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Choreography, Collaboration & Laughter: Margi Cole & Peter Carpenter

April 24, 2015 by Rachel Hellwig

Choreographers Margi Cole of The Dance COLEctive and Peter Carpenter of Peter Carpenter Performance Project discuss collaborating on “Rituals of Abundance for Lean Times #14: Curious Reinventions”, a project that explores the concepts of mimicry and imitation.

Photograph by William Frederking.
Photograph by William Frederking.

What first inspired you to collaborate?

Margi Cole: Pete and I go way back, and I have always admired his work as a performer and choreographer. After a very chance conversation about the possibility of me being a performer in his work, it happened, and I had the great pleasure of performing in two of his very recent installments of Rituals of Abundance for Lean Times, the series he is working on. To be blunt, I am totally turned on by working with Pete in the studio, creating movement vocabulary, exploring the use of text and the creative process. As a result of my own experiences, I wanted my dancers to have an opportunity with him too, as I know firsthand how much can be gained from the work. Double bonus: I get to be a co-choreographer and continue to learn as well. It’s an awesome opportunity created by being in the right place at the right time.

Peter Carpenter: Margi and I have known each other as part of Chicago’s dance community for years. In the fall of 2012, she performed in an earlier installment of the Rituals of Abundance for Lean Times series (a series I’ve been working on since 2011), and then last year she invited me to come and do some workshops with her company. Several of her company members are former students of mine (from Columbia College Chicago, where we are both faculty members) so I was excited to work with them. From there we pursued an opportunity via the Department of Cultural Affairs and Special Events for a produced event at the Storefront Theater. That was about a year ago, and we’ve been in the planning stages of this performance ever since.

[Read more…]

Filed Under: Editorial, Making Dances Tagged With: chicago, chicago dance, choreography, collaboration, DCA Storefront Theater, making dances, margi cole, Peter Carpenter, Peter Carpenter Performance Project, Rituals of Abundance for Lean Times #14: Curious Reinventions, the dance colective

Looking At Art & Inspiration With Herbert Migdoll

January 23, 2015 by 4dancers

It’s always interesting when one artist inspires another–especially when they operate in two different mediums.

Brock Clawson is a choreographer who has had work performed by both the Milwaukee Ballet and The Joffrey Ballet. Herbert Migdoll, artist, Director of Special Projects for Joffrey, and long-time company photographer, recently created a series of art pieces based on Clawson’s piece, “Crossing Ashland”.

We wanted to learn more about how the inspiration for this work came about, so we reached out to Mr. Migdoll to learn more about his process. (Please feel free to click on the photos below to bring up a larger view.)


What was it about Brock’s piece (Crossing Ashland) that you were drawn to specifically?

Initially, in the Joffrey dance studio, the work reminded me of the ballets performed at Judson in the Village in the olden days. That period included such artists as Carolee Schneeman, Laura Dean, Meredith Monk, Twyla Tharp, Cathrine Litz and many others. It always had a rawness and simplicity in the aesthetic, which allowed one to realize that all movement is a part of dance. The core came from rough ideas, and the motion of the dancers presenting those elements were indulged by an audience and relished by visual artists–like Rauchenberg who jumped into dance and even performed in a work with Steve Paxton there. A photo from that performance is on my list of paintings, TO DO.

Brock Clawson and Herb Migdoll

The bodies of the dancers (in Brock’s piece) rolling to the left and then to the right is totally unique to how bodies are normally focused upon.

As a kid I loved to roll down low ravines or in the shallow waters of an ocean tide foaming onto the beach as the twilight of evening was approaching. All of this creates a visual plethora of ones past experience with rolling around. I knew fairly quickly that Brock had touched a nerve in my collective consciousness and that I would have to run with it. That electrical moment does not occur that often and when it does you are not able to not jump into the creative process.

God does good stuff too–like grass and human bodies seemed inevitable elements of collaboration. The grasses in Lurie Garden are often nifty, and also in Ping Tom Memorial Park.

Herbert Migdoll

Do you have a particular piece you gravitate toward?

The first grey panel I produced with colored bodies on top and flesh bodies below would be my first choice if I could afford to buy one. But I can’t.

Also the 5 bodies lost in the Lurie Garden autumn grasses is uniquely magical.

Bob Joffrey once remarked that wonderful art will always have a quality of being magical. It’s the magic that allows you to enter that other dimension.

Lurie Gardens

What was your creative process like with this project?

It started by watching a rehearsal–and from that to know that I had to shoot a lot of rolling around stuff. And I did.

