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One Dance Critic’s View On Choreography And Criticism

February 24, 2014 by 4dancers

by Lauren Warnecke

file2231286029038It’s been awhile since I’ve been here.

When I first started contributing at 4dancers, it was a place where I could process my thoughts from a choreographic standpoint and share my views about dancemaking – as a dancemaker.

Everything was going fine, and then one day people started calling me a dance critic.

In the past year, Chicago has experienced a huge shift amongst the dance writers – a shift of which I was a very fortunate benefactor. The head of state in the world of Chicago dance criticism retired, and everyone sort of just shuffled about and moved up the ranks. The shift in my local community of writers, combined with the impending collapse of print publications, has brought dance bloggers to the forefront. Bloggers are now participating in dance criticism on a pretty significant level.

This is a shift that makes lots of people uncomfortable (journalists and dancers alike). There is an old-school model of arts criticism that requires the critic to be from outside the community in order to remain objective. Bloggers are often working artists themselves, and may, at times, appear to simply be advertising for themselves and their friends. The problem with this way of thinking is: without bloggers, there are only a handful of writers left. The old-school infrastructure is caving in, and can’t support the writers. One-time dance critics have now opted for jobs in PR, marketing, and consulting within the dance community because it’s impossible to make a living as a critic alone. To deny that bloggers don’t carry weight in today’s press is not just narrow-minded – it threatens dance criticism as a whole. In a city such as Chicago with dozens and dozens of dance companies, the odds of getting press from one of the four or so writers left are pretty slim. Enlarge the concept of what a critic is, and you enlarge the possibility for press.

Personally, I never considered myself a dance critic, and it’s a title I’m still not entirely comfortable with. At my core, I’m one of you. I’m part of the community. I just express my voice through a different medium now.

As a dancemaker I used to wonder what the critics were looking for. Artists pour their hearts into everything they do, and expose an enormous amount of vulnerability onstage. For a stranger to come in and, in 500 words, say that you sucked… well… that doesn’t feel good. A bad review might lead to you think you need to change your dance, or change your process, or quit altogether. A bad review makes you not want to enter the theater the next day and do your show again. A bad review feels intensely personal, and what’s worse is that you know it’s not personal to the reviewer. A bad review can (occasionally) affect what other people think, because a dance critic is a trusted source who is supposed to understand dance better than most people.

All of that is true, except the part about you quitting altogether. I know it is, because I’ve been there. I’ve been the subject of some not-so-awesome comments, and know what that feels like. I’ve had to remind myself that this is just the opinion of one person, who isn’t nearly as invested in the work as I am – that there are very few right and wrong answers in dance.

Guess what? I carry those feelings with me every time I sit down to my keyboard. That’s not to say that I think every review should be glowing. Just like dance, a review comes from a place of vulnerability and authenticity. Telling the truth is the hardest part of the job, because I know exactly how hard each choreographer works to develop a piece. But it is pointless to give blanket praise to everything, or to say things I don’t don’t mean or don’t feel because I’m afraid people will be mad or hurt.

Above all else, criticism is about discourse. By its nature, the job exposes the critic to lots and lots (and lots) of dance. While you’ve been working really hard on your own thing, we are out watching everybody else’s thing. So the leg up is not that a critic can kick as high as you can, or make a dance that is better than yours. The cred comes from the fact that we’ve just seen more, and have a broader base of comparison than most people. The longer you do it, the bigger the inventory to draw from. None of this answers the question on the day, which is: what the heck are dance critics looking for?!?

Easily asked, and not as easily answered. I can only speak for myself here, but the next little bit of this manifesto is devoted to telling you, the choreographer, what I look for in a successful dance performance.

In a word: everything.

I consider the dance and the dancers. Are the dancers dancing strongly? Are they in unison when they are supposed to be? Are they pushed outside their comfort zone? Are the better or worse than previous appearances? Is your dance choreographically sound? Does it have a beginning, a middle, and an end? Is there a through-line, or any sort of “letting in” to your audience? Is it new, or innovative, or somehow different from everything else? What sort of adjectives does your dance evoke?

I consider the performance experience. Is this dance appropriate for this venue? Is it a good weekend for this concert? Is your concert worth the ticket price, or the bad parking situation, or the lumpy, uncomfortable chair I’m sitting in? Who is your audience? What does their response appear to be?

