![Ashley Morton and Willow Swanson perform the opening carry of 'Ozymandias' choreographed by Samuel Hobbs, premiered at the Union PDX festival in Portland, OR at the Hampton Opera Center.](https://pushfold.org/assets/images/choreography/ozymandias/push-FOLD-Ozymandias-Ashley-Willow-Opening-Hold-PC-Samuel-Hobbs-2880x1920.jpg)
![Ashley Morton and Willow Swanson perform the opening carry of 'Ozymandias' choreographed by Samuel Hobbs, premiered at the Union PDX festival in Portland, OR at the Hampton Opera Center.](https://pushfold.org/assets/images/choreography/ozymandias/push-FOLD-Ozymandias-Ashley-Willow-Opening-Hold-PC-Samuel-Hobbs-2880x1920.jpg)
A haunting recording bookends this work—the hopeful mating call of the last Kaua’i ‘o’o Bird. For two years the lulls in his call search for a female response that never comes. Tragically, the recording of its own call was played back to the lonely bird, who mistakes it for a potential mate. He sang for a few more days after this recording before succumbing to extinction, marking the end of the Kaua’i ‘o’o species.
Beginning with a powerful, earthy, and heartfelt solo and a haunting opening visage, 'Ozymandias' grapples with the relentless erosion of self, particularly as it relates to heritage and community.
13 minutes
Solemn to Upbeat, Powerful, Visage, Pensive
Floorwork, Post-Contemporary Movement & Partnering
Latiné vocals, upbeat Cumbia style, recording of the last Kaua’i ‘o’o Bird
Long flowing dresses and stylized pedestrian clothing
Proscenium Theatre, Black-box, Non-Traditional Spaces