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‘Continuum’ continues eXpressions’ legacy

Three dancers in blue dresses do a turn on one leg.
Dancers on stage, performing in the eXpressions show "Continuum."
Courtesy of Jules Oreste Mpano '26

From March 21 to 23, eXpressions Dance Company presented their show “Continuum” in Frist Theater. “Continuum” tells the story of growing up while navigating heartache, new experiences, and homesickness. To quote the event’s program, “Continuum” is “a story told through movement, where every step echoes the one before, and every leap propels [the story] forward.” It was a beautifully-told story, indeed. 

The dancers took to the stage for the opening piece to Taylor Swift’s “Wonderland” dressed in sky-blue slips and button-down shirts. The costume’s color not only paid homage to the protagonist of the alluded story, Lewis Caroll’s “Alice’s Adventures in Wonderland,” but also to the color scheme of Swift’s “1989” album. The attention to detail reflected in costume choice was only one of the many impressive features of this performance. Sarah Joo GS was behind the group’s choreography, which was composed of elegant leaps and powerful pirouettes, wonderfully executed by the dancers. It perfectly embodied both the wonders and fears of falling in love, a significant event that many encounter while growing up. A different piece later on in the show, “Curiouser & Curiouser,” set to Jefferson Airplane’s “White Rabbit,” also contained various references to Caroll’s work, particularly to the peculiarities and marvels within Wonderland, exemplified by experimental tap elements. The singularity of the dance demonstrated one’s search for individuality while growing up, and the ability to make something incredible out of it once that individuality is found. 


The second piece, “Foregone Creed” offered an unexpected, but highly enjoyable transition from the first. The piece delved into a more hip-hop-like style from eXpressions’ contemporary techniques, incorporating k-pop and modern elements. A later piece, “Hot Shots” also possessed similar hip-hop-like variations, although it could be more specifically categorized as a jazz-funk piece. It was accompanied by bright lighting and similar costumery, sporting eXpressions’ signature hot pink. Choreographer Kate Stewart ’25 said she got inspiration for her piece while studying abroad in London last semester, and “was really trying to see how [she] could marry some more jazzier club-style dance moves with contemporary and more technical ballet moves because I know that’s what the majority of the company is trained in.” 

Further contemporary pieces entrancingly illustrated the complexities of growing up. “The Deal” by Mitski opened with a solo, which later transitioned into a duet, before introducing the remaining five dancers performing in the piece. The song speaks on how overwhelming emotions can lead to desperation and the desire to be stripped of a soul in order to avoid sorrow. The dancers demonstrated this desperation, particularly through a sequence in which they hit the floor with their hands, creating a noise reverberating through the Frist Theater that filled the audience with suspense for the impending “deal” to be made.

Desperation is a theme also explored in a piece by Madeline Rohde ’27: “Rusted Blood.” Rather than wanting to be stripped of emotion, the dance encapsulates a necessity to feel more. The dance begins with the performers running anxiously from one side of the stage to the other, instilling a sense of urgency among the audience. In between sprints, the dancers, clothed in maroon and brown body suits that cleverly align with the piece’s title, showcase several skills before congregating as a group in a sequence. The performers’ technique is exceptional, but their facial expressions and body language are especially impressive, flawlessly conveying the need for emotional sustenance.

Rodhe is a Puzzles and Print Design staffer at the ‘Prince.’

Other pieces, such as “Another Love” also illustrate a battle between emotions, while “I’m Just a Girl” to Lizzy McAlpine’s “Over-The-Ocean Call” speaks on confusion and frustration. A particularly emotive part of the dance consisted of three dancers dragging other dancers across the floor. Co-choreographer Sofia Rodriguez-Tucker ’27 told the 'Prince', “it was really interesting to push the boundaries of what I would usually choreograph.” 

Suitable to the theme of growing up, the evening included a bitter-sweet video montage dedicated to the seniors of eXpressions. It is very clear that the dance company fosters a sense of community, one that is a privilege to be a part of. The videos highlighted just how much seniors Katerina Kourpas ’24, Sydney Mullin ’24, Chris Park ’24, and Campbell Schouten ’24 will be missed by the group. Their exceptional talent was a highlight of the performance and their energy filled the room. They said their goodbyes in the form of one of the concluding pieces to Phillip Phillip’s “Home,” a heartwarming compilation of their phenomenal skills.


The final piece perfectly concluded the journey of growth developed throughout the evening. As soon as the first note of Noah Kahan’s “The View Between Villages” played, I wished I had taken a closer look at the program beforehand to give myself ample time to emotionally prepare for the powerful resonance of the piece. Titled “Used to be Home,” the piece captured the experience of being caught between phases of life while being flooded with memories of home. 

Natalia Diaz is a member of the Class of 2027 and a contributing writer for The Prospect at the ‘Prince.’ She can be reached at

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