Then I edited down to nine iconic images and placed them mostly sequential order as they appeared on stage–but not strictly. Next I looked at them in Photoshop to eliminate the photographic aesthetic and coax the slickness out of the photo into an evolved
sort of drawing–and then to finally take shape into an acrylic reproduction–producing a digitally painted series of nine images in a row.

The monochromatic “drawing-like” figures were so on the mark, I stopped and simply continued to create an almost square of bodies which became a matrix for the possibility of endless modular combinations. And these compositions of modules will now continue on as long as I have funding to produce new canvasses.

The grey backgrounds on some of the works led to the beauty of colors against grey, and intermingled with the lush flesh colored bodies. All of which have nothing and everything to do with Brock’s ballet. Rothko, one of my heroes, inspired me to pursue the soft edge of one or two colors firmly blended and totally separate. It’s all kind of a “stream of consciousness” response–and finally a leaving of the source of inspiration. It is an acceptance that the inspiration is the golden source–not because it recreates the final images–but because it evolves art totally unique from the source.

Painting is not illustration. It’s something else!

Herb Migdoll artwork

Filed Under: Editorial Tagged With: art, artwork, brock clawson, Carolee Schneeman, Cathrine Litz, chicago dance, crossing ashland, dance, herb migdoll, herbert migdoll, joffrey, Laura Dean, lurie garden, Meredith Monk, rauchenberg, rothko, steve paxton, the joffrey ballet, twyla tharp

Wendy Whelan At The Harris Theater: Restless Creature

January 21, 2015 by 4dancers

Wendy Whelan in Restless Creature. Photo by Christopher Duggan.
Wendy Whelan in Restless Creature. Photo by Christopher Duggan.

by Catherine L. Tully

Wendy Whelan is here in Chicago. And after waiting nearly a year for her to heal from a hip injury and re-schedule her tour, Restless Creature is on the schedule at the Harris Theater tonight.

The dance community is buzzing…

Whelan retired from New York City Ballet near the end of last year, and she is transitioning to the next phase of her career. Restless Creature is a unique dance offering that takes four young choreographers and challenges each to create a duet for one of the greatest ballerinas of our time.

But there’s a twist–they also dance these pieces with her.

Here’s a quick peek at each of the pairings that will be on stage this evening:

Alejandro Cerrudo and Wendy Whelan in rehearsal for Restless Creature, photo by Christopher Duggan.
Alejandro Cerrudo and Wendy Whelan, photo by Christopher Duggan.

Cerrudo

In Chicago Alejandro Cerrudo needs no introduction. This Spanish-born dancer became Hubbard Street‘s resident choreographer in 2009. His duet with Whelan, Ego et Tu is the first of the four to be performed.

Wendy Whelan
Joshua Beamish and Wendy Whelan, photo by Christopher Duggan

Beamish

Also on the program is Joshua Beamish with Conditional Sentences*. Beamish is the force behind MOVE: the company, which he founded in 2005.

Kyle Abraham and Wendy Whelan. Photo by Christopher Duggan.
Kyle Abraham and Wendy Whelan. Photo by Christopher Duggan.

Abraham

Choreographer Kyle Abraham has his own company, Abraham.In.Motion, and his duet, The Serpent and the Smoke is the next offering on the program.

Brian Brooks and Wendy Whelan. Photo by Christopher Duggan.
Brian Brooks and Wendy Whelan. Photo by Christopher Duggan.

Brooks

The final pairing for Restless Creature was created by Brian Brooks, and is titled First Fall. He is the choreographer at Brian Brooks Moving Company.

The program runs approximately 55 minutes and is only here for one night. It should be a thrilling one.


For more information about upcoming tour dates, visit Wendy Whelan’s website.

*4dancers originally had the name of this piece incorrect and it has been updated.

Filed Under: Editorial Tagged With: alejandro cerrudo, brian brooks, chicago dance, choreography, harris theater, joshua beamish, kyle abraham, restless creature, wendy whelan

NDEO Offers “Mosaic Of Possibilities” In Chicago

November 28, 2014 by 4dancers

 

Overview

The National Dance Education Organization (NDEO) held its yearly conference in Chicago earlier this month (November 5-9) and 4dancers attended for the first time. We wanted to learn more about the offerings this organization extends to the community of dance educators, connect with other dance writers and bloggers from across the country, and share our conference experience with readers here on the site.

photoThe theme for 2014 was “Collaborations–A Mosaic of Possibilities” and the first thing you noticed when browsing all of the sessions available is that there were a staggering variety of them to choose from. Here is just a brief sampling of some of the titles:

