Making Dances – Page 6

Shannon Edwards: Choreography And Nostalgia

October 24, 2013 by 4dancers

This is the second in a series of four interviews about COLEctive Notions – a concert program that will be presented in Chicago on November 1st, 2nd and 3rd. We are featuring a behind-the-scenes look at the choreographers that are involved, and today we have some thoughts from Shannon Edwards about what it was like to work on her piece…

Can you describe what your piece is about?

Chronicles of Nostalgia is about the deep, nostalgic memories of a specific person that creep into our thoughts at unexpected times. It is about missing someone without consciously knowing it. This piece chronicles three unique, nostalgic experiences. Emotional in their own way, these recounts happen sort of unwillingly. As in our own lives, memories can be avoided, abrupt, and uninvited. However, recounting the experience is almost always visceral.

shannon — Shannon Edwards, Photo by Eric Olson

I went into choreographing for COLEctive Notions this time willing to use spoken text. It was an avenue I had been eager to go down for quite some time now. I was willing to try it, throw it out if need be, or go with it. I found the use of text effective in setting the tone of my piece. I found it challenging at times. At times I found it interesting and fun. Now, I am not just choreographing a dance, but I am directing vocals and exploring different ways of delivering text. So this new tool brought an interesting new way of shaping the work.

How was Margi able to help you clarify and shape your vision for this piece?

Margi is incredibly open to our work. She comes in as an eager viewer, not judging or expecting anything. This is so important to me as an artist. The hardest thing about making work can be fulfilling expectations of others. Margi watches with a viewer’s eye, not a director’s eye. She notes what she saw, what she enjoyed, which parts resonated with her, and even what parts were confusing. I take what I need from that. If I have questions, I ask, and she honestly replies. If I need her suggestions, she is right there with honest input. I appreciate that honesty and openness about her. It always puts me in the right direction.

What was it like to work with the dancers?

It is always a pleasure to work with women who I have worked very intimately with for years. I love seeing what they come up with when I give them directions. It is so lovely to watch from the outside. The thing is, we (as dancers) have developed a deep partnering/group relationship over time. So I knew going into the work how these dancers would be at taking direction and developing relationships within Chronicles of Nostalgia. I had full faith in their ability to work intimately. And, more recently, we have had the pleasure of practicing our spoken text on stage. So I was pretty confident in these wonderful ladies since the beginning.

How is choreography different for you from dancing?

Choreographing is quite different and laboring. Choreography is a passion, and a thrill for me. However, it does not come easy. I spend a lot of time pondering, contemplating, and thinking intensely about every single step. Dancing is very natural and instinctual in my body. Although dancing is laborious in a physical way, and I do spend time thinking about intentions, I am intuitive about it. Choreographing is where I spend a lot of time answering my own questions, making sure that each step means exactly what I want it to mean, and second guessing (and then reassuring) each part of the dance.

Are you interested in doing something like this again?

I always have new ideas and interests that I would love to explore on the dance floor. So I am sure I will be doing this again when I have the opportunity.

Shannon Edwards graduated with a BA in Dance from Columbia College Chicago. She was a member of MaryAnn McGovern and Dancers from 2009-2011. Shannon has recently performed in works by Liz Burritt, Pete Carpenter, Maggie Koller, and Stephanie Williams. Shannon recently co-founded Mongan Dance Academy in Evergreen Park. She enjoys sharing her knowledge and passion for dance with children at other local studios, as well. Shannon is thrilled to be dancing her fifth season with The Dance COLEctive.

Katie Petrunich: Choreography — Running Parallel

October 22, 2013 by 4dancers

This is the first in a series of interviews with choreographers from the upcoming “COLEctive Notions” showcase, which will run in Chicago from November 1st – November 3rd.

COLEctive Notions is choreographed by dancers from The Dance COLEctive and performed by members of the company. This concert program was covered by 4dancers last year as a way to learn more about the choreographic process. We’re pleased to present it again for you this year…

We’ll hear from Artistic Director and Founder Margi Cole and three choreographers over the next week. First up is Katie Petrunich…

Can you describe what your piece is about?

