10 Questions With…

10 Questions With…Sharon Marroquin

March 11, 2011 by 4dancers

Todays’ 10 Questions With… feature is with Sharon Marroquin…

Sharon Marroquín by A. Sarkar
1. How did you become involved with dance? I began dancing when I was 5 years old. My first teacher was my aunt, who was a dancer herself. The studio was a tiny elongated rectangle on the second floor of her house. The walls were bright pink and the floor was marble tile. A black piano stood in the corner. Music played from an old-fashioned record player, and the parents waited for their daughters in the living room.

2. What are you currently doing in the field?

I choreograph and perform as a guest with various companies in Austin, Texas. I also teach dance at Tapestry Dance Company Academy.

3. Would you share a special moment from your career with readers?

I remember clearly the first modern dance performance I ever went to. I sat in the audience mesmerized by the unitard-clad dancers who were moving in ways I had never imagined possible. At that moment I decided that is what I wanted to do. Several years later I threw my pointe shoes in the trash, and embarked upon the journey of discovering modern dance.

4. What is the best advice you have ever received from a teacher or mentor regarding dance? [Read more…]

10 Questions With…Winifred Haun

March 2, 2011 by 4dancers

Today we have Winifred Haun with us for our feature…

1. How did you become involved in dance?

When I was 5 years old, I attended a little private school on Chicago’s north side. As an alternative to gym, they offered ballet classes on Fridays to the girls. I loved it, and sort of knew then that I would be a dancer for the rest of my life. When I was 10 years old, I started taking classes at the Ellis-DuBoulay School of Ballet. I think I received the best possible training in the city. Mr. and Mrs. ‘E’ trained not only our bodies but our minds. A lot of really successful Chicago dancers trained with them (Lou Conte is probably their most famous student). I also credit Harriet Ross for teaching me everything I know about modern technique. She also taught me how to perform and she and Randy Duncan encouraged me to choreograph.

2. What are you currently doing in the field?

I have my own dance company, Winifred Haun & Dancers. I started it in 1991 because I wanted to put together a group of artists who could help me create my work. My latest work, “Bento,” premieres March 17 & 18 at Hamlin Park Theater. I also teach modern dance at Hubbard St. Dance Center, and at Legere Dance Center in River Forest.

3. Can you share a special moment from your career?

One my favorite moments was when, as a member of the Joseph Holmes Dance Theater I first performed “Love Not Me,” choreographed by Randy Duncan, at the New Regal Theater in 1989. I had actually performed it a few times on tour, so it was really rehearsed. Despite all the preparation (I had great coaching from Harriet Ross), I felt terrible right after my performance, but I had a really quick costume change, so I didn’t have time to cry. After the show was over, the response and quick congratulations from Randy, Harriet, and my fellow dancers was so wonderful and so positive, that I still didn’t have time to cry or really be upset!

4. What advice would you offer other dancers?

Don’t worry about what others are doing or who’s getting what parts or into what company. Concentrate on yourself and make yourself into the best possible dancer you can. Take class as often as possible, listen to your teachers. Audition and then perform work for anybody who wants you. You never what will lead to what.

: “Bento” by Winifred Haun

5. What have you had to struggle against in dance?

As a dancer, I always felt that being tall (I’m 5’ 9”) was a challenge. Most of the lead roles go to women who are shorter (they’re easier to partner). As a choreographer, just being a woman in a field where the top jobs are all held by men is a challenge. Women just don’t get the recognition for their work that men do. (I think women in all careers probably struggle with this…) Which is kind of ironic, given that the field is about 80% women.

6. Do you have a favorite dancer or choreographer? If so, what is it about them that makes them stand out?

One of my all time favorite dancers is Claire Bataille. I loved her stage presence and her control of her technique. Watching her in class, in rehearsal, and on stage was inspiring. My favorite choreographers are: Merce Cunningham, Trisha Brown, Ohad Naharin, Eiko & Komo, William Forsythe, Randy Duncan, and Mark Morris. I love the risks that these artists take and how alive and individual they are. In my latest work, Bento, I honor some of these choreographers by purposely imitating their choreography. (Some have even “donated” 32 counts.)

As for young, local choreographers, my favorites are Jackie Stewart and Jessica Miller Tomlinson. I’m sharing a concert with them in March 2012 at the Ruth Page Center. (We just received a MetLife New Stages for Dance grant for this project!) I saw a concert that Jackie and Jessica shared a concert last year and it was amazing.

7. What is the best advice you have ever received regarding dance?

Hold your stomach in and move from your center. And don’t take yourself too seriously. Those are good life skills also!

