no kinship. Finally, the duet joins for the final section titled “Communion.” Physicality and emotions meet, and the dancers show an obvious effort to connect with each other. It is a mutual moment of alliance and symbiosis. Through Interrelation, I aim to define the relationship between two people, where true connection emerges not only from proximity, but from the emotional investment and understanding that bind us together.

everything i wish it wasn't

Choreography: Zach Marshall

Music: "Aheym" by Kronos Quartet & Bryce Dessner

Performers: Mylee Borsella, Abigail Brucker, Lily Greenwood, Sara Harris, Sophie Jensen, Alyssa Lange, and Maren Rodgers

artist statement

zach

Zach Marshall
As a choreographer, I create and move within the context of my personal experience. I believe that creating from personal experience gives my moment my signature that no one in its proper form can replicate. This personal experience allows me to create any current political situation and historical moments. everything i wish it wasn’t is about the never-ending cycle of longing for belonging, finding that acceptance, and struggling against self-expression in that unexpectedly constricting environment. I'm creating this piece from such a deep and personal place, where I've experienced this never-ending cycle many times in my life so far. Maybe the vest is a representation of a place in a group, maybe it's a job, maybe it's just a person. We are all willing to do whatever to get this vest, if that means dragging it off of someone or if it's just luck that we are there. In some moments, we don't even want it at all, but society says we need it. Initial pleasure but shortly followed by anger, frustration, weight, and guilt.

What do you wish it wasn’t?

Last Dance

Choreography: Tess Graham

Music: "Last Dance" by Donna Summer

Performers: Alina Bannavong, BreAnna Bratton, Kenna Fisk, Zyon Henderson, Cali Hunter, Gabbi Lawson, Nancy McGee, Kassidy Olson-Nelsen, Heather Reavis, and Nicole Taylor.

artist statement

Tess Graham

My second piece's inspiration comes from a personal connection to the song—it’s been my favorite for years. This upbeat, well-loved disco track has sparked a vision in my mind that I’ve been eager to bring to life. The routine is a fusion of International Rumba, Cha Cha, and New York Hustle, with each style complementing the song's rhythm and energy. My choreographic intent is deeply sentimental, as this piece marks a celebratory farewell to our time in the dance program. The song’s title perfectly reflects the moment, making this a joyful and heartfelt tribute to our journey. By blending distinct dance styles, this routine offers a dynamic and exciting way to honor our shared memories and the excitement of what lies ahead.

goopy goodbye

Choreography: Megan O'Brien
Assistant Choreographer: Olivia Beck
Rehearsal Assistant: Mikayla Milligan and Baylee Taylor
Lighting Designer: Peter Leonard

Music: "One Warm Spark" by Colleen

Performers: Sarah Anderson, McKayla Browning, Olivia Brual, Kaarina Garlick, Emily Gidney, Tess Graham, Cambria Harris, Nia Hellewell, Zach Marshall, Samantha Marx, Bailey McMillan, Raquel Miller, Heather Morley, Adreanna North, Abbie Simpson, Kirsten Tucker, and Laurie Wilson.

artist statement

Senior Piece Statement

After emerging from its chrysalis, a butterfly’s wings are very soft/wet. Before it can fly, a butterfly must slowly dry its wings by pumping fluid into its veins and hanging upside down. This process takes several hours. It must patiently remain suspended. Through this whole process the pupa undergoes tremendous change, one second at a time.

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Program: Show b

The Game Is Won Before It's Played

Choreography: McKayla Browning & Olivia Brual (Stewart) (in collaboration with the dancers)

Music: "a1" by Nils Frahm and Ólafur Arnalds

Performers: Leah Ahlander, Kamille Anderson, Laura Bermann (Danneman), Ashlyn Duckwitz, Darci Glad, Sara Harris, Abigail Jenson, Grace Messenger, McKenzie Olson, Andy Sefcik, Abby Warren, and Brianna Winters

artist statement

Olivia Brual (Stewart)

“Whatever you are be a good one” -Abraham Lincoln
As a dance artist, I believe that anyone can dance and all human bodies are capable of expressing movement in many ways. My work aims to explore the transformation of everyday gestures and movements into complex and expressive forms that emphasize the beauty of the human body in motion. I am inspired by the simplicity and power of natural movement, and seek to elevate ordinary actions into something impactful. Motivated by the idea that we are all imperfect but capable of achieving anything we set our minds to, I aim to challenge the idea of dance as an exclusive art form. I invite people from all backgrounds to connect with their own physicality, celebrating the unique stories and emotions that each individual brings. My artistic and choreographic process involves experimenting with the complex body, discovering how subtle shifts and variations can show depth and significance.

