On Feb. 7 and 8, the Drexel Dance Ensemble presented “Imagined Terrains,” the first of two productions they will perform this quarter. The show featured seven pieces performed by DDE’s sophomores, juniors and seniors and choreographed by a combination of senior dance majors and professional choreographers. The dances explored a range of themes, including societal pressure, archetypes and mysticism.
The performance opened with “The Inner Light,” a piece divided into four distinct sections, each marked by shifts in the music. Professional choreographer Yuki Ishiguro created a work that blended calculated, rhythmic movements with an underlying sense of grace. The dancers seemed to defy expectations, with their precise movements contrasting with their fluidity. The piece culminated in a striking visual spectacle: a light attached to a dancer’s finger appeared to be tossed across the stage, passed from dancer to dancer, as the stage lighting was dimmed to emphasize its movement. This dance served as a strong introduction to the talent that would be showcased throughout the evening.
“The Eternal Descent,” the third piece, was the first of two student-choreographed works. Created by senior Dance/Movement Therapy major Morgan Cruise, the dance was divided into multiple sections, each marked by a change in music. The dancers wore all-black costumes, allowing their movements to take center stage as they moved both precisely and in harmony. The set design and lighting were minimal, ensuring that the focus remained on the performance.
The second student-choreographed piece, “The Voice In Me Has Gone Quiet,” was a standout in the show. Choreographed by senior Dance major Lismari Rosario, this piece told a compelling story about the challenges of expressing individuality in a world dominated by conformity. One dancer, initially dressed differently and performing a distinct routine, struggles with another dancer who pressures her to conform. After a physical confrontation, the dancer succumbs to the pressure, blending into the group. As the dance progresses, a new dancer in a unique costume emerges, suggesting that the cycle of forced conformity will continue.
Another highlight was “Thy Flesh Like Thy Spirit,” the fifth piece in the program, choreographed by Sydney Donovan. This breathtaking dance used the simplicity of the industrial brick wall and a lone wooden bench as the backdrop, highlighting the complexity of the dancers’ movements. The costumes — structured brown vests paired with flowing tulle skirts — emphasized the duality explored in the dance. The dancers moved both individually and in unison, building to a powerful final section in which they formed a circle. Each dancer took turns performing in the center, utilizing the bench for different levels and visibility.
“Imagined Terrains” showcased an impressive level of talent and versatility from all the dancers and choreographers involved. The performers transitioned seamlessly between pieces, navigating a range of dance styles and costumes with ease. The show ran for about two hours but remained consistently engaging, with no excessive downtime or dull moments. The talent on display in Mandell Theater last weekend was truly impressive, leaving a lasting impact on the audience.