They look at me as if they don’t understand. “What does Progressive Art mean to you?” I ask again. The two women smirk at one another. Maybe I’m missing something. They are the organizers of the Santa Fe Art Resource website, after all, the information booth for everything art in Santa Fe. One is Julie Ruth, an out-of-practice artist, and the other is Christy George, a sculptor who previously taught at SFUAD. They both sit at their booth, Sunday Sept. 15, during Santa Fe’s 3rd Annual AHA Festival of Progressive Arts, a community-sponsored event dedicated to its local artists. “If someone called me a progressive artist,” George begins, “I might want to slap them, but I’m not sure. I mean I am a progressive artist, but how do I feel about that?” They look at each other again. Ruth is fixing her shoe with duct tape. “Progressive in the sense that it’s designed to make progress,” George says. “It’s part of the community…that’s one of the problems with contemporary art these days, in that it exists in these sterile white wall environments and it’s intimidating.” “They’re taking art to everyone,” Ruth says. “Kids can interact with it…there’s something for everyone here.” She’s right. As families take in the booths of AHA Fest, the kids color on “sterile white walls,” run through installations as if they were monkey bars, and reach out to touch red-haired Rag and Tag, the clowns of Flying Wall Studios Puppet theater. Remember this? Playing? Garson Dance Company from SFUAD definitely has fun contributing to the progressive afternoon. Wearing white muscle shirts, jean shorts and black canvas shoes, the seven dance majors ease and speed their way through the Farmer’s Market side street and onto the train track sidewalk with some exciting train mimicry and smooth moves. “I’m tired,” freshman Stephanie Martinez says, after what is to be the first of many performances. “Half way through I was like ‘I need water!’ You wouldn’t think it’s tiring, but…” Martinez marks an extraneous kick and sticks her tongue out in exhaustion. Message received. Martinez explains that though she has done some experimental Summer intensives, she’s never done site-specific dance. “It was very different,” she says. Speaking of site-specific dance, I am drawn next to the gallery space at Site Santa Fe, across the street from the Farmer’s Market, where a mesmerizing collaboration with Arcos Dance company takes place. Camouflaged by grey walls and the dark shadows of Enrique Martinez Celaya’s art, these dancers ease, like drops of honey, from installation to installation until they all merge and break out in full body dancing. Their faces, never breaking character, stare off into the paintings hung on the wall or into the faces of the audience members, who can’t help but stare back. When I return to the main AHA Fest sidewalk, there is much more play occurring. I say play, because what else would you call young women screeching and screaming to unsteady and unpredictable noise other than play for adults? Helen Gruhlkey and her partner Vodi Grontis call it “Distortion by Design,” a mixture of environmental sounds and noise. In addition to soundboards and vintage music sheets, Gruhlkey’s installation exhibits photos of garbage and street litter. I ask about those. Gruhlkey explains that many of their sounds come from the large amounts of trash they pick up from their community and, if I’m not mistaken by the connection here, they hope to call attention to the waste problem by performing their “sounds” for the public. And it is quite the whaling sound. And “Distortion By Design” is not the only sound cascading through the side street of the farmer’s market. Anyone within three blocks of the Railyard can hear the hard rock rage from the band stand, which throughout the afternoon includes performances by Alamo Sun, Lady Gloves, Accordion Crimes, Lily Taylor, Jupiter Spiral, Evarusnik, Adam...

        By Charlotte Martinez/ Photos by Amanda Tyler Seven pairs of parallel feet marching in sync is the perfect metaphor for the emerging dance department at the Santa Fe University of Art and Design—fuzzy socks and all! With Senior Maria Weckesser in lead, moving like the chug chugs of a locomotive, the six remaining “train cars” represent the entire population of the newly named Greer Garson Dance Company. Introducing freshmen Marielle Garcia, Brittany Kriechbaumer, Marisa Melito, Stephanie Martinez, returning sophomore Alex Chavez and transfer junior Mikyla Hutwohl. In their first rehearsal, this small but mighty group of young women already share an excitement for the coming year.  Events span from site-specific installations to the annual Winter and Spring Recital in Greer Garson Theater.  “It’s great because we get to help build everything,” freshman Melito says.  Like her dance teacher Shannon Elliot, Melito grew up a military brat, moving from place to place. Beside her, Stephanie Martinez, previous resident of Portland, Ore., nods her head and adds that because the department “doesn’t have their ways set” it becomes more open to them. When as a group they’re asked what they hope to gain in the future, one shouts, “maybe some boys!” At the front of Garson dance studio, Shannon Elliot conducts rehearsal with charismatic poise, giving notes and welcoming ideas. She mimics the stance of a train. The movement is comedically rigid. “It should look like a racket wrench,” Elliot says. Luckily for the seven dance majors, their director Shannon Elliot, also the assistant chair of the Performing Arts Department, comes from a long career of professional dance and performance administration. With Hubbard Street, Canadian Dance Assembly, National Dance Institute of New Mexico and Moving People Dance Santa Fe under her belt, Elliot’s administrative career now includes five years as part time and full time staff at SFAUD. Today, the vibrant Elliot enters Greer Garson with dozens of ideas for her 2013-2014 school year. Working her black leggings, patterned skirt, pink shirt and wicked jazz shoes, Elliot demonstrates the shapes and sounds of her upcoming dance, the first official project of the department. The dance, Elliot explains, is meant for Santa Fe’s upcoming 3rd Annual AHA Festival of Progressive Arts, which she pitched as a perfect location for her students to move within “structures that currently exist.” The dancer’s stage? The inactive train tracks! The Festival, a community-sponsored event featuring local artists, takes place in and around the Railyard this year on Sept. 15. The event is one of many that Elliot, with her co-workers Layla Amis, Jonathan Guise, and John Kloss, hope to utilize in their pursuits of a dance curriculum. Along with scheduled rehearsals, classes this year include ballet three times a week, modern twice a week, and a tap taught by returning rhythm tapper John Kloss. “We’re a small entity now,” Elliot says, reflecting her seven brave majors. “But as we grow I think it will be a really interesting addition to the [artistic] mix.” She adds that because these students are pursuing dance as a career, the level of professionalism is “going to have a very positive impact, not just within the Performing Arts Department but all over campus.” John Weckesser, chair of the Performing Arts Department, says that the opportunity to create the major was “natural” because dance belongs with the performing arts. In the future he hopes to include additional dance space on campus so the program can become “as elevated as the Theater Department.” The staff has additionally booked two guest artists to choreograph for the future Winter and Spring recitals. Choreographer and ballet teacher Kelsey Paschich will set a contemporary dance to classical music and Jamie Duggan will workshop an Afro House Fusion piece, a mix of old school hip hop and African dance. Other events include a performance installation at SFUAD’s Outdoor Vision Fest and a Summer Collaboration Intensive...