The piece, The Game Is Won Before It's Played, explores the emotional aspects of winning, losing, submission, and celebrating others’ successes. Through research and collaboration with dancers, I am examining the psychological impacts these experiences have on our minds and bodies. The work seeks to uncover the dynamic connection between competition, empathy, and the act of submission, emphasizing how these elements shape our emotions and resilience. I believe that dance has the ability to communicate these complex concepts, which allows for a deeper understanding of how success, failure, and vulnerability affect us.

Overall, I hope my work inspires others to embrace their own capacity for movement and to recognize their own artistry in everyday life. The Game is Won Before Its Played reminds us that dance is about exploring the emotional depths of human experience and fostering empathy and connection through movement. By integrating research, kinesthetic expression, and the rich, universal themes of competition and submission, this project celebrates the unique human capacity to rise and fall, surrender and persevere, in both our bodies and our emotions.

mckayla

McKayla Browning
As a dance artist, I have a deep need to be true to myself and explore concepts that are important to me, while also remaining open-minded. I value my own perspective and experiences, but also appreciate the perspectives of others. I believe that the diversity inherent in each person's viewpoint deserve to be expressed and understood, even when they differ from my own. My work is rooted in collaboration, drawing on journaling, improvisation, and shared experiences to shape meaningful movement. At times, I feel great fulfillment in dance, while at others, I struggle with self-doubt. This ongoing dialogue with my craft often leads me to step back, returning each time with fresh eyes and a softer heart. My work is for those who are open to reflection and new perspectives, where the dancers, the viewers, and I leave the process feeling enriched and more open to others' experiences and viewpoints.

My latest work, The Game Is Won Before It’s Played, explores the emotional complexities of competition, submission, and celebrating others’ successes. In collaboration with my dear friend and fellow choreographer, Olivia Brual, we explore how winning, losing, and resilience shape our psychological and physical states. Through this partnership, we examine these themes while incorporating both of our perspectives. In this work, dance serves as a lens through which we explore the complexities of human experiences—particularly the various ways we approach perceived or real 'games' and 'competitions' in life. For me, The Game Is Won Before It’s Played serves as a reminder that many of our life's losses stem from not believing in our own abilities. After all, it's true: you miss 100% of the shots you don't take.

Wasteland

Choreography: Baylee Taylor

Music:"Wasteland" by Royal & the Serpent

Performers: Adam Blanchard, Chloe Renee Guerrero, Cali Hunter, William Cristian Klingler, Josh Larsen, and Kassidy Olson-Nelsen

artist statement

Baylee Taylor

One of the main aspects that make up my identity is my interest in dance which has grown to be so significant. I’ve always been told that ballroom is normally upbeat and happy, but I want to show that there is a lot more to ballroom than just upbeat pop songs. I have always tried to push what the boundaries of dance in the sense of mixing styles. I love creating a fusion of tap dance with ballroom or ballet with jazz. From maturity and discipline to leadership and teamwork, a vast variety of values have molded me throughout the years. Through the years of performing and choreographing, I love being able to have dancers connect to the feeling of a dance. Each dance piece that is created aims to connect with audiences, understanding and feeling the emotions of the dancers and maybe connect to the piece themselves.

