4dancers – Page 57

Choreographer & Dancer: A Personal Relationship?

April 12, 2012 by 4dancers

Last week we ran an interview with Margi Cole about choreography and her upcoming showcase, which features dancers from her company making their own dances. Today we highlight both the dancer and the choreographer, to give you a closer look at the overall process.

Kaitlin Bishop is the choreographer here, and she has created a solo delving into the basic human emotion of sadness. The piece looks at how early childhood experiences with sadness dictate its existence (or lack thereof) in our adult lives and how we react to it, in it and through it.

Here are some of Kaitlin’s thoughts on the piece….

Where did the idea for this piece come from?

I think the idea for this piece has been slowly incubating in the back of my brain for a few years now. The work I’ve choreographed in college and for TDC is always rooted in a journey, be it a journey I’ve completed or a journey I’m currently experiencing. I’ve always been a very introspective person, keeping a journal even as a very young child, so thinking about and acknowledging my feelings is second nature, however, as I’ve gotten older, and have recently gotten married, I’m now not only recognizing emotional states but I’m really starting to analyze them, their range and scope, and question the true cause of them – if there is one. Sharing my daily life with another person has really been pretty fascinating in that I now have a witness to my daily emotional experience – someone who makes observations and asks questions, in a way forcing me to articulate how my internal thoughts & emotions manifest themselves externally.

Is there a reason you chose to make it a solo piece?

The idea and experience behind this piece is so personal, not just for me, but for Maggie, and essentially for every person who has ever experienced feeling sad. Everyone relates to sadness (and its varying degrees) so differently. Sadness is such a singularly personal and internal experience and journey, I couldn’t imagine attempting to capture that in anything other than a solo piece. When I watch dance, I’m always looking at and responding to the relationship between the dancers. When I see a (good) solo, I see a person existing in space, inhabiting their experience for me bear witness. I think if I added another person to that space, it would become about something else – not just this single person’s experiences within herself.

What was it like to choreograph this work?

It’s actually been very energizing and exciting in the process so far. Maggie and I have such an open and honest dialogue about our respective experiences of sadness (and causes thereof) in our lives, and also through this process, how ideas are being manifested physically and visually, etc. It’s pretty exciting to go into a rehearsal and have absolutely no reservations or fear about what we might discover, either in the work or in ourselves.

Can you explain your process?

We started rehearsing in the beginning of March, but we started discussing the piece in January. I had a (long) list of questions I created based on my own experiences throughout my life, questions I’ve been asked myself, conversations we’ve had in the past, etc, for Maggie to answer that served as the jumping off point for this whole process.

From there, we just kept making observations and asking more questions and having more e-mail conversations, until I went back and extrapolated the ideas, phrases, and stories that really resonated with me. Bringing those discussions into the movement invention process has involved a lot of improvisation and movement investigation, teaching each other our movement vocabulary, stripping it down, and then building it back up. I create work similarly to how I write: with the overall framework of what I want to convey set, and then allowing the movement vocabulary to develop and flesh out the experience, making changes and going in new directions as the process and underlying ideas dictate.

Prior to this—what experience did you have with choreographing dance?

Having grown up teaching and choreographing dance in a typical studio setting (jazz, tap, ballet, etc), I graduated college a little burnt out on the idea and not really interested in pursuing my own choreographic opportunities to any great extent. Working in a collaborative environment with The Dance COLEctive really satisfied that urge for the past several years too. I created a work for last year’s COLEctive Notions concert when I challenged myself to do something that scared the crap out of me and had such a great time, it really seemed to light a little fire in me. Plus, it would just be silly to pass up the opportunity and resources that Margi’s giving us in this process. It’s incredibly rare to be given the space, time, and energy that Margi’s giving us to do this.

What was it like to choreograph for Maggie?

Choreographing for Maggie is 90% of the fun. We have such a special friendship, and that has really served as an incredible foundation for the piece we’re creating together. To be able to so openly delve into our thoughts, feelings, and experiences and then really explore a physical embodiment of those discussions has been incredible. There’s no one I trust with this piece more than Maggie, and it’s actually been a great learning experience for me as well, to listen to her own thought processes and ideas as we’ve investigated movement ideas and such. It just adds to the personal reward of creating when there’s so much reciprocity with the dancer embodying the work, especially given the sensitive and personal nature of the subject matter. I don’t think there’s any fear or insecurity in this process for either of us, which makes it all the more exciting.

How would you characterize the entire experience?

