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Choreography: The Messy Juxtaposition Of Aesthetics

March 26, 2016 by 4dancers

***Sophia Lee in In Tandem, Photograph by Bruce Monk.***

I’ve known Peter Quanz since our ballet training years at Canada’s Royal Winnipeg Ballet Professional Division. I have always admired Peter for his courage as a choreographer in taking on supreme artistic challenges and creating inventive, thought-provoking art. It has been a joy to see Peter succeed in what is an incredibly demanding and difficult career path.

I was thrilled that Peter agreed to share with 4dancers readers a bit about his life-changing adventures; his passion and drive for creating cutting edge choreography; and of course, his lovely humanity in connecting with artists across vastly different disciplines and languages. We spoke for about an hour over Skype while he was on a break from rehearsals. – Karen Musey

***Dancers of Les Grands Ballets Canadiens de Montréal. Photograph by John Hall.***

KM You have had an illustrious career and have explored many different avenues of work as a choreographer. What has prompted you to branch out?

PQ I’m very excited that I’ve been working as a choreographer now for over 20 years. And that has given me an incredible life, with experiences that I’d never expected I would encounter. I’m looking forward to more.

I’ve really tried to choose projects that scare me. If I don’t face a project in sheer terror with the feeling of “I’m not skilled enough for this”, then there’s an excitement that’s going to be missing.

KM You make bold choices and continually seek out opportunities to collaborate – how have these different experiences informed your perspective as a choreographer?

PQ I am currently collaborating with Montréal Danse for the creation of a new piece. To spark the creative genesis of the piece, Artistic Director, Kathy Casey proposed a question to me – “How would you make a dance if you didn’t consider the audience?”. That flummoxed me, because for me, one of my hang ups is trying to gauge what an audience is going to relate to. But if you always try to make something an audience will like, soon you will end up only sitting in the audience with them.

We started out with an initial two week rehearsal period. We spent the better part of it figuring out different ways of connecting as a group of people, when I suddenly realized that what was most interesting about this collaboration was the bond that we had as a team. The idea became how to find a way to create a social connection with the audience: essentially, a “social experiment”.

***Photograph by Jean-Matthieu Barraud.***

We are now building a durational production where the whole audience is animated the whole time through technology. They will be using their phone and their signals will be turned on. We are playing with people’s connection to their phones. We are seeing the phone as an extension of their bodies, as an extension of themselves. We are playing with the idea of how we can be drawn together through this immediate technology while not getting so disconnected from ourselves physically that it ceases to be dance.

KM An interesting paradox.

PQ Oh it’s been fantastic! We are finding ways of using the phones to show us our bodies and our movement in ways you can’t see in a normal performance. We are using video that is taken live, utilizing different perspectives to see parts of an image; using the settings on the phone to both create light or diminish what you see in an image. This is how we build “community” in this performance; and we risk in being brought close together with an audience in an artistic relationship, which is very exciting.

No one on our team has ever done a project like this. We are learning how to define what is happening without over defining things, because this choreography is not about steps. One of our dancers coined the phrase “aesthetic of the situation”.

I’m interested in revealing how artists think in spontaneous ways, how they make choices based on their knowledge of movement and performance; I’m curious about dancers themselves being the vulnerable material from which our experience emerges.”

The work with dancers I have in Montréal requires a sensitivity to an ever shifting relational dynamic – between the artist, their relationships to technology and the structure we have all defined as a group. In contrast with that process, I’ve gone off to work with very classical ballet companies setting choreography that is highly determinate of the music and relates closely to architectural structures in movement, which of course has to be very precise.

KM What are you currently creating with your company, Q Dance? [Read more…]

Hidden Gems: Ballet’s Mixed Rep Programs

March 18, 2016 by 4dancers

MCV1 — ***Atlanta Ballet dancers backstage at a performance of Yuri Possokhov’s Classical Symphony. Photo courtesy of Alessa Rogers.***

by Alessa Rogers

Mixed repertory programs can be a tough sell for ballet companies. Audiences are more willing to shell out money and time to see something familiar; like the story ballets Sleeping Beauty and Swan Lake, of which they already know what to expect and are thus more comfortable. Marquis productions are what bring in the money with their splashy titles, character-driven works, happy or not so happy endings. But there is a younger sibling to the more traditional full-length narrative ballet that deserves just as much audience respect–the mixed repertory program.

Mixed rep defined

A mixed rep show is a stylistically diverse program of multiple shorter works–generally 3 or 4 pieces, each around 15-30 minutes in length, and usually all by different choreographers. Some follow a narrative arc where others are movement for movement’s sake. Unless an artistic director has chosen a unifying theme for the program the pieces stand-alone and are unrelated which leads to a surprising, fresh and exciting program.

