Dana Lawton
Having known Cathy since 1998 as a colleague, collaborator, dancer in her work, and dear friend, I experienced her 30th Anniversary Concert at ODC Theater as both a personal and artistic homecoming. Over the decades, we have built programs, raised families, performed together, and served as sounding boards for each other’s choreographic processes. To witness this milestone was to see the culmination of a lifetime dedicated to artistic integrity, Chicana identity, and deep community.
What struck me most was the intimacy of the evening. Cathy’s narration between pieces offered a rare glimpse into her inspiration and process. Her storytelling was eloquent, expressive, and charming, giving context that allowed the audience to connect with each dance on a deeply personal level. Themes of joy, empowerment, chocolate, and family wove through the evening like a ribbon of shared history.
Part One: Dances of the Past Dances of the Past was a joyous reflection of Cathy’s creative journey, like visiting old friends who have grown and deepened over time. It was an act of remembering, not with nostalgia, but with reverence for the artistic voice she has built through movement motifs, musical choices, and her unmistakable choreographic aesthetic.
“Return” (1996)
Dancer: Rogelio Lopez | Music: “Volver/Volver” by Vicente Fernández
Seeing this piece again was like revisiting a classic poem that never loses its potency. I first saw it when Cathy danced it herself, and watching Rogelio Lopez embody the lovelorn cowboy brought fresh intensity to the work. His physicality was commanding, and his performance exuded longing, vulnerability, and pride, a powerful reinterpretation of a beloved dance.
“Queen/Goddess/Bruja” (2012)
Dancer: Shaunna Vella | Music: “La Llorona” as interpreted by Javier Trujillo
Shaunna’s performance was radiant, a fusion of strength and sensuality that encapsulated the theme of female empowerment from within. Her regal bearing and fluidity reminded me of Cathy’s enduring exploration of feminine power, intuition, and transformation. The dance was a declaration of agency and grace.
“Chicana Daughter” (2019)
Dancer and Text: CatherineMarie Davalos
For me, this was the highlight of the evening. Cathy’s blend of movement and spoken word was profoundly moving, a personal excavation of identity, lineage, and resilience. As she traced her journey from granddaughter to artist, from brown-skinned girl to confident choreographer, her truth resonated deeply. It was a portrait of self-love and empowerment that brought many in the audience, myself included, to tears.
Part Two: Milpa Season Inspired by the Oaxacan saying “Esos sabores que nos evocan recuerdos, son los que nos dan vida” (“Those flavors that evoke memories are what give us life”), Milpa Season celebrated nourishment of the body, the land, and the creative spirit. This section was a lush continuation of Cathy’s exploration of Mexican heritage, musicality, and community through dance. It was especially heartwarming to see so many Saint Mary’s College dancers, past and present, embody her vision.
“Chiles: The Appetizer”
Choreographer: Micah Sallid | Performers: Micah Sallid and Emilio Davalos
This duet was electric, an interplay of rhythm and energy between tap and drum. Micah and Emilio’s rapport crackled with precision and joy, showcasing both technical mastery and playful camaraderie. It was the perfect appetizer, awakening the audience’s senses for what was to come.
“The Sacred: Cacao”
Opening Invitation Dancer: Javier Stell-Fresquez | Trio Dancers: Catalina O’Connor, Nina Palada, Micah Sallid | Music: “Se Me Van Los Pies” by Juan Medrano Cotito and an original composition by Emilio Davalos
While beautifully conceived and performed with sincerity, this piece felt overextended. The dancers were lovely, though not evenly matched in technique, and the multiple false endings diluted its impact. Cathy’s love of chocolate came through unmistakably, yet the narrative thread was harder to follow. Still, its lushness and earthy palette reflected her passion for both flavor and movement.
“Tres Hermanas: Corn, Beans, and Squash”
Music: Original composition by Ayla Davila | Deity and Protection Dancer: Javier Stell-Fresquez | Corn Sibling Dancers: Lu Price and Micah Sallid | Bean Sibling Dancers: Citlali Gallo and Catalina O’Connor | Squash Sibling Dancers: Gwen Benitez and Eli Zepeda
This was a triumph of ensemble work, joyous, textured, and full of life. Dancers embodied the holy trinity of the milpa with grace and exuberance. The Corn Goddess’s entrance set a reverent tone that blossomed into a full celebration of community and interdependence. Cathy’s costume design was particularly inspired, the corn husk skirt, rustling with each movement, added a tactile layer of authenticity. As the dancers swirled and smiled, the stage became a living garden, rooted, radiant, and generous.
Closing Reflection
CatherineMarie Davalos’ 30th Anniversary Concert was more than a performance; it was a living archive of artistry, identity, and love. Through humor, honesty, and heart, she reminded us that dance is both legacy and lifeblood. The evening honored her role as choreographer, teacher, mother, and friend, a woman who has created not only dances but a thriving community.
As I watched Cathy on stage, surrounded by generations of dancers, I felt immense pride and gratitude. Her artistry continues to inspire me and countless others to move with courage, compassion, and joy. Thirty years of Davalos Dance Company, thirty years of devotion, culture, and chocolate. What a gift to us all.
Dana Lawton is the Artistic Director of Dana Lawton Dances (DLD), founded in 2007, in addition to being a tenured faculty member at Saint Mary’s College in the Performing Arts Department, a faculty member at Shawl-Anderson Dance Center and Co-Director of the Enchanted Ridge Dance Retreat.
Davalos Dance Celebrates 30 Years was originally published in ODC.dance.stories on Medium, where people are continuing the conversation by highlighting and responding to this story.