8. Where do you think dance is going as an art form?

I think choreographically dance is moving away from ballet. In her amazing book “Apollo’s Angels,” Jennifer Homans, says that ballet is a dying art form, and I reluctantly agree with her. No one is moving the form forward and without constant re-invention, it will eventually not be an art. Ballet will always be a great technique with lots to offer any dancer who studies it. But, as an art form, dance is moving away from ballet. (Lots of my friends, teachers and colleagues will heartily disagree with me. To them I say, let’s have coffee and talk about it 🙂 )

I also think we are living in a great time for dance. I think more than ever are aware of dance as an art form. We have the current dance TV shows and the internet to thank for that!9. What is it about dance that you love so much?

I don’t know what it is but, I love watching dance, whether its a class, rehearsal, performance, or even my kids’ recitals. I love taking class, teaching class or coaching. I love all forms of dance: ballet, modern, jazz, tap, hip-hop, ballroom, etc. And I love making dances. Many times I have tried to live without making dances (my life would so much easier if I wasn’t a choreographer…). I’ve formally “quit” the dance field twice only to return for reasons I can’t quite articulate. I guess, for me, dance is kind of a calling. I feel like ideas for dances “seize” me and won’t let go. Its like I can’t not make dances. And I feel the most alive when I’m choreographing.

10. What is next for you?

Saturday, March 12 Winifred Haun & Dancers is performing at the Regional Alternative Dance Festival in Kalamazoo, MI. On Thursday and Friday, March 17 & 18, we’re premiering Bento in program of 6 works at the Hamlin Park Theater.

10 Questions With…Lizzie Leopold

February 14, 2011 by 4dancers

Today we have Lizzie Leopold with us to talk about her life in dance…

1. How did you become involved in dance?

I was actually a competitive gymnast growing up and was continually injuring my knees and ankles. My body just wasn’t built for the wear and tear of tumbling, so dance was a way for me to continue to be physical with a little less risk. In the end, dance has offered my a life-long pursuit in a way that I don’t think gymnastics ever could.

2. What are you doing now in the dance world?

Right now, I am 6 months out of my Masters in Performance Studies (from NYU) and am transitioning back from classroom and computer to studio and theater. My thesis work dealt with the intersection of choreography and commerce – asking how the business of making dance affects the dance itself. I am working to bring all of the theory and scholarship of my school work back into practice and make sure that all of the words become a part of the choreography. In other words, I’m trying to connect my brain and my body – something I hope I will do for the rest of my time as a choreographer. [Read more…]

10 Questions With…Beth Terwilleger

February 2, 2011 by 4dancers

Today we have with us Beth Terwilleger from Ballet Austin….

1. How did you become involved with dance?

When I was growing up my family used to put on music and dance around the house. I always loved dancing, and when my grandfather showed me my first ballet video I knew that this was the kind of dance I wanted to do. My mom signed me up for classes and I immediately fell in love.

2. What are you currently doing in the field?

I am currently a ballet dancer with Ballet Austin.

3. Would you share a special moment from your career with readers?

There are so many special moments. I remember the moment I realized I could move, like really dance. I had always been a bit typecast at the school I grew up in as being very much a ballerina and not a contemporary dancer. Then, during my second apprentice year at Ballet Austin I was in a rehearsal for our end of the year show doing a piece set to salsa music and I realized “this feel great!” Really letting go and moving in all kinds of new different ways was really what I wanted dance to be for me. I was told that the way I moved in this show and the fact that I did have this realization was the reason I was hired into the company. It was major turning point for me. [Read more…]

10 Questions With…Renee Beauvais

January 12, 2011 by 4dancers

1. How did you become involved in dance?

Our house was musical, my father was a semi-pro musician and always played his guitar (alone and jamming with friends). The natural response to music is to move, so I always danced around the house as a child. I couldn’t sit still. I learned social dances by imitating dancers I saw on American Bandstand. When I grew older I was lucky enough to find dance in the public schools. I had my first formal dance classes, modern dance, in the 7th grade – it was love at first bison leap!

2. What are you currently doing in the field?

I changed my artistic focus from modern dance to ballet. I’m getting Beauvais Ballet, a small, neoclassical company, off the ground, pardon the pun. I choreographed modern dance for 30 years. Then, in 2003 I started to choreograph ballets here and there along with my modern dance works. In 2010 I decided to explore and choreograph solely ballet – with modern sensibilities of course :).