Bite-sized dance

In this day and age of instant gratification, a mixed rep show may just be what an entry-level balletomane needs. A 20 minute piece followed by a break to check in to the theater on Facebook and send a few selfies in your theatre-going finery followed by another 15 minute burst of culture a couple more times? Yes this is what 21^st century audiences can do at a mixed rep show! No need to buckle your seatbelt for a 3 and a half hour show of the same tortured heroine (though that is perfect for some people). The commitment is less but the pay off is still great. It’s like being served 3 of the most exquisite appetizers and not even needing to order an entrée because you are so satisfied from that.

But besides the practical logistics of maintaining your social life while gaining some culture cred, mixed reps offer something really special. I did a little bit of market research while writing this post, i.e., I asked my boyfriend what he thinks about mixed reps. He is a typical young American male engineer who likes watching basketball, playing chess and not going to ballets (until he met me that is–now he is horrified that he might have missed out on all those Nutcrackers!) Turns out, mixed rep programs are his favorite shows to go to. “They are good for people with short attention spans and there is more of a chance to see something you really like because there are three distinct pieces. Sometimes a piece might be weird and polarizing but in the end that makes it more exciting. And you are exposing yourself to the most density of dance experience in a short amount of time.” (Did I mention he has a Ph.D.? He is very smart and should be trusted.)

21st Century ballet

Mixed rep programs are fun because you never know quite what to expect. This is not stereotypical ballet. In a single show you might see classical ballet, neoclassical, contemporary, a blurring of all of these, or something completely different. There was one mixed rep at Atlanta Ballet that had not one single pointe shoe the entire evening. There were cowboy boots and jazz shoes and bare feet but nary a pointe shoe in sight. This is ballet? Yes, this is ballet in the 21^st century and it is glorious. Mixed reps are where ballet evolves and grows up and changes with the times. This is where performers and audiences stretch themselves to the limits, breathing new life into an old art form.

MCV2 — ***Atlanta Ballet dancers dressed for Ohad Naharin’s Minus 16 on tour in Toronto. Photo courtesy of Alessa Rogers.***

In a mixed rep program at Atlanta Ballet the audience is treated to some of the world’s greatest choreographers, like Christopher Wheeldon, Wayne McGregor and Jorma Elo. These in-demand dance makers from all over the world are heading South with their ballets. Atlantans don’t have to travel to places like New York and Europe to see these masters. They are coming here. At the same time, many companies use mixed reps to foster their budding in-house choreographers. In a 2014 mixed rep program, I was fortunate enough to be in pieces by internationally acclaimed choreographers Alexei Ratmansky and Ohad Naharin, but it ended up being Atlanta Ballet dancer Tara Lee’s premiere that was most special to me. There is a different dynamic in being choreographed on by a fellow dancer. She knows everything about me as a dancer, what I’m good at, what I’m bad at (and still cast me!), and it formed a kind of trust between her and her cast that was so strong.

In the program Atlanta Ballet is currently preparing for, all three works were world premieres on Atlanta Ballet at one point or another. When new pieces are being created, the studio is fecund with creativity, energy and excitement. Mixed rep shows are where we get to work with choreographers we have always dreamed of working with. I think at Atlanta Ballet this is really where we shine–in collaboration and in versatility. Working with these choreographers in such varied styles is how dancers become versatile artists. Young dancers often get their first chances to be featured and shine alongside virtuosic veterans. It can be hard on a body to go from Possokhov’s Classical Symphony to Gustavo Ramirez Sansano’s El Beso in the same night because the qualities are completely different but we crave the challenge. It fills us up. Mixed reps are where we find and push our edges. Even if there is one piece we don’t particularly like or isn’t suited to us we can work on growing in that one and really enjoy the next. There are extremes and there is balance and there is, always, beauty and joy.

When it comes to mixed rep programs, there are plenty of reasons to attend. Choreographer Gustavo Ramírez Sansano shares some thoughts on the value of experiencing a range of different contemporary dances:

Atlanta Ballet’s 20/20: Visionary program is a mixed rep offering that runs from March 18th through March 20th, 2016. Tickets are still available.

Contributor Alessa Rogers began her dance training with Daphne Kendall and left home at fourteen to attend the North Carolina School of the Arts. Upon graduation she spent one season with North Carolina Dance Theatre II before joining Atlanta Ballet where she has been for the past eight years.

Favorite roles at Atlanta Ballet include Juliette in Jean-Christophe Maillot’s Romeo et Juliette, Margaret in the world premiere of Helen Pickett’s The Exiled, Lucy in Michael Pink’s Dracula, Ophelia in Stephen Mills’ Hamlet, Lover Girl in David Bintley’s Carmina Burana, and Princess Irene in the world premiere of Twyla Tharp’s The Princess and the Goblin.

