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Making The Most Of Chance: Choreographer Greg Blackmon

November 6, 2014 by Rachel Hellwig

 

Greg Blackmon. Photograph by by Cheryl Mann.
Greg Blackmon. Photograph by by Cheryl Mann.

Greg Blackmon is a new choreographer and DanceWorks Chicago alum. DanceWorks Chicago was founded in 2007 and gives early career artists an environment where they can build a foundation and hone their artistry through training, collaboration, performances and mentoring opportunities. They also showcase work from established choreographers.

Greg recently choreographed “PACK: And for All the Lost Ones” for DanceChance, a showcase which features choreographers chosen by chance. Afterwards, his piece was taken into the DWC repertoire – marking the first time that DWC dancer has become a DWC choreographer.

“PACK: And for All the Lost Ones” will make its premiere with DWC on Sunday, November 16 at DanceMoves.

 

What inspired your piece “Pack: And for All the Lost Ones”?

The piece is actually about a friend of mine and former DWC dancer, Marco Antonio Huicochea Gonzalez, who passed away during his time with us. It was a really rough loss for all of us, and after a few months of reflection I decided I would like to honor him through the art form we got to share with one another. So I dropped my name into the fishbowl at Dance Chance and wound up getting selected, which allowed this idea to come to fruition.

 

What music did you chose for this piece?

I chose a song by an Icelandic band called Sigúr Ros, “All Alright.” I’d heard it when a friend of mine used it years before for a piece of his own and I’ve always been in love with the juxtaposition of the music’s reflective, emotional tone and its instrumental minimalism.

 

What style is “Pack: And for All the Lost Ones”?

I would consider the piece to be contemporary. I’ve implemented some ballet principles, but re-imagined and reconfigured them to fit more organic movement.

 

What is your choreographic process like?

Since I’m just starting out, I think I’ll say my process from piece to piece will be different every time. I like to believe every task– not just in dance, but in life in general– has a formula specific to itself that will breed the most success in terms of what your goals are. This piece started with me taking a lot of note from the emotional displays of animals, mainly dogs/wolves, and fusing that honesty and the body language with styles of contemporary movement that I love.

 

When did you find out that “Pack: And for All the Lost Ones” was going to be added to the DWC rep?

A few weeks after Julie saw the piece at Dance Chance, she asked if Matt (the other original dancer and a current DWC company member) and I would like to perform “Pack…” at the Dance for Life kickoff gala this summer, which was exciting in itself because so many people that I admire in the dance world got to see it. And then about 3 or 4 weeks after that, Julie asked if we could meet to discuss how it would work its way into the DWC repertoire.

 

How did you feel when found this out?

I was absolutely ecstatic! This was my first creation as a professional choreographer, and I didn’t even aspire for it to be anything more than what it was– a short, sweet dedication to a very dear friend and to the family that I’ve found in DanceWorks Chicago, as well as a sort of memorial for everyone who’s ever been lost from this world (because everyone means something to someone. And everyone is loved very dearly by someone.). And it’s grown into something that a ton of other people will get to see and hold dear to their hearts because of one idea that I had.

 

What did you learn during your time at DanceWorks Chicago and how has it helped you?

I could write a book on everything that I’ve learned here. One of the most important things is that you really are a person first and THEN an artist. I think a lot of dancers can get really caught up in the idea of this art form we dedicate our lives to and all of the prestige surrounding the mental and physical dedication it takes, and we forget that we have to be people inside of the movement. Otherwise, you’re just someone else who can throw a leg up or point your foot and pretend to say something, or imply an idea, but never really say anything…never really give it meaning.

I’ve also learned to be more patient and a bit less of a perfectionist. I’ll never forget Julie Nakagawa pulling me aside one day while we were on your and telling me “Just do the work. Don’t fuss or obsess about the mistakes. Just… do… the work. That’s really all anyone can ask of you. But you have to really do it.”

 

Greg Blackmon. Photograph by by Vin Reed.
Greg Blackmon. Photograph by by Vin Reed.

What are some of your dance goals and dreams for the future?

I think my biggest dream for the future is to continue exploring movement and manifesting both my own ideas and the ideas of others through dance. It’s so much fun translating something as abstract as a simple thought into something as tangible as dance. And I love knowing that the things I can put on a stage will touch each audience member in a way that’s unique to them and their experience, because that’s what art does. It stirs people in a multitude of ways and the beauty of it lies in the undeniable sincerity of their response.

Filed Under: Dancer Spotlight, Making Dances Tagged With: choreographer, choreography, Dance Chance, dance for life, danceworks chicago, Greg Blackmon, Greg Blackmon choreography, Julie Nakagawa, making dances, Pack: And for All the Lost Ones

Angela Dice Nguyen – From Chicago To San Francisco

September 10, 2014 by Rachel Hellwig

Angela_self_portrait_of_a_woman
Angela Dice Nguyen. self-portrait of a woman by Demis Volpi. Photograph by Vin Reed.

