I Cannot Believe I Forgot to Wear My ‘I Heart Trekkies’ T-shirt to This

Arturo Miles, the guest-curator of the Somewhat Sci-fi Variety Show, is a frood who knows where his towel is.

Totes foshola.

I mean, wow. Just…wow. The energy, and the inventiveness, and the technique, the infinite diversity in infinite combinations, and just how damn fun it all was–wow. If there is ever a superlatives shortage, it will probably be from people carelessly using them all up to describe this show. The room was packed both nights, with Saturday becoming standing room only very quickly. (I’m short enough that Ferengi would tower over me, so I had to stand on the counter to see.) Normally my modus operandi now would be to deride and scorn those of you who could not make it, mocking the empty voids your lives must be, but honestly? I actually feel too bad for you to rub salt in the wound this time. This show kicked ass, took names, translated those names into Klingon, and pushed them through a stargate.

In a related story, I’ve decided that all of the dancers were secretly Replicators. Only entities made up of millions of individual units synchronized together perfectly could possibly move in the freakishly amazing ways they did. This fits in well with my theory that Tyler Jensen of last week’s Flaming Cabaret–he made the amazing film Garage Sale–is secretly Dr. Carson Beckett.


Laura Rad: Amazing, laugh-out-out funny, true hilariousness with perfect comic timing. Because even in the future, 13-year-olds and Justin Timberlake will not be any more mature.

Anne Johnson/Nora Figl: Beautiful voices, great sense of fun, great nostalgic theme songs that really brought back the memories. And thank you for not doing the Enterprise theme–Star Trek themes are not meant to have lyrics. They’re just not.

Erin Shepard: Crap, I think the superlative shortage has just hit! Nooo! And just when I was going to go on about how her alien dance was so utterly kickass and mindblowing and sweet and fan-freaking-tastic!

Dancin’ Dave: Nice pants, man. Seriously, though, I wish my Disney-obsessed friends had been there to see hsi robotic take on Aladdin. Especially the angry kitten part. Wow. And how does he even get his legs to go that high? (Oh, right, Replicators. I forgot.)

Arturo Miles/J-sun/Daylight/Sequel: I haven’t read Dune in several years, but this dance brought all its sheer awesomeness and glory just rushing back. The dancing, the lights, the dancing, the mix, the dancing–these people officially now own my soul.

Madeline Howie: No, it’s the superlative shortage again! Just like in Spaceballs, except with superlatives and not air! Noooo! Okay, new superlatives, I’ve got to think: Fantabulous. Tremendous. Unbelievable. Whew, that was close.

Powder Puff Boys: Because I have run out of superlatives, I’m doing the most stereotypical Trekkie thing ever and translating ‘good’ into Klingon. Look, if I could find a website that did Bajoran I would do that, okay? Here goes: QaQ. Very QaQ.

Arturo Miles and Co: Look, y’all just kicked ass, okay? Repeatedly. Don’t make me go look up a Romulan translator.

And now for some background info on Arturo Miles himself:

He has always studied dance and visual art ever since he was a child. After studying dance in the metro area and becoming involved with the hip-hop company and producing shows, he’s entered a phase that incorporates all that he’s done in the past. Dance and art, he says, are a direct connection to the deeper sides of your self; through them we tell our stories and remind people of their emotional side. “When dancing, at that moment in time-nothing else matters.”

He’s guest currated at Patrick’s for almost two years now. He produced The Somewhat 80s Variety Show, a mix of comedy improv, singin, breakin, comedy modern, and lip sync, all with a unique interpretation of the 80’s. He also curated Elements in Translation, a mix of hip-hop dance form, breakin, modern dance, spoken word, and singing, which is about to hit its fourth run featuring local choreographers, musicians, and artists. And he’s also performed with the Three Dances Company during their fundraising events.

A big sci-fi fan, particularly of the Dune series, Miles discovered that many of the artists he had been working with were as well, as thus the idea of the Somewhat Sci-fi Variety show was born. Following the same set-up as his Somewhat 80s Variety Show, it interpretated sci-fi through a variety of mediums, including hip-hop, which Miles says has become “a global movement, and the newest style of dance/art. I love the dance music and scene. It’s a huge part of who I am as an artist.”

In conclusion, Arturo Miles says, “I’m all about variety, and the power of numbers. I’ve been fortunate enough to have an amazing community of artists to work with in the Twin Cities area. We are just getting started. I hope to bring a new level of entertainment to our already amazing art scene.”

