Looking at the world around them, dance majors find inspiration to bring their time as University students to a close. “All the same except for Today” showcases the choreography of Susan Kellerman, Melissa Mallinson, Elizabeth Riga, Kirsten Seacor and Janna Van Hoven.

In a ritualistic piece, Susan Kellerman takes the Jewish burial tradition of family members digging and putting dirt on the grave. “Everything, All of the Time, in Its Right Place” looks at performing that ritual with tension and happiness. The group section of the work is about acknowledging the spiritual presence in life and using it to find comfort.

Her choreography, a blend of modern, jazz and hip-hop, will be performed to works by Music school student Rick Kowal. For Kellerman, her experience as a choreographer was enjoyable: “As much as you plan for it, some of the best things come out of the rehearsal time.”

“Spiritus” is a group work choreographed by Kirsten Seacor about seeing a reflection in the mirror and being surprised at what you see. The dance explores the process of finding belief and confidence in yourself.

Seacor finds her inspiration in her younger sister, Brittany. Her solo, “Song for Brittany,” looks at how Seacor has felt about the idea that she was dancing for two, herself and someone who is not as fortunate as she is in her dance ability. Seacor enjoys her ability to share her gift of performing and hopes that she is able to draw the audience to want to dance.

Melissa Mallinson watched people, how they walk down the street, how they walked through doors and how they interacted with each other in these situations.

Performed in silence, “Making Passes” creates an imaginary space where the audience is invited to question which way is in and which way is out. The space is sometimes private and sometimes public. Mallinson saw a strange forgiveness in the way people interact when they walk down the streets and bump into someone.

Janna Van Hoven”s “Souvenier d”une Jurre,” looks back to look forward. She looked at journals that she had written since the age of nine to create an environment where her dancers would portray happiness, sadness and confront the fact that they didn”t give permission for their story to be told. Van Hoven”s idea is that words don”t have to necessarily be eloquent in order to be powerful. “I like to create things without a specific intention and let the process of movement come out and see how I was feeling and what it represents,” said Van Hoven of her choreographic experience.

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