Within my choreographic process, I find that playing the music and explaining the idea to my dancers allows them to tell their own story through their movements. If a piece is going to be about a child having a tantrum, then I want them to embody the frustration or anger they felt as a child. In other words, I want each of my dancers to connect with the story being told: to find the personal experience within the story and perform that story through emotion, love, and movement, expressing themselves through the dance.

soon after

Choreography: Heather Morley (In collaboration with dancers)

Music: "Glassworks: IV. Rubric" by Philip Glass, "Portal" by Michael Wall

Performers: Alessandra Brooke, Lauren Butler, Helen Frazier, Nia Hellewell, Grace Messenger, Jordan Mulyangote, Lauren Peterson, Manny Santos, Kalia Schmidt, and Brianna Winters

artist statement

Heather Morley

A significant inspiration comes from choreographers I look up to. I am particularly interested in researching the Gaga movement language that was developed by Ohad Naharin, current in-house choreographer for Batsheva Dance Company (Israel). I find his movement language provides many opportunities to allow dancers and creators to find new ways of moving. Another one of my choreographic inspirations comes from Doug Varone. I have found that taking inspiration from Varone’s format and devices has been able to define my pieces. My movement language has taken inspiration from floorwork artists such as Laja Field and FLOCKWORKS. I have been curious about the idea of using some moves in pieces I have performed in and slightly altering them. I strive to create pieces that come from personal experiences. While my work tends to be more personal, I find a broad theme so my dancers as well as the audience have something they can relate to. In the past when I have choreographed, I strived to create the whole piece by myself without any help from my dancers. Recently though, I have learned to value how collaborative a process can be. It allows the dancers to feel more connected with the work they are performing. A part of each person in the process is embedded in the piece. soon after invites the audience to enter inside my mind and the journey I have taken in my collegiate career as a dancer.

Dynasties & Dystopias

Choreography: Baylee Taylor

Music: "Dynasties & Dystopias" by Denzel Curry, Gizzle, Bren Joy

Performers: Adam Blanchard, Chloe Renee Guerrero, Cali Hunter, William Cristian Klingler, Josh Larsen, and Kassidy Olson-Nelsen

artist statement

Baylee Taylor

Soma

Choreography: Samantha Marx (In collaboration with dancers)

Music: "Chambermaid Swing" by Parov Stelar

Performers: Megan Hernandez, Grace Loertscher, Adelyn Rocque, Lucy Tolman, Kirsten Tucker, Abby Warren, and Danielle Zarate

artist statement

Samantha Marx

When I think of creating movement, I think of storytelling and how to bring a connection between the dancers onstage and those watching in the audience. It is my personal belief that storytelling is the glue that allows us humans to make strong connections with each other. Dance is considered an artform, however, I like to think of it as another form of literature. Instead of black print, we paint our stories as dancers through the movement.

My intent with this particular piece was to still have a story but format it as a broad theme than a step by step narrative dance. Throughout my life, I have begun to notice the impact purity culture can often have on people, especially young girls and women. I wanted to explore this theme and how different movements can impact our view of sexuality. I chose to present these themes through pop-culture references to the 1920’s. The choice of the 1920’s was due to it being a time of social change and freedom for women in terms of dressing, social responsibilities, and movement. Rather than being constricted to corsets and the waltz, young women began to loosen their outfits and movement. Throughout the choreographic process, I focused on abstracting more Charleston-style movements with input from the dancers to be effective.

Now at the piece’s completion, it is my hope that the overarching theme of portraying the freedom of the 1920’s in comparison to the exhaustion that is found with purity culture leaves the audience with new ideas to ponder in their own lives.

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Performer: Kirsten Tucker

artist statement

Kirsten Tucker

For me, dance is a way to express what I can’t always do with words. It has been my outlet to think about my experiences, emotions, and the world that surrounds me. Whether it is through joy, frustration, or peace and tranquility. It is both a source of comfort and a challenge that pushes me to grow. It challenges me in ways nothing else can. It gives me a space that allows me to process and reflect and makes me feel grounded and present. Performing is where I get to share the feelings and emotions and create a shared experience with the audience. When I step on stage, it’s like everything else fades away, and I am just living in the moment. Those moments on stage are where I truly feel the balance between comfort and challenge. Performing brings those challenges and transforms it into an exciting opportunity to bring the work to life. The comfort of knowing that I have worked hard through the challenges helps me be in the moment while performing.

In my performance, I hope to share my sense of growth with the audience. I hope to share the vulnerability and the joy that comes with performing in front of an audience. As I continue to grow as a dancer and a performer, I am always looking for new ways to challenge myself and to push boundaries. In the end, I want this performance to transcend the audience on a great journey that will heightened their experience. Through the emotions that will be portrayed, my goal is to produce a performance that is authentic and to be able to share with the audience something meaningful.

