Annual Auditions

Members of the 2011/2012 USU Dance Companies.

During the first week of September, many college students are still cycling through their newly purchased back-to-school outfits.

While some choose new designer shirts, pants and shoes, others choose spandex, gym shorts and sweats.

Just after Labor Day, hopeful contenders at Utah State University come to audition for the school dance companies.

“This year, over 150 people tried out between all three days,” said dance director Krissy Smith-Fry.

Three days: one day for the contemporary team, one day for the hip-hop group, and one for the newly formed break-dancing crew.

Although contenders were divvied between multiple days depending on their dance preference, deciding who to cut and who to keep was not easy.

“It was very difficult,” Fry said. “I think My Bad was the easiest because it is a very specific style and there were not as many that tried out.”

Because recruitment has been a challenge, Fry asked that her assistants and returning members help in the selection process.

“My director and I would give feedback to each other and then decide together who we thought would bring more talent to the company,” said Kumiko Osterloh, a captain for the Vilociti hip-hop team.

Aside from judging, the assistants also helped to choreograph the audition routines.

“This year I was able to choreograph two routines for our prospective dancers,” Osterloh said. “I taught them the choreography to both pieces and then I sat and critiqued.”

Using a rating system to gage each applicant, Osterloh and other returning team members compared notes after each routine.

“Me and my assistants make a ‘yes, no, and maybe’ list,” Fry said. “The ‘maybes’ are the hardest ones to pick from. Occasionally, we throw in a returner to see how they compare.”

17-year-old Viliami Matangi was one individual who received a unanimous ‘yes’ from the returning members. Though he had impressed others during his audition, he was unsure of his own performance.

“At one point, they said ‘improv.’ I didn’t know what that meant so I just stood there,” he said. “I had fun, but I never thought I would make the team.”

With each person who made the companies, there are numerous others who didn’t.

Lori Truman, a senior in the graphic arts department, opted not to audition this year having tried out twice before.

“I thought if I didn’t make it the past few times, I probably wouldn’t this year,” she said.

Because returning members participate in the selection process, Truman feels that prospects are often deliberately and subconsciously selected due to prior friendships.

“It seemed a little bias because people trying out knew people that were already on the team,” she said. “People on the team would say ‘I danced with her in high school,’ but because I’m from out of state, I didn’t go to high school with anybody.”

Natalie Thatcher, a junior in communications, also chose not to audition this semester.

“Because I didn’t make it the first time, I didn’t want to fail twice,” Thatcher said. “If it is something that I really wanted, maybe I would have taken dance classes and tried out again.”

Thatcher’s observation mimics the advice given to all those who wish to audition again.

“Take a class, whether it’s modern, jazz, or hip hop,” Fry said. “Take a class and always come back to try out. Every year is different.”

"I Could Swim, Golf, or Dance"

Viliami Matangi

17-year-old Viliami Matangi was not allowed to join the wrestling team. He was advised against basketball and told that soccer was too dangerous.

Worst of all, doctors told him that he could not play football – his priority and passion in life.

“They said I could swim, golf, or dance,” Matangi said.

Due to a genetic condition resulting in a narrow spinal column, his athletic options at Logan High School were limited.

So Matangi chose dance.

“I heard about the Utah State dance company right during football season, so it was the perfect distraction for me,” he said. “I came to tryouts and made the team.”

Now a member of the Utah State University hip-hop team, Matangi has become an inspiration to his teammates, his high school peers and members of the community.

“His story shows that life never turns out how you planned it,” said Joni Nelson, a family friend and instructor at the Tueller School of Dance. “When one door is closed, there is always another one that opens.”

Nelson was one of many individuals who encouraged Matangi to audition for the university team.

Because Matangi and her son grew up playing football together, Nelson understands the devastation Matangi felt upon discovering the condition during his sophomore year of high school.

“You’re supposed to have fluids that run through your spine to keep your nerves cushioned,” Matangi said. “Because my spine is so narrow, there’s no fluid so my nerves get pinched every time I move.”

The severity of the problem prevented Matangi from playing contact sports, especially football.

“If I ever get hit on the top of my head, all of my discs would collapse and I could be paralyzed,” he said.

With the possibility of paralysis, Matangi’s time on the field was ended.

“His senior year was getting harder and harder for him to watch the football team,” Nelson said. “We had seen him and his cute little brothers dancing around, and I just wanted to help him find something to fill his time.”

Though Nelson and her daughter had encouraged Matangi to dance for years, they once again suggested that he audition – this time for the Vilociti hip-hop group.

