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Andary Dance Company | andarydance@hotmail.com | Copyright© 2008 All rights reserved.
Tel 401.743.9172 •Website by: Co-Lab Inc.
Photo Credit: Terri Cooke, Arthur Walking Turtle
Emily Beattie has choreographed one dozen dances since her arrival on the Boston dance scene in 2003. The support of prominent and alternative venues displays her work's appeal to the forefront of the modern dance audience.
All told, her dances have been produced at the Institute of Contemporary Art Boston, outdoor venues in the Gloucester New Arts Festival 2006, Casa de Cultura in Quito, Ecuador, Spoke of the Hub Art Space Brooklyn, NY, Cambridge Multicultural Arts Center, The Knave Gallery, The Somerville Theater, CasaNia art space, Concord Academy Workshop, Green Street Dance Theater and the Julie Ince-Thompson Theater, Middlesex Lounge Cambridge, MA and informally the Ashamu Dance Studio, Brown University.
Thea Singer in 2005, found her work a provocative offering, a piece as much about ideas as about movement: how bodies create depth perception; how sound translates as movement (or doesn’t); how the timing--and the ordering--of gestures connotes meaning. Echoing this, Theodore Bale of Boston Herald viewed her work as intellectually stimulating. The brawn of her choreography reflects her interest in the catlytic power of human effort.
Her improvisation artistry has been cultivated through performance with media artists Yoichiro Kawaguchi, The University of Tokyo, Japan Hyjung Seo and Seunghye Kim SADI, South Korea, J.U. Lensing, THEATER DER KLA,NGE, Germany. Currently, Emily dance for Dance Magazine’s 2007 Top 25 to Watch, Lorraine Chapman, The Company, and collaborates with Liz Roncka and Eric Gunther respectively.
Beattie's projects often are not complete without the integration of an outside element. In the past, she has utilized: grassy landscapes, alternative lights, tents, plastic walls, and spoken word. Her desire is to try every element known and yet undiscovered. Her goal is to use dance to craft these elements into new meaning.