So far, the experience of creating this piece has been amazing. The discussions, the discoveries, the challenges, have been so fun. What I think will be interesting (and slightly scary) to see will be what it’s like to have this piece viewed by others. Right now, Maggie and I have this very open and safe space we’ve created for each other in this process, and I’m very aware of the fact that at some point, others will see this, will see me, essentially, and the ideas behind this work are so incredibly personal for me, it’s more than a little terrifying to have it available for public consumption.

And now for a perspective from the other side…the dancer, Maggie Koller, talks about what it was like to work with Kaitlin…

What did you think of the choreographic process for this solo piece?

I found the process to be very interesting! When Kaitlin views dance, she finds herself more appreciative of work that gives her time to establish an emotional connection with the dancer(s) on stage. So, we’ve spent a lot of time creating the sort of normal, day-to-day personality and movement vocabulary of the character to help the audience connect with this person before we ask them to be with her while she finds herself in more compromised emotional states. Kaitlin also has a very interesting view of space and how she (or the work) applies meaning to the various areas of the stage. I was in the quartet she set on TDC last year, so I’ve gotten to work with her in this capacity before. This process has been even more fascinating for me because it’s just the two of us! I get to see more deeply into her head and understand her unique points of view on dance making.

What was the most difficult part of the process for you?

Perhaps this is an obvious answer, but I think the fact that this work is a solo makes it challenging. After being in the company for 6 years, Kaitlin and I are well versed in the “Margi style,” which includes a great deal of partnering and relationship development. In a solo, you don’t have anyone else to build a relationship with, so we’re really having to work to tell the story with a single body in space. Secondly, that single body is mine! So I am fully responsible for communicating Kaitlin’s vision, and it’s really important to me to bring that vision to life.

What was the most fulfilling part?

Probably a combination of the subject matter and the development of the work as a solo. The span of negative and positive emotions people experience, whether as a reaction to events or encountered habitually, is something Kaitlin and I have spent a lot of time discussing over the course of our friendship. It’s been really interesting to continue those discussions with an end goal of translating our thoughts and experiences into movement for her work. I am also finding this solo process to be quite satisfying. I really appreciate being put in a position where I’m expected to manifest such specific requests and corrections. Every breath, focus change, direction of energy, and the force I put into each moment has been analyzed and dissected repeatedly by both of us to make sure the way I move is true to Kaitlin’s vision and true to the emotional states we’re exploring.

What was it like to work with Kaitlin as a choreographer?

I love working with Kaitlin! She and I are really great friends and share a unique connection as human beings, so having this time and space to work together has been truly wonderful. I really feel comfortable moving in front of her and am totally open to her feedback. Analyzing, emailing, journaling, and talking about all that we’ve explored to get to where we are with the work has been very engaging. I’m honored that she trusts me with her vision.

BIOS:

Maggie Koller received interdisciplinary dance training at the Academy of Movement and Music in Oak Park, Illinois. She earned her BA from Beloit College with a double major in Dance and Psychology, graduating with departmental honors, Summa Cum Laude. Maggie is currently in her sixth season with The Dance COLEctive (TDC). She has also danced with Chicago-based companies The LIVE ANIMALS Performance Collective, Ayako Kato/Dance Union, and The Space/Movement Project (TS/MP), for which she acted as co-director and CFO. Maggie has choreographed for TDC, TS/MP, The Open Space Project, The Inconvenience, OPRF’s Orchesis, and is involved in an ongoing performance collaboration with musical artist AM Brother. Maggie also has a full-time position as a Creative Planner for Central Coast Agency, a creative think tank for advertising, content, user experience, and design.

Kaitlin Bishop came to Chicago in 2002 to pursue her dream and passion for dance. A graduate of Columbia College Chicago with a BA in Dance, Kaitlin has had the privilege of working and performing with such dance makers as Krenly Guzman, Nicolle Wood, Molly Shanahan, Angie Hauser, Colleen Halloran, Jeff Hancock, Sandra Kaufman and Liz Burritt. Kaitlin also serves on the Board of Directors and heads the Fundraising Committee of The Big Hearts Fund, a non-profit organization dedicated to raising funds for canine and feline cardiac disease. This is Kaitlin’s sixth season with The Dance COLEctive and she thanks her family and friends for their unwavering love and support.

