When a handful of former and current Kansas City Ballet dancers determined, in 2013, to establish a summer dance festival, it wasn’t clear that the ambitious project would even continue past the first season — much less that it would become the much-anticipated annual event that it has.
Moving Arts is now preparing for its eleventh season. One of its original co-founders, Logan Pachciarz, serves as executive director, and Kansas City Ballet stars Kaleena Burks and Taryn Pachciarz serve as artistic director and company manager respectively.
“It has morphed over the years,” said Logan, who began his career in Twyla Tharp’s company and maintains ties to major figures of American dance. “And while it has changed over the years, it has remained an incubator for dancers and choreographers — who stay true to the idea of collaboration.”
This year’s festival, titled In the End: A Farewell to Kings, takes place July 11th and 12th at the Folly Theater (movingartskc.org). It features works by Emily Mistretta and Gabriel Lorena and a pas de deux by Logan.
Initially known as Kansas City Dance Festival, Moving Arts has evolved over the years but it is “not just another mixed-repertoire company,” Logan said. “It is an opportunity to throw things against the wall and see what sticks … to see how the audience reacts.” In other words, to experiment.
In its early seasons, the festival brought classics such as the Pas de Deux from Petipa’s Le Corsaire and Balanchine’s Apollo; modern gems by Salvatore Aiello, Yuri Possikov, Adam Hougland, and Vincent Nebrada; and works by Kansas City-based choreographers such as Jennifer Owen, Ryan Jolicouer-Nye, and festival co-founder Anthony Krutzkamp. The 2022 festival was devoted entirely to Oh, Joy! a remarkably successful full-length collaboration by choreographers Andrea Schermoly, Yusha-Marie Sorzano, and Melissa Gelfin-DePoli.
“That’s what Moving Arts is about,” Logan said. “Let’s take a chance — because why not? In 2021, Anthony left Kansas City to become executive director of Sacramento Ballet, and dancer-choreographer Cervilio Amador joined Logan at the company’s helm. For a time, the festival split into two: Moving Arts Kansas City and Moving Arts Cincinnati.
Then Cervilio left to become artistic director of Cincinnati Ballet, and Moving Arts became a fully Kansas City event again — one that is still open to expansion and exploration.
Artistic Director Kaleena, a Kansas City Ballet dancer since 2010, observes carefully what is happening in Kansas City dance during the regular season, toward determining “how we can complement that,” Logan said, “and at the same time continue to challenge ourselves to keep pushing into the future,”
Moving Arts, which functions under the umbrella of Owen/Cox Dance Group’s 501(c)3, operates on a modest budget, though you’d never know it from the look of the product. It is dance at a very high level, albeit with humble production values. “Thus the weight of a piece falls on the articulation of the dancers,” Logan said.
This year’s festival offers commissions by two dancers who bade farewell to the Kansas City Ballet this spring. Gabriel and Emily, both moving on to new ventures, also proved themselves to be gifted choreographers.
But just because this year’s festival focuses on artists with Kansas City ties, this does not mean that Moving Arts has narrowed its purview. “Bringing outside voices to the community is still a part of the mission,” Logan said.
The choreographers graciously answered some of our questions:
EMILY
How would you describe your new work?
My work for Moving Arts will, I hope, evoke the feel of a Western. I haven’t decided if it will be … a campy Western or something raw and earthy, even grim. But I’m hoping to find a balance in all of it.
What does Moving Arts mean to you?
Moving Arts feels a little more open-ended and less buttoned up than usual: and I mean that in the best sense. Because that atmosphere lends itself to play and creativity, and to pushing the boundaries for yourself.
What is your general approach to making dance?
The music and movement arrive simultaneously sometimes. … I listen to different music for a long time, but when I create, I improvise in the studio to whatever random music I feel like using. Then I watch the movement I’ve made, and listen to the music I’ve been ruminating on, to see if it feels right. Each time I create, it is a different process. … It flows out however it does, and I can never know ahead of time what will lie before me.
What choreographers have had an impact on you and your work?
Jiří Kylián has had a huge impact on me as a dancer and as a choreographer. Finding his movement at a young age and knowing how it felt to move organically, to let the movement flow through you — was life changing. That knowledge gave me confidence to trust myself as a dancer and also to think critically about the steps I was doing.
GABRIEL
How would you describe your new work?
Inspired by the Biblical idea that God is the potter and we are the clay, my newest creation, The Shape of Life, reflects on the personal events of life that have shaped us. Questioning our past, present, and future, the piece dives into early recollections, evolving values, traumas and beliefs, love and loss, emotions and scars, successes and failures, life and death.
What does Moving Arts mean to you?
As a curious artist who is constantly looking for opportunities to explore and express, I find that Moving Arts makes me feel at home — gives me the freedom to play, fail, discover, and thrive.
What is your general approach to making dance?
I am … very sensitive to human experiences, so I usually pull inspiration from my personal life, or from what’s happening around me. I then start the search for movement that reflects the concept, and I listen to a lot of music that will speak to me.
What choreographers have had an impact on you and your work?
I feel inspired by George Balanchine’s musicality, Peter Chu’s process and sensibility in working with people, Alexander Ekman’s freedom of play, and Ohad Naharin’s freedom of mind and body. … Pulling from your own experiences as a dancer having worked with other choreographers helps you get outside of what you see and hear and think — and helps you to appreciate and learn from the way others see, hear, express.
LOGAN
How would you describe your new work?
My piece will be a Pas de Deux with music by Emma Ruth Rundle.
What is your general approach to creating dance?
I start with an idea and the dance usually shapes itself around the central theme. I approach choreography based on the vision for the work and artists involved. Every time.
What choreographers have had an impact on you and your work?
My biggest influence has always been Rudi van Dantzig. His life and approach to artists in his works has always inspired me.
To reach Paul Horsley, performing arts editor, send an email to paul@kcindependent.com or find him on Facebook (paul.horsley.501) or X/Instagram (@phorsleycritic).
