Ashley David – Page 7

Choreography & Following Directions

May 8, 2012 by Ashley David

Today we’re continuing our series on choreography, thanks to the dancers from The Dance COLEctive who are choreographing for a show that is coming up in May…

Alaina Murray’s trio is about following directions. “Everything comes with directions: driving, cooking, games, taxes, school, work. What is the outcome of following, or not following, directions? Can not following directions prove to be its own path altogether? Routine movement sequences layered with surprising detours will explore these questions.”

Alaina’s pieces is called “Please read carefully. Here’s more about it…

1. How did you decide on this idea for your piece?

Recently the concept of rules has been a point of interest in my life. I’ve been thinking a lot about how this affects my life and the decisions I make. The initial broader concept of rules seemed to narrow into following directions as I thought about it further. This idea seemed to naturally lend itself to movement, and I was excited to explore it.

2. How did the idea of following/not following directions inform your choreographic process?

We were able to generate movement from very literal directions. We used a bread recipe, directions for changing a tire, and directions for being a good housewife. I wanted to convey the sense of order and repetition that comes from following directions in the structure of the piece. I also asked the dancers to write about their own experiences with following directions early on in the process. I wanted to know if they see themselves as rule followers or not; this was helpful in creating their individual characters for the piece.

3. Do you think that the piece would have been the same if you worked with different dancers? Why or why not?

Absolutely not, the dancers invented most of the movement vocabulary in the rehearsal process. I then was able to piece it all together with the dancers’ writing in mind. The dancers were very creative and thoughtful throughout the process, allowing the dance to unfold naturally. It has been a very collaborative process.

4. Did exploring this idea leave you with any new ideas once the dance was created?

The movement that we generated started to take on a very feminine tone early on. This was not my initial intention, but I went with it. What evolved was a vintage feminine theme that naturally displays the order and uniformity of following directions.

5. What was the most enjoyable part of this process for you and why?

I have loved quirkiness in the piece. It was not my intention, but there are several humorous moments that evolved unexpectedly, and I love them.

BIO: This is Alaina Murray’s seventh season with TDC. Originally from Michigan, she received her BA in Dance from Western Michigan University. Alaina has also worked with Open House Dance Collective as a choreographer, dancer, and teacher for many years. She performed with Inaside Chicago Dance as a guest artist in 2006. Alaina shares her love of dance with little ballerinas every day at A Fairytale Ballet, a children’s ballet and creative movement program. She is the Chicago Regional Director of A Fairytale Ballet and Starbright Dance and manages four studios in the city.

10 Questions With…Erin Carlisle Norton

May 1, 2012 by Ashley David

Today we have 10 questions with…Erin Carlisle Norton, Artistic Director of The Moving Architects…

1. What is your background in dance?

I’m originally from upstate New York and spent my growing up years in Pittsburgh, PA training at the Civic Light Opera Academy before attending VA Commonwealth University to study dance, and graduating from The Ohio State University (OSU) with a BFA in Dance. I’ve had formal training in ballet, jazz, modern, postmodern, and improvisational dance techniques, finding my home in choreography while an undergraduate student. After moving to Chicago after graduation in 2003, I continued to make work while attaining my Pilates Certification and Graduate Laban Certificate in Movement Analysis from Columbia College Chicago. The most influential tools for developing my choreographic ‘style’ and vision as a choreographer developed during this time through the studies of Rudolf Laban and choreographic workshops with Susan Rethorst and Jeanine Durning. I formed my nonprofit dance company The Moving Architects in 2007 when I felt ready to create a more stable framework and formal presence as a choreographer.

SECTOR_Laura_Angela_72 — "The Groove" Andrew Rodderick with dancers Angela Luem and Laure Vinci de Vanegas

2. What are you currently doing?

I am currently Artistic Director of The Moving Architects, choreographing, performing, and teaching nationally and internationally, while also a graduate student pursuing my MFA in Dance at OSU. I have my hands in many projects. I am continuing to collaborate with my longtime musician Ian Hatcher and filmmaker Andrea Slavik while working with dancers in Columbus and Chicago on short-term and long-term dance projects. My choreographic research is taking me around the world in the coming months as I engage in contemporary and traditional global dance practices from the research perspective of dance instructor, choreographer, and film documentarian, teaching and performing in Guatemala with the Tercer Festival Internacional de Danze Antigua and in Morocco with Action Danse 5 Festival. I’m asking questions such as how can contemporary modern dance be shared internationally? How can cross-cultural dance experiences be translated into creative choreographic processes? This year I’ve also had the valuable opportunity to be graduate assistant to choreographer and Professor Bebe Miller.

3. What is your chorographic process typically like? [Read more…]

Choreography: Knowing Where You Belong

April 26, 2012 by Ashley David

Another installment in our series on choreography…we are talking with choreographers from The Dance COLEctive about their process and today we have Shannon McGuire. Her piece focuses on the subjective and intuitive sense of knowing where one belongs. “Is there a sensation or a recognition in a circumstance that one finds the need to exist in a certain place? Is this place geographical, ideological or social?”

