chicago – Page 3

Pas de Trois: What was your greatest experience on stage?

October 4, 2010 by 4dancers

Today I’m posting my answer for the latest question on Pas de Trois at dancing3.com.

The question? What was your greatest experience on stage?

This is an easy question for me to answer, although it’s hard to recall exactly how old I was at the time. I’d say around 17 or 18.

I was studying at Chicago City Ballet School and the company was staging Balanchine’s 4 Temperaments. I was selected to perform in the ballet along with the company members. Not only that, but the performance was to take place at the Auditorium Theatre – one of the most impressive venues in the city.

I rehearsed with the company and will never forget that first show. The curtain opened and I knew how large the audience was out there, even though I couldn’t see them. I’d been to many ballets there as a spectator over the years. I can’t describe adequately how amazing it felt to be there, but I’ll never forget it. I know that not everyone gets this kind of opportunity. I’m very grateful for it – even now.

There were many good performances after that, but none would match up to that first big day.

What was your greatest experience on stage? We’d love to hear about it….

10 Questions With…Jacqueline Moscicke

September 8, 2010 by 4dancers

Today we have 10 Questions with Jacqueline Moscicke from the Joffrey…

1. How did you become involved with dance?

When I was little I would jump off furniture trying to imitate Baryshnikov and ended up in the emergency room a few times. That’s when my parents decided to take me to a ballet class.

Jacqueline Moscicke, Photo by Richard Brodzeller

2. What are you currently doing in the field?

I joined The Joffrey Ballet in July.

3. Would you share a special moment or two from your career?

One of my favorite moments was being featured in Margo Sappington’s, Common people. The ballet turned into a film documentary called Gonzo Ballet with William Shatner. Another great ballet experience was being Clara in the Nutcracker, it will always hold a magical spot in my heart.

4. What is the best advice you have ever received regarding dance?

The best advice I received was from my Grandpa, he said “write it all down before you forget all these special moments”.

5. Do you have any advice for those who would like to dance professionally?

I would have to say there’s a company for everyone, you just have to search for where you feel comfortable and fit best.

6. What has been your biggest challenge in dance?

Injuries are the worst! I had loads of doubts and insecurities when I had ankle surgery. I missed all the other dancers, felt left out, and wondered if I’d ever catch up again.

Jacqueline Moscicke, Photo by Richard Brodzeller

7. What is it that you love so much about ballet?

It’s hard to explain my love for ballet, I just feel most at peace when I’m on stage.

8. Do you have a special routine that you go through before a performance, or is each one different?

I definitely am superstitious. I can’t go up on stage too much before the show starts or I’ll get nervous, and I keep good luck charms with me in my dressing room.

9. Where you do think dance is headed?

Hopefully rock ballets continue to become more popular they’re great fun to do!

10. What is next for you?

I’ll be taking in all the wonderful new things I’m discovering in Chicago, with The Joffrey Ballet.

BIO: Originally from Sussex Wisconsin Jacqueline Moscicke received her formal training at Milwaukee Ballet School on full scholarship. In 2003, she received honorable mention in the National Foundation for Advancement in the Arts competition. In 2006 and 2008, Ms. Moscicke was featured as Clara in Milwaukee Ballet’s the Nutcracker. Other roles she has enjoyed performing are George Balachine’s Agon, variations from Marius Petipia’s Raymonda, appearing as the Songbird Fairy and Princess Florine in The Sleeping Beauty, and Margo Sappinton’s Common People which is featured in William Schatner’s Gonzo Ballet Documentary. She spent seven years with Milwaukee ballet Company and is thrilled to be joining The Joffrey Ballet.

10 Questions With…Philip Elson

July 26, 2010 by 4dancers

This week on “10 Questions With…” we have Philip Elson, a dancer and student at Columbia College in Chicago…

1. Can you tell readers how you came to be involved with dance?

My parents put me in dance and gymnastics when I was three years old. Both of my sisters started dance classes before me. When I was eight years old I decided that I liked dance more than gymnastics and spent more of my time training in Ballet, Jazz, and Tap. I participated in a lot in competitions and conventions with my local studio in Fort Worth, Texas. It wasn’t until I went to college that I began to learn and experience more about contemporary forms of dance and find the path that I am on now.

2. What has your experience been like at Columbia College?

PhilipElsonHeadshotBW — Philip Elson, Photo by Andreas E.G. Larsson

Columbia has provided me with so much rich information! When I came to Columbia I already possessed a lot of technical training in various forms. When I was looking for dance programs I wanted one that would help me refine my technique, but inform me more about the world of dance. I felt like I didn’t know a lot about dance, and that’s where Columbia came into play. The staff and faculty at The Dance Center have vast scholastic, performance, and choreographic experience that molds into what I think of as an extremely high level of dance education in the collegiate realm. Columbia was not only able to help me answer those questions of why I dance, or what is it about dance that actually captivates me, but it has helped me to expand on my creative abilities to enhance values that I admire so much in my work.

3. What are you currently doing with dance?

Currently I am dancing with The Seldoms, about to begin my third season. I am also co-producing a show called Under Construction: Socio-Analytical Perspectives on Gender Culture Through Dance, which will take place in August at Links Hall. In July I will be showing my work Mode of Duration at The A.W.A.R.D. Show! 2010: Chicagofor a chance to win $10,000 amongst other Chicago choreographers. I have also begun to work behind the scenes and partake in videography for dance performances including making DVD’s and reels for other dance artists, and doing technical work for various dance performances.

4. What was the best dance advice you have ever received?

Never stop asking questions. Never stop asking yourself, and never stop asking others. If you do stop, then you won’t grow or learn anything more that will help you develop your work, or develop yourself as a human being.