“The day of tryouts, she called and told me that she was coming to pick me up,” Matangi said. “I said I didn’t want to, but she didn’t give me a choice.”

Taylor Martin, a graduate of Logan High School and member of the Full Circle contemporary team, also encouraged Matangi to audition.

“One day, I saw a video of him on Facebook goofing off and dancing with his friends,” she said. “He could really do the moves, ‘serious swag’ as the kids say.”

Though others believed in his ability, Matangi did not.

“I’d never learned a choreographed dance before,” he said. “After everyone performed at auditions, they called us back and said, ‘If we read your number, you didn’t make the first cuts.’ So I took off my number because I thought I was getting cut.”

However, after being instructed to reapply his audition number and run the second choreographed routine, Matangi made the team.

“He was really good but extremely nervous,” said USU dance director Krissy Smith-Fry. “But once he started dancing he came out of his shell, and we took him on as an intern.”

Though he remained shy for the first few company practices, Matangi has come to accept his newly discovered talent as well as the teammates he now calls family.

“My favorite thing is the family bonding,” he said. “I’m glad I had that this year because it was nice to come to practice and get my mind off of football.”

His teammates feel the same.

“We are so protective of him. He is like our baby brother,” said Vilociti member Mary Taggart. “We’d do anything for him.”

While Matangi relies on his team for choreography, they look to him for inspiration.

“Football was the biggest part of his life,” said Kumiko Osterloh, a captain for the hip-hop team. “We shouldn’t take what we love for granted. We should appreciate everyday that we dance and make every practice worth it.”

Although his story has brought others to a sense of awakening, Matangi is still in a state of disbelief.

“Sometimes I take a step back and think, ‘oh my gosh I’m a dancer,’” he said. “I never thought I would dance, but now I will dance as long as I have an opportunity to.”

The Assistants

Vilociti captain Natalie Miller with 
captain of the My Bad Crew, Joey Geurts.

Each week, the Utah State University dance director, Krissy Smith-Fry, oversees three dance companies, six three-hour practices, 49 total members and numerous pieces of choreography.

She also teaches two modern dance classes each semester, organizes annual fundraisers, and adopts the role of costumer, designer and event planner.

The secret to her success: her assistants.

“It works really well,” Fry said. “I love my assistants because of the respect that they have for me and the respect that they have for each other.”

When Fry started the teams in fall of 2007, she was a one-woman show. Despite a lack of funding and a busy schedule, Fry began the companies in hopes that it would someday lead to the reinstatement of the USU dance program.

“I was a full time student teaching five classes for the PE department,” Fry said. “But I started the teams because I saw a need for dancers at Utah State; there was nothing for them to do.”

A dancer herself, Fry wanted to provide USU students with the opportunity to either continue dancing, or begin it altogether.

Having directed for five years now, she is also extending opportunities in leadership.

“The assistants do a really good job,” said freshman member Natalie Albertson. “They are really motivating and they take charge even when Krissy isn’t here.”

To help oversee both practices and performances, Fry has selected two assistants for each of the three teams.

“The reason that I have two is because it’s too difficult for one to bear on their own,” Fry said. “I choose two people who are different so they can complement each other and make up for one another’s strengths and weaknesses.”

Kumiko Osterloh, a team captain for the Vilociti hip-hop team, has witnessed the mechanics of a well-run dance company since she began performing at age three.

“I have a good feel for how things are run as a company,” Osterloh said. “I am very organized and always have a plan for our warm ups and practices. It's important that we have organization within our dance company and I think that I can help bring that.”

While Osterloh brings her organizational abilities to the team, co-captain Natalie Miller helps to keep everyone motivated.

“Natalie is always telling us to go for it,” said Misako Osterloh, a Vilociti member and Kumiko’s sister. “She says ‘let’s do this girls,’ which always pumps us up.”

Members of the other teams share a similar appreciation for their company leaders.

“They love us and want the best for us,” said freshman Full Circle member Alex Anderson. “They love to dance and they want to share that with us.”

Despite overwhelming support from their peers, the team captains are not immune to frustration and difficulty.

“The hardest part is respecting the wishes and instructions of my coach, while also maintaining the friendships I have with all the girls on the team,” said Lindsey Mickelsen, a captain for the contemporary team. “It can be difficult to be a leader over peers that are both your age and your friends. I try to find a happy medium between being a dictator and being a pushover.”

Joey Geurts, one of the captains for the break-dancing crew, can empathize with Mickelsen’s feelings.