I consider collaboration. How are elements of lighting, sound, costume, set, etc. used to enhance (or, in some cases detract from) the performance? Is anything new or different or innovative about these collaborations?

At the end of the day, it comes down to my gut. How do I feel after leaving this performance? Was it awesome? Thought-provoking? Uncomfortable? Memorable? How does this performance stack up to others I’ve seen recently? If I know the choreographer or the company, was this a good effort from them, this time?

Maybe hearing what goes through my head at a dance performance informs your process, and maybe it doesn’t. Your art is your art, and plenty of people have created successful careers while being consistently reviled by the critics. It’s up to you to decide whether or not it really matters.

Love us or hate us, we need each other. We depend on one another, particularly in the live arts, to continue to push, question, and provoke new things from an art form that creates only fleeting moments. After disclosing what I’m looking for from you, the question is: what are you looking for from me?

Lauren Warnecke, MS, Photo by Kelly Rose
Lauren Warnecke, MS, Photo by Kelly Rose

Contributor Lauren Warnecke is a Chicago-based dance writer. She holds degrees in Dance (BA, ’03) and Kinesiology (MS, ’09) and is currently on faculty for the Department of Kinesiology and Nutrition at the University of Illinois-Chicago.

In 2009 Lauren created Art Intercepts, a blog focused on dancer health, education, and editorial criticism. She is a regular contributor to SeeChicagoDance, Windy City Times, and the Huffington Post, with occasional contributions to Dance Advantage, 4dancers, and The L Stop.

Lauren has freelanced as a production/stage manager, curator, choreographer, and grant writer. She is a Certified Personal Trainer (ACSM) and Functional Training Specialist (ACE). She enjoys coffee and vintage apparel, and believes in the Oxford comma. Follow Lauren on Twitter @artintercepts.

Filed Under: Editorial Tagged With: chicago dance, dance bloggers, dance critic, dance criticism, dance writers

Making Dances With Puzzles And “Margi Spice”

February 19, 2014 by 4dancers

Ladies and gentlemen…join me in welcoming back the marvelous Margi Cole. For those of you who don’t know her, Margi is a choreographer in the Chicago area and is the Founder/Director of The Dance COLEctive.

I had the good fortune to finally meet her last year at an event and found her thoughtful, interesting–and extremely nice. We are pleased to share this interview with her here so you can get a glimpse of what it is like to work as a choreographer in Chicago…as well as what it is like to be a dance maker–from her point of view…

___________________________

Margi Cole
Margi Cole, photo by William Frederking

You have been choreographing for a long time. How has your view about making dances changed over the years?

When I started making dances for me, it was all about making the steps. It has evolved over a long period of time into me creating puzzles my dancers must navigate to invent movement vocabulary. I come in with an idea, share it with them, put mechanisms in place for them to begin to investigate and let them have at it. I then become an editor, director, shaper – the girls call it adding the “Margi Spice”. I identify places in the material that are of interest or that don’t seem to work just right, and we explore them and edit it them. Sometimes that even means me inserting myself physically into the moment so that I can help make choices. It also means that lots of material “ends up on the cutting room floor.” I truly enjoy this process, especially watching the dancers engage with each other. I am always working to find new ways to challenge them and myself.

How important do you feel the music is to the dance-making process?

For me, the music always comes later in the process. I always want it to inform/rub against the material so it can be pushed further rather than be consumed by it. I want the movement itself to be interesting enough to exist on its own,  then I seek out its partner. The music for me is sometimes a last step. Fortunately, for the last couple of works I created, I had the luxury of working with someone to create a sound score. In some ways that has proven more satisfying than trying to find existing music.

If a dancer came to you and asked how they should pursue a career in choreography, what would your advice be?

Make lots of dances, see lots of dances, listen, have verbal discourse, be a risk taker, ask more of yourself every time and don’t work in a vacuum. Sometimes the answers to things can be found in the strangest places, not necessarily in the studio or during the process. If you have the good fortune of establishing a relationship with a mentor along the way treat it with respect and care. It is so rare to have someone with an outside eye and ear who can support and challenge you like no other. Treat your collaborators the way you would want to be treated. Allow yourself to fail. Sometimes the trip/journey ends up being the most important part of the work and not the work itself.

2014_29_Margi-3155
Margi Cole, photo by William Frederking

Do I sometimes hit a wall and not know which direction to turn? Yes! And I have found that it is really much simpler to be honest and say, “Hey, I really need to think about this some more. I don’t know what to do next.” Yes! Inevitably I have to walk away from the material for a bit and then come back to it in order to see it differently. It is like being stuck on a move in Words with Friends. You can’t think of anything and then you go back later and you can’t believe you didn’t see this great move sooner. Throughout the years, I have also given myself permission to turn a corner from my original ideas. I call it listening to the material and letting myself see where it takes me/us.

You are a Chicago-based choreographer. How do you feel about the state of dance in the area?

I feel like dance here in Chicago has a strong prescence on numerous levels. There are many unique voices. It has been wonderful to see the dance community grow and the work become more sophisticated over the years. I think Chicago is more recognized as a city for dance, and I am proud of to that and feel good about my involvement in helping that to happen. I am seeing more people work collaboratively across disciplines. Our emerging and mid-career artists are both working hard seeking out new models for ourselves to ensure more thriving and less surviving. Our biggest struggle is that we are all scrambling for the same resources, but that is true of the dance community at large, not just in Chicago. With all that in mind, I would say there is a lot of innovation and enthusiasm around creating a sustained presence here and beyond.

If you had to do your career as a choreographer all over again—what would you change?

I would be less judgmental and more open. Less fearful and more risky. Less conservative and more bold. Less know-it-all and more curious. I would see challenges as opportunities. In short, I would have given myself permission to fail. But, that is just one of those things that it takes time to figure out.

What have you been working on lately?

Right now the company is working on three duets. They are sourced from the same initial topic and movement vocabulary but are developing into three very different studies. It is fun to watch how they are evolving so differently. I also have a deep curiosity for site specific work and an interest in finding new ways to engage the audience. I am trying to wrap my brain around how I can do both those things in a different way. We will see what happens.

Bio: Margi Cole is Founder and Artistic Director of The Dance COLEctive.  She graduated from the Alabama School of Fine Arts, received a Bachelor of Arts in Dance from Columbia College Chicago and a Masters of Fine Arts in Dance from the University of Illinois at Urbana-Champaign. As a teacher and guest lecturer, she has taught for numerous educational and professional organizations such as the Alabama Ballet, the American College Dance Festival, Ballet Tennessee, Northwestern University, Columbia College Chicago, Lou Conte Dance Studio, the Joffrey Academy of Dance, the American Dance Festival, and various other institutions throughout Illinois, the Midwest, and the Southeast. As a choreographer, Margi has been commissioned by The Alabama Ballet, Springfield Ballet Company, Sanspointe Dance Company, the Birmingham Museum of Art, Girl’s Preparatory School of Tennessee, Beloit College and Columbia College Chicago.

As a performer, Margi has danced with well-known choreographers and companies, including Ralph Lemon, Joe Goode Performance Group, Liz Burritt, Stephen Koplowitz, Ann Boyd, David Rousseve, Bill Young, Douglas Nielsen, Peter Carpenter, Timothy O’Slynne, Paula Frasz, Colleen Halloran, Molly Shanahan/Mad Shak, Mordine & Company Dance Theatre, Renee Wadleigh, and Ellie Klopp. In August 2011, Cole traveled to Findhorn Scotland to join 19 international performers to participate in the Deborah Hay Solo Commissioning Project.

Awards and acknowledgements of Margi’s accomplishments include making the list of “Teachers Rated Excellent by their Students” four consecutive semesters while on faculty at the University of Illinois, receiving two Dance Center of Columbia College Choreographic Mentoring Scholarships, two Illinois Arts Council Individual Artist Fellowships, a 2005 Chicago Dancemakers Forum grant, a American Marshall Memorial Fellowship, and winning a Panoply Festival Choreography Award for Contemporary Dance in Huntsville, AL.

Margi is active in the Chicago dance community, serving on grant panels and in public forums as an arts administrator, dancer and choreographer. In 2011, she was integral in organizing both the Dance/USA and Marshall Forum annual conferences in Chicago. Cole is currently a Chicago Dancemakers Forum Consortium Member and was a part of the Marshall Memorial Fellowship Selection Committee. She is currently on faculty at Columbia College Chicago, where she has served as a Lecturer and Associate Chair. In 2012 she was named one of The Players in New City”s “Fifty People Who Really Perform in Chicago” List.