Running Parallel is a duet that portrays the progression of a lifelong marital relationship. The intimate and quirky movement was generated utilizing literature, photographs, and real life experiences. The dated costumes, blues and jazz music fragments, and stagnant static of an old record player create a cozy and recognizable atmosphere. Watching the piece reminds me of looking at photographs of my grandparents when they were in their early 20s and first married, in which I find comfort.

katie — Katie Petrunich, Photo by Eric Olson

The initial movement was inspired by “Love Poem” by Linda Pastan. I wanted the descriptive words and flow of the poem to translate into the structure of the piece. The well-known 1945 photograph of a sailor kissing a woman in a white dress, V-J Day in Times Square by Alfred Eisentaedt, was the sole image used to set the tone of the piece and created a warm connection between the dancers. I also developed a survey in which I had grandparents, co-workers, and random elderly strangers from a breakfast shop fill out together or on behalf of their experiences within marriages lasting 40-50+ years. The dancers and I used their experiences to create movement phrases. In the surveys, I discovered that some individuals lost their other half, which changed my initial concept. The piece unfolded in the opposite direction, but I am completely happy with the outcome.

The richness of the movement also stems from the dancers’ personal experiences, which resulted in soft gestures against strong, sharp movement.

Although I am not committed to a lifelong relationship, I believe that the secret to maintaining a successful and happy marriage is that each individual must be on the same path, consisting of similar wavelengths in relation to morals, beliefs, values, understanding, and having the ability for adjusting and accepting one’s daily habits and quirks. How does one adapt initially and how does it shift in later years? There are ups and downs, and in order to obtain functionality, the through line should flow naturally, running parallel to one another. I have Maggie Koller to thank for our hour-long conversations on this topic, and this is definitely the concept I have embraced and translated into Running Parallel.

What did you enjoy most about this process?

I simply have enjoyed the feeling of being inspired to delve into choreography. I feel like we can get caught up in our habitual, redundant daily routines. It is exciting to work towards personal goals, and this has been a great one of mine to accomplish. Getting into the studio and watching the dancers’ movement materialize and evolve has been a magical experience. I have also enjoyed seeing the movement and intentions solidify into the dancers’ bodies—they are very passionate and lovely.

How was Margi able to help you clarify and shape your vision for this piece?

Working directly with Margi has been a pleasure, offering me guidance with her innovative and experienced eye. I am lucky I had access and the ability to reap the benefits of obtaining the opinions from such a skillful dancemaker. During our feedback sessions, Margi questioned many aspects of my piece, not because there was a right answer or because she did not trust me, but to make sure I had the answers to these questions in order to understand the piece as a whole for myself. She brought awareness to the minute details that make the special moments more meaningful. Margi gives her dancers a wide range of creative freedom. We can either take or leave her suggestions, but in the end we are able to make the final decision, which is a huge responsibility and accomplishment in seeing the final product. I am grateful for her resilience and her trust in allowing us to make smart choreographic decisions.

What was it like to work with the dancers?

Shannon and Julie’s dynamic movement styles and creativity is exactly what Running Parallel needs. I appreciate their willingness to be vulnerable, which helped to fuel the movement and create a strong personal connection. They have embraced the concept genuinely. I enjoyed visualizing their progression of the piece, bringing it to life during each rehearsal. They worked really hard and I am thankful for their dedication.

How is choreography different for you from dancing?

Choreography goes far beyond just dancing. When choreographing, I am thinking of the big picture, whereas dancing, I am mainly thinking about the movement itself and what feels right in my body. It is gratifying to be able to see the dance from the outside. When initiating a TDC piece, Margi lets us create our own movement phrases and she puts it all together and adds what we call, “the Margi spice.” Starting as a dancer and being able to witness Margi’s tactics for the past five seasons, I finally felt well prepared and comfortable enough to choreograph. I used a similar framework in constructing the piece. I was able to form a sequence of the dancers in unison, but the majority of the movement was generated by the dancers.

Are you interested in doing something like this again?

I definitely would be interested in choreographing again, as long as I have the opportunity, an idea, and support. I already work with a great group of dancers, which makes this whole process fun, easy, inspiring, and completely satisfying. If I could be successful in this profession once, if not more, I would be overly pleased and proud. I cannot imagine how it feels to accomplish the same 18 years in a row, such as Margi has done for TDC.

Katie Petrunich received a BA in dance from Columbia College Chicago in 2008. Katie has performed with Antibody Dance, the Minneapolis based company, HIJACK, and has danced around for various projects at the MCA for DanceUSA and CDF. She’s also had the pleasure to perform works by Margi Cole, Jeff Hancock, Stephanie Williams, and current and former members of TDC. Katie also works as a legal assistant for a law firm downtown and spends her free time volunteering at Lurie Children’s Hospital. Katie is honored to be apart of TDC for her fifth season, thanking Margi for letting her delve into an inventive, fulfilling process year round. Katie also thanks her family and friends for all of their love and support; she’d be lost without them.

