Minimalistic choreographer, Falon Baltzell has created numerous dances that exist on the low level of space, among other feats of minimal-spatial exploration. Her ongoing research, Spatial Landscape as a Distilled Vision, has guided her choreographic journey of investigating space as a tool for movement design. Baltzell has been an educator teaching movement efficiency through the Bill Evans Method of Teaching at such places as Ohio Dance Festival, Dance Awareness Days, ACDFA, Kona Performing Arts and Ballet Hawaii. Baltzell directed the upper school dance program at Hathaway Brown School for three years, teaching the Bill Evans Method to middle and high school students. Baltzell received the Bates Teacher Fellowship and full scholarship from the Bates Dance Festival. She holds an MFA in Dance, a BFA in Dance Education and a K-12 Licensure. Baltzell received an Outstanding Dance Educator Award, a Graduate Fellowship, multiple summer-study scholarships for the Bill Evans Teachers’ Intensives, and funding for professional development endeavors in NYC, OH, ME, MA, NY State, HI, and Mexico. She has served as a Field Tester for the Ohio Arts Council, current Co-Chair of Creation and Presentation for the World Dance Alliance-Americas, and a member of the National Dance Education Organization. Major commissions for choreography include: Big Box Series, Cincy Fringe and Society of New Music. Baltzell is currently engaging in professional development endeavors and performing her choreography at festivals, conferences, site specific venues and concert stages.
“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it.” Martha Graham
My time at SFAI was an opportunity to join an active dialogue among cohorts about water infrastructures and how to secure clean water resources. How can all disciplines, including dance, join in the discourse surrounding our nation’s water crisis? I scratched my head for a while contemplating, then I created video documentation of surrounding water sources, talked with community members about their access to drinkable water supply, and searched the surrounding New Mexico nature for solutions. I began to move. Choreography arrived quickly and inspiration from my newfound knowledge fueled the creation process. A flash mob for Water Rights emerged, as well as a collaborative piece- Catchment. I collaborated with two cohorts and together we created Catchment. Catchment, inspired by research on Hawaiian water catchment systems and catchment legalization on the mainland, was an experimental exploration of movement on the stakes of human rights to water, and the struggles and celebrations of those rights. Catchment probed the awareness vs. pro-activeness relationship between self-sufficiency, health, and community, asking: What role are we willing to take to help members of our community? Why should we continue to rely on the government for sustainability? This work lived in the physical and theoretical spaces where hope changed everything. Through movement, sound design, videography and performance, Catchment drew people together to teach us about our humanity, and how there is hope for us all.