The Khambatta Dance Company Director Shares Desires for Cross-Cultural Connectivity
Cyrus shares that the experience of two cultures coming together is important to him, as his father is Indian and his mother is white, making him a product of cross-cultural connection himself. Throughout their personal lives and careers, Cyrus’ parents have experienced and fought against racial discrimination. From witnessing his parents’ own experiences, as well as navigating the societal challenges of having a biracial identity, Cyrus has been inspired to elevate and celebrate diversity through dance as a means to heal the damages that injustices like racism have caused. “[It] inspires me when I see different cultures coming together,” Cyrus expresses, sharing that his primary desire is to bring unity through understanding in his work at Khambatta Dance Company and beyond.
Cyrus Khambatta On His Vision for a Networked Future
Name pronunciation: Sai-russ Kahm-baht-ta | Pronouns: he/him
By Madison Huizinga, DWC Blog Contributor
When encapsulated in their communities, with their noses to the grindstone, it can be easy for artists to silo themselves off. While bolstering artistry in one’s community is beneficial, many benefits can also be reaped from looking outside oneself and forming cross-cultural connections. This inclusivity- and community-oriented mindset is one that Cyrus Khambatta carries with him in his work as Executive Artistic Director of Khambatta Dance Company and the Seattle International Dance Festival.
Cyrus was introduced to art and movement at a young age, as his mother worked in theatre education. He took classes at Capitol Hill Arts Workshop in Washington, DC, where he trained early on in acrobatics, tap, and creative movement, among other styles. Cyrus developed a deep interest in physical theatre, specifically the intersection of dance and theatre, which he fostered while attending an alternative school. During his time at New York University, he participated in the Experimental Theater Wing, specifically the dance track, which featured a curriculum largely focused on physicality and self-creation.
With fellow students and peers on the dance track at NYU, Cyrus formed Phffft! Dance Theatre Company, which would later become Khambatta Dance Company. Having participated in largely self-directed educational programs throughout his schooling, Cyrus was confident that starting a company right after college was something he wanted to do. After graduating, the company mainly toured and performed around Europe and the east coast of the United States, including Spoleto Festival USA in Charleston, South Carolina. KDC also took part in a long-term residency in Venezuela for about three years.
After KDC moved to Seattle in 2001, Cyrus realized that dance was not being presented in a lot of venues like it was on the east coast and across Europe. “If [KDC] was going to be here, we would have to create our own environment,” he shares. Cyrus felt deeply inspired by the cross-cultural and cross-organizational connections made at the dance and arts festivals he participated in across different regions; this type of connection is ultimately what inspired the creation of the Seattle International Dance Festival.
Seattle International Dance Festival is a program born out of Khambatta Dance Company, aimed at hosting and inviting domestic and international dance companies to Seattle to present work. Cyrus is a board member and the main curator for SIDF but invites curators for various portions of the festival, such as Gonzaga University Dance Director Suzanne Ostersmith for the Spotlight on Seattle program of SIDF in 2022.
“As an artist, artist presenter, administrator, and company that oversees the festival, we have a great interest in seeing that dance is served in our community,” Cyrus says, speaking on the value of providing the geographically isolated Seattle dance community with a view into different dance scenes around the world.
Cyrus shares that the experience of two cultures coming together is important to him, as his father is Asian Indian and his mother is white, making him a product of cross-cultural connection himself. Throughout their personal lives and careers, Cyrus’ parents have experienced and fought against racial discrimination. From witnessing his parents’ own experiences, as well as navigating the societal challenges of having a biracial identity, Cyrus has been inspired to elevate and celebrate diversity through dance as a means to heal the damage racism has caused. “[It] inspires me when I see different cultures coming together,” Cyrus expresses, sharing that his primary desire is to bring unity through understanding in his work at Khambatta Dance Company and beyond.
Cyrus describes the leadership and creation process within Khambatta Dance Company as “collaborative” across the organization, including its artistic and administrative positions. The dancers all work together to create an abundance of material in a short period of time and the administrative staff comes together to identify areas of need to improve KDC and SIDF. This horizontal leadership format falls in tandem with the values the organization was founded on.