PSA For Small Dance Companies: Why You Aren’t Getting The Press You Want

July 15, 2013 by 4dancers

by Lauren Warnecke, MS

I’ve had several conversations lately with small-scale choreographers and company directors who are frustrated by the dance press. The little guys have a hard time getting exposure among the big companies, who always seem to make it into the papers. Since I play both sides of the coin as a freelance choreographer and freelance dance writer, I am intimately acquainted with the dilemma of fighting for press over the heavy-hitting companies.

Commonly heard complaints:

“It’s not fair.”
“It’s always the same people getting reviews.”
“The big companies don’t even need the help from the press.”
“I don’t even bother to read reviews anymore because they just don’t get it.”

Trust me. I get it. But within these statements are a couple of grievous mistakes that aren’t helping your cause.

1. You’re barking up the wrong tree. Time spent researching your press list is well spent. Working your own press isn’t rocket science — it just takes time, persistence, and Google. Sending impersonal releases to editor@bigtimenewspaper.com will get you nowhere fast. If you don’t have the time and the desire to seek out and form relationships with the individuals who are actually going to write about you, then hire someone.

2. You assume we get paid to write reviews. If you’d like to supplement your dance income with something other than waiting tables, I wouldn’t recommend writing. We don’t write for the money, but rather because we love it and want to serve and support the dance community. Like any other artistic endeavor, there just isn’t enough money or time to go around. Many, if not most, independent writers and bloggers are writing for free, making pennies per posts, or have to put sufficient time and effort behind selling advertisements and endorsements on their sites. Page views can also impact our income, which is one reason why it can be beneficial to write about the big companies. Page views to a writer are butts in seats to a choreographer. The network of readers outside the dance community is larger for the big companies, so the review is likely to have a greater impact. Yes, this is a backhanded excuse, but I would argue that small companies who do receive press could have the same impact by sharing copiously with their networks and engaging in the ongoing discussions on publications from which they want support.

3. Butts in seats are not necessarily directly correlated with press reviews. Reviews for dance shows don’t often promote the show reviewed. Let me explain: with the typical one-weekend, 2-3 show format, a review will likely have minimal impact on ticket sales because there isn’t enough time for it to land with readers. The point of getting reviews is not so much driving new audience members to this show, but rather the next one. That’s not to say you shouldn’t share reviews and leverage them to try and persuade people to come, but the real benefit of reviews is in your marketing materials and grant applications for future projects. If the goal is butts in seats now, you should seek previews rather than reviews, or run your show for two weekends and invite reviews to the first. Invite members of the press to view an open rehearsal or request an interview. Use previews in your e-blasts and supporting arguments for why people should come see your show next weekend.

Note: Press comps should be extended to preview-ers as well as potential reviewers. They may not bite (especially after seeing a rehearsal), but it’s good form to offer a comp as a courtesy. Recall #1: we don’t get paid very much and seeing free dance is sometimes our only source of income. And, p.s., I won’t review a show I had to pay for.

4. You may not believe this, but we don’t enjoy writing negative reviews. It’s not pleasant to criticize something that I know has taken a lot of time, effort, and passion to create, but I’m also not interested in lying. To pad a review with unnecessary or unwarranted compliments, in the end, does a disservice to the readers and to the company at hand. If your company has something they could do better, I’m going to say so, and I expect you to take it like a (wo)man. Here’s the thing: at the end of the day, anything a dance critic writes is the singular viewpoint of one person. As much as we try to dissuade our biases and opinions, a review is just that: an opinion. You can take it or leave it. You can put it on your website or not. To banter on about how horrible the press is, or to stop inviting a critic who wrote a negative review isn’t a fast track to success.

5. Big companies need press just as much as you do. Sure, they might have more money and a dedicated person hired or contracted to take care of media relations, but they are also tasked with filling massive houses, thousands of seats, often in multiple cities. The argument should not be to stop writing about them and start writing about you, but instead to bolster the dance writers so we can cover everybody.

Long story short, if you want better press for your company, here’s the bottom line (or two, actually): [Read more…]

Musical Theatre Dance: In The End, It’s About The Process…

June 24, 2013 by 4dancers

"Forget About the Boy", photo by Mandy Love, courtesy of CAM-PLEX — “Forget About the Boy”, photo by Mandy Love, courtesy of CAM-PLEX

by Lauren Warnecke, MS

Choreographing for children’s musical theatre isn’t my dream.

I can’t sing. I never liked jazz class. I’m an ex-bunhead turned squishy modern dancer… musical theatre just isn’t my bag.

