{"id":111,"date":"2026-04-28T14:03:25","date_gmt":"2026-04-28T14:03:25","guid":{"rendered":"https:\/\/blogs.holycross.edu\/art-notes\/?p=111"},"modified":"2026-04-28T20:25:37","modified_gmt":"2026-04-28T20:25:37","slug":"swng-out-catherine-rigoli-26","status":"publish","type":"post","link":"https:\/\/blogs.holycross.edu\/art-notes\/swng-out-catherine-rigoli-26\/","title":{"rendered":"SW!NG IN!<\/em> Connecting Through Dance, Catherine Rigoli \u201926"},"content":{"rendered":"

As I walked into the Luth Concert Hall at the Prior Performing Arts Center on March 19, 2026, the amount of collective joy and human connection was already palpable amongst the audience members, chatting and dancing with one another. What unfolded in <\/span>SW!NG OUT <\/span><\/i>was more than a dance performance; it was a celebration of movement, music, and most importantly, community.<\/span><\/p>\n

Centered around Lindy Hop, <\/span>SW!NG OUT <\/span><\/i>takes its name from the dance\u2019s signature eight-count move: the \u201cswing out,\u201d a pattern of rock step, triple step, walk-walk, triple step. <\/span>SW!NG OUT<\/span><\/i> was created by featured performer Caleb Teicher, alongside Evita Arce, LaTasha Barnes, Nathan Bugh, Macy Sullivan, and Eyal Vilner. The production brings together a group of highly skilled dancers and the live Eyal Vilner Big Band. The show\u2019s opening moments establish the relationship between dancers and musicians as the beating heart of the work. The performance began with only the dancers\u2019 feet visible beneath a rising curtain, each performer establishing their own rhythm. As the curtain lifted fully, the stage burst into color, with dancers wearing bright, multi-colored costumes moving through joyful and big choreography in unison. Notably, the dancers frequently direct their attention toward the band, emphasizing a sense of mutual respect and collaboration that is often absent in dance performances with live music.<\/span><\/p>\n

Throughout the performance, the choreography shifted fluidly between tightly synchronized sequences and moments of individual improvisation. This interplay created a dynamic energy onstage, as dancers responded not only to the music but to one another in real time. Learning from another audience member that much of the performance was improvised made these moments all the more remarkable. In one segment, audience members were invited to select two dancers\u2019 names out of a hat to perform together, further highlighting the performers\u2019 adaptability and trust in one another. The show also embraces inclusivity in its partnering, sometimes partnering two males or two females. Rather than adhering to traditional male-female roles, dancers adopt the gender-neutral terms \u201cleader\u201d and \u201cfollower,\u201d allowing for a wider range of pairings and reinforcing the idea that dance is for everyone.<\/span><\/p>\n

While Lindy Hop does serve as the foundation, <\/span>SW!NG OUT<\/span><\/i> incorporates a wide range of styles. Elements of tango, hip-hop, and tap are woven seamlessly into the performance, demonstrating the interconnectedness of dance traditions. There was a tango number from one of the dancers, and the prop of a cane was used to grab different people to dance, more specifically to lindy, which the cane served to switch the pairings of the partners around. Elements of hip-hop were highlighted, with moves incorporated such as \u201cthe robot\u201d and the \u201cmoonwalk.\u201d Furthermore, the use of improvisational circles, or cyphers, commonly employed in breaking, helped to reinforce the performance\u2019s emphasis on shared movement vocabulary across styles. A standout moment featured Caleb Teicher\u2019s tap solo, which showcased both technical precision and rhythmic innovation. In another playful sequence, Teicher glided across the stage on rollerblades, adding an unexpected and joyful twist to the show.<\/span><\/p>\n

Though many pieces followed the traditional structure of dancers performing to live accompaniment, others complicated and even inverted this dynamic. In one particularly striking number, one dancer engaged with the saxophonist in a call-and-response, translating musical phrases into movement with remarkable immediacy. As the saxophonist would play a beat, the dancer would then try to recreate the sound and feeling of the music through dancing and the movement of their body. The number became increasingly more complicated, as the saxophonist would play a short beat to react to, or a long one, and then the dancer had to freestyle and improvise in response in the exact moment that he was playing. Elsewhere, performers generated their own rhythms through voice and body, transforming breath, sound, and gesture into a kind of living score. One dancer appeared alone on the stage dancing and singing comically by himself. He incorporated his moves and sounds, such as sighs and grunts, into an unique movement piece, such as jumping heavily to the grunts, or creating fluid lines with his body to the sighs, responding immediately to what he was verbalizing through dancing.\u00a0In a climactic ensemble piece, the entire company of dancers divided into three separate groups, rotating across the stage. Each group of dancers would then perform a unique pattern of movement to their group, including up and down and small and big movements, with all the groups performing at the same time, creating their own music and dance movements. For the finale, the groups joined together, each contributing distinct rhythmic patterns that layered into a complex, collaborative composition before resolving into a unified Lindy Hop finale, closing the way it started, with the audience only being able to see their feet as the curtain closed to the ground.\u00a0<\/span><\/p>\n

The performance concludes with an invitation to the audience members to come onstage for a jam session. Despite my limited experience with Lindy Hop, I joined in alongside friends, embracing both the challenge and the spontaneity of the moment. While I initially focused on learning the steps, what stayed with me was everything that followed. The stage and the space in front of it quickly filled with people dancing, laughing, and switching partners, many of them strangers. The energy in the room was palpable, a shared sense of joy that extended beyond the performers to include everyone present.<\/span><\/p>\n

In a world often dominated by screens and digital interaction, <\/span>SW!NG OUT<\/span><\/i> offers something refreshingly immediate, human connection through improvised movement. The performance does more than entertain, it dissolves the boundary between performer and audience, inviting participation and shared experience. This emphasis on connection feels especially significant in a time when many interactions are often completed entirely through technology. Rather than isolating individuals, <\/span>SW!NG OUT<\/span><\/i> draws people into physical proximity, encouraging eye contact, touch, and spontaneous collaboration. The result is not only a celebration of Lindy Hop and its history, but also a reminder of dance\u2019s enduring social roots. By the end of the night, it became clear that the true power of dance lies not just in its technical brilliance or stylistic range, but in its ability to create a space where people feel seen, included, and connected. It is this sense of shared joy that lingers long after the music ends and should be enjoyed by as many people as possible.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

As I walked into the Luth Concert Hall at the Prior Performing Arts Center on March 19, 2026, the amount of collective joy and human connection was already palpable amongst the audience members, chatting and dancing with one another. What unfolded in SW!NG OUT was more than a dance performance; it was a celebration of… Continue reading SW!NG IN!<\/em> Connecting Through Dance, Catherine Rigoli \u201926<\/span><\/a><\/p>\n","protected":false},"author":800,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"issue":[12],"class_list":["post-111","post","type-post","status-publish","format-standard","hentry","category-volumes","issue-vol-3-spring-2026","entry"],"_links":{"self":[{"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/posts\/111","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/users\/800"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/comments?post=111"}],"version-history":[{"count":4,"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/posts\/111\/revisions"}],"predecessor-version":[{"id":124,"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/posts\/111\/revisions\/124"}],"wp:attachment":[{"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/media?parent=111"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/categories?post=111"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/tags?post=111"},{"taxonomy":"issue","embeddable":true,"href":"https:\/\/blogs.holycross.edu\/art-notes\/wp-json\/wp\/v2\/issue?post=111"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}