Utah Artist Fellowship Recipients

The artists represented in the category of dance were broad and diverse in range,
artistic perspective, intention, and together, painted a lovely landscape that I really
enjoyed getting to know. I was curious what themes might arise from the pool, how
Utah dance artists are impacted by place and space, and how varied lived
experiences are responding to their needs, and the calls to and from the field more
broadly. In evaluating, I considered applicants through three frames: (1) The rigor of
research, (2) the (written) articulation of work, process, and practice, which revealed
to me generally, (3) the excellence of their work. I found these elements not only
demonstrated the artist’s current level of expertise and commitment, but also the
potential for future development and contribution to the field of dance in Utah and
beyond.

Excellence, we can affirm, is subjective, often framed/upheld by institutional
contexts which can perpetuate and reinforce exclusivity, particularly when tied to
criteria that favor Eurocentric forms of practice and knowledge, or achievements
upheld by institutional hierarchies. What constitutes excellence can be heavily
influenced by those who already hold power, limiting access to institutional support
for emerging artists, or practitioners who exist (by choice or otherwise) outside the
canon, who are making beyond existing structures of excellence.
The work I uplifted for this award range in dance practices dealing with
improvisation, technology, experimentation, risk taking, foundation of practice, and
research across multiple forms and processes. Each awardee clearly articulated
their work, and demonstrated significant skill in its manifestation.

Rooted in social experimentation and the investigation of community, effort and
personal mining, and the belief that dance and movement can affect the wellbeing
of society, is Halie Bahr’s choreographic inquiry. Her work has a clear and direct
relationship to her written narratives and teaching practice, demonstrating a
throughline of inquiry from research to choreographic fruition and community
engagement.

Breakin’, founded at an intersection of marginalization; positive & innovative
physicality and joy, is at the heart of Bryan Boyer’s work. Here, the choreographic
eye and acumen is rooted in improvisation, fast paced call and response skill, and a
uniquely honed style. Hip Hop, and its first physical manifestation, Breakin’, is rooted
in social spaces and as a practice, requires dedication and deep training and the
ability to transform, transmute and (re)define itself time after time. I see Bryan’s effort
and persistence in making/performing in each battle (performance & freestyle
choreography).

In the work of Ya-Ya Fairley, we listen and witness their necessity to be seen, to be
considered, to be visible and protected. The work demonstrates clear embodiment
of thought and research through different adaptations and performance modes.
Their making has an arc, as we see a responsiveness to the pandemic, technology,
and adaptation as a highly politicized body navigating their intersectionality relating
to race, gender and sexuality. Their written work is well articulated, and the through
line to the work is demonstrable.

Jyothsna Sainath works within the tradition of Bharatanatyam, thinking through what
contemporary thought and research can shift in classical, deeply historical
precedents of cultural identity and practice. Jyothsna uplifts self expression and
asks questions about gender and evolution, carrying forward technique and rigor.
The theatrical elements and craft of Shelby Taylor’s work was considered and well
wrought. The use of technology and choreography to consider gaze, narrative and
movement invention demonstrates research and consideration. She narrates clear
commitment to community and home-making for Dance artists in Utah that feels
driven by empathy and thought.

The depth of a work is often seen in its layers of meaning, the complexity of its
themes, and its capacity to challenge, move, or transform the artists themselves,
their immediate communities and the Field more broadly. I was moved by the work
of these five artists, and feel privileged to have experienced them.