How many seasons did you perform with DanceWorks Chicago?

I performed with DanceWorks Chicago for three full seasons: 5, 6, and 7. My finale performance was the company’s first tour of the new eighth season, so my time with DWC correlates fairly well with a common count-off phrase dancers use to come together in preparation for a strong start: “5, 6, 7, 8…”

What did you learn at DanceWorks Chicago and how has it helped you?

When to make a pun, how to “go from good to great,” and what not to wear during a photo shoot: this is what I have learned at DWC, among other things, such as embracing a sense of humor. In all seriousness though, DanceWorks Chicago has changed my perspective of the world. Through dance as the means of exchange and communication, I have learned that I am only one of countless others, and yet I am the only one of me. My curiosity and bravery towards the new and unknown exist because of the respect I have developed for personal exploration, shared experiences, and permission to make mistakes. Julie Nakagawa, through thoughtful guidance, somehow crafts a way to encourage focus in certain areas and emphasizes that the journey matters more than the product or destination. I learned how to learn at DanceWorks, which is an empowering realization, and I can continue moving forward with this invaluable tool.

What was one of your favorite pieces that you danced in for DanceWorks Chicago? Could you describe it a little for us? [Read more…]

Filed Under: Dancer Spotlight Tagged With: Angela Dice Nguyen, danceworks chicago, Demis Volpi, Joshua Manculich, Julie Nakagawa, Monologue by Joshua Manculich, Robert Moses’ Kin Creativity and Phrasing Worksho, Sarah Bush Dance Project, self-portrait of a woman by Demis Volpi

Performing As Prince Siegfried – The Royal Ballet’s Nehemiah Kish

February 19, 2014 by 4dancers

Zenaida Yanowsky as Odette/Odile and Nehemiah Kish as Prince Siegfried in a scene from the Royal Ballet's production of Swan Lake. Photo © Bill Cooper
Zenaida Yanowsky as Odette/Odile and Nehemiah Kish as Prince Siegfried in a scene from the Royal Ballet’s production of Swan Lake. Photo © Bill Cooper

You may already be aware that The Royal Ballet is bringing Swan Lake to the cinema for one performance on February 20th. Dancing the twin parts of Odette/Odile and handsome Prince Siegfried are Zenaida Yanowsky and Nehemiah Kish. This is a completely different way of experiencing the ballet – and one that is catching on! Imagine being able to watch your favorite ballet–danced by one of the best companies in the world–from the comfort of a movie theater!

Today we have Nehemia Kish with us to provide a quick snapshot for you of what it is like to prepare for — and perform this famous classic ballet…

Q. What is the greatest challenge in dancing Prince Siegfried?

It’s a ballet in 4 acts and Prince Siegfried is on stage in every act. It’s a bit of a marathon.

Q. What is the rehearsal schedule like for this type of full-length ballet?

We are usually preparing a few different ballets at the same time. Our days typically start at 10:30 and end about 6:30. For a full length ballet like Swan Lake we start rehearsing about a month before with a couple hours of rehearsals a day.

Q.  Is there anything special you did to prepare for this role in particular, especially in knowing that it would be filmed for audiences across the world?

I wanted to make all the gestures as natural as possible. Avoiding unnecessary posing made it more enjoyable and meaningful to me.

Q. What do you enjoy the most about portraying Prince Siegfried?

I enjoy how passionately he pursues Odette and Odile.

Q. How is dancing this role now different from the first time you performed it?

The way I approach the role depends on the way I feel leading up to the performances and every performance is different.

Q. Swan Lake is a traditional, classic ballet. What is the best part about dancing it?

The best part is dancing to the music of Tchaikovsky and getting lost in an emotional love story.

This performance of Swan Lake will only be broadcast once — on Thursday, Feb. 20th. If you are interested in tickets – just enter your zip code on this page and find a theater near you.

(Can’t make this performance? The Royal Ballet will be back in movie theaters across the country on March 20th for a single performance of Sleeping Beauty.)

Disclosure: 4dancers accepts compensation for the promotion of these events

Filed Under: Dancer Spotlight Tagged With: Ballet, nehemiah kish, prince siegfried, swan lake, the royal ballet

Dancer Spotlight: Pedro Gamino

February 27, 2012 by 4dancers

We’re back again with a “Dancer Spotlight”! Today we are featuring Pedro Gamino from Atlanta Ballet:

Pedro Gamino, photo courtesy of Atlanta Ballet

How did you become involved with dance?

My parents. They wanted my sister and I to have experiences they never had growing up. So they put us in dance and sports.

What is the best advice you have ever received from a teacher or mentor regarding dance?

When performing it is never the same show twice so give it all for yourself and the audience.

What has been your greatest challenge?

Dancing in sync with another dancer through some very difficult choreography. Being correct on the counts is one thing but to be together and feel their timing and energy takes you to another level.