In addition, Cyrus takes pride in KDC’s presentation of split bill performances, as the organization finds value in presenting “a pluralistic view of art” as a way for creators and audiences to reflect on their life experiences and see broader worldviews.
Over the summer, Khambatta Dance Company performed at Blois Dance Festival in Blois, France, and did a two-week residency at Newport Dance Festival with Island Moving Company in Newport, Rhode Island. Along with Khambatta performing its own independent pieces, dancers from KDC and Island Moving Company got the opportunity to dance together in a piece choreographed by Cyrus for both companies.
In October 2022, Khambatta Dance Company is headed to Busan and Iksan, South Korea to perform. KDC has a partnership with a dance festival in South Korea and plans on working to bring artists back and forth between South Korea and the United States.
“We are looking at creating an international and national network where Seattle artists could tour some of the places that we have created relationships,” Cyrus says of the future of SIDF. He’s greatly interested in creating mechanisms that encourage the global exchange of dancers to better support Seattle artists’ touring funds, allow artists opportunities to expand their own audiences, as well as see art presented across different cultures. In his work, Cyrus appreciates utilizing a model that doesn’t just consider what will benefit one’s own community, but also neighboring communities.
“I’d like to see that artists become the ambassadors for culture, particularly in the United States,” Cyrus says. In addition, he encourages artists to foster their own community-oriented curiosity and turn their eyes toward art that they may think is pushing the envelope. In addition, he believes dancers should embolden themselves to “think a little bigger,” pushing themselves to stop considering how they must fit a pre-existing mold, in spite of the challenges that come along with that.
“I think dance artists really need to think about changing the mold,” Cyrus says.
A Local Dancer On Storytelling and Building Community Through Dance
Alex Ung shares that when people ask about his nationality, he often uses an umbrella term, like sharing that his family is from Laos, rather than diving deeper into his more specific tribal culture of the Tai Dam. “It was just easier,” Alex says. “Immigration Stories” provided Alex with an opportunity to share more about his culture, in an effort to “not let it disappear into history books” and simultaneously help write history. “We’re a small tribal culture that not a whole lot of people know about and so I wanted to bring that to light,” he says of the Tai Dam people.
Alex Ung on Cultural Representation and the Guild’s Plans for 2022
By Madison Huizinga, DWC Blog Editor
Photo by Karya Schanilec
Art has the power to move people in ways unimaginable. Through creating and performing dance works, choreographers and dancers have the power to express their emotions and connect to their cultural backgrounds and local communities. Alex Ung of the Guild Dance Company opens up about sharing his familial and cultural background through dance, bolstering community, and the Guild’s plans for 2022. Be sure to catch the Guild’s show “El Camino” and their performance at the Seattle International Dance Festival in June.
Alex was born and raised in Iowa, where he began dancing in high school in the show choir and competition scene. But Alex shares that his dance career didn’t start until college when he began working with the hip hop club at Iowa State University. “I think that’s where it really hit me that I really love to dance,” he shares.
When Alex moved to the Seattle area, he began teaching hip hop at a dance studio on Bainbridge Island, where he worked for over a decade. He eventually broadened his scope into jazz, contemporary jazz, and contemporary ballet styles, and also began directing the competition dance team. Alex has worked with other dance studios and companies in the Seattle area, including Jeroba Dance.
Alex says that dance has stuck with him largely because he has a tough time expressing his emotions and thoughts through words. “I feel like I can do it a bit better with my body [and] with my movement style,” he says of emoting. Having earned a degree in engineering, Alex also shares that he has an appreciation for the aesthetics of lines and shapes in dance and witnessing the physical challenges that the body can endure. He loves the feeling of doing something physical that he didn’t think he could do and surprising himself.
In 2018, Alex founded the Guild Dance Company after taking a break from teaching. He shares that he had missed creating dance and wanted to jump back into the choreographic world to tell his own stories in his own style, as well as learn from other dancers. “I thought building my own dance company would be a good way to do that,” Alex says, sharing that the Guild has become a place for dancers to build each other up.