To which I can only add:

Live long and prosper!

Sarah LaRose Holland

O Noble Readers of This Blog, I beseech thee, please extend your forgiveness to your most humble servant for my exgregious overuse of my laptop’s Copy-Paste function. Truly, I give far too easily into temptation, especially with a final performance due in Acting tomorrow and with Sarah LaRose Holland’s eloquent, editing-unnecessary responses to my e-mail interview sitting right within reach. Lo! I am weak, and offer less resistance than a fat kid doth to cake, or so 50 Cent would have us believe.

Anyhow, there shall be in the future another Kinetic Kitchen, and I swear on the soul of Gene Roddenberry, I will endeavor to actually write an article that time.

Behold, the fruits of my sin, the unedited e-mail interview:

1. What is it that you love most about the artistic work you do, and why?


As the presenter of the Kinetic Kitchen, I enjoy providing opportunity for choreographers to showcase their work. The series brings together artists that may or may not know each other and provides a vehicle for performing their work. It’s a great way for an artist to focus on the creation of their dances, and I take care of the nuts and bolts of helping them get their art onto the stage. This is very satisfying, helping choreographers get their work out in front of audiences.

2. How is performing at Patrick’s Cabaret different from doing so at other venues?


The Cabaret has a unique ambience and performance space. It’s very cozy and intimate. It’s not your typical black box performance space. The Cabaret has been a very good fit for the dance series. Interest in and support for the Kinetic Kitchen dance series has grown tremendously since relocating the dance series to Patrick’s Cabaret. The Cabaret also does a lot to help make presenting dance easier for me by allowing me to showcase the Kinetic Kitchen as a Guest Curator. The Cabaret allows me as a presenter to focus on presenting, similar to how the Kinetic Kitchen allows choreographers to focus on being choreographers. It’s a very good fit all around. Patrick Scully has also helped on a personal level to advise me as a presenter and has supported my dance series both personally and professionally. That personal connection with Patrick is also a very big reason why I so enjoy having the Kinetic Kitchen at Patrick’s Cabaret.

3. What would you say are the major influences on your work?


As a dance presenter, I’d say the big influences have been other venues that have allowed me opportunity to discover that I could start to showcase other people’s work. Christopher Watson has given me many opportunities over the years to help facilitate dance performances with multiple choreographers on the bill. He gave me the chance to organize some “2 Flights Up!” performances at his old dance school in the Calhoun Building in Uptown Minneapolis. Christopher also allowed me the chance to organize some of the outdoor “Dances at the Lakes Festival” held each summer in the Lake Harriet Rose Garden in Minneapolis. During my 7 year position as Artistic Director of Riverbend Dance Arts in Hastings, I also learned a lot about obtaining funding for performances and facilitating those events with the dance school and guest artists. Then I’ve also had the opportunity to realize the benefits of performing in shared performances through my professional career as a dancer and choreographer. When I first came up with the idea to start the Kinetic Kitchen, I contacted Laurie Van Wieren to find out if we could talk about her experiences as a Dance Presenter. She was very generous with sharing her ideas and experiences as Curator of “9 x 22: A Dance Lab”. Over the past few years, I’ve gotten the chance to collaborate and grow with the Dancers-Presenters Circle (DPC). Our most visible collaborations have been working together to compile a week of dance each year in celebration of National Dance Week in the twin cities.

4.What is one thing about yourself, your work, your philosophy, whatever, that you think should definitely make it into the blog post?

The Kinetic Kitchen is a dance series based in Minneapolis that showcases many styles of dance and movement. The series is based at Patrick’s Cabaret and performances are held about 3 times per year. There are usually 4 choreographers showcased in each Kinetic Kitchen. I also present a dance series for youth called the Kinetic Playground. This series takes place annually at the Perpich Center for Arts Education in Golden Valley. Annual Playgrounds are held in January. For more information about either of these series, please visit http://www.mnartists.org/sarah_larose or contact Sarah LaRose-Holland at sarahlarose@hotmail.com Both the Kinetic Kitchen and Kinetic Playground were founded by Sarah in 2004. Kinetic Kitchen and Kinetic Playground events have been hosted at Patrick’s Cabaret, the Mounds Theatre, Varsity Theater, Old Arizona and the Perpich Center for Arts Education.