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Posts Tagged ‘Evalina Carbonell’

Evalina “Wally” Carbonell and Those We Carry

Posted August 16th, 2018

Known affectionately as “Wally,” Evalina Carbonell is passionate performer and creator—an innovator who creates sensual, inspired, highly physical dance that unearths humanity and frames it with clarity. A principal artist at Roxey Ballet Company, dancing as a principal artist from 2005 to 2011, she joined the internationally active Philadelphia company Kun-Yang Lin/Dancers in 2012. As a solo artist, she has presented nationally and locally, including at the last three Fringe Festivals (Traces of She, 2015; Fore-ign/Fore-out, 2016; Mujeres, 2017).

This year, Carbonell premieres her new work Carry Me, an evening-length dance work for five women dedicated to those we carry, those who carry us, and all that we carry inside. (Before the Fringe you can catch a preview 8/24 at The Gathering at the Sculpture Garden and “Dine with the Dancers” 8/29.) She told FringeArts what she’s carrying and what she hopes to communicate.

FringeArts: What are you carrying right now?

Evalina “Wally” Carbonell: At this very moment I am carrying, “Cain,” my son who is due to be born on November 21. I am also carrying the feelings from the rehearsal I just held; a blend of urgent, energized bursts of equal parts thrill and fluster. Lastly, I carry my head in my hand as I consider my strategy going forward.

FringeArts: How has the experience of motherhood affected your art?

Evalina “Wally” Carbonell: Motherhood has given me an increased appreciation of time, efficiency, creativity, generosity, fear, and flexibility. I have learned the values of improvisation and energetic momentum, as applied to life as well as dance. My art has become both more physically demanding, and emotionally fulfilling. The more I expend, the more I absorb. There is less time to waste and the risks I take feel more weighted.

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Making Art in 2017: Annielille Gavino & Evalina Carbonell on Mujeres

Posted September 12th, 2017

Name: Annielille “Ani” Gavino & Evalina “Wally” Carbonell

2017 Festival ShowMujeres

Past Festival shows: Fore-ign/Fore-out

Roles: Choreographers, Performers

(Top to bottom) Evalina Carbonell & Annielille Gavino. Photo by Edgar Anido.

FringeArtsTell us a bit about your show. 

Ani Gavino: The show is a split bill between Evalina Carbonell and myself. Both choreographers will present their woman centered dance works, hence the title, Mujeres. I will be presenting HERstory which is supported by the Small But Mighty Art Grant. HERstory is a story of ancestral memories and lost histories. This 40 minute work is an interdisciplinary performance, celebrating goddesses, priestesses, female chieftains, and matriarchal archetypes present in indigenous society. HERstory questions the authenticity of history, and challenges our formalized, biased education. HERstory celebrates ancient spirituality, its presence in ancient mythologies, and its absence after the rise of European colonialism.

As a Filipino artist, I investigate pre-colonial Philippines and the role of colonialism in the fall of my indigenous matriarchal culture. HERstory, began as a thought after the birth of my daughter in 2008. Over eight years, this simmered in my subconscious, waiting to boil. Until motherhood, I never thought deeply about my relevance as a woman. Questions arose as I analyzed western archetypes such as the damsel in distress, the virgin, the evil mother, the seductress and the hag. The thought of my daughter’s acceptance of these portrayals as part of cross-cultural convention triggered this resistance.

Evalina Carbonell: My new work, Milk, deals with give and take, as it relates to the female body and motherhood. Using rhythm, breath, effort, and flow, the cast of dancers pour themselves into dance, relating this movement to motherhood. This work was awarded the Ellen Forman Dance Award, which will allow me to further my exploration of the project with Drexel University’s dance ensemble.

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Filipino Folkdance, Contemporary Ballet, and Motherhood: Annielille Gavino Kollman’s HERstory

Posted August 11th, 2017

Annielille Gavino Kollman in HERstory.

What do you get when you combine modern choreography, folkdance polyrhythms, and a baby? The dances of Annielille Gavino Kollman bring together eastern and western styles, while incorporating many other disciplines, and using a group of dancers diverse in both race and generation. Her newest work, HERstory, is a three-part production that investigates the theme of motherhood and culture, and is supported by the Small But Mighty Art Grant. Annielille’s dance is about her homeland (the Philippines) as a mother and acts as a celebration and portrait of the women there and around the world. She first learned dance as a folkdancer, and now incorporates the styles from her country into contemporary movements. Much of the work is autobiographical, expressing her experience as a mother and as a Filipina woman, but it also includes the backstories of the other dancers, who contribute vibrant rhythms by clapping, stomping, and yelling. Additionally, HERstroy features spoken word through poetry written by the dancers and Lenora Howard, film projection by Jasmine Lynea Callis, and music composed by Maya Simonee.

Born in the Philippines, Annielille lived there until coming to New York after college. She attended the The Ailey School of dance in 2000, which caters to minorities who were often overlooked in the world of ballet and modern dance. She left the country “on impulse” but she also left to escape extremely difficult circumstances. She was tired of being silenced as a woman, and of experiences of abuse by men.  “I was too vocal. I think that was the problem for them. I was too strong to be a submissive wife.” She had been dancing since she could remember, and was a highly skilled folkdancer. “It was just a way for me to get out of the country so I just followed that, because I was good at it. It became cathartic to me, too, so I just kept doing it.”

After studying at Ailey, she danced around the United States for different companies, touring in Colorado, and then in Texas. Later she moved to Virginia, where she found very little creative dance, and a society that was less accepting of her than they had been in New York. “It was very segregated,” she says. “Being in a place where I saw Confederate flags every day of my life, I started to make art. I became a political artist at first, and more of a performance artist.” She had her daughter, and started teaching her dance. “When I didn’t have an outlet for dance, I started teaching her texture, colors, and letters through dance.” She also started choreographing for a Filipino folk dance group, and began teaching her folk dances. She moved to Philadelphia two years ago, a welcome change. “I liked the grit, and a little bit of a faster pace. I love the row houses, and the little streets, where people can connect easier than in wider, suburban space. I feel more at home in cities like this.” Once in Philadelphia, she started dancing for Kun-Yang Li/Dancers, and soon, creating her own projects.

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