1. How did the idea for this piece come about?

The concept of the piece really came from a personal questioning. I spent my childhood in the country of a small town, At the age of twelve I moved with my mom to Chicago. I finished growing up in and out of the city, spending every other weekend with my dad in the country, and school in the city. The lack of being fully grounded in either of the extreme environments caused a confusion that plagued me for years. Each year that passes by I ask myself the challenging question of where I belong or where I need to be.

2. What did you do with the dancers to explore this concept?

I was initially interested in what “belonging” meant to the dancers. There were various responses and we explored the possibilities through conversations and writings. We discussed how we know we are at a place where we belong. The movement came from personal experiences and emotions relating to the topic.

Later I became very interested in the other end of things. When don’t we belong? There was a much more intense response from this. So I began to play with both ideas. I sort of took both sides and figured out how to make that journey from not belonging to finding a place belonging.

3. How did that translate into the choreography?

The dancers generated most of their material from personal experiences and points of views. I asked them to be as intuitive as possible at times when choosing a direction or place in space. There is an obvious change of quality in the dance at different times. I play a lot with the feeling of belonging and not belonging. The structure of the piece directly relates to my personal experience, while the content is very personal to the dancers.

4. What was the biggest challenge for you in doing this piece?

The biggest challenge was finding a medium. I played with both ideas of belonging and not belonging. However, I really wanted to find what happened when both concepts are introduced. How does one find their way to a content place of belonging when feeling out of place for so long? How do they know that they found that place? The answer really came the more we played with the material. I really needed to find the answers through the dance making process.

5. What did you enjoy most about this process?

I most enjoyed the freedom to discover. I really went into the process not knowing the answer to my question. It was a chance for me to really dig in deep to find some resolution. This is my first time exploring a concept that directly relates to me and my experiences. I had help from four beautiful dancers and friends to help me find answers as well as ask more questions. Entering the process without the answers and later seeing the result unfold gave me perspective on my inner conflict.

BIO: Shannon McGuire graduated with a BA in Dance from Columbia College Chicago. While at Columbia, she performed choreography by Twyla Tharp, Paige Cunningham, and Matthew Hollis. Shannon enjoys sharing her knowledge and passion for dance with children at local studios. She was recently a member of MaryAnn McGovern and Dancers and has performed in numerous independent projects and dance showcases throughout Chicago. Shannon is thrilled to be dancing her third season with The Dance COLEctive.

10 Questions With…Emily Zager

April 25, 2012 by Ashley David

Today’s 10 Questions With… features Emily Zager….

1. What is your background in dance?

I grew up studying ballet, tap and jazz since I was 2. In high school, I was an active performer in our dance department and competed on our poms squad for 3 years I spent a year performing on Loyola’s athletic dance team, then decided to obtain a minor degree in dance. I studied jazz and modern as well as the art of choreography. My senior year, I performed an original piece at Danceworks Chicago – a defining moment in my dance career. I’ve been a performer for Walt Disney World and taught ballroom to middle schools around the Milwaukee area.

2. What are you currently doing in dance?

In a professional sense, I am on a dance hiatus. I’ve been focusing on work and a few other things but am currently looking to take classes and am playing with the idea of starting up a small dance group as an outlet for choreography and discussion.

3. Do you have any favorite dancers or dance companies? If so, why are they your favorites?

Danceworks stands out to me because they are a community-oriented organization. They present amazing shows and give the opportunity for local dancers to showcase their works. My favorite dance companies also include Alvin Ailey and Giordano Jazz Dance Chicago. I love jazz.

4. What is the best advice you have ever received from a teacher or mentor?

I studied dance in college with a professor who radiated positivity. Even if I was having a bad day, I felt transformed after taking her class. Every time we’d gather on the floor to begin, she would instruct us to leave whatever happened or was happening to us that day at the door. It cleared the mind and brought a sense of focus and resolve to what we were set to accomplish. Great advice that’s applicable outside the classroom as well.

5. What do you enjoy most about dance?

Dance is mentally, emotionally and spiritually freeing. It clears the mind and opens the heart. I love the sheer energy it demands, the challenge of it and how it’s danced can channel virtually any sensation.

6. Where do you think the dance field is headed?

People are becoming more comfortable exploring different styles of dance. I also enjoy the exposure dance has been getting through media and entertainment. Dance will continue to be integrated as a valuable fabric of our culture. Witnessing performers challenge themselves on TV or in local competitions is just another way to get performers of all ages and levels to unite and continue exploring the field!

7. What do you think of the online dance community?

The online dance community is amazing. Blogs, Twitter and message boards have become incredible vehicles for advice, suggestions and motivation. I’ve utilized digital media for tips on choreography, music ideas, questions about injuries and more. It’s a very supportive and passionate environment.