Espial

Choreography: Nia Hellewell

Music: "Espial" by Oliver Buckland

Performers: Reegan Behunin, Alessandra Brooke, Abigail Brucker, Emilee Cook, Helen Frazier, Jordan Mulyangote, Lauren Peterson, and Luciano Schroeder

artist statement

Nia Hellewell

I created Espial to bring awareness to paranoia, as so many people are affected by it without realizing. This piece focuses on a specific symptom of paranoia: the feeling of being watched. The dancers explore through dance how this sensation can cause a person to act or feel. Paranoia causes people to be more aware, untrusting, suspicious, and watchful. It can also make people feel like things are happening without their control. I have experienced paranoia many times in my life, and I know how it can cause a person to feel. I want to give society more knowledge about paranoia so they can understand and treat the symptoms, especially if it is damaging their lives.

In Espial, a dancer struggles with the feeling of being watched, which is a symptom of paranoia. This causes others to feel and act the same way. The dancers perform fast, unpredictable, and intuitive movements, which resemble a fight or flight response and lack of control; the music is a tool that helps guide these movements. The movement features many circles, which signify trance-like feelings. I also integrated add-ons, which give the impression that the dancers are being influenced by each other. Throughout the piece, the dancers learn how other people can be a tool in recovery.
I want this piece to demonstrate how paranoia can affect people all around the world.
I also want it to show how getting help from others can ease the feelings of paranoia. Paranoia isn’t something anyone should have to go through alone.

Echoes of Loss

Choreography: Sarah Anderson

Music: "Stages of Grief" by Tian, "Cold" by Jorge Mendez, "Happy Music Beats" by Good Vibes Channel

Performers: Trevor Busch, Herby Fullmer, Darci Glad, Maren Rodgers, and Abby Warren

artist statement

Sarah Anderson

Throughout my life, movement, creativity, and imagination have been central to who I am. From childhood, I found joy in dancing around the house, choreographing routines, and performing for my parents. Dance has always been a way for me to express myself, overcome challenges, and understand my emotions. To many, dance may seem like mere movement, but it holds much deeper meaning.

As both a choreographer and dancer, I channel my personal experiences and emotions into my work, using dance as a therapeutic release. It’s an art form that transcends entertainment, offering a powerful means of self-expression for those who may struggle to find their voice. My hope is to inspire others to see dance not just as a performance, but as a meaningful, therapeutic tool with endless emotional depth.

Confines

Choreography: Raquel Miller and Laurie Wilson

Music: "November," Max Richter, Mari Samuelson, Konzerthausorchester Berlin, Jonathan Stockhammer

Performers: Laura Bermann (Danneman), Ashyln Duckwitz, and Samantha Marx

artist statement

raquel laurie

Raquel Miller and Laurie Wilson
As collaborating artists (Raquel Miller and Laurie Wilson), we are interested in exploring the confines of perceived limitations as inspiration for creativity. In our collaborative piece, we are utilizing wooden frames to represent the boxes that we place or find ourselves in due to societal pressures. Throughout our piece, we are researching how individuals navigate the confines that surround them and how they either succumb to these constraints or become creative and push past these imposed ceilings.

As the dancers progress throughout this piece, they oscillate between being pulled back into the frames and wanting to break free from them. This tension creates drive in the dancers’ movement that ultimately gives them a motive to move. We are investigating how this pertains to our own experience as ballet dancers and the boxes we have been placed in. In the ballet world, there is a specific “mold” that is deemed the preferred aesthetic or ideal dancer. We have experienced pressure to have a perfect body, to listen without question, and to silence our individual voices to be malleable for a choreographer. While we have learned how to listen throughout our college career, we have also developed our confidence and sense of self. Ballet has given us the opportunity to grow and has taught us that we are capable. As we approach graduation, we want to venture out of these frames of restriction that have tried to convince us that there is only one way to become a successful ballet dancer. As developing artists, we are ready to explore ballet outside of the frame.

in this shirt

Choreography: Adreanna North (In collaboration with dancers)

Music: "In This Shirt" by The Irrepressibles

Performers: BreAnna Bratton. Chelsea Hansen, Nicole Taylor, and Michael Rawlings.

artist statement

adreanna

Adreanna North
The meaning and intent of this piece is to explore the feelings and emotions that arise when you feel out of place among a group. This work is based on my own recent experience, while including the experience of my husband who has ADHD, and how we both grapple(d) with different dynamics of group work including conforming, feeling alone surrounded by others, experiencing self-doubt, facing rejection, and feeling our efforts are never enough to satisfy a group. This process of creating material and structuring motifs within this work have felt very vulnerable, self-reflective, and eye-opening to how others' deliberate and nuanced actions can box us into a corner or how it causes us to put ourselves there.