Do you have any advice for dancers who want to go on to a professional career?

Keep open to all different styles of dance. The style you are least comfortable with–go after that one first. So many young dancers try to limit themselves to just ballet or jazz or Hip-Hop. The more well rounded you are the more exciting of a dancer you will become.

What do you enjoy most about your life in dance?

I’m getting a chance to do what I love to do. Especially now being in the same company as my new wife (Faye Abigail Tan-Gamino). We got hired at Atlanta Ballet together and stuck by each other through each experience/challenge and now we’re happily married.

What is next for you?

I would like become a PT either for dancers or for professional sports. Preferably football. Football is my guilty pleasure. Go Niners!!!!

BIO: A San Francisco native, began his training at age 13 with the San Francisco Academy of Ballet and later studied at the San Francisco School of the Arts High School and the School of American Ballet in New York City. Pedro returned to San Francisco to begin his professional career with the Smuin Ballet, where he worked with noted choreographers Michael Smuin, Amy Seiwert and Shannon Hurlburt, and also enjoyed a stint at Dayton Ballet where he worked with choreographers Septime Webre, Dermot Burke and Steven Mills. Eager to get back to the east coast, he accepted an opportunity to dance with American Repertory Ballet (ARB) in New Jersey. There he danced ballets and world premieres by Val Caniparoli, Lisa de Ribere, Twyla Tharp, Susan Shields and Graham Lustig among others.  Pedro joins Atlanta Ballet with friends and former ARB company mates Abigail and Jared Tan. In addition to ballet, Pedro is a skilled Mexican folk and tap dancer, a former soccer and baseball player, and an avid bowler. Pedro is very happy to be a part of the Atlanta Ballet family and looks forward to a great season.

Filed Under: Dancer Spotlight Tagged With: atlanta ballet, Ballet, interviews with dancers, pedro gamino

Dancer Spotlight: Lisa Barrieau

January 30, 2012 by 4dancers

Today we’re introducing a new feature at 4dancers–the “Dancer Spotlight”. We’ve gotten such great feedback on our “10 Questions With…” series that we thought it might be fun to do a series of shorter “interviews” with dancers as well. These will pop up from time to time, and dancers will answer a few interesting questions in a more abbreviated format.

Today we have Lisa Barrieau with us from Atlanta Ballet…

Lisa Barrieau, photo courtesy of Atlanta Ballet

What is the best advice you have ever received from a teacher or mentor regarding dance?

The best advice I ever received from a teacher was: Dancing is something that people only dream of doing… the day you wake up not wanting any part of it anymore is the day you should stop. Until then, work as hard as you can to fulfill your passion.

Do you have any advice for dancers who want to go on to a professional career?

Don’t let anyone tell you you can’t be a professional because there is a company out there for everyone as long as you fight for it and accept the challenge.

Do you have a special routine you go through prior to a performance?

Before every performance, I say a little thank you to my grandpa who passed away. Without him I wouldn’t have started dancing as a kid and I want him to know that I am dancing for him.

What is your favorite ballet and why do you enjoy it?

My favorite ballet of all time is Michael Pink’s Dracula. I love the choreography and music. I think I also love that Dracula is such a passionate and misunderstood character and Michael Pink’s ballet helps to illustrate it. It is definitely not your typical ballet.

What do you enjoy most about your life in dance?

I love the people I work with and I love that, unlike other careers, I get to wake up and go to work and be something I am not… be a peasant or a vampire, a princess or a goblin… I get to express myself through movement in a way that so many can’t fathom.

BIO: A native of Milwaukee, WI, Lisa started dancing at the age of four and continued training in Connecticut with New Haven Ballet School and Joyce DiLauro. Her additional studies include intensives with Boston Ballet School, American Academy of Ballet, and Milwaukee Ballet School, where she was offered a contract into Nancy Einhorn’s Milwaukee Ballet II program. There, she danced the role of Blue Fairy in Bruce Well’s A Midsummer Night’s Dream, was seen in Antony Tudor’s Offenbach in the Underworld, and Michael Pink’s The Nutcracker and The Sleeping Beauty. In 2009, Lisa joined Minnesota Ballet where she performed the roles Lustful Virgin in Agnes De Mille’s Three Virgins and a Devil, and Zulme in Giselle. Last season, Lisa danced with Milwaukee Ballet and performed in Edgar Zendejas’ world premiere of Mara in the International Choreographic Competition. Lisa’s career has offered her the chance to dance works by Alvin Ailey, Kee-Juan Han, Jose Limón, Trey McIntyre, Adam Miller, Pilobolus, Twyla Tharp, and Chet Walker. Lisa is looking forward to her first season with Atlanta Ballet and she thanks her family for all of their love and support.

Filed Under: Dancer Spotlight Tagged With: atlanta ballet, Ballet, dancer, dancer interview, Lisa Barrieau

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