GLINT Dance Projection Installation
This annual project of the Westminster Dance program presents original screen dance works by students, faculty, and artists from the community projected on the architecture and landscape of Westminster’s campus. The gallery resides across the Westminster campus. The accessible path is approximately .3 miles in length—shown on the map below—and allows participants to engage with the work in a gallery style.
Please enjoy the installations at your own pace and avoid gathering in large groups anywhere on the path. Information about each film is available at each location on the map, and complete information is available in our digital program.
Before coming to campus, review Westminster's COVID-19 guidelines.
Tickets are not required for this free event, but contributions to the Dance program support student opportunities like GLINTand are deeply appreciated. To contribute, complete the donation form and select “Dance Program.”
September 17–18, 8:00 p.m.
The walking path begins at the north-east corner of the Jewett Center for the Performing Arts.
Park in the North parking structure, located at the corner of 1200 East and 1700 South.
Enter campus through the Jewett Center for the Performing Arts, located to the east of the parking structure, and follow the signage for Glint.
After the in-person event, some of the films featured in this project will be available through an online showcase.
GLINT 2021 - Films
A Woman’s Existence and Barriers
Two women momentarily representing their own existence with barriers using an original musical composition “Holh” by contemporary Iranian composer Nima A. Rowshan with performance by Kelariz Keshavarz, an Iranian flautist and Allison Shir a movement artist.
With the guidance of Rowshan’s score, Kelariz and Shir in their own art forms explore the themes of gasping for breath in rebirth, pushing through barriers, calculated patience, and the tension in allowing oneself to be with the given conditions. Shir will also be dancing her movement exploration in other spaces, momentarily in a steep walled canyon and with brick or stone walls. The 2 performers’ relationship between each other is one of communication into an abstract world but each in their own isolation.
- Performance: Allison Shir and Kelariz Keshavarz
- Musical composition: Nima A. Rowshan
- Directing, choreography, and editing: Carly Schaub
- Videography: Carly Schaub and Florian Alberge
- Additional color correction: Stephane Glynn
Additional help from Katrina McPherson, Kim Brooks Mata, and E’lise Jumes
Filmed at the Pioneer Lime Kilns, located in Salt Lake City, and on Shoshone, Ute, and Goshute land
This is a dance about continually moving through and finding comfort in states of ascetic emptiness.
- Choreography and performance: Sophia Diehl
- Videography and editing: Nathaniel Woolley
- Performance: Elissa Collins and Lexi Hauck
- Music: Laaraji
- Choreography: Kylah Walker
- Music: “Dream State” by Son Lux
- Performance: Lanee Nawrocki
Filmed at the Salt Lake School of the Performing Arts
A duet between oafs.
- Performance: Megan Fotheringham and Katelynn Killian
- Directing, filming, and editing: Megan Fotheringham
- Music: Paul Simon
Filmed at Westminster College in Salt Lake City, UT
- Music: “Mr. Sandman” by SYML
- Choreography, performane, filiming, and editing: Sydney Corianna
Filmed in Casper, Wyoming
This piece was awarded the Movement 2019 Alfred Lambourne Prize through Friends of Great Salt Lake.
- Directing: Mikenzie Hendricks, in collaboration with dancers
- Performance: Carli Gumm, Kaelan Patrick, Cole Porterfield, Kiara Saavedra, and Nathaniel Wooley
- Music: Animal Collective, Daft Punk, Deadmau5, Oceanographers, and Topdown Dialectic
Scenery was built by Samuel Parker and made possible through the W.M Keck Foundation and S.A.L.T. program at Westminster College
Filmed at the Great Salt Lake near the Rozel Point oil seeps
By chance, we cross paths. By virtue, we are imprinted memories. What we say, do, and act on, will forever be the path for which we move forward. This project was a community effort in connection with a larger work that was shut down due to the pandemic.
Out of the experience, Jo and Devin created one short film (Utah Dance Film Festival's Audience Choice Award Winner) and a movement-based documentary, Take Us As We Are, focused on female empowerment and the historical barriers that women have overcome.
- Choreography: Jo Blake and WSU Dancers
- Filimng and editing: Devin Marie Muñoz
- Technical support: Alicia and Camille Washington
- Lighting design: Stephen Simpson
- Photographer: Tori Duhaime
- Sound score: Michael Wall
- Performance: Courtney Conover, Alexa Cunningham, Graciela Duenaz, Kristen Houskeeper, Kambree Knudsen, Ronny Lloyd, Sloane Love, Calan Moore, Kaya Priest, Elisha Wallingford, and Emily Williams-Hill
- Directing, choreography, writing, narration, and performance: Dmitri Peskov and Jung Ah Yoon
- Photography direction and editing: McLane Clements and Ha Seung Choe
Filmed in Utah, USA, and Seoul, Korea
This is a piece I created in the middle of my senior year (December 2020), as I was facing the looming decisions of what to do after I graduated high school. This is the description I wrote then:
"As I am nearing adulthood, the questions 'Who am I? Who will I become?' are growing ever more persistent in my heart and my mind. This dance is an exploration of my different 'selves' and an attempt to find who I am beneath all my different faces."
Now, the questions continue. Why am I here? What do I major in? Who do I surround myself with? How much do I want dance to be a part of my life?
Whatever the answers, one fact remains:
- Performance: Jade Rogers
- Music: “Santa Barbara” by Angelo de Augustine
- Editing: Jade Rogers
- Filming: Jana Stout
Filmed in Bountiful and Pleasant Grove, Utah
- Performance: Megan Fotheringham
- Videography and editing: Katelynn Killian
- Music: “Toccata and Funk in D Minor” by Walter Murphy
Special thank you to Michelle Armstrong for volunteering her space for this creation.
Filmed at The Ballet Centre in Murray, UT
The choreography, imagery, and editing choices reflect creative research on embodied aging and address the question of “how do you curate a life of ephemeral creativity?” The images inhabit the now empty decaying space of an 84-year-old artist whose creativity and compulsions led her to “collect” materials because it might be useful in her work.
Like Jenny Joseph’s Warning, she had hoarded “pens and pencils and beermats and things in boxes.” Except her things were beautiful and told stories and shared secrets and were proxy for the love and losses of a free spirit. Her 132-year-old home was full to overflowing with things, while she struggled to hold onto relationships and peace of mind. Still, her existence embodies pure creativity.
This compelling artist laments that she has nothing to show for her talents and trials in her 8th decade on the planet, but I am convinced she knows more about being human than most. The movement images linger in conversation with Michael Wall’s meditative score, “Gap in the Wall.” The score offers space for themes of loss and letting go, as well as pondering what is left at the end of a creative life when all the tangibles have been removed.
- Concept, choreography, performance, videography, and editing: Meghan Wall
- Music: Michael Wall, "Gap in the Wall"
- Additional videography: Eddy Wall
Special thanks to Isaac Person and Shannon Garcia of CWDP Estate.
Filmed at the CWDP Estate just before it was sold, Central City in Salt Lake City, Utah, and on the ancestral and traditional lands of the Ute, Goshute, and Eastern Shoshone people.