  • Collaborating Between Dance and Illustration Students
  • Deep Core Stabilizer Muscles and Global Movers; Finding Collaboration in Movement
  • Technique Class for the Mature Mover
  • Common Core & Dance: Let’s put it together!
  • Mambo to Hip-Hop
  • Preserving dance in collaboration with photographers and filmmakers, past and present
  • Moon Phases: A Collaboration Between Dance and Science Education
  • Dance, Pilates and PT: A Collaboration for Dancer Health
  • Community Collaborations: How to Create and Fund Partnerships with Performing Arts Organizations

And that’s just a small taste of all that was offered.

photo[1]Both a hard copy of the schedule and an app were available to help conference attendees navigate their choices. We used both to fine-tune what we were going to see/experience. The sessions that we attended were well thought out and informative, and Q&A time brought some great perspectives to light as well.

In addition to our “learning time” we also browsed the tables that were set up for sponsors, exhibitors and advertisers and talked with people in the halls about their conference experience along the way. The overwhelming majority were excited and energized–thankful for this “time-out” to talk with other educators and people in their field. Many remarked on how busy they are and how this type of event allows them some much-needed time to re-fuel and remember why they went down this path in the first place.

We met up with other writers and bloggers and had some time to talk about everything from what they were getting out of the conference to how we were all connected on the web, and how exciting the possibilities are for extending education in various forms online through blogs and other platforms. We bonded. Big time.

Sometimes there is just no substitute for face-to-face communication. As a dance writer on the web, all too often I am alone. I have this in common with many dance educators in classrooms everywhere. It’s easy to lose perspective. It’s hard to stay connected to others who can help inspire you, guide you–and sometimes–just walk beside you along the way.

But don’t just take my word for it. Below you’ll find some thoughts from two other “first timers” at the NDEO Conference this year. And you can read more thoughts from dance educators about their experience over on Dance Advantage as well.


Lucy Vurusic-Riner

Lucy Vurusic Riner, photo by Shelby Kroeger
Lucy Vurusic Riner, photo by Shelby Kroeger

I was a “first timer” at the 2014 NDEO Conference in Chicago this past weekend.

I was happy to be involved in the Conference in a number of ways. Thursday morning, my New Trier MENZ dance students performed a work I choreographed for them at a two-hour session led by my colleague Christopher Rutt. I started Friday morning by presenting at my own paper session with my artistic partner, Michael Estanich. Our session, Long Distance Collaboration: Thriving Artistically Across State Lines was well attended and well received. Michael and I look forward to returning to future NDEO Conferences to present on other topics that are pertinent to our classrooms and our artistic work.

I had the opportunity to take a great movement class with good friend Rebecca Bryant. Her session on using the Number Score to assist in Embodied Collaboration was creative and got a lot of laughs. Other notable sessions I attended were Elizabeth Lentz’s paper, Beyond Dancer and Actor and the awesome trio of artists known as AGA Collaborative whose panel on The Collaborative Voice was the perfect way to end the Conference.

The main reason I’ll be back though is for the invaluable amount of networking that took place for me. I had lunch with dance bloggers from across the country and saw some face-to-face for the first time. I spoke on behalf of RE|Dance Group and got us some future performance opportunities. And most importantly, I connected with a lot of teachers from across the globe who share a collective desire to bring dance to our students’ lives.


Cassandra
Cassandra Dara-Abrams

Cassandra Dara-Abrams

This was the first NDEO Conference I attended and I am already writing my proposal for a movement workshop for the 2015 Conference.

Arriving on the first day of the conference in my “proper” Pendleton blazer and stretchy red velvet leggings, I felt too formally dressed. What? Me–too formally dressed in a blazer and leggings? The following days I came more suitably dressed in my teaching clothes—yoga leggings and layers of shirt and sweater to take off as I warmed up.

Being surrounded by women and men as passionate as I am about dance, the wisdom of the body, and the art and craft of the teaching of both, was an honor. I engaged in dialogue with many professors, teachers, and emerging artists who are creating and honing genuine, authentic, and educationally sound methods of dance education.

One such dialogue was with California State University Professor Rebecca Bryant who led a movement workshop that inspired creative collaboration through a structure that lessens the “preciousness” of being on stage. Her workshop was centered on the Number Score from Ensemble Thinking. I brought the Score to Brave and Barefoot Dance Troupe’s practice session with great success just a day after Professor Bryant’s workshop.

Thanks for an inspiring conference, NDEO!


