The Illinois State University School of Theatre, Dance, and Film will conclude the spring 2025 semester with the Spring Dance Concert: Intermix. Intermix features choreographed pieces from the School of Theatre, Dance, and Film’s dance program faculty Jacob Henss, Gregory Merriman, Darby Wilde, and Laina Reese Werner-Powell, who doubles as the artistic director for Intermix. This year’s Spring Dance Concert also features the premiere of The Truth Within (2025), a 21-minute piece by guest artist Paula Sousa.
Henss’ piece, Cloven, is a series of group pieces and duets that he has been creating and progressing over the past two years and is inspired by his experience as a dairy farmer. His first job was raising the calves and milking in the parlor. “I grew a soft spot for cows and wanted to make a piece that commemorates these gentle beasts and shows people how agile, strong, and substantial these animals are while tying in my family history and personal ties,” Henss said. “I hope the audience thinks of the dairy cow as a site of industrialized sexuality and consumption of this overlooked, yet ubiquitous animal, symbol, and food source.” He invites the audience to engage in personal reflection by imaginatively placing themselves in the hooves of the cow and drawing parallels between the animal’s experience and conditions in contemporary society.
Merriman’s piece titled Conversations explores the concept of communicating through movement rather than spoken language. An instructional assistant professor of dance, Merriman says speech is rarely used in dance, yet messages are transmitted. “We explore the different kinds of conversations that can happen,” he said. “Are we being heard in our conversations, or are we being ignored? Is the conversation constructive and meaningful? Are the messages we want to convey being heard and appreciated?” He was drawn to the theme because it seems that many necessary conversations have been avoided, especially since the pandemic. Performed by a cast of nine women, Conversations invites the audience to reflect on these questions. Merriman hopes viewers engage deeply with the piece and respond to the effort invested in its creation.
Wilde’s Metacognition, inspired by the political divisions in the country, explores the ways people think through movement. “I researched three ways of thinking: linear thinking, circular reasoning, and creative thinking. Then, in collaboration with the dancers translated the ideas into movement,” she said. “For example, the creative thinking section of the work was made by giving the dancers a list of words that they responded to that created a phrase. These phrases were then crafted into the ‘final section’ people. They are representing ideas and ways people think. Wilde hopes audiences recognize that the dancers in her piece are not just portraying individual people but rather embodying various ideas and the ways people think.
Attention-seeking, choreographed by Werner-Powell, delves into the complexities of the human desire for attention. Developed collaboratively with her all-female cast, the work raises questions about authenticity, performance, and emotional need. “How do we perform for attention (intentionally or unintentionally), and what implications might there be because of this? What behaviors are authentic and genuine? Which stems from unmet emotional needs? How do these concepts relate to self-esteem and validation?” Werner-Powell said. The piece reflects her broader artistic interests in lived experiences, power dynamics, and femininity. Known for blending structured choreography with improvisation and pedestrian movement, she explores individuality and collectivity through polyrhythms, risk-taking, and humanity. “Relatability is important in the work I make,” she said. “My hope is simply that it makes the audience think and reflect.”
Sousa’s The Truth Within (2025) is inspired by reality. “It explores how the same event, movement, or truth can be perceived in completely different ways depending on context. The piece will repeat three times, each with a new cast, music, and costumes, revealing how perspective shapes understanding,” she said. “I’m interested in how this idea connects to broader social conversations, how biases, history, and lived experience shape the way we interpret what’s in front of us.” Sousa’s piece examines how personal perceptions influence our understanding of truth. Her creative process blends improvisation with structured choreography, emphasizing collaboration and intentionality. “The movement becomes a carrier for the deeper message,” Sousa said. “My goal is to create a piece that makes people reflect—not just on dance but on the way they see the world.” Sousa is a Brazilian dance artist specializing in choreography, performance, and visual arts. She trained at the Bolshoi School in Brazil and the Salzburg Experimental Academy of Dance in Austria. She has worked extensively with artists across Europe, South America, and the United States.
Artistic director Werner-Powell also shared that Intermix was aptly chosen for its meaning—to mix together. It captures the richness, range, and complexity of each piece in the concert. According to her, each work offers a distinct emotional landscape and narrative. Together, the hope is to create a dynamic evening of performance that invites the audience to engage deeply and leaves them wanting more.
Intermix will be performed in the Westhoff Theatre April 24-26 at 7:30 p.m. and on April 26 at 2 p.m. The performance run time is approximately 90 minutes.
Tickets can be purchased in person at the Center for the Performing Arts Box Office on the campus of Illinois State University, by calling (309) 438-2535, or at the box office website.
If you need an accommodation to fully participate in this program, please contact the Center for the Performing Arts Box Office at (309) 438-2535. Please allow sufficient time to arrange the accommodation.
