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Here’s some feedback:

So powerful!

-Intriguing opening line and arms shapes - I really enjoy the progression of scooching away for this. I think both moments could go on longer - more arm shapes on different timings (develop that arm idea) and then I think the scotching away idea could be extended as well (before they get to standing).

-Really clever use of 4 bodies promenading in 4 different shape (it’s unexpected)

-Could the next movement sequence (starting at :38) somehow make the dancers travel to a different spatial configuration? - even condensing a bit closer toward each other before the next pause in shapes?  If two of them faced the other say - then the flipping over of the leg would bring them closer to the other two, I think.

-The next phrasing tends to get a bit static - could you vary the timing somewhat? - do it really fast and then really slow - or have some fast when some are slow.

-Then - the active, more African type movement is very exciting.  Could play with variations and counterpoint here more.

-Be careful that you are not ALWAYS using the density or sparseness of the music to dictate the speed of the dancing.  It’s fun to juxtapose the music sometimes - move very fast in the sparse musical moments, and vice versa (not all the time – but just a moment of this kind of contrast adds interest/surprise)

-Take more care with the walking transition into the last slower/lyrical part - this could be more dramatic/intentional.  Maybe they could see each other as they enter/exit?

Great work – I can’t wait to see this with the lighting!

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-Beginning starts in either a line or a closed circle (each moving distinctively)

- Start in a line with head and arms moving?

-on (1:54) have two groups doing something else! Two doing and attitude swing front and back. The other two can do chugs around in a circle. They will both alternate in different sets

-After the dramatic back bend, I want each dancer to get up and hit a different pose. (Domino effect)

-The ending could be the dancers coming together in a clump, with heads leading together.

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-Fix Focus

-Having the exact counts for the piece will help a lot.

-Figure out the emotion/ focus for the piece.

-Fix the gap after the jump in the happy part!

-Fix the transition so the dancers behind doesn't face the audience.

-Going over the African movements from the dance across the floor will be helpful for the dancers.

-Great mix of contemporary and African. Your dancers need more help with the African technique, take you r time so it looks great.

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-Warm up in the beginning to avoid getting any injuries.

-Discuss what I want to get done for the specific rehearsal.

-Go over the beginning to keep the choreograph fresh in their mind.

-Work on new ideas/ improvisation to see if it can be added for the last few mins of the choreograph.

-For next rehearsal I left to figure out the middle section of my dance piece.

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. The name of this piece is "Realize to Recognize", and my concept for this piece was the many emotions of losing a loved one, and in this case was my father. He passed away from late-stage cancer when I was 18. I refused to recognize it over the years until this recent year, which is why I'm calling this piece "Realize to Recognize". My father was from Africa, and he always told countless stories of how when some would pass away their life would be celebrated by dancing. So, I incorporated that celebration into my piece.

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Beatrice Siklo is from Laredo Texas with ten years of dancing experience. She trained in Ballet, Ballet Folklorico, Jazz, Modern, and Hip-hop. Beatrice was involved in Vidal M Trevino Fine Arts High school, Laredo College Dance program, and El Studio. She had been involved in a Flash mob dance, acted and choreographed for a Hip hop opera, and involved in two Video screen dances. Beatrice will graduate in Spring 2025 with a Bachelor of Fine Arts in Dance.