When Ballet Stars Align

April 11, 2012 by Risa Kaplowitz

Today I’d like to introduce our newest contributor–Risa Gary Kaplowitz. She’ll be doing a monthly column for 4dancers, and today we begin with a bit of her “back story” so you can get to know her a bit…

by Risa Gary Kaplowitz

It’s a wonderful thing to realize how lucky you are. I don’t mean the gratuitous “grateful” we all read on Facebook posts when a “friend” gloats about one thing or another and then says, “So blessed!” Nope. I mean how great it feels to acknowledge the really big decision or moment of good fortune without which your life would be completely different.

I had such a realization a few months ago when I attended the 90^th birthday celebration for Tensia Fonseca, Artistic Director of Maryland Youth Ballet. It was she who started the now nationally recognized school and youth company almost 50 years ago in the barre-lined basement of her cozy suburban home.

I came to what at that time was called, Maryland School of the Ballet when I was three years old. My mom had taken me to my first ballet class at the local recreation center where Mrs. Fonseca’s business partner at the time, Roy Gean, was teaching pre-ballet. After class, he told my mom that I showed promise and asked if she would bring me to their newly built one room studio on St. Elmo Ave. in Bethesda.

The rest of my life can be traced back to the moment my mom said, “Yes.” [Read more…]

The Youth America Grand Prix (YAGP)

April 10, 2012 by Ashley David

by Jessica Wilson

The Youth America Grand Prix (YAGP) was formed in 2000 as a non-profit educational organization in order to support and develop world-class dancers from the ages 9 to 19, of all racial, ethnic, and economic backgrounds.

YAGP aims to provide educational opportunities and scholarships to the world’s leading dance schools for young dancers as a global network of resources and opportunities which connect students, teachers, schools and dance companies. YAGP is known for providing students with top-quality education and training from the directors and faculties of some of the world’s foremost companies, such as Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet and Paris Opera Ballet, among others. As a result, YAGP refers to itself as the “internet of the dance world”, working to maintain and extend the dance network of the United States, and provide a multitude of prospects for the next generation of dancers.

Each year, YAGP conducts 12 regional semi-finals competitions throughout the US, and an additional 4 international competitions in Brazil, Mexico, France and Japan, considerably extending the reach of YAGP. Each season culminates in a week-long ‘New York City Finals’, in which over 1,000 of the world’s most promising dancers compete for scholarships and professional job contracts offered by YAGP. The dancers are renowned for representing 30 different countries on 5 continents, emphasising the sheer expanse of YAGP in the dance world, and just how prestigious the organisation has become since its inception. [Read more…]

Student Spotlight: Madison Lohman

April 9, 2012 by 4dancers

We’re delighted to be able to bring you a new student spotlight today–meet Madison Lohman…

1. Can you tell readers how you became involved with dance?

My journey as a dancer began at the age of three when my parents enrolled me in a ballet class. They wanted me to be involved in something that was not only fun, but also a place where I could make friends, since I had just moved to Nebraska. At my very first dance recital I preformed “I’m a Little Tea Pot”.

Now I am fifteen, dancing to classical pieces by composers such as Bach, and traveling across the country perusing my passion. I didn’t start competing my first few years, taking classes here and there, but when I turned nine I realized dance was something I loved to do. So, with dedication and determination I improved tremendously and became apart of a competition team a year later. I now train at Nuevo School of Contemporary Dance about fifteen hours a week taking ballet, jazz, contemporary, and technique classes.

2. What do you find you like best about dance class?

Although there is no doubt that I love dancing, I walk into my classes everyday with two choices. The first choice, taking the class, listening to directions, and only going through the motions. Or the second choice, by making a conscious effort to improve my skills, applying everything my instructors are telling me, and giving my heart and soul into the class. Now, it would be unrealistic to say that I never chose the first option, but more times than not, I am reminded of why I love the art of dance so much when I chose the second. Dance is my escape. It is my place to go in good times and in bad, and a place to let your heart and body do your talking for you. I love the fact that when I take class I can see the results of hard work and dedication, and there is no better feeling than that.

3. What is the hardest part about dance for you?

For me, definitely the hardest part about dancing is managing my time. I am involved in ASB, clubs, I am taking rigorous classes at my high school, and on top of that, I am a dancer, which alone states that I have no extra time in my schedule. But, I do have to find time for friends and family because they are the ones who support me. It’s funny because even though it is very difficult to find a balance between dance and all of the other components of my life, dance has taught me the importance of managing my time effectively and has ultimately shaped the person I am today.

