Featured Image: Members of the University of Tennessee at Martin Dance Ensemble perform during “Flight Patterns” on April 17, 2026, at 7 p.m. in the Harriet Fulton Theatre. (Photo Credit / Emma Doster)

The University of Tennessee at Martin’s Dance Ensemble held a dance production at the Harriet Fulton Theatre April 16 and April 17, 2026. Doors opened at 6:30 p.m. and the performance started around 7 p.m. 

Under the direction of the director of dance ensemble and assistant professor of dance J.C. Burnett-Gorden, the performance consisted of thirteen parts with a 10-minute intermission after the first six. 

The first performance, “Skyhawk Airlines: Now Boarding” served as an introduction to the show with performers dressed as pilots and stewardesses, accompanied by our very own Captain Skyhawk with Beyonce’s “Set to Lift Off” playing in the background. Starting with an airplane-like theatre introduction reminding us to silence our phones and reminding us where the exits are, giving in and creating the atmosphere for what the first dance was to bring. The dances channel and transform the stage into a runway, with the dancers embodying the essence of taking off. 

The second set, “Second Star to the Right,” was a fairy-like wonder, with the dancer in her full woodland fairy dress, dancing with pure grace and beauty as a fairy’s flight with “The Second Star to the Right” by Sam Yung enveloping the stage. Though it was short, it was very impactful.

The third display, “Taking Wings to the Stars,” was a very short duet with the dancers following each other’s movements across the stage. The dancers following each other and not leaving their sides show a sense of being themselves and trusting that no matter what they will get to their destination. 

The fourth performance, “My Darling Darlings: A Letter to Neverland,” had “Lost Boy” by Ruth B. playing and the three dancers dressed as children embodying Wendy, John and Michael from “Peter Pan.” This portraying the wonder of childhood and loss of innocence, the work reflects a goodbye to youth, wishing to carry the magic of Neverland with them.

The fifth performance, “Four Women,” included “Four Women” covered by Gabby Samone, channeling the strong pride and strength of Black women. The performer solidifies that fact by her strong and bold dance, showing she has embraced herself for who she rightfully is. 

The sixth performance, “Assembling…(Part I),” was a longer performance that led into the intermission. This performance consisted of a multitude of dancers rushing around the stage in a neat pattern symmetry. A bunch of erratic dances slowly thrown in, adding unpredictability that forms into equality, as they get back into this runway-like motion. 

The seventh performance, “Dance of the Little Swans” started after the intermission with “Dance of the Cygnets” by Pyotr Ilyich Tchaikovsky. Its ensemble included four dancers dressed in light blue ballet dresses gliding across the stage, gracefully and beautifully like swans gelding upon the lake.

The eighth performance, “Blinded Gravity,” had “Hostage” by Billie Eilish with the performers all blindfolded, representing the feelings of loneliness and being disconnected from reality. Then removing their blindfold and realizing the support that is actually around them.

The ninth set, “Swan Lake Pas de Trois Variation 1,” had the music of the same name by Pyotr Ilyich Tchaikovsky, the dance consisted of a similar blue dress from the other performance, but a solo. The dancer flew around the stage and all attention was seemingly drawn to her elegance.

The tenth display, “Morse Tap,” was performed with four dancers, three with tap shoes and one backstage on the ground in agony. The three tap dancers tapped out morse code for many ways to beg for help. Then tap dancing a story of anticipation as the person in the back’s agony is recognized. 

The eleventh showcase, “Throne Room,” played “Throne Room” by Charity Gayle which is a very happy and outgoing song that is rightfully portrayed by the dance accompanying it.

The twelfth performance, “Free Bird,” is accompanied by “Free Bird” by Lynyrd Skynyrd with the dancer using batons with lights on them as they twirl the batons along with the rhythm and light up the stage. 

The thirteenth and final performance, “…Tomorrow (Part II),” is a continuation of the sixth performance “Assembling… (Part I).” Dancers move through the stage in moments of disorientation, reflection and reorientation. They move in circles in many attempts to reorganize. 

When asked about why they wanted to go with the themes of the dances the director J.C. Burnett-Gordon states he wanted to symbolize different ways of flying, gliding etc. 

“Not everybody’s path is the same,” Gordon said.

Then when asked what was his favorite part of the ensembles performance he states he enjoyed the tryouts, and that he, “liked seeing them go from start to finish, succeeding.”

Overall, “Flight Patterns” was an enjoyable experience and was noteworthy for being an excellent show. The audience was always captivated by the dances and during the intermission and ending overheard stating how much they enjoyed the performances. The performance was a success for the ensemble.