She has performed works by Jorma Elo, Wayne McGregor, Ohad Naharin, Christopher Wheeldon, Christopher Hampson, Dwight Rhoden and Tara Lee. She has been a guest artist with the National Choreographers Initiative in California and Terpsicorps Theatre of Dance in Asheville, N.C.

In her spare time she likes to read, write, cook vegetables, meditate, travel and rock climb.

But He Married A Ballerina: The Real Husbands Of Pacific Northwest Ballet

March 18, 2016 by 4dancers

***Pacific Northwest Ballet dancer Jessika Anspach McEliece with husband Ryan.***

by Jessika Anspach McEliece

Sitting on the couch, wearing a flannel shirt and jeans, he picks up the guitar positioned next to him. Leans back. Begins to strum.

“Okay. Well… You can’t be ah… playing. I guess you can play the guitar the whole time if you want to…” I eek out as I place the iPhone down on the coffee table in front of us. Recording his music, and my passive aggression.

“Why not?” he replies.

“… like a bro…” I continue, disregarding his objection.

“Total bro.” He smiles sarcastically.

“For the record my husband is a total bro,” I facetiously and falsely declare.

“Off the record I am not, but you can tell people that…”

I may have married a “bro”, but he married a ballerina.

The life of a dancer seems to be one of mystery and intrigue. I mean how many movies and reality TV shows are out there that try to plumb the depths of this strange world? Because let’s be honest, it’s strange…

And yet how realistic is Center Stage or Flesh and Bone? What’s this life really like? Not the super-stereotyped, ballet-on-steroids version – the honest, every-day truth. Are we really these crazy creatures that Hollywood makes us out to be? Who better to ask than the husband of a dancer – and yes, many do manage to work marriage into the mix. I mean after all, husbands have both the front row and backstage perspective.

To get the real story I interviewed three husbands of Pacific Northwest Ballet dancers: Karel Cruz – a principal dancer married to fellow principal dancer Lindsi Dec; Michael Merchant, married to the newly-promoted soloist Leah Merchant; and of course my dear sweet (non-bro) husband Ryan McEliece.

But how does one meet “The One” when, to be frank, the schedule and demands of this profession seem to hinder the spouse-finding process? From my vantage point when I joined the company most of the dancers at PNB were either very single, or very married. How does one traverse the chasm that separates these two sides? To me the options seemed limited – date a dancer, or well… yeah. Tinder? Match? Miracle?

Karel Cruz

“How did you meet your wife?”

Another couch. Another coffee table. Different place. Different guy… So totally different…

He rustles through a brown paper shopping bag up in PNB’s company lounge, pulling out his lunch as I pull out my Moleskin notebook and pen. The definition of “tall, dark and handsome,” Karel energetically bites into his sandwich and you’d never guess he got maybe 4 hours of sleep the night before. He and his beautiful wife Lindsi just recently welcomed into this world a beautiful baby boy – Koan Dec Cruz.

PNB dancers Karel Cruz, Lindsi Dec and Koan Dec Cruz — **PNB dancers Karel Cruz, Lindsi Dec and baby Koan Dec Cruz**

“We met here at PNB when I joined the company in 2002. But we didn’t get together until 2003,” he replied in his heart-warming Cuban accent. “I think because of our heights we were put together a lot. And we both have a lot of ambition… We used to go to the back studios during breaks or after class to work on partnering. We’d rehearse ourselves in Don Quixote and one day Patricia [Barker] saw us and actually got us our first gig dancing together.”

And the rest is history. The on-stage romance blossomed into a real-life one. And by real-life I mean real life. [Read more…]

Preview: Atlanta Ballet’s “20|20: Visionary”

March 14, 2016 by Rachel Hellwig

Atlanta Ballet in "Home in 7". Dancers: Christian Clark and Christin Winkler. Photo by Charlie McCullers, courtesy of Atlanta Ballet. — Atlanta Ballet in “Home in 7”. Dancers: Christian Clark and Christine Winkler. Photo by Charlie McCullers, courtesy of Atlanta Ballet.

by Rachel Hellwig

Music and athleticism, the joy and shadows of childhood play, and the city of Atlanta itself inspire the works in 20|20: Visionary, presented at the Cobb Energy Performing Arts Centre from March 18 – 20. A mixed bill of choreography created exclusively for Atlanta Ballet, the program features Amy Seiwert’s Home in 7, Darrell Grand Moultrie’s Boiling Point, and the world premiere of Douglas Lee’s Playground.

Seiwert’s Home in 7, made for the company in 2010, reflects Atlanta’s culture and diversity. The piece includes live music by Daniel Bernard Roumain and spoken word by Marc Bamuthi Joseph. Roumain, a violinist and acclaimed composer, is known for combining classical music, hip-hop, and funk. Joseph, an award-winning poet and Morehouse College graduate, will perform seven original poems about the city specifically written for this collaborative work.