3. Can you share a special moment from your career?

As a dancer – I was a member of Nancy Karp + Dancers (a San Francisco based company) and we were on tour in what was then Yugoslavia. A short time after we returned home their civil war broke out and some of the cities we performed in were destroyed. I realized I was a global citizen with a responsibility to do good not just for myself but for the greater good of the world. As a result I conserve, take care of the natural environment, and get involved in social issues.

As a choreographer – Mark Morris is my choreographic hero, his work is consistently excellent. I studied with him for a bit and in 2000 he and his company came to Maui to perform. I had the chance to socialize with him and it was fabulous to talk shop with my idol. He gave me advice on how to treat a difficult piece of music I was working with (I was commissioned to use this music, I didn’t choose it).

4. What advice would you offer other dancers?

The dance industry is difficult but so much of dancers’ limitations are self imposed. Often what dancers believe is opinion (someone else’s or your own)which is subjective or based on untruths, not fact. So, I would say to dancers, know what your strengths are and exploit them. Know what your limitations are and learn from them, if they can’t be changed, accept them, discover how they can help you despite the fact they are limitations. Examine your beliefs on a regular basis, are they based on fact? You will find you can do much more than you thought you could.

5. What have you had to struggle against in dance?

Maui is rural and provincial, an unlikely place for a ballet company. No one has ever brought contemporary ballet to the island, incorporated it into the local culture and then shared it with the world. I find that very enriching and inspiring. I aim to bring an understanding and appreciation of ballet that enhances the local culture and inspires others.

6. Do you have a favorite dancer or choreographer? If so, what is it about them that makes them stand out?

Mark Morris is still my favorite modern choreographer with Nacho Duato a close second. Both of them are superbly musical and great at movement invention. Matthew Bourne has a unique perspective. I love his re-workings, he is great at turning traditional works on their head.

As far as dancers go, there are many gorgeous dancers out there, but I have to say my favorite is Daniil Simkin. I’ve only seen him on video not live. But, his movement quality and personae are stunning. He reminds me of Nureyev but with way more technique!

7. What is the best advice you have ever received regarding dance?

“If you want to be a choreographer, you have to choreograph.” – Mark Morris
In other words, don’t wait to be invited, don’t wait to be asked, don’t wait to be paid, get out there and do the work.

8. Where do you think dance is going as an art form?

Ballet needs a new face, one for the 21st century and that’s what I’m trying to create.

9. What is it about dance that you love so much?

It’s rich, complex, and fun! Dance is part music, part visual design (shape, color, perspective), and sometimes tells a story. As both a performer and an audience member, dance touches the deepest part of my being.

10. What is next for you?

I recently choreographed a ballet titled Holo Mai Pele. It’s based on a traditional story of the Hawaiian goddess Pele expressed in totally contemporary ways – neoclassical ballet, original costumes and Western music (Shostakovich). Upcoming performances are at the GWS Invitational Festival on February 18 & 19 in Huntington Beach, CA and again on February 25 & 26 at the sjDANCEco’s choreography festival in San Jose, CA. You can find out more about the project or get involved by visiting indigogo.com/Holo-Mai-Pele-Here-Comes-Pele-Ballet?a=58514&i=addr

BIO: Dancer and choreographer Renée Beauvais is the founder and artistic director of Beauvais Ballet and the former TILT Dance Company. Beauvais has been performing, teaching and choreographing dance for 33 years. She danced with the Elayne Neuman Dance Co., San Francisco’s Nancy Karp & Dancers, and Janlyn Dance Company. She worked with ODC San Francisco, Kenneth Rinker, Laura Dean, Karl Schaffer and Eric Stern, Helen Dannenberg, Christopher Beck, and Ellen Bromberg. She performed faculty works with the repertory companies of both Arizona State University and Mills College.

She studied dance at Arizona Sate University and Mills College (BA) and at NYU Tisch School of the Arts and Jacob’s Pillow. She studied choreography with choreographers Mark Morris, Lucas Hoving, Lila York, Murray Louis, and Bella Lewitsky.

The Maui Symphony Orchestra, Moving Arts Dance, Ebb & Flow Arts Ensemble, Instinct DanceCorps and Arts Education for Children have commissioned her choreography. Beauvais’ works were performed by her previous company, Beau Danse Compagnie, at numerous venues in San Francisco, Berkeley, and Oakland, California. Her choreography was also showcased in a performance sponsored by the Bella Lewitsky Dance Company. She was an interim dance instructor at Maui Community College, was on the state Artist-in-the Schools Registry for 10 years and was the state director for National Dance Week.

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