With four segments of dance ranging from ballet to contemporary dance, the 2017 Fall for Dance Festival did not disappoint. The eclectic performances offered something for everyone, no matter how versed he or she is in the language of dance. The opening act performed by the Miami Ballet was an elegant display of traditional ballet techniques complemented with more modern applications of ballet dance. It was a refreshing take on what I know to be ballet; coming from a Russian background, I grew up seeing the Russian ballet which was very classic and tradition-based. Following was an interesting interpretive dance performed by South African dancer Vincent Sekwati Koko Mantsoe, in which Mantsoe incorporated bird-like imagery. Though I didn’t personally connect with that performance, it was interesting and unique nonetheless, and I did see there were some symbolic movements that told a story when put together.
The highlight of the Fall for Dance festival, though, was the premiere of Myelination by New York City based tap dance company Dorrance Dance. Led by MacArthur Genius Grant winner Michelle Dorrance, Dorrance Dance focuses on American tap dance choreography and the music it produces. The dance company blends piano, guitar, and vocals with the music produced by the tapping of the dance shoes, which creates a rhythm and liveliness that is otherwise very difficult to emulate. The Dorrance Dance crew started off the act by fully immersing the audience in an upbeat, rhythmic routine that contrasted with the Trisha Brown act before it. The audience was in awe and the atmosphere was vibrating as the dancers moved. Not only did their feet constantly move, but their whole bodies were invested in the dance.
The vibe then changed from a vivacious one to a slower, almost seductive one as Dorrance Dance member Warren Craft took the stage for his solo. Set to a sultry string-based melody and against a red lit backdrop, this solo was the most impacting one of the entire show for me. 
The red background served to heighten the ferocity and heat of the dance, which was important to me because I’ve always appreciated artists’ use of color in their work. Craft’s long body and his lanky limbs moved in a particular way, almost graceful but with a sense of urgency. It started with him moving slowly and sensually at first, but the solo evolved into a more violent and dramatic dance. With the music changing to accompany the mood set by his dance, Craft’s routine became very intense, which left an impacting impression on me.
He then proceeded to play the electric guitar, which only reinforced the drama of the choreography. For me, the combination of the red background, Warren Craft’s movements and the music really worked well together, making this segment my favorite part of the whole show.
I was lucky enough to talk to Warren Craft outside the theater after the show. At first, I was reluctant to approach him because I wasn’t sure whether or not it was him, but it was! After praising him and his amazing performance, I asked about the creative process of the show, and whether or not he choreographed with the red background or the music in mind. He replied that in the studio, he aims to focus on dance because that is what his passion is, and that the creative director makes decisions on the staging. When he is dancing on stage, Craft says it is “just me dancing and your glasses watching,” referencing my round glasses to say that when he is performing, it is just him and his audience. Overall, the Fall for Dance show was spectacular, and I was lucky enough to have gotten the chance to talk to Craft. I even got a picture!