4. What advice would you give to other dancers?

My advice to other dancers would be to dance because you love it. Do not dance for anyone else but yourself. Dance has become something that is a part of me, not something I do. I really began thriving as a dancer when I understood that I wasn’t complete without it. You will work harder and only really reach your fullest potential when you are doing something you absolutely love. As with anything in life, all of the time and effort you put into something important will not show instantly. In dance, there is no better satisfaction then knowing you have succeeded, or accomplished your goal in the end. Dance because you love it.

5. How has dance changed your life?

Dance has helped make me the person I am today. Besides the fact that I have a fun time dressing up in my costumes and sharing my passion with others when I dance, it has taught me so may life lessons that I don’t believe I could learn anywhere else. Dance has given me the self-confidence and belief that I can achieve anything I work towards. Being a part of this art I have learned respect, humbleness, compassion, understanding, and commitment. I am so lucky to have parents and instructors who only want the best for me and will push me to limits, not only to better me as a dancer, but as a person. I have met my life long, best friends at dance who I know will always be there for me no matter what. I am fit, happy, and a well-rounded person because I have dance in my life.

BIO: My name is Madison Lohman and I am fifteen years old. I live in Corona, California and am a sophomore at Corona High School. I am a conservatory and pre-professional company student at NUEVO School of Contemporary Dance.

Musings: Every Body Dances

April 4, 2012 by Kimberly Peterson

by Kimberly Peterson

When I first began college at Texas Woman’s University, there was a slogan – a motto of sorts for the department: Every Body Dances.

Not everybody dances, but Every Body Dances. The distinction is important – because it necessarily includes every body: type, shape, size, age, and ability. This belief is so integral to TWU’s Department of Dance, that it radically changed how I approached movement, creativity, my body and my journey as a dance artist.

Ability is something most dancers pride themselves on: the ability to execute movement well, the ability to perform, the ability to manipulate their bodies to do as they desire. However, ability is a spectrum – and the loss of an ability need not negate the ability of an entire body. And it certainly does not consume the identity of the person.

Adaptive dance seeks to allow for differences in ability while creating high caliber performances. In essence, it treats all dancers, regardless of ability, as dancers and works within whatever levels of technique, skills, performance they bring with them. It is a deceptively simple concept – and marvelous to behold!

Two fascinating examples of great work come from DV8 Physical Theater and AXIS Dance Company.

DV8 Physical Theater is a UK based movement troupe. The clips below are from their Film The Cost of Living and feature David Toole, who is a remarkable mover and actor.

What I find most engaging is that David Toole makes full use of his abilities. He’s not attempting to look like he has legs, he simply moves without them – furthering the creative development of movement within the pieces he dances in. I find the perspective shot from David’s level to be highly interesting, and find the movement his body attains extremely engaging. The perspective of these shots highlight the relationship between the dancers’ bodies and space which, in some instances, is much more interesting to me than the actual movement. (Video 2) David displays a level of physicality and commitment to his movement that is equally impressive!

AXIS Dance Company, who you may remember as a guest performance from So You Think You Can Dance, has stunning work involving a wheelchair.

The fantastic movement made with the bodies they have, highlights their ability rather than the differences between them. The movement varies in tempo and intensity, dynamically pushing the limits of what is “safe” into realms that are both interesting and captivating. I was especially excited to see that they utilized the full range of possibilities with the chair: using the chair off balance (1:27, 1:31, 2:16), utilizing weight sharing (:45-:51) from both partners (3:15), both physically initiating (1:14) and receiving partnering (1:20), and was especially excited to witness the chair in use for counter-balance (1:00) and the initiation of bodily momentum (3:00). The choreographer, Alex Ketley, really utilized Rodney Bell and engaged his whole body, which includes the use of a wheelchair.

However, there is no condescension, no “inspirational” tone. There are just artists, doing what they cannot help but do – dance beautifully. However, this lack of “inspiration” is important. While it is always enlightening and exhilarating to see amazing work, we do the dancers a disservice if we only focus on what ails them – or what makes them different. What is most important in a dance work, has to be what the work is saying to you, the communication and dialogue happening between you, the dancers and the choreographer. We take away the beauty and magic of that moment by reducing the whole to the sum of their parts.

Accepting that no body is the same, that no mind thinks alike, that no one interpretation of movement can encompass the whole of the experience – this is what makes our medium a lived art, an experience rather than a stagnant piece.

Every Body Dances.

Disclosure – Affiliate & Ad Info

Copyright Notice