NDEO Conference 2015

NDEO’s next conference will be in Phoenix, AZ in 2015 and it will run from October 7-11. They will be accepting proposals until February 1, 2015, and the theme will be: “Engaging in the Artistic Processes: Creating, Performing, Responding, Connecting“.


4dancers received free admission to the NDEO annual conference for review and promotional services.

Filed Under: Dance Conferences Tagged With: chicago dance, dance conference, dance conferences, dance education, dance educators, dance teachers, national dance education organization, NDEO, ndeo conference 2014

Inside Of “In C”

June 17, 2014 by 4dancers

Hubbard Street 2 Apprentice Adrienne Lipson reviews notes in a rehearsal at the Hubbard Street Dance Center, for collaboratively devised choreography to “In C” by composer Terry Riley. Photo by Andrea Thompson.
Hubbard Street 2 Apprentice Adrienne Lipson reviews notes in a rehearsal at the Hubbard Street Dance Center, for collaboratively devised choreography to “In C” by composer Terry Riley. Photo by Andrea Thompson.

by Andrea Thompson

On Friday, June 6, I had the unique pleasure of performing a work’s world premiere and closing show within a nine-hour span. These were vastly different experiences — and that was the point.

For the past two months, my fellow Hubbard Street 2 dancers and I had been knee-deep in creation, collaborating with the Citizen Musician Fellows of the Civic Orchestra of Chicago. The focus was “In C,” a piece by composer Terry Riley that celebrates its 50th anniversary this year. It’s an unusual work to learn, requiring both its sheet music and a set of instructions for playing — and I mean “play” quite literally. Its structure is improvisatory in nature: Each musician is allowed to play the 53 musical phrases or “cells” of “In C” as many times as he or she pleases, dropping out and reentering the score at will. Riley’s instructions contain goals and guidelines, but outside of these each musician has freedom to decide in the moment what and when to play.

In the spirit of game-playing, listening, and the ephemeral nature of performance, we created — with the help of choreographer and Hubbard Street 2 director Terence Marling — our own approach to this ever-changing music. From early on, we knew we would perform an outdoor show to a recording of “In C” prior to an evening show accompanied live by the Citizen Musician Fellows.

In other words: One show would have a predetermined length, while the other could last anywhere from 30 to 90 minutes. Gulp.

We embarked on our choreographic journey by studying the cells, picking out landmarks we could identify regardless of how the score was interpreted. Cells of whole notes became our best, most recognizable friends. After familiarizing ourselves with the score, we had to figure out what the nature of our choreographic content would be. Games and improvisation seemed a natural fit given the structure of this music, so we set to work brainstorming new and favorite improv tasks, sharing visual images we wanted to achieve, and developing movement phrases inspired by the music.

Notes for choreography
Scan of notes made by Hubbard Street 2 Dancers and Director Terrence Marling, for their collaboratively devised choreography to “In C” by composer Terry Riley. Courtesy of Hubbard Street Dance Chicago.

Sequencing all that material was like putting a puzzle together. Certain ideas fell naturally in line with specific cells and became markers — assuming we’d be able to hear them in live performance — and then it was a matter of filling in the blanks with tasks that linked together logically. Like the musicians, we could stretch ideas out longer to challenge each other, or speed through them when it felt right. We developed a long string of cues and signals to indicate to each other when it was time to progress. We ended up with around 43 tasks, which spanned Riley’s 53 cells as a kind of roadmap. Our director Terry used a giant chronometer to denote each change of cell he heard in the music, so we would always know approximately where we were.

Of course, with our piece tied to spontaneity, every time we practiced our structure we landed somewhat differently on the recorded music. Terry rehearsed us to several different recordings of the piece in the week leading up to our shows, so that we wouldn’t be thrown off by unpredictable variations in the live music. And although we rehearsed a few times at Symphony Center’s Buntrock Hall with the musicians as well as every day in our West Loop studios, taking our piece outside meant encountering a whole new set of elements we could do nothing to prepare for indoors.

Our debut of “In C” kicked off the inaugural Living Loop Festival (produced by Chicago Loop Alliance and High Concept Laboratories). It was a gorgeous morning downtown when we arrived, with blue skies and warm temperatures. Our stage was in the shade at first, but by noon the sun was beaming down, warming our bodies and our marley as we adjusted to all the sights and sounds around Federal Plaza. Some people sat with their lunches just a few feet away from us, while others stayed further back and watched from a distance. Many stopped to catch just a few minutes of the piece; I even saw people across the street stopping to take in the scene.

Hubbard Street 2 performing outdoors
Hubbard Street 2 Dancers perform to “In C” by Terry Riley in Federal Plaza, to open The Living Loop’s inaugural, summer-long performance festival. From left: Adrienne Lipson, Katie Kozul and Andrea Thompson. Photo by Todd Rosenberg.

All the outdoor elements lent themselves beautifully to the nature of the music and the choreographic structure we created to it. “In C” is about paying attention to your surroundings, and deciding to either counter them or let them inform you. Each spectator of our performance became a part of “In C” as they strolled by. The dancers tuned into each other, the music, the clock — and simultaneously took cues from passersby, the Alexander Calder sculpture sharing our plaza, buildings, and the perfectly blue sky above. All told, the performance was an exhilarating experience I won’t soon forget.

The evening performance was an equally memorable, though entirely different occasion. Buntrock Hall was set with a marley in the center of the space, while audience seating and musicians surrounded it on all sides. The piece began with a xylophone — the only constant element involved — setting the tempo, after which the musicians walked to their places and one by one, began playing the first cell. A few seconds later we followed to the edges of the space to enter one at a time as well.

Hubbard Street 2 performing
Hubbard Street 2 Dancers perform “In C” by Terry Riley with the Citizen Musician Fellows of the Civic Orchestra of Chicago, June 6, 2014 in Buntrock Hall at Symphony Center. Center: Hubbard Street 2 Dancer Andrea Thompson, with, from left: Lissa Smith, Jules Joseph, Richard Walters and Odbayar Batsuuri. Photo by Todd Rosenberg.

Musician and dancer alike shared a palpable sense of anticipation. Everyone was open to informing and being informed by what we heard and saw — the backbone and the beauty of our collaboration — and I could sense that cooperative atmosphere as soon as I entered the room. Though we’d rehearsed together before, I was never more cognizant of the musicians’ eyes than during the show. In performance I was acutely aware that how I danced could have an impact on the upright bass, or the trumpet, or the viola — which could in turn affect how other musicians made their sounds. The unpredictable nature of “In C” became even more exciting knowing that I was part dancer, part listener and part co-conductor. Performing the piece with brilliant, enthusiastic live musicians brought it to life in a way completely different from performing outside earlier that day, yet equally fascinating.

It’s hard to believe the project we spent nearly two months on is now over, but the experience has certainly impacted me for the long term. Every member of HS2 contributed to the creation of our structure in a significant way, and I think we all came to realize the value of “just throwing ideas out there.” As a group, we tried every single proposal and held each other to refining what was unclear. We tried to create a work true to Terry Riley’s musical guidelines and appropriate to the playful, unpredictable nature of his piece. I think we not only succeeded in that, but also succeeded in opening ourselves up to new possibilities of how to choreograph, how to work together and how to collaborate with artists of other genres. Our “In C” may be over, but it has left an eternal eighth note–playing xylophone in my head and with it, an eagerness to enter the next cell.

Andrea Thompson enters her second year with Hubbard Street 2 at the start of the company’s 2014–15 season. During Hubbard Street’s satellite Summer Intensive Program at the University of Iowa, Thompson will teach ballet technique and HS2 repertoire to pre-professional dancers ages 14–17 from across the country. For a complete HS2 touring schedule, artist profiles and more, visit hubbardstreetdance.com.

________________________________

Andrea Thompson photo by Quinn WhartonContributor Andrea Thompson (Maplewood, NJ) trained at the New Jersey School of Ballet, American Ballet Theatre’s Jacqueline Kennedy Onassis School and the Ailey School in New York City. Thompson has also studied at the Juilliard School, Northwest Professional Dance Project, Springboard Danse Montréal, Nederlands Dans Theater and Batsheva Dance Company, which brought opportunities to perform choreography by Gregory Dolbashian, William Forsythe, Natalia Horecna, Jessica Lang, Marina Mascarell, Idan Sharabi, Robyn Mineko Williams, Paul Lightfoot and Sol León. At the San Francisco Conservatory of Dance, under the direction of Summer Lee Rhatigan, she trained with and performed works by Christian Burns, Alex Ketley, Thomas McManus, Robert Moses, Ohad Naharin, Alessio Silvestrin and Bobbi Jene Smith. Thompson joined Hubbard Street 2 in August 2013, following work in San Francisco and New York with Zhukov Dance Theatre, Chang Yong Sung, LoudHoundMovement, Backwoods Dance Project and the Foundry.

 

Filed Under: 4dancers, Making Dances Tagged With: andrea thompson, buntrock hall, chicago dance, choreography, civic orchestra of chicago, hs2, hubbard street 2, hubbard street dance chicago, In C, living loop festival, making dances, Terence Marling, Terry Riley

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