“I’m new to this so it’s something I’m trying to feel out,” Geurts said. “I’m trying to be their friend, but I’m also trying to be strict.”

Though each of the six assistants face similar challenges, they go about handling them differently.

“I treat them like ten-year-olds,” said Brett “Soda” George, the second captain for the break-dancing crew. “I try to keep them moving from one thing to the next, or else they will get left behind.”

While George struggles to maintain attention, Mickelsen works to reassure individuality.

“I want all the girls to feel like they play a unique role in the team and that even though I am an assistant, I am no more important than the rest of them,” Mickelsen said.

Though Fry has selectively designated two captains for each team, there are numerous unnamed leaders on each company.

“I think every person on the team has something special to offer,” Mickelsen said. “Those future captains will be the ones that show effective leadership skills and have earned the respect of the peers as well as our coach Krissy.”

Acknowledging Those Behind the Scenes

Members of the USU dance companies at the 2011 Howl.

The Utah State University dance teams are regularly applauded.

Those behind the scenes are not.

Despite lack of recognition, however, a team of costumers, seamstresses and makeup artists continually aid in each performance.

“These people are givers so we keep going back to them,” said Joey Geurts, a member of the break-dancing crew. “It sounds bad, but we take advantage of that.”

While there is adequate support now, the USU dance companies have not always had someone to rely on.

When dance director Krissy Smith-Fry began the USU dance companies five years ago, much of the funding for the team’s costumes were out of her own pocket.

“The first year, we had zero funding,” she said. “I financially supported the companies.”

Though the budget has improved due to years of fundraising, Fry and her assistants must be continually innovative when preparing for each show.

“We beg, borrow and steal,” Fry said. “We borrow from my sister’s dance company in California and we borrow from the theatre department.”

For costumes that the theatre department and other companies cannot provide, Fry relies on Lisa Lundahl and Arlene Smith.

“Krissy and I collaborate on ideas,” said Smith. “I can figure out the easiest way to do things. Lisa Lundahl does the hard stuff.”

Despite Smith’s creativity and Lundahl’s sewing experience, however, the pair is often restricted.

“A lot of limitations come strictly from budgeting,” Smith said. “Things have to be very simple. We aren’t always able to go as big as we would like to.”

While many costumes are scaled back to save money, one event repeatedly requires extravagance – the Howl.

“The Howl was amazing,” said Full-Circle member Julia Williams. “Everything was bright, colorful and detailed.”

This year’s circus-inspired theme was not only time intensive for the costumers, but for the makeup artist as well.

“Each person had different clown makeup based on their facial features,” said makeup artist Audrey Merrill. “Coming up with something unique for 53 people was difficult.”

Because Merrill was responsible for such a large group, she had to rely on members within the companies to help her apply the makeup. Though they lacked experience, many were pleased with the end result.

“The Howl was my favorite because I didn’t look like myself,” said freshman Alex Anderson.

While positive reactions from the team reinforce their motivation, Merrill and each of the costumers have additional reasons for repeatedly helping the companies – the people they love.

Merrill’s boyfriend is a member of the break-dancing crew, Lundahl has a daughter on Vilociti, and Smith is the dance director’s mother.

“My mom has always been really involved in what I have done,” said Danielle Croft, Lundahl’s daughter. “She is a very giving person and she is very talented at what she does.”

Likewise, team member Brett “Soda” George appreciates the service of his girlfriend and the rest of the costuming team.

“When you’re in costume – you’re in character,” George said. “They add to the aesthetics of the performance and they enhance the story. Costumes are irreplaceable.”

As grateful as members of the team are, many feel incapable of adequately expressing their appreciation.

“There's not a lot that we can give to them in return except for our appreciation,” Geurts said.

Breaking Bad Habits Over the Break

Director Krissy Smith-Fry directs her team.

Each fall semester, the Utah State University dance teams work relentlessly to learn new choreography.

And each holiday break, they forget it.

But not this year.

“It’s always a problem,” said dance director Krissy Smith-Fry. “But this year we’re trying to combat it.”

With practices not resuming until Jan. 10, Fry and her team captains have devised new strategies to avoid the reoccurring issue.

“We’re giving them the music and video,” Fry said.

Though both have been available in the past, Fry hopes to avoid a routine relapse by distributing the audio and YouTube videos to each individual member.

Along with each music CD and video URL, however, comes a warning.

“It’s known that if they come back unprepared, they will be pulled from the pieces,” she said.

Despite precautionary words from their coach, however, many feel that the problem is inevitable.

