In a world where dance has become synonymous with fun, tiktok trends and real art is being threatened by the expansion of AI, audience members came to LBCC’s spring dance concert on Friday to experience a real, close-knit performance.
Though the experience was a first for many and a recurring one for family members and alumni, everyone alike got just what is missing: a touch of the human life that turned the auditorium into a celebration of life.
The performance offered a world full of artistry that nurtured the real-life experiences of people and explored real feelings in imagery realms like feeling sensual as a banana slug, and being overworked in a creepy women filled world where everyone wears red wigs.
Dancer Matilda van der Fluit, right, struts as she offers her hand to help dancer Marithea (Maki) Yamuta, left, get out of her box, during the dance “Astropolis” at a dress rehearsal on Thursday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Aileen Fragoso)
The last chance to watch the show is today at 7 p.m. at LAC’s Bob and Barbara Ellis Auditorium, tickets are available here or at the box office before the show.
Although dance concerts at LBCC happen every spring and fall semester, each show has original dances that are only performed for that time.
Waiting for each dance to start felt like the excitement you get in line, waiting to ride your favorite ride at disneyland, instead this time you don’t know what the ride entails.
Each dance could either pick up where the other left off and ease that emotion or throw you into a completely different world.
The most creative dance in this out of the box category was a piece titled “Kamp Slugglo” that had a group of dancers dressed in head to toe yellow, acting as banana slugs by scrunching and dragging their bodies on the floor to slither like the creatures.
The dance began with a cheery intro featuring a preppy kamp tune that sang, “banana slug, banana slug” over a ukulele. This intro was hard to digest, as it was cringy to bear, but the moment ended up creating the perfect juxtaposition to the sexy, sensual and fun moments that were later unleashed.
A silly dance quickly proved to be one with perfect synchronization between dancers, and demonstrated an astonishing level of flexibility. In order for the dancers to smoothly slither they needed to contort their bodies rapidly while still remaining graceful.
Dancers broke out into back bends and may I say put their back into it while the dancers held onto each other and leaned in to create a connecting human line.
Before this dance, the audience was taken through an interesting journey, having gone through five other dances, including an electric edgy dance, a bouncy sassy trio, and a dance to Cythnia Erivo’s song “Stand Up.” As well as then a soft lyrical dance, and an ominous and high fashion female dance.
The dance “Freedom is Calling,” which follows Erivo’s song, had a meaningful and thought through concept that could have been realized had the dance been cleaner. The out of sync dancers made it hard to fully convey the raw and emotional message that the choreo and rustic colored costumes were set to give.
The dance referenced the struggle of trying to escape slavery, and did right by centering the experience of Black people by making a Black female dancer the protagonist.
The African dance, “Harvest Time: Koukou,” which came after the slug dance, was a high energy tribal dance routine that was accompanied by live hard-hitting drums on stage.
The drums set the fast paced and intense atmosphere which at the same time was fun as each dancer let themself be free on stage and danced their heart out, leaving everything out on the dance floor.
While this happened, one audience member clapped along to the beat of the drum, and in no time, the whole auditorium was clapping along hyping the dancers up, making the audience part of the experience.
What they didn’t know is that the dancers would be coming out to them, and dancing right in front of them. The dancers joining the audience took the unexpected shared moment of clapping, to the next level.
It turned the event into a full on community celebration that felt like a joyful festival.
The celebration continued after intermission, when a carefree rock ‘n’ roll dance took center stage, having pretty colorful lights flashing in moments. This dance felt like complete freedom, having dancers get loose and rock out, while wearing bandanas, funky patterns, fringe and bell sleeve shirts.
Dancer Chris Navarro, left, holds Yumalay Quintero, right, during the hippie and rock ‘n’ roll dance “Gettin’ the Led Out,” during a dress rehearsal on Wednesday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Juan Rosales)
Dancers gather around a circle and give energy in the hippie, rock ‘n’ roll dance “Gettin’ the Led Out,” during a dress rehearsal on Wednesday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Juan Rosales)
Another highlight of the dance show was the piece “Astropolis,” which happened before the banana slug dance and was the ominous female empowerment piece. During this, the costumes were all business attire in the tones of black, grey and white, and the red wigs and red heels created the needed contrast.
This dance followed creepy, haunting music that got remixed with a high fashion like, runaway song, that gave off the sound of a fast timer.
Integral to the dance were female dancers portraying characters that look tired and disconnected, to the point that they held a nonchalant, “I don’t care” vibe. While they felt this way they still managed to automatically serve and hold self-asserting sassy poses.
Dancer Matilda van der Fluit, right, struts as she offers her hand to help dancer Marithea (Maki) Yamuta, left, get out of her box, during the dance “Astropolis” at a dress rehearsal on Thursday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Aileen Fragoso)
The dances described were part of many, who had unique themes and brought the audience into a distinct world of its own. Two dances, in the later half depicted real life occurrences such as that of a toxic relationship between two lovers, and the scenario of a male partner cheating on his female partner with a man.
The toxic relationship dance, “Ghosts of Yesterday” was described by the student choreographer Raychell Rymer during the talk for choreographers as it “explores the involuntary nature of nostalgia.”
The dance which was to the song “The Night We Met” by Lord Huron, depicted the complicated relationship of a couple who hold onto each other for support during their most needed, darkest moments, yet portrays how the couple brings each other down.
Dancer Joshuah Snel, left, and Raychell Rymer, right, depict an intimate moment in the dance, “Ghosts of Yesterday” during a dress rehearsal on Wednesday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Juan Rosales)
In one moment, the guy throws the female dancer to the ground, making her fall and land straight on her back. In another, she runs to him and he catches her, lifting her with a spin, which showcases how he is there uplifting her in a needed moment.
Dancer Joshuah Snel pretends to pick up Raychell Rymer, his love interest in the dance “Ghosts of Yesterday,” after being the one to have thrown her on the ground, during a dress rehearsal on Wednesday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Juan Rosales)
Then towards the end, their relationship comes to a breaking point and they fist fight each other, still in a poetic way though to match the music. At the end he leaves her.
This piece shows the true power of art, the ability to use choreography and storytelling to be able to reflect on and process such a confusing situation like that of an unhealthy relationship. It has moments that feel like true love, yet can detrimentally weigh one down.
The ability to share that realization, and inner work, is one that will encourage others to reflect on similar past relationships, and also could help those who are in current relationships like it to identify it. By identifying it, it could be the beginning piece of someone leaving.
The show ended with yet another celebration in a dance that featured an editorial-like look through the individualized white flowy costumes of each character and differentiating magazine-like hairstyles.
Dancer Essence Cooper gives cosmic editorial vibes with her braided hair and seemingly greek goddess inspired flowy costume, during the dance, “Eyes Haven’t Heard and Ears Haven’t Seen” at a dress rehearsal on Wednesday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Juan Rosales)
The theme of this photoshoot would be cosmic angels, given that the dance also gave off a free and child-like happiness in spirit.
Dancer Essence Cooper, right, gleefully runs to join the circle with other dancers during the dance, “Eyes Haven’t Heard and Ears Haven’t Seen” at a dress rehearsal on Wednesday for LBCC’s Spring 2026 Dance Ensemble In Concert. (Juan Rosales)
Though dance concerts at LBCC happen every spring and fall semester, each show has its own original dances that are only performed for that time. Attending this concert will take you through the exploration of creative universes, and through the journey of self-discovery.
No matter the setting, a banana slug field or a creepy dark room full of red haired women, each dance allows for the opportunity to use it to tune into one’s feelings and experiences, or create new ones.
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