I feel fortunate that this choreographic process has been the medium to help me process and uncover my inner-most thoughts and feelings about my experience, as well as my husband's. It's been gratifying to create a visual representation of my thoughts and emotions that have been hidden away and surpressed for the past year. I also want to take the time to express my appreciation for the dancers in my piece that have brought my vision to life. I could not have done this without their dedication and continued support.

goopy goodbye

Choreography: Megan O'Brien
Assistant Choreographer: Olivia Beck
Rehearsal Assistant: Mikayla Milligan and Baylee Taylor
Lighting Designer: Peter Leonard

Music: "One Warm Spark" by Colleen

artist statement

Senior Piece Statement

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give to uvu dance

As we prepare to welcome the community to experience the wonder at The Noorda Center, we'd like to thank you for making it all possible.

The performing arts inspire us to engage with others, discover new ways of thinking and feeling, and provides us with hope—in short, we believe the arts transform you. As an exciting hub for the arts in Utah County, we produce hundreds of performances by talented students, faculty, and world-renowned visiting artists. We invite everyone to join in connecting through the arts.

As part of UVU’s inaugural EverGREEN fundraising campaign, we invite you to make a gift to The Department of Dance today.

Your gift not only impacts students success, but ensures programming and exciting artistic creation continues.

Please make a gift today by clicking below. Thank you!

MAKE A GIFT

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Thank Yous

Thank you to UVU's Department of Dance faculty mentors for your input and support: Tara Boyd, Angie Banchero-Kelleher, Sarah Donohue, Christa St. John, Jamie Johnson, Amy Markgraf, Nichole Ortega, Lyndsey Vader, Chris Witt, and Nichele Woods. A special thank you to our capstone professor Tyler Schnese for helping us fulfill our capstone dreams!

Heading up the UVU Costume Shop, thank you to Carla Summers and her team, for the love in every stitch.

To Peter Leonard and the UVU Lighting and Production class, thank you for your artistic design to make this production complete.

Elisandra Rosario and the Production Team, we thank you for your direction and expertise.

The School of the Arts Marketing and Communication teams, thank you for your attention to detail.

Theatre and Custodial Staff members, we couldn't do it without you.

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school of the ARTS
coming Soon

Get Tickets

THE DEPARTMENT OF DANCE

Chair, Associate Professor
Jamie Johnson

Administrative Assistant
LAURAL HILL

Associate Chair
Sarah Donohue

Modern/Contemporary
Dr. Lyndsey Vader

Ballet
Christa St. John & Nichole Ortega

Ballroom
Chris Witt

Dance Ed
Amy Markgraf

Noorda Center Staff

UVU department of dance Presents

senior capstone:from the garden

The Barbara Barrington Jones Family Foundation Theatre

Menu

Dean's Message

letter from the director

Program: Show A

sonder

artist statement

Passing Windows

artist statement

The Weight of Stars

artist statement

The Homestead

artist statement

Petrichor

artist statement

Man! I Feel Like A Woman!

artist statement

Interrelation

artist statement

everything i wish it wasn't

artist statement

Last Dance

artist statement

goopy goodbye

artist statement

Program: Show b

The Game Is Won Before It's Played

artist statement

Wasteland

artist statement

soon after

artist statement

Dynasties & Dystopias

artist statement

Soma

artist statement

- - -

artist statement

Espial

artist statement

Echoes of Loss

artist statement

Confines

artist statement

in this shirt

artist statement

goopy goodbye

artist statement

give to uvu dance

Thank Yous

school of the ARTScoming Soon

THE DEPARTMENT OF DANCE

senior capstone:
from the garden

school of the ARTS
coming Soon