“People don’t practice over the break on their own,” said freshman Full Circle member Alex Anderson. “It’s a busy time of year so they get caught up in other things.

In contrast, team member Erik Wynn feels that practicing over the break is an obligation.

“It's each member's responsibility to practice outside of scheduled rehearsal time while they are away,” Wynn said. “Just because we have breaks from school doesn't mean we should take breaks from dancing on our own.”

Because each of the members will rehearse on their own time, they will also rehearse in their own individual ways.

Natalie Miller, a team captain, plans to regularly practice in her kitchen, while; Kumiko and Misako Osterloh, sisters on the hip-hop team, will rehearse together at their home in Sandy.

“I find it best to perform it for my family,” said Kaylee Andrus, a returning Vilociti member.

Full Circle member Lexi Childs will dance in her car and Brittany Beecher, a member of Vilociti, will rehearse each night before going to bed.

“Because we do dance as a routine - when you are not here and with your dance family, you let everything slip,” said Natalie Alberstson, a freshmen on the contemporary team.

In addition to rehearsing pieces, Fry has instructed each member to regularly exercise over the break.

“I ask them to do 30 minutes of cardio a day,” Fry said. “I can always tell who has and who hasn’t.”

Though each team member must complete at least half an hour of cardio each day, they are not restricted to a certain exercise routine.

“So much of dance is endurance so we have to do a lot of cardio outside of practice or we will die,” Miller said. “Honestly, any sort of exercise is beneficial because in dance we use our whole bodies.”

With this marking her fourth year on the team, senior Jamie Smith understands the importance of regular physical activity.

“If you haven’t stretched over the break, your muscles become really tight and it takes a while to get back to where you were,” she said.

Despite direction from the dance coach, team captain Lindsey Mickelsen realizes that the decision to rehearse, stretch and exercise ultimately comes down to each individual.

“There is nothing I can do or say that will ensure that the dancers remember the choreography over Christmas break,” she said. “The most help I can do is tell them to practice and trust that they'll do it.”

Differing Opinions on Wednesday's Dance Performance

Lindsey Mickelsen, one of the choreographers who
helped to create Wednesday night's performance.

As the buzzer sounded, the Utah State University basketball team left the court.

During halftime at Wednesday’s game in the Spectrum, a combination of black leather, red lace and combat boots took the floor.

“This is what we came for,” said Matt Lundquist, a spectator and student ambassador for the university.

As the women of the USU dance teams got into formation, music began to play – the famous guitar riff of “Seven Nation Army” by the White Stripes.

“It’s always nice to see a plethora of women doing what they love,” Lundquist said.

After months of rehearsal, 38 female members of the combined Full Circle, Vilociti and My Bad teams performed their powerful and provocative military-style choreography.

“Sexiest darn thing I’ve ever seen,” said Keenan Nuehring, the Adminstrative Assistant for the Associated Students of Utah State University.

When Full Circle team members Tessa Italasano and Lindsey Mickelsen developed the choreography, they knew they wanted the overall feeling to be one that empowered women.

The two choreographers accomplished this by incorporating a mixture of shifting military formations, marching, extended fists and hands on hips.

“The dance is really sassy with a lot of stuck-up attitude,” said Misako Osterloh, a freshman member of the hip-hop team.

Though the teams previously danced at the Howl where over 6,000 people were in attendance, halftimes remain some of the girl’s favorite events.

Although Ginger Hislop has performed at numerous events over the past three years, she eagerly awaits the halftime shows each fall semester.

“The men’s basketball games are always the most fun and energetic,” she said.

Not all those in attendance, however, enjoyed the performance.

“Honestly, I was thinking that it was teaching junior high kids to dress suggestively,” said Serena Makin, a freshman member of the Utah State events staff. “It seemed like it was sending a bad message.”

Ali Davis watched the performance from the student section and was unimpressed by the apparel.

“The costuming was a little on the tacky side,” she said. “Were they trying to look like prostitutes?”

North Logan residents Catherine King and her husband felt differently.

“The costumes were good and the music was interesting,” she said.

King has not only observed numerous halftimes at Utah State, but also many of her daughter’s performances with the Sky View High School Dance Company.

“I thought it was pretty tame compared to some things I’ve seen,” King said. “It wasn’t offensive at all.”

Having worked for the USU facilities over eight years, 63-year-old Tom Stoddard has seen many halftime performances.

“I’ve watched a lot of these over the years and sometimes you don’t know what you’re going to see,” Stoddard said. “I thought this one started average, but as the routine changed, they became very good.”

Many believe the USU dance companies deserve the same recognition and performance opportunities offered to the Aggiettes.