Filed Under: Making Dances Tagged With: chicago dance, choreographer, choreographing, choreography, making dances, margi cole, the dance colective

Photography For Joffrey’s Season Brochure

April 3, 2013 by 4dancers

Joffrey Ballet Season Brochure Photo Shoot with Christopher Duggan from Christopher Duggan on Vimeo.

(Footage by Nel Shelby & editing by Ashli Bickford of Nel Shelby Productions)

by Christopher Duggan

When The Joffrey Ballet asked if I was willing to go to Chicago for three days to photograph their dancers for their 2013-2014 season brochure, I was thrilled. Arranging the photo shoot to fit the dancers’ schedules was so tight, there was only one week to make it work for all of us. It just so happened that was the week Hurricane Sandy was rolling into New York City.

The night before my wife Nel, daughter Gracie and I were supposed to fly to Chicago, all the flights were cancelled. There wasn’t any chance of rescheduling the shoot. So we piled our cameras in the car, quickly prepped for the 13-hour drive and hit the road before the rain. I’m so glad we did.

I brought my assistant Whitney Browne with me from NYC, because working together as a team helps get things right so much faster. We discussed ahead of time the looks we were going for in terms of lighting and backdrop, and we were able to order the equipment to get the set ready. I brought my cameras and rented everything else locally. The rental company made things super easy for us as they delivered everything right to us. And they delivered for FREE which is unheard of in NYC. That was an added bonus!

Joffrey gave me two days to work five different setups with the dancers, which was great. We scheduled  three-hour time slots for each of the five performance programs, starting with Romeo & Juliet. The dancers arrived early to have hair, make-up and costumes ready for shooting. Each three-hour shoot ends up resulting in 1-3 final photographs that get used in the brochure and other marketing materials.

Ashley C. Wheater, the Artistic Director, myself, the creative team, and sometimes, the dancers all bring ideas to the table. So it’s good to have a few hours to work out different kinds of scenarios. It’s always good to leave room to improve on different poses and movements and room for spontaneity, too.

Once the photo shoot is complete, I made selections and worked on the images in a post-production process that involved some “clean up,” making sure all the images were consistent in color, contrast, exposure, etc. I played with some creative cropping on a few of the final photographs, and then I delivered them to Joffrey.

From there, The Joffrey’s creative staff go through their selection process and turn the images over to their internal graphics department to create the brochure and overall graphic design concepts. I had no part in that process, but I was pleasantly surprised to see the gorgeous layouts that they made. I was proud of what we did together.

See the full finished season brochure on my blog.

Christopher Duggan, Photo by Julia Newman

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter +  Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings.  The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

Filed Under: Finis Tagged With: ashley wheater, chicago dance, joffrey, joffrey ballet, whitney browne

FlySpace – A Strategic Dance Partnership

April 2, 2013 by 4dancers

Once again Chicago is blazing a trail in the dance world–this time with a collaborative effort between four female choreographers who are teaming up to get ahead instead of going it alone. Each of these women is the head of a contemporary dance company in the area, and together they have decided that pooling resources is a better approach than competing against one another.

We shared some questions with Margi Cole, Artistic Director of The Dance COLEctive and one of the founders of FlySpace–the name they have given to this new sharing paradigm. We’re pleased to tell you more about this new consortium here…

What exactly is FlySpace, and how did the idea for it come about?  

Margi Cole, Member of FlySpace and Founder of The Dance COLEctive

In a theater, fly space is the volume above the stage where scenery and lighting hang together ready to be lowered into view. Some call it ‘heaven.’

Initially a funder brought our peer group together to talk about reasons why we had all garnered a certain amount of stability and accolades for our work as artists but had not been able to get over the hump in terms of elevating our general operating budgets to a higher level that, in a sense, matched the prestige we had accomplished thus far as artists in the community. After that meeting we started meeting on our own and from there we started discussing ways in which we could combine resources to help each other, and a shared vision for marketing our genre seemed like the most level playing field. Things progressed from there.

Now we’ve launched FlySpace as a resource-sharing consortium comprised of The Dance COLEctive, Hedwig Dances, Same Planet Different World Dance Theatre, and Zephyr Dance.

When you were discussing the idea with the other participants, were there any concerns about working together in this way?

Yes and no. Many of us were and are primary administrators for our organizations. I spend a lot of time talking to myself…  To that end it was a gift to be able to share ideas, bounce things off each other, have critical discourse and come out on the other side with some new and exciting ideas. Sadly we are all competing for the same resources so the real key during these discussions is leaving your “ME” shirt at the door. I think it takes a sophisticated, seasoned administrator and artist to sit at the table in an altruistic way and think for the better of the group, the community and the art form at large. These are important skills!

The Dance COLEctive performing “Moving Stories”, Photo by William Frederking

In terms of pooling resources, can you give a few examples of specific things you will be sharing?

Well, first and foremost, we are sharing ideas, knowledge, connections and trust. Not that we did not want to do that before but now we really have the space to do that, and the brainpower. All of these things take time, energy and thoughtful progression. Ultimately we will have a shared email list of patrons that we can use individually and for ongoing FlySpace events. We have several ideas related to technology that we are going to explore throughout our next phase of development. These ideas are related to data gathering and management, ticketing, marketing, social media and actively engaging with our patrons. So the sky is the limit!

The FlySpace Dance Series is a joint performance effort at the Jay Pritzker Pavilion in Chicago. How did the four of you work together to make this event happen?

We worked together to submit a proposal to the city, knowing all along that we wanted to make sure when we launched officially that we did what we do best – making work and performing. We were fortunate to be offered two weekends on the Pritzker Stage. Absolutely no way we could pass that up. Then, ultimately, how we divided the presentation into two companies over two weekends came down to the ways in which we wanted to use the space and the desire to put forward a substantial chunk of work to represent each company, and its aesthetic, fully.

As FlySpace evolves, how will the four of you make decisions about its scope and direction?

We have really been treating FlySpace like making a dance. The process around any good collaboration has flexibility, improvisation, happy surprises and failures. Ultimately we have an idea and as it unfolds and grows we will shape FlySpace with intuition and luck. That luck is sometimes finely calculated and sometimes just about being in the right place at the right time. It is a lot like flying…

The FlySpace Dance Series runs from April 5th through April 14th at the Jay Pritzker Pavilion in Chicago. Tickets are available at brownpapertickets.com or by phone at 773-871-0872.

Filed Under: Making Dances Tagged With: chicago dance, flyspace, hedwig dances, margi cole, same planet different world, the dance colective, zephyr dance

Chicago – Audition For Fruit of the Loom’s “The Next Big Move”

September 12, 2012 by 4dancers

Legacy at the LA Audition for “The Next Big Move”

Do you have some cool moves? If so, why not audition for a chance to be featured in a Fruit of the Loom ad?

Auditions are being held September 13th, right here in the Chicago area. The Wal-Mart in Forest Park (1300 Des Plaines, at the SE corner of Des Plains and Roosevelt Road) is hosting auditions for the “Next Big Move” – and you can try out live from 2 – 4 pm. Regardless of whether you’ve been dancing for many years or are more of an informal dancer—this an opportunity to show your talent—and have that chance to get noticed. (Athletes, acrobats and other “movers” are also welcome.)

Auditions will be judged by none other than ‘So You Think You Can Dance’s’ Season Eight Finalist, Legacy, who has shared the stage with performers such as The Black Eyed Peas, Rihanna and Gwen Stefani.

Here are the particulars:

  • You need to be at least 5 years old to audition (and if you’re under 18, you must be accompanied by a parent or legal guardian)
  • All acts must be “family-friendly”
  • Only amateurs please—acts with professional representation will not be eligible for entry
  • The Wal-Mart is within a fairly “walkable” distance from the Blue Line’s “Forest Park” stop

For 4dancers readers elsewhere in the country, don’t despair—you can either audition in Atlanta (coming up on Sept 20th) or Dallas (coming up on Sept 27th) – or send in your video via Fruit of the Loom’s Facebook to enter. The deadline is October 1st though, so if you are entering online, you’d better hurry!

Brush up on your best moves and see if you can make an impression!

*Please note that individual scores will not be given on site. The dance auditions will be recorded and uploaded to Fruit of the Loom’s Facebook page, provided they meet all submission requirements, following the event.

 

4dancers receives compensation for helping promote The Next Big Move audition


Filed Under: Uncategorized Tagged With: chicago auditions, chicago dance, fruit of the loom, legacy, So You Think You Can Dance, the next big move

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