Almost ten years ago I got a job at a Jewish Community Center north of the city teaching dance to little kids, and part of the gig happened to include a choreographic residency with their youth theatre company. With a hefty season of three full productions and eight weeks of summer camp, I went from Isadorable to queen of the jazz square – and quickly.

Sometimes you have to let go of your artistic integrity just a little bit when you’re working with kids. I often reflect on all the letting go, the undoing, the molding, the careful nurturing of the seed that would later become the artist I am today.

But then I remember that kids are missing part of their brains and it makes the jazz squares a little easier to swallow. [Read more…]

Opus 7: The Once and Future Arvo Pärt, Part II

May 18, 2013 by 4dancers

by Allan Greene

(Read part one of this series here)

Part’s works and his crises

Arvo Pärt (pronounced “pair-t”), the contemporary classical composer, insists, as recorded in Arvo Pärt in Conversation (Enzo Restagno, et al., 2010), that in contrast to whatever anybody else takes away from his highly spiritual compositions, he is driven by technical goals; and that the “system” that he devised after 1976, which he calls Tintinnabuli, is meant to prove that “1+1=1”, that in the End is the Beginning. In other words, Happiness is a Cosmic Blanket.

His route to happiness took him through his own extended breakdown, between 1968 and 1976, a span during which he had largely stopped composing. He had already changed direction twice in his short career.

Born in 1935 into an independent Estonia at the fringes of Western culture, he grew up as the Soviets took effective control during the war and then complete control afterward. The Estonian musical community had been pretty much ignored by the powerful and reactionary Composers Union in Moscow. Pärt, however, was a seeker, not an entertainer, and when visiting artists performed and brought recordings and scores of what was happening in the West (Boulez, Stockhausen, Henze, Dallapicola, Berio, and above all Webern), he found the path he was seeking. His early popular success (1960) with a student composition, Nekrolog, which was one of the first twelve-tone pieces written inside the Soviet Union, drew “relentless criticism from elevated cultural circles” (Restagno, p. 14) because it allowed a corrupt Western aesthetic to penetrate the Iron Curtain. A few years later he was trying heterogeneous pieces (Collage on B-A-C-H, 1964) which he described as:

A sort of transplantation: if you have the feeling you don’t have a skin of your own,you try to take strips from skin all around you and apply them to yourself. In time these strips change, and turn into a new skin. I didn’t know where this experiment with the Collages would lead me, but in any case I had the impression I was carrying a living organism in my hands, a living substance, such as I had yet not found in twelve-tone music… But one cannot go on forever with the method transplantation. (Restagno, 17)

He was in a record store (remember those places?) and overheard a short Gregorian chant, just a few seconds of it, as he recalls (ibid., 18).

In it I discovered a world that I didn’t know, a world without harmony, without meter, without timbre, without instrumentation, without anything. At this moment it became clear to me which direction I had to follow, and a long journey began in my unconscious mind. (ibid., 18)

Pärt continued to experiment in the mid-Sixties with works juxtaposing radically different styles, like his Second Symphony (1966), which after the most frightening clashes of sound masses introduces a note-for-note symphonic quotation from Tchaikovsky twice in the final movement.

He gave up on twelve-tone, serial, musique concrète, even Webern-like miniatures, after that, having decided that mid-Twentieth Century New Music was a carrier of “the germ of conflict”. The conflicts had lost their power and meaning for him.

One could say I had come to terms with myself and with God – and in so doing, all personal demands on the world receded into the background. (ibid., 22)

I have come to recognize that it not my duty to struggle with the world, nor to condemn this or that, but first and foremost to know myself, since every conflict begins in ourselves. (ibid.)

And so I set off in search of new sounds. In this way, the path itself becomes a source of inspiration. The path no longer runs outwards from us, but inwards, to the core from which everything springs. That is what all my actions have come to mean: building and not destroying. (ibid.)

In 1968 he composed a Credo (Summa), a work for piano, orchestra and chorus with Latin texts from the Gospels. The Composers Union caught up with him, and soon he was receiving coded threats that investigations were going on at the highest level. This combination of twelve-tone language and Jesus’ suffering proved too provocative for the authorities.

After this I was interrogated several times, and the interrogators repeated the same question over and over again: “What political aim are you pursuing in this work?” (ibid.)

His wife Nora added, “And they added, ‘And do not forget that this work must never again be performed, and you must not offer it to anyone else’”. (ibid.)

Understandably, the confluence of all these doubts and pressures led to his choice to cease composing. This was his nervous breakdown moment, when nothing which had worked for him in the past worked now. [Read more…]

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