Atlanta Ballet in “Home in 7”. Dancers: Pedro Gamino, Tara Lee and Deonte Hansel. Photo by Charlie McCullers, courtesy of Atlanta Ballet.

“Home in 7 is a relationship between dance, poetry, and music,” says Atlanta Ballet’s 20-year veteran Tara Lee who appeared in the work in 2010 and will revisit it this week. “All parts are equal, and there’s a dramatic level change when we have all the live artists together for the first time. I remember that from the last time we rehearsed the piece; that’s the moment when we experience what the work is about. It’s about being partners with the words and the song, expressing something in that moment together.”

For Kiara Felder, now in her second season with the company, Home in 7 comes at a special time in her life. “This is unique for me because I am really starting to identify with and call Atlanta my home,” she says. “I also read a lot of poetry, so I feel a strong connection with this piece. It’s an interesting challenge to dance with words and emotions driving you.”

Atlanta Ballet in "Boiling Point". Dancers: Pen-Yu Chen and Tara Lee. Photo by Charlie McCullers. Courtesy of Atlanta Ballet. — Atlanta Ballet in “Boiling Point”. Dancers: Pen-Yu Chen and Tara Lee. Photo by Charlie McCullers, courtesy of Atlanta Ballet.

Boiling Point, created for Atlanta Ballet in 2008 by Darrell Grand Moultrie, is inspired by the music of Kenji Bunch and pushes dancers’ physical limits. “It’s all about the energy you feel and how much you can expand it beyond yourself,” says Lee. “Having danced the piece before with a different cast, I realize how different a piece can be depending on who’s interpreting it. The group dynamic can shift with just one dancer changing…and that’s the fun part–to be sensitive to that playing of energy.”

Felder agrees, “Boiling Point gives us an opportunity to showcase our technical skills, and the energy of our company builds on each dancer’s unique attributes. It is very exciting to be on stage together in that way.”

Atlanta Ballet in "Boiling Point". Photo by Charlie McCullers, courtesy of Atlanta Ballet. — Atlanta Ballet in “Boiling Point”. Photo by Charlie McCullers, courtesy of Atlanta Ballet.

Douglas Lee’s debut work for Atlanta Ballet, Playground, draws upon his memories of childhood play—both its uplifting and sinister elements. “The physicality in this work is extreme and twisted, and yet it flows in such an organic and natural way,” explains Tara Lee. “This juxtaposition of beauty and distortion is visually fascinating, especially when Douglas plays with partnering between dancers. There are moments when the chaos becomes synchronization, and you realize there was a method to the madness the whole time.”

“Each piece in 20|20: Visionary incorporates different styles and approach to movement,” says Jared Tan, a member of Atlanta Ballet for six seasons. “I find it challenging as a dancer but, at the same time, I love it because it helps me be versatile. I can’t wait to perform these works on stage!”

Tickets start at $25.00. Purchase here.

From Atlanta Ballet’s website:

“Run time is approximately 2 hours and 8 minutes, including two 20-minute intermissions.”

“Home in 7 will be sign interpreted for the deaf/hard of hearing during the 20|20: Visionary performance on Saturday, March 19 at 2pm. Designated seats can be reserved online by clicking here or by calling 770.916.2852. Reserved seats are located in the Right Orchestra and the front right of the Center Orchestra.”

https://www.youtube.com/watch?v=DnaVzxtNBuU

The Dance COLEctive Celebrates 20 Years

March 11, 2016 by Rachel Hellwig

Margi Cole reflects on her journey as a choreographer and The Dance COLEctive‘s upcoming 20th anniversary performance, Revelry/20 Years.

Margi Cole. Photograph by William Frederking.

What continues to inspire you to choreograph after 20 years?

I am quite simply inspired by the creative process. I am still curious. I want to experiment with new ideas, new bodies, new challenges. I want to see if I can be more creative than the last time. How can I challenge the bodies in the space? How can I challenge myself? I get excited about working with the dancers, creating puzzles for them to take on, challenging their weaknesses and amplifying their strengths. I am enamored with watching the dancers tackle the material and grow from it. I am inspired by the authenticity of the experience. It is a truly intimate and satisfying privilege to be present in that creative space.

What are some of the most valuable artistic insights you’ve learned along the way?

Gosh. So many. Probably the biggest thing I would offer is that it is OK to fail. It is not fun, but there is so much to be learned from not succeeding. I can’t tell you how many times I have tried and failed and tried again. I wish I had been less worried about failing when I was younger and more of a risk taker. I find myself taking risks more now but they are calculated, less organic. Do your research. Be brave. Be humble about your failures and modest about your successes. The other thing that is just as hard is balancing your creative self, your personal self and your administrative self. Be careful that they do not become so tightly wound that you can’t separate one from the other. It means making sacrifices along the way. [Read more…]