8. Do you follow any dance blogs on a regular basis?

I follow 4dancers as well as Kiner Enterprises on a regular basis. I like “The Dance Buzz” for the fun, helpful tips, musical ideas and monthly challenges.

9. In terms of your time in the dance field, is there a moment that stands out for you?

There are many moments in my dance career that I cherish. One particular moment stands out to me while I was filming a media event for Disney. In the moments before my performance was slated to begin, I glanced over the crowd of 70,000 people, and made eye contact with two excited little girls in the crowd. I pointed them out, got them to giggle, and their parents grinned and mouthed “thank you.” I knew in that moment I was exactly where I was supposed to be – so much energy, fun, joy and purpose in that moment.

10. What is next for you in the world of dance?

I would love to continue teaching dance, and aim to continue cultivating a profession out of it. One of my goals is to someday open a studio of my own. I am always searching for an outlet to practice and perform, and hope to study the tango next!

Personal Bio:

I am a 24-year-old dancer and account executive currently living in Milwaukee, WI. I graduated from Loyola University Chicago and am creative, ambitious and adventurous. I’ve trained in dance for over 20 years (ballet to ballroom) and there is nothing that brings me more joy than the art of performing. I thrive off connecting with the world around me, whether in a face-to-face conversation or through social media. Besides dance, my favorite things include traveling, sports, and spending time with my friends and family.

The Art Of Choreography–In Layers

April 20, 2012 by Ashley David

If you’ve been following this series, you know that we have been interviewing different company members from The Dance COLEctive who are choreographing pieces for “COLEctive Notions 2012” – a Chicago-area show coming up in May. Today we’ll hear from Molly Grimm-Leasure–

(If you haven’t read the other posts in this series, here is the first, and then the second.)

Molly’s idea had to do with the thought that people may see the same piece of art differently. She comments, “Does it change your original thought to hear someone else’s idea? Or does it add another layer of understanding?” As she creates her work, she is having dancers view, write and move using her personal, abstract paintings to guide them through their own interpretations of what she originally saw before the brush touched the paint.

Here are some of her thoughts on the process…

What gave you the idea for this piece?

Recently I needed a new outlet to control some aggression I was feeling. I had always wanted to learn how to paint so I went to Michaels and bought a bunch of supplies. It became more of a passion and love–with the bonus side of being an outlet. I would put music on and make a mess with my paints! I had no idea what I was doing, but I loved it. Painting made me feel so free and open to anything. This is how I feel when I dance, so why not make a dance from some of my paintings!

What was the process like of creating this work?

Once I was able to pick out the paintings I wanted to use; five of them, I had the dancers write what they saw without me giving them any information. Then I told them the titles of the paintings and had them write if it changed what they saw. From there they created phrases for each painting; needless to say we ended up with a lot of material!

How did the dancers help inform the piece?

Hearing their interpretations of the paintings was really neat and informative of how to proceed. All the material you will see is all their own! If I got stuck at any point, or if I saw something not working out, I would ask the dancers. They are the ones performing, so I want them to feel as comfortable as possible, even if that means changing a few things around to make that happen.

Were there any surprises as you worked on the choreography?

I was surprised at how I pieced together the material. I started piecing movement and phrases together as if I was painting. It was hard because I would find myself working and re-working a certain section until I saw what I wanted. Even then I may go back and add something else. What I enjoyed was that I had the ability to erase a part I didn’t like instead of finding a color to cover it.

In the end, did you learn anything about your own paintings?

I saw them differently based on the ideas and images the dancers had. It opened my mind to see not only what I was painting but other images too.

If you were to do this again, would you go about it the same way, or would you change something?

I wouldn’t use five paintings!! Having so much material I had to cut out some, as it became overwhelming! The piece probably could’ve been closer to 20 mins if I used everything that I had!

BIO: Molly Grimm-Leasure is a graduate of Columbia College Chicago, where she obtained a BFA in Dance Choreography. While at Columbia, she was a featured dancer in Dance Spirit Magazine, which tracked her professional and scholastic achievements and reported what life was like to be a dance major. Molly was one of three dancers in the United States chosen for this opportunity. Molly has been with The Dance COLEctive since 2002 and has also worked with Breakbone Dance Co. under the direction of Atalee Judy. In2006, Molly performed in the Opening and Closing Ceremonies of the Chicago Gay Games under the choreographic direction of Joel Hall and Kevin Iega Jeff. More recently, Molly has choreographed for Stagg High School’s Orchesis program and was involved in choreographing and helping to produce a series of videos for International Women’s Day. These videos were shown on Accenture’s website. For the past two years her choreography has also been featured in The Dance COLEctive’s, COLEctive Notions. On occasion, she will teach modern classes during The Dance COLEctive’s Open Company Class. Molly also works as a full-time massage therapist in the Chicago area. Molly would like to give special thanks to her husband, Zak, and her parents for their love and support as she continues to follow her dreams.

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