“I thought it was very comparable to the Aggiettes,” said Drew Demler, a 54-year-old Nibley resident and Aggie basketball fan. “I liked the variation. Not everyone was watching the same thing,”

Georgene Peterson, 68, drove from Salt Lake City to see her granddaughter perform.

“All our girls kept in tune,” she said. “What’s an ‘Aggiette’?”

(k. lambert)

Members of Multiple Teams

Ginger Hislop, a member of both 
the Vilociti & Full Circle teams.

A love of dance prompted each of the current 49 members to audition for one of the three Utah State University dance companies.

However, for some, dancing with one team was not enough.

Wanting to perform in numerous dance genres, four members opted to join multiple teams.

“It is so time consuming, but dance is my life,” said Lexi Childs. “I couldn’t give any of it up.”

Like Childs, Ginger Hislop is a member of both Vilociti and Full Circle, the hip-hop and contemporary teams.

“It’s a lot to remember because it’s twice the number of dances,” Hislop said. “You are in everything.”

At last year’s spring concert, Hislop was in 14 dance numbers – nearly every performance of the show.

“I dance everyday but Saturday and Sunday,” said senior Jamie Smith who also dances with Full Circle and Vilociti. “It’s a huge commitment, but I love it.”

Sophomore Brittany Beecher is a member of Vilociti as well as My Bad, the break-dancing crew.

Because Beecher is a chemistry education major, much of her time outside of practice and performances is spent in the research lab. With the added hours of class time and work, Beecher sometimes struggles to manage her time.

“I work an average of 20 hours each week at the space dynamics lab,” she said. “It’s hard to have time for everything.”

Despite having to sacrifice time and remember more choreography, all four individuals feel that the benefits outweigh potential drawbacks.

“You get to know everybody and have more opportunities to perform,” said Hislop.

With so few chances to showcase their talents, Hislop and the others greatly appreciate the additional performance opportunities.

More time on stage strengthens their skill as well.

Dance director Krissy Smith-Fry said that each dancer has become stronger by being a part of two teams.

“Whatever style of dance you do builds your foundation in another style of dance,” she said. “Those who dance more hours are more well-rounded dancers and have better endurance.”

Childs recognizes the growth that she has experienced personally.

“I’m a slow learner,” she said. “So I have double the opportunities to learn and to practice from twice as many people.”

Now that Beecher dances with My Bad, she is challenged more than when she was solely a member of Vilociti.

“With My Bad, I get to do street styles that I’ve never done before,” Beecher said.

Because 49 members are distributed between the three teams, those belonging to two teams also help to unify the others.

“I have so many family members now,” Childs said.

(a. davis)

"Practice Makes Permanent"

Members of Full Circle at rehearsal.

They practice a lot.

Full Circle rehearses over three hours every Monday, Wednesday and Friday.

Vilociti and My Bad practice three hours on Tuesdays and Thursdays.

All three Utah State University dance teams meet together on Wednesdays at the Kent Concert Hall, with rehearsals sometimes spanning six hours or more.

All that for just three performances this semester.

“I practice way more with Full Circle, but we hardly ever perform,” said Julia Williams, who is also a USU Aggiette.

Despite significantly more practices with Full Circle, the Aggiettes regularly perform at sporting events and school-sponsored activities.

“I’m constantly doing things with the Aggiettes at pep-rallies, halftimes and tailgates,” Williams said.

That might explain the resentment for USU’s more established dance team among members of the three more recent, and often more edgy squads.

“In total, I’m doing over 15 hours a week,” said Jamie Smith, a senior member of the Full Circle and Vilociti teams.

Smith, like many others, said that she is not a member solely to perform. She remains a member of the teams to grow and excel as a dancer.

“The best part is being able to dance,” Williams said. “At practice I am around amazing dancers that inspire me and a great coach that pushes us to be better.”

For Alexis Childs, a member of both the Full Circle and Vilociti teams, practice is an escape and a chance to eliminate stress.

“When I get here, everything else goes away,” she said. “I have so much crap that goes on outside of dance – this is my place where I forget about everything. It’s safe because of my coach and because of the team.”

Because Childs is a member of multiple teams, she has been able to contrast experiences from the differing practices.

“The pieces that we do for Full Circle are more emotional. We talk a lot more during practice and discuss the themes of the pieces to get us in the right mindset,” she said. “Vilociti is more of a relaxed environment.”

Practices for each team differ as a result of each dance genre.