“For me, the Guild is about the community and learning and experiencing each other,” Alex says. He loves being able to express himself and be vulnerable alongside the rest of the company dancers.
In 2019, the Guild Dance Company performed “Immigration Stories,” a show inspired by Alex’s family’s experience immigrating to the United States from Laos. Following high school, Alex and many of his relatives that were his age felt like their traditional culture was dying, as many of them were not making efforts to learn their family’s language or carry out traditional cultural activities. “It felt sad to me,” Alex shares. “I wanted to create a work that could help people understand where my family was coming from, where we came from in the past, and where we are right now.”
Alex shares that when people ask about his nationality, he often uses an umbrella term, like sharing that his family is from Laos, rather than diving deeper into his more specific tribal culture of the Tai Dam. “It was just easier,” Alex says. “Immigration Stories” provided Alex with an opportunity to share more about his culture, in an effort to “not let it disappear into history books” and simultaneously help write history. “We’re a small tribal culture that not a whole lot of people know about and so I wanted to bring that to light,” he says of the Tai Dam people.
Through interviewing his family and others, Alex realized how fortunate he is to be doing what he loves as a result of the sacrifices and risks his family made. He also learned that people from different cultures shared similar immigration experiences, which sparked inspiration. He found it so meaningful to find that people aren’t alone in their challenges and that community can be an invaluable form of support.
Amid the rise of hate crimes against Asian Americans during the COVID-19 pandemic, Alex reflected on the racism he and his family had experienced in Seattle and elsewhere and felt angry. “I wanted to express my frustration and my experience with what was going on,” he says. So Alex brought together a group of dancers of color to create a video surrounding the theme of “Stop the Hate, Stop the Injustice.” An important co-producer in the process was local artist Alicia Mullikin, a first-generation Mexican American dance artist, educator, and community organizer. Alex shares that the project was a way for community members from various cultural backgrounds to come together and express their feelings of frustration and hurt regarding the rising hate crimes and common struggles they experienced.
Photo by Stuart Murtland
In the dance community, Alex hopes to see more dancers supporting one another, specifically by attending one another’s shows. “We’re all in the same bubble,” Alex shares, pointing to how Seattle-based dancers all face similar challenges, particularly finding funding to create work.
Moving into the next year, the Guild is planning to put on “El Camino,” a music and dance production made in collaboration with the Tudor Choir inspired by the pilgrims that traveled on the iconic Camino de Santiago. Alex drew inspiration for the production after walking on the trail himself, and undergoing what he describes as a “life-changing experience.” He was enamored by the people he met and the towns he passed through, learning about the different intentions of people embarking on the journey. Stay tuned to the Guild Dance Company’s website for more information about show dates!
The Guild Dance Company also plans to perform in the 2022 Seattle International Dance Festival this June, tickets are available here.
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Getting to Know DWC Staff Member Ethan Rome
If you would have told Ethan Rome before college that he would have a career in dance, he likely would have been a bit confused. What started as dabbling in his college’s breakdancing club has become an integral part of the dancer, choreographer, and DWC Director of Marketing’s life. From performing around the world to co-founding his own dance companies to overseeing Dancewear Center’s image, Ethan has acquired rich experience in the dance industry and plays a crucial role on the DWC team. Read on to learn more about how he got here.
Photo by Catlyn Griswell
Ethan Rome is a dancer, teacher, and choreographer in Seattle, Washington. He graduated from the University of Iowa with degrees in Dance, Psychology, and Entrepreneurial Management. From there he trained at Jacob’s Pillow Dance Festival and then relocated to Seattle.
He has danced professionally for the Khambatta Dance Company, the Seattle Opera, and his own companies: Forthun+Rome Dance Theater and Trillium Dance Collective. Ethan has performed and taught around the world including in Puerto Rico, Lithuania, India, Mexico, and Brazil.
Ethan has choreographed original works for the Seattle International Dance Festival, the University of Iowa, Gonzaga University, Ballet Chelsea, the Khambatta Dance Company, Price Arts N.E.W., Intrepidus Dance, and multiple pieces for his own companies. He has also received the Bridge Project residency and the James Ray Residency.
