Photos by Ava London
“The third place,” as conceptualized by sociologists, has come to refer to social surroundings distinct from our primary and secondary social environments: the home and workplace. Cafés, gyms, libraries, parks, theaters…may come to mind. “The Third Place” also happens to be the thesis of 2025’s WACsmash; what UCLA’s World Arts and Cultures/Dance students have achieved then, is a sort of double perspective in which Gloria Kaufman’s Dance Theater, itself a third place, becomes a vessel for embodied performances of third spaces. Connectivity, community, and identity stand as pillars for WACsmash 2025’s incredible cast of choreographers and creatives, whose corporeal medium is vested in the unspoken. The perception of movement then becomes a universal, language-less modality for resistance and revelation, grounded in the human condition; which brings us back to third spaces.
From the freedom and equality manifested in natural spaces to the uncertainty inherent to evolving virtual spaces, WACsmash 2025 introduced novel perspectives of third spaces through highly specific, intentional choreographed movements. Where this year’s show really distinguished itself though, was in the sporadic use of live musical accompaniments. Immersive on their own, the effects elicited by a delicate piano jangling or a frenzied saxophone scream were exacerbated by choreography tailored just so; to amplify and to personify that which is typically relegated to sonic territory. The artistry displayed in the roughly two hour performance was so intensely original, stories conveyed so acutely, I left Kaufman theater battling with the profound hollowness of having witnessed greatness from the outside, the elation of one basking in the irrefutable achievements of one’s peers. No genre left untouched, WACsmash 2025 was a celebration of a talented student body left unchecked, of the immense creativity artists exercise when given total freedom to create.
Below you will find images captured during WACsmash 2025, accompanied by the descriptions of the pieces presented, as authored by their choreographers.
3 Days – Sakura Amano
“‘3 Days’ focuses primarily on the aspect of the ‘third space’ serving as a community that exists outside of work and capitalist structures. Specifically, it explores how the erasure of authentic third spaces can occur when a society becomes excessively consumed by a ‘hustle culture’ of constant advancement. Inspired by the fracture of work-life balance infamously observed in Japanese society, and further how it has infiltrated its post-work third space communities such as nightlife, ‘3 Days’ delves into the paradox of spaces meant for liberation and social interaction, but ultimately hollowed out by the inescapable pressures of capitalist demand.”
Cypher – Nissrine Elasraoui
“‘Cypher’ is a Hip Hop piece about the different worlds and experiences that people bring into streetdance and how the complexities and simplicities of life impact the energy a dancer emulates when freestyling. The piece dives into the idea of a cypher being both a way to escape and express the highs and lows of life while also being able to connect and exchange with others not only through movement, but mindset as well.”
In This We Know – Kennedy Silva-Costa
“‘In This We Know’ is a contemporary dance exploration of the delicate tension between passion and practicality, where the choice to pursue art in a world that increasingly undervalues it becomes both a radical and vulnerable act. The piece delves into the emotional struggle that artists face when torn between following their love for creation–despite its uncertain future–and seeking stability in a more financially secure path. Within this tension, the dance also explores how the act of creating art itself becomes the artist’s ‘third place’–a space outside of the demands of both society and personal life, where they can exist freely, unbound by expectations. Here, in the movement of creation, the artist finds both sanctuary and challenge, navigating their own journey of self-expression, community, and identity.”
Bloomings – Lilian Catania Rubio and Reyna Hernández-Roque
“‘Bloomings’ is an introspective dive into the third space, which is actually not a physical space at all. The third space is people and emotion. It is the internalized space of moving bodies made external in an environment unbound by walls, where vibrations are high and music moves. While influenced by foundations in West African dance, street dance, and Latin American social dances, ‘Bloomings’ is not meant to be classified. Instead, take it as an offering to experience what resonates with the third space within you.”
Alive Again – Quinn Wynacht
“‘Alive Again’ is a dance film that explores the healing and transformative power of nature, and the many ways it brings people together. The Earth sustains us on more than just a physical level. Its beauty, tranquility, and timelessness offer a universal sense of connection, an experience that transcends difference. In a world where so many spaces are governed by access and privilege, nature remains one of the few sanctuaries open to all who can find it. Through the interplay of captivating natural landscapes and movement inspired by the earth’s organic rhythms, the film invites viewers to be transported into movements of serenity and connection. It seeks to express the experience of leaving behind stress and being embraced by the peace that nature offers.”