The contemporary team, Full Circle, focuses on intense conditioning and core work  along with ballet. The hip-hop team continually highlights the importance of synchronization and hard-hitting choreography, and members of the break-dancing team work to improve fluidity and strength.

While details vary depending on the team, each practice maintains a similar format.

After running multiple laps on campus and up and down the Old Main stairs, team members return to rehearsal spaces for additional conditioning exercises.

“We condition forever, but I always feel good after,” said Misako Osterloh, a freshmen member of the Vilociti team. “It’s not easy, but the people you are with make it more enjoyable than painful.”

Following numerous aerobic exercises, members take time to stretch before learning and reviewing routines.

“The main focus of practice is usually whatever event is coming up next,” said Vilociti team captain, Natalie Miller. “We first learn the choreography, drill it into our heads over and over again, then go through step by step and clean the whole thing making sure we are all doing the same move at the exact same time.”

Occasionally, entire practices are dedicated to a single piece of choreography. The dancers are instructed to repeat routines until the dance coordinator, Krissy Smith-Fry, is satisfied with their progress.

“Sometimes repetition gets tiring, but practice makes permanent,” Childs said.

(k. heywood)

Few Returners Makes for Many Freshmen

The Vilociti team performing.

It’s been said that incoming college students should be weary of the “freshmen 15,” a reference to seemingly unavoidable weight gain during the first year of campus life. However, the returning members of the Utah State University hip-hop team are in danger of a different threat – the freshmen 10.

In the absence of last year’s members, 10 new freshmen have joined the team, twice the number of last year.

“Because there are only a few returners, at the beginning, it felt like the hard work and dedication of the team was missing,” said Kaylee Andrus, a seasoned Vilociti member.

Aside from initially lacking spirit, Andrus feels that many of the freshmen magnify the existing emotional stresses of dance.

“As always there is some drama which is brought on by everyone, but intensified by the freshman,” she said.

Numerous returning team members have concerns that mimic those of Andrus.

“They do really well learning choreography and working well together on the floor,” said Erik Wynn, a member of last year’s team. “However, I feel that there is a lack of unity that existed last year since it seemed like we all did so much together.”

Julia Williams was a freshman of the Vilociti team last year. Now a sophomore, she relates to both the new team members as well as those returning.

“Freshmen year was the funnest year of my life,” she said. “The only down fall was that no one takes you seriously, especially the older girls. On the other hand, the boys loved us.”

As team captains, Natalie Miller and Jamie Smith said that there could be unique challenges to leading so many new members.

“I think the biggest thing is maturity as a dancer,” said Smith. “Learning to dance with a team is not just about you. There is a lot of drama, pettiness, and competition with younger girls, when really it’s not about who is in front.”

While Miller agrees that maturity is a factor, she believes the biggest difference comes from a lack of experience.

“They have never been to the Howl so they don’t know the extent of what it takes and what the whole atmosphere is supposed to feel like,” Miller said. “They don’t know the stresses that come right before performances so it’s hard to prepare for events. They are also trying to figure themselves out so they have a hard time balancing dance with the normal stresses of college life.”

Despite concerns, however, Miller believes that the influx of freshmen has been beneficial.

“They haven’t experienced the hard times of dance so they are really optimistic,” she said. “As a whole, they provide insights and styles without being influenced by things we’ve done in the past.”

Miller also acknowledges that this year’s freshmen will be the future leaders of the hip-hop team.

“Many of the girls have had a lot of past experience in other styles of dance so our horizons are broader,” she said.

“As long as they love the team and stay, they will be strong for at least the next four years,” Wynn said. “They will only continue to progress and grow together.”

(j. wilkinson)

The Only Married Member of The Team

Jamie Smith

The attire of the Utah State University dance teams is constantly changing. Each performance entails different costumes and new accessories.

Jamie Smith, however, constantly sports an accessory that no one else does – a wedding ring. 

Out of close to 50 individuals on the three teams combined, Smith is the only member who is married.

Because this is her fourth year on the hip-hop and contemporary teams, Smith feels distanced from the other less experienced freshmen members.

Having now been married since September, Smith feels even more separated from the rest of the team.

“The biggest difference is that now, not only am I older than everyone, I’m married,” she said. “There is a slight barrier that is created. I feel like they look at me as a motherly figure instead of a friend.”

Smith feels that one factor making her appear like a parent instead of a peer is an inability to discuss the same subjects.

“I don’t feel like I have experiences to connect to them,” she said. “I want to have the closeness that you have when you share secrets and stories. Sometimes I think that they don’t want to talk to me because I’m married and in a different place.”

Aside from friendships, teammate Natalie Miller believes that marriage could also negatively effect interaction during performances.

“We do partner dancing sometimes and its crucial that you have chemistry with the person you’re dancing with. That can be awkward if one of you is married,” she said. “The dance world kind of has a culture and it’s not as conducive to married people.”

Because of the long dance hours, being a part of the team also creates a time constraint with Smith’s family life.

“Dance takes up most of Jamie’s spare time, but she loves it, and I’m happy that she is able to do it,” said Jordan Smith, Jamie Smith’s husband. There are certain joys that it brings to her, but also certain stresses that come from being a part of any team.”

To Smith, the constant support of her husband outweighs all of the possible drawbacks.

“Jordan knows how much dance means to me,” Smith said. “He is always encouraging me to try my hardest, and to keep doing what I love.”

“He is at every performance that he can be. He makes a big effort to make it possible for me to dance as much as I do,” she said.

Having danced together since 2008, Kaylee Andrus has seen the way that marriage has helped Smith to grow and progress as a dancer.

“I think that she exudes sexiness more and owns her body even more than she did last year,” Andrus said. “Also I have seen her reach out to a lot more of the girls. I do not know that this correlates directly to her being married, but in my mind it does.”

Smith acknowledges the way that marriage has helped her as a dancer as well as the way dance has helped her as a wife.

“I think dance prepared me for marriage because it helps me understand my feelings,” she said. “Dance is a kind of therapy. It helps me regulate my emotions, and then express them. You really need to know how to express your emotions when you’re married.”

Like his wife, Jordan Smith said that he recognized the positive impact dance has had on her life.

“She gives her whole heart to her dancing, and I can see that when I watch her,” he said. “She’s beautiful.”


(k. lambert)

The Boys Are Outnumbered

Joey Geurts at practice.

The faces of the Utah State University hip-hop team are constantly changing. Each fall semester, new students audition to fill the spots of those who graduated or have moved on.

Though the members have changed, the trend has remained the same – the majority of those who tryout are girls.

Last year’s team had seven male members. This year, the number has dwindled to two.

“It does hurt the stereotype that dance is only for girls,” said Krissy Smith-Fry, director for the USU dance teams.

“Because of the stereotype, boys are more intimidated because girls usually come with years of experience,” she said.

Since starting the teams in 2007, Fry has witnessed the low numbers of men at tryouts firsthand.

 “For me, it is equal opportunity,” she said, “hard work, dedication and the passion to be here are just as important as talent."

Fry believes that Davis Gerlds and Villami Matangi, the two men on this year’s team, are examples of such passion.

After the team’s performance at the Howl, however, Gerlds decided to spend more time choreographing and performing with My Bad Crew, the new break dancing group.

“The choreography for the Vilociti performances was not made with the boys in mind,” Gerlds said.

My Bad Crew, created this year, is one reason that male numbers on the hip-hop team are so low. In addition to Gerlds, three guys from last year’s Vilociti team opted to join the break dance team instead.

While most agree that this year’s team is undeniably different due to fewer men, not all Vilociti members are in agreement about whether it is better or worse.

Although Brittany Beecher misses the male influence, she acknowledges the benefits to a team made of primarily girls.

“We get less distracted because we are more at the same speed,” she said. “People are more serious, and it’s easier to clean.”

In contrast, Lexi Childs feels that the lack of male influence has affected the team unity.

“It feels less like a family because we are all girls,” Childs said. “We can’t do as much with choreography because there are no boys.”

“It seems very much like a girl’s group this year, “ said Joey Geurts, who left Vilociti to join the new My Bad Crew.

“It’s like being at a girl’s sleepover – I guess it could be fun, but after a day it would get old,” he said.

Geurts feels that while a strong dance background aids in clean choreography, many of the girls lack in hip-hop style.

“Guys add another flavor. None of the girls have a street background,” Geurts said. “There are definite strengths but also definite weaknesses.”

 “I don’t think it’s better or worse. It’s just a different animal.”

(n. sorensen)

A "Real Halftime Show"

Julia Williams, Aggiette & Full Circle Member

Basketball season is here and so are basketball halftimes.

In addition to the reoccurring scene of an excited student section, stunts performed by Big Blue and the choreography of the Aggiettes, spectators will have a chance to witness something new.

On Wednesday, Nov. 30, the women of Utah State University’s Vilociti and Full Circle dance teams will have their first halftime performance this year.

Despite experienced dancers and rigorous weekly practices, both dance groups perform minimally in comparison to the Aggiettes.

“We’re better than the Aggiettes,” said Tessa Italasano, choreographer of the upcoming performance. “People will get a real halftime show.”

As a member of both the Aggiettes and Full Circle teams, Julia Williams agrees.

“Full Circle is better because we do more technical things,” she said. “I like a challenge.”

While others are hesitant to so boldly declare dominance over the Aggiettes, they still show excitement at the chance to perform.

“We don’t have many opportunities to perform in front of our peers and we’re finally able to show everyone what we can do as a company,” said Kumi Osterloh, head advisor of the Vilociti hip-hop team.

During the performance, the dance teams will perform to “Seven Nation Army,” a White Stripes song known for a memorable guitar riff.

The performance will not only be notable for its music, but according to Italasano, the wardrobe will likely entice viewers as well.

“People should come see us because we’re hot,” she said. “It’ll be raunchy. Black combat boots, sequins, and fish nets – the works.”

(k. wells & j. wilkinson)

The Howl Stirs Anxiety for USU Dance Teams

The 2011 Howl Poster

This year’s “Howl” could be scarier than usual.

The annual Halloween bash held at Utah State University attracts college students from around the state. While most look forward to the event with anticipation, members of the USU dance teams, who will perform at the Howl, are legitimately frightened.

Aside from the common concerns of remembering choreography and maintaining character, members are facing new fears surrounding this year’s theme.

The concept of the 2011 Howl performance is “Carn-Evil,” a cryptic interpretation of the film “Water for Elephants.” In conjunction with the theme, dancers will dress as clowns and other various circus performers.

The details of such a depiction have some dance members worried.

Many girls are concerned about the revealing clothing items due to this year's theme. Some returning members even believe this year’s attire is the most risqué in Howl performance history.

“When she cut our skirts even shorter - yep, that’s when it became skanky,” said Brittany Beecher, a returning member of the hip-hop team.

Even the make-up has become a cause for concern.

“Getting everyone’s makeup done is going to be crazy,” Beecher said, “we took headshots so Audrey, the make-up artist, could prepare different clown makeup that fits everyone’s specific face shape.”

Such specific make-up could be extremely time intensive, and members are worried that the desired effect will not be successfully executed in the short time given.

Aside from the trepidation of time, clown make-up evokes even larger fears for dance member Natalie Miller.

“I absolutely hate clowns,” Miller said. “They terrify me. That being said, it’s easier for me to get into character because I can identify with the fear of clowns.”

Perhaps the largest concern regarding this year’s theme is the way it could potentially divide the three companies and reduce the sense of unity.

When contemplating the concept, artistic director Krissy Smith-Fry hoped to develop a story line involving lead characters who would act as ringleaders to the remaining performers.

While some team members are indifferent to the role selection, others find the spotlighted positions upsetting.

Julia Williams and Joey Guerts, the two selected leads, have become aware of their teammates feelings.

“Special parts make people jealous and makes me feel bad too,” Williams said.

Although three individual dance teams will participate in the Howl, many feel that the contemporary team, Full Circle, continues to be the unnamed favorite.

In addition to the leads, numerous girls from the contemporary group are spotlighted in themed roles.

“Full circle takes priority. They have more individual parts in the Howl than anyone else from My Bad or Vilociti,” Beecher said.

Members of Full Circle argue that their main involvement is attributed to better preparation.

"The other teams are less prepared for the Howl because they've spent less time rehearsing,” Williams said.

“Wednesday was the first time that I’ve done it with everyone and I was absolutely terrified because I have never felt so unprepared,” Miller said. “It’s crucial that everyone be on the same page. If we can’t pull from each other’s energy, we won’t be able to convince the audience.”

With less than 24 hours until the performance, the team’s artistic director has tried to remain optimistic.

“This is the most unprepared we’ve ever been for the Howl,” Fry said, “but it has the most potential.”

(k.wells & c.robison)

Vilociti: The Official USU Hip Hop Team

Girls rehearse for an upcoming performance

Greetings. Interested in hip hop dancing at Utah State University? Look no further. This is the place - utahstatehiphop.blogspot.com.

Since its origins in the 1970s, hip hop music, style and dance have expanded and exploded - infiltrating every part of the modern American culture. From the streets of New York and California where the first crews began, hip hop teams now cover the entire nation. Even college students in quaint Logan, Utah are learning to "pop, lock and drop it" with the best of them.

This blog will follow Vilociti and the other USU dance companies. By following the teams from practice to performance, readers will have a better knowledge of the college dance scene in Cache Valley.