His choreography often explores psychological and philosophical concepts, as well as his Korean heritage. Ethan uses his background in hip-hop and martial arts to influence his contemporary movement.
If you would have told Ethan Rome before college that he would have a career in dance, he likely would have been a bit confused. What started as dabbling in his college’s breakdancing club has become an integral part of the dancer, choreographer, and DWC Director of Marketing’s life. From performing around the world to co-founding his own dance companies to overseeing Dancewear Center’s image, Ethan has acquired rich experience in the dance industry and plays a crucial role on the DWC team. Read on to learn more about how he got here.
When Ethan first began college in Iowa, he was intending on studying psychology to become a therapist. Nevertheless, he decided to explore some other areas of interest and ended up walking into his school’s breakdancing club. He started dancing with the club members and made some friends. During his second semester, some of Ethan’s breaking friends wanted to take a modern class for fun and Ethan decided to join them. “I thought, ‘Oh wow, this is pretty cool’ and so I decided to take the next class, and the next class after that…” he recalls, until finally he decided to pursue a double major in psychology and dance. He also achieved a Certificate in Entrepreneurial Management during his time in school.
After college, Ethan went to Jacob’s Pillow, home of one of the most prestigious dance festivals in the nation, for the summer in Massachusetts. “It was really awesome to be able to see all of the different professional companies that came in,” Ethan says. Attending the festival helped him redefine what he considered “contemporary dance” to be.
During his time at The Pillow, Ethan began sending out dance reels, which is how he got connected with Cyrus Khambatta of Khambatta Dance Company in Seattle, WA. Ethan moved to Seattle to dance with Cyrus and got the opportunity to tour all around the world, including India, Lithuania, Mexico, and Brazil. “It was really amazing to be able to travel to different places and see the differences in dance as well as the similarities,” Ethan reminisces.
Ethan eventually left Khambatta Dance Company to begin his own company with CarliAnn Forthun known as Forthun+Rome Dance Theater. The company performed throughout Seattle at various festivals and even traveled to Gonzaga University for a choreographic and performance residency.
Before the pandemic, Forthun+Rome Dance Theater disbanded and the chaos of COVID-19 quickly followed. However, through the pandemic, Ethan joined local dancers Catlyn Griswell and Melissa Krienke to dance together and make videos for fun. Soon, they realized that not only were they enjoying dancing together, but what they were producing was interesting to all of them. Trillium Dance Collective, a dance organization founded by the three dancers, was born. Trillium Dance Collective has performed at the Seattle International Dance Festival, makes various videos and films, and focuses on bringing unique outside elements into its dance and art creations, such as stainless steel cubes made by artist De Carbón Azul.
Photo by Catlyn Griswell
Ethan first began doing graphic design projects for Dancewear Center, such as creating the store logo, but recently he’s become the store’s director of marketing. “Essentially, that means that I am in charge of the image overall and how we can connect with people. I look at marketing as a tool for us to bring positivity to the people that want our stuff, our connection, our services, [and] our products,” he shares.
Ethan enjoys the flexibility that his role offers, as it allows him to pursue a lot of different avenues within the art world. He loves working on graphic design projects, planning out the big picture of the store, and getting to work in a positive environment. “The store, everything about Dancewear Center, [is] true to its values,” says Ethan. “It’s really good knowing that this is a place with integrity.”
As a dancer and choreographer, a change that Ethan hopes to see happen in the larger dance world is more funding for smaller companies. He believes that the insufficient funds allocated to the arts can “hinder a lot of people” and “stop a lot of dancers from even the thought of pursuing dance [professionally].” “If you are someone that likes to donate and has the capacity to do that, consider donating to smaller local companies and dancers...and if you are someone who just enjoys the art or enjoys dance, go and see a show,” he encourages.
From the wealth of knowledge he’s obtained from his dance experiences to his commitment to creating sincere art in various forms, Dancewear Center is thrilled to have the dynamic Ethan Rome as a part of the DWC staff!
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