Cinematography by Emilio Vazquez Reyes | Coloring: Jason Hernandez
Roots – Sarina Premi
“‘Roots’ explores the excitement, confidence and community women gain when they go to the hair salon. While there is a physical change that allows women to leave with confidence, the internal confidence gained through the time shared connecting with other women is what is most long lasting. The roots run deep as different generations come together for this shared experience where advice is passed down, stories are told, and real connections are made. The music, from different eras, reflects how the hair salon is both a tradition for women that is passed down, as well as a place for women of all ages, races, socioeconomic statuses, etc. to come together and support and uplift each other in anything they are going through. ‘Roots’ is a celebration of womanhood, a place to be your true self, and leading and moving with confidence with strong women by your side.”
The Turing Test – Elena Bruce
“‘The Turing Test’ introduces online spaces including video games and chat rooms that many people in modern times use as a third space community. Today, almost all virtual platforms have some type of Artificial Intelligence presence. As AI technology rapidly evolves to AGI, will we be able to tell the difference between humans, cyborgs, robots and AI? Will AI learn human emotions and behaviors? Or will humans become cyborgs…”
the space in between – Simon Chernow
“‘the space in between,’ set in a hotel lobby, explores the perception and complexities of the Third Space. The driving focus behind this piece explores how shared environments can both bring people together and also push them farther apart. In the context of a hotel lobby, there are many people that exist in this space at the same time, but the dynamics between them are often overlooked. This work does not aim to fight this tension, but rather embrace and acknowledge it. All musical compositions are original, created and produced by the choreographer, Simon Chernow.”
Sparrow – Aysha Cunningham
“Similar to the widespread diaspora of ethnically Chinese peoples, Mahjong has crossed cultural and national boundaries to become a game that is enjoyed in most parts of the world. For my family in particular, mahjong was a mechanism to maintain community and a sense of cultural identity when my grandparents immigrated from China to Malaysia. It is said that the game was originally called ‘máquè (sparrow), and this bird imagery can be seen in both the design of the tiles and the clacking sound they make when shuffled at the start of the game. This piece explores how mahjong can be a vehicle for building community and finding a home away from home. It brings the game to life onstage through formations and choreography, drawing from the aesthetics, symbolism, and competitive nature of the game.”
After Hours – Zoe McKay
“‘After Hours’ invites you into the smoky allure of a classic jazz club, where the rhythm of the music and the energy of the dance floor intertwine. Through a fusion of styles, the dancers channel the spirit of jazz, using their bodies as instruments. ‘After Hours’ portrays a captivating dialogue between bodies and sound, echoing the vibrant call-and-response dynamics of jazz musicians. Ultimately, this piece celebrates the timeless joy of dancing together, inviting you to lose yourself in the music.”
Dystopia – Rhea Gill, Jae Hall, Lazayah Lannigan
“Guided by the internal struggle many dancers face, our piece explores the divide between the commercial dance industry and the street dance community. Set in a dystopian world, dancers are assigned to either the industry or street dance factions who hold conflict and tension between one another. However, the two are rooted in resistance to make a resolution with the creation of a unified state–or a ‘third place in the context of this show—where both sides can authentically express themselves.”
The Story I’ll Tell – Sydney Richardson
“A work-in-progress that discovers the power and intentionality of testimony. Everyone has a testimony; something they thought they wouldn’t come back from or wouldn’t survive. Yet through the storm, there was light. We share our stories, we bloom, we overcome.”
Latidos de Nuestras Tierras – Aranza Lara Arizpe
“This piece explores how people’s connections to cities or town have shaped them–whether through living in these places, visiting them occasionally, or maintaining a cultural link through ancestral ties. Having migrated from Mexico City to Washington, DC at the age of 10, I’ve often reflected on how my bicultural experience has shaped my relationship with third places. Over time, as I’ve spent my life between the U.S. and Mexico, my connection to Mexico City has been transformed. It is no longer just my birthplace but has evolved into my third place–a space where cultural roots, family ties, memories, and identity converge. Throughout this choreographic process, I worked with my cast members to reflect on their respective cities or towns in a similar way, considering how these places have informed their own identities.”
My Disco Ain’t Dead – Myles Mawa
“‘My Disco Ain’t Dead’ is a love letter to, antithetically, a dead genre of music and club theme. Examining ‘The Disco’ in the 70s, this piece plays on the feelings of empowerment, self-love, ecstasy, and sensuality that enveloped the Black and Brown Queer communities when they stepped foot inside. With choreography featuring the style of Waacking, a style originated by this very community in the same period, ‘My Disco Ain’t Dead’ will hopefully spark joy and nostalgia in you. But most importantly, it will be sparked in the dancers.”
Watch the WACsmash 2025 performance here:
