Split Bill #42 | Kashia Kancey & Rebecca Margolick
Company:
Triskelion Arts
KASHIA KANCEY
I Believed It Too
I Believed It Too, a work that asks "When the curtain closes, who are you?" It is a solo about a woman trapped inside of a destructive false reality she is desperate to escape from. She’s experienced it so long that it seems real to her. During the solo she sheds a multitude of performative layers while facing several battles and illustrating numerous realities and characters that represent the world she’s trapped inside of. We see her go on an unraveling journey that begins to strip away at the act she’s been trying so hard to keep up with. As she struggles to maintain her mask of illusion, her perception of reality becomes distorted in many ways. Tackling topics of imposter syndrome, heartbreak, and deep self reflection - Is any of this even real?
Kashia Kancey is a Miami-born performer and choreographer, who earned her BFA in Dance from New World School of the Arts. Some of her choreographic history includes having work presented in The Carnival Studio Theater at the Adrienne Arsht Center through commissions by Peter London Global Dance Company, Movement Research at Judson Church, Dixon Place and CreateART Performance. Kashia has performed in spaces like Perez Art Museum Miami, South-Miami Dade Cultural Arts Center, Dance Place DC, the American Dance Festival, The Yard, and New York Live Arts. Kashia has had the pleasure of working with Rosie Herrera Dance Theatre, Adele Myers and Dancers, and Abby Z and the New Utility. Kashia is most recently an apprentice with Urban Bush Women and is a company member with David Dorfman Dance. She is also a 2023 Gallim Moving Artist in Residence. Kashia is based in Brooklyn, NY, and continues to pursue her career as a performer and choreographer.
REBECCA MARGOLICK
Reservoir
In this solo piece, the performer embodies the spirit of an unnamed woman, evoking imagery of the iconic Dybbuk. Drawing inspiration from Yiddish folk dance and contemporary movement, the dybbuk begins to find solace and expression through dance, channeling her rage and grief over the life she was denied. The performance is an exploration of the dreams we construct for ourselves and the uncertainty we must embrace. Through navigating grief and the changing futures we previously imagined for ourselves, the boundary between the performer's identity and that of the dybbuk gradually fades.
Rebecca's work has been presented in Turkey, Bulgaria, Dominican Republic, Costa Rica, Mexico, France, Germany, Poland, Israel, across the U.S and Canada. She has received residencies from Ailey’s New Directions Choreography Lab, Banff Centre, Derida Stage, Centro de las Artes San Luis Potosí, and many others. She has created works at Universidad Nacional Costa Rica, LITVAK, Ballet B.C. Annex, Ailey School, Michiyaya, and more. She is creating a new work for Oregon Ballet Theater in 2024.
Share Your Audience Review. Your Words Are Valuable to Dance.
Are you going to see this show, or have you seen it? Share "your" review here on The Dance Enthusiast. Your words are valuable. They help artists, educate audiences, and support the dance field in general. There is no need to be a professional critic. Just click through to our Audience Review Section and you will have the option to write free-form, or answer our helpful Enthusiast Review Questionnaire, or if you feel creative, even write a haiku review. So join the conversation.