5. Do you have any favorite dancers?

What makes a dancer one of my favorites is having the ability to either dance with them or learn more about why they dance including what is behind their movement that makes it so stunning. I have always admired Carrie Hanson, even before becoming a member of The Seldoms. Her movement is so pure and captivating to my eye. Darrell Jones is a man who loves to move in various ways. I have seen him work with ballet technique, vogue technique, and post-modern based techniques. This man does so much and I see him completely lose sight of reality when he dances, it is all about what his body and mind are doing at any given moment. It is truly amazing to watch him. These two dancers and choreographers have shown a kind of freedom in the way that they move. There is technicality underlying their dancing, but it only enhances what their body is capable of doing and expressing. I see so many other dancers restricted by technique and get too caught up in the technical principles of moving. These two dancers know that the technique is there and let it work for them so they can dance and move. That is what creates the visceral experience that I have while watching them. That’s why we call it dancing, not technical trickery.

6. Can you give some advice to male dancers?

The best piece of advice I can give to male dancers is never take for granted the fact that you are a male and that getting a job might be easier for you. I have seen many men not work as hard, simply because they don’t think they have to. So many women have to work their butts off day after day to just get noticed by a choreographer, teacher, or other dancers and there is no reason why men should not have to work that hard. I spend a lot of time taking class and continuing to develop my abilities to continually make myself better, not for personal gain, but for the gain of this art form and the potential audiences that haven’t been exposed to it yet. In simple terms, nobody wants to work with a d*#k, so put your game face on and get some good work done.

7. If you could ask one question of someone in the dance world, who would it be and what is the question?

I would love to sit down one day with Mikhail Baryshnikov and talk with him about his transformation with dance throughout his lifetime. He is a man that has accomplished many things, but had the opportunity to encounter vastly different experiences in the dance world. I would ask him what he found most fulfilling in dance and how that has helped to shape his identity as a human being.

8. Would you share a moment from your dance career that is special to you in some way?

When I was teaching in Russia this last April with The Seldoms, a young dancer approached me after my class and thanked me for teaching her something she had never experienced before. This completely changed my outlook on teaching and performing. After sharing so much with these students in class I continued to feel the need to share more with them, and I was able to do this through our performance of Marchland at the Isadora International Contemporary Dance Festival. As I performed I did not feel the need to impress anyone in the audience, but I felt compelled to share with them something about myself, about my culture, and about my love for dance.

9. How does being a dancer prepare you for life?

I think being a dancer has instilled a great work ethic in my life. It taught me that practice might not always make perfect, but it makes everything better. I have also learned that failure is a great thing! When I make mistakes I learn from them and move on so I don’t make similar mistakes again. Dance taught me not to give up or quit, but to push though obstacles. When I can get to the other side of the bumpy road, I can always look back and find strength in what I was able to accomplish. Dance has also taught something very important about the way I keep an open mind and listen to those who have experience. It has taught me the importance of sharing my life experiences with others around me. Dance really has prepared me for the best and the worst. It has gotten me through some of the best and worst times in my life.

10. What’s next for you?

Graduation! In May of 2011 I will graduate with my BFA in Dancemaking and a Minor in Arts Management from Columbia College Chicago. My work with The Seldoms will continue to develop in this next year and I will hopefully grow and be able to make more work independently as well. In the next few years I hope to be able to travel internationally and spend time performing and making work in Europe. There may be an MFA in Dance and an MBA in Arts Administration somewhere in my future to expand on my abilities to spread dance. Ultimately I would like to come back to Chicago and expand on my experiences by building my own work, mentoring young and emerging artists, and exposing as many people as possible to contemporary dance.

Bio: PHILIP ELSON is a Chicago-based dance artist engaging with various arenas of dance research and performance including live performance, dance for camera, site-specific work, and experimental collaboration. Currently he is co-producing and choreographing Under Construction: Socio-Analytical Perspectives on Gender Culture Through Dance, a production exploring socio-economic issues surrounding gender in American culture, which will take place in August at Links Hall. Recently, Elson produced The Gender Bender Ball, a variety hour of dance, comedy improvisation, and theater, satirically commenting on gender status and identity. His choreography has been showcased in Chicago as part of The Open Space Project, Poonie’s Cabaret, and exhibited at The Loyola University Museum of Art with The Seldoms. In July, Elson’s work Mode of Duration will be presented as a Semi-Finalist in The A.W.A.R.D. Show! 2010: Chicago. Elson has also choreographed for In It For Life Productions, Muscle Memory Dance Theater, the American College Dance Festival, and various dance studios across the country. In the last year Elson began exploring Dance for Camera and showed two dance films, Calamitous Ego and Meeting of the Minds, at the 2010 Chicago Fringe Artist Networking Night. In the spring of this year Elson traveled to Krasnoyarsk, Russia to teach and perform at The Isadora International Contemporary Dance Festival. Currently he is pursuing a Bachelors of Fine Arts in Dance from The Dance Center of Columbia College Chicago and entering his third season as a dancer with The Seldoms. Philip has performed for companies and artists such as Carrie Hanson/The Seldoms, Jonathan Meyer/Khecari Dance Theater, Paige Cunningham, Liz Burritt, Matthew Hollis, Jyl Fehrenkamp, Laboratory Dancers, Muscle Memory Dance Theatre, and Collin County Ballet Theatre.

You Gotta Get A Gimmick

May 20, 2010 by 4dancers

by Lucy Vurisic Riner

In the United States today, it takes a lot of blood, sweat and tears to keep dance companies, especially contemporary modern dance companies, afloat. I started my dance career in grass roots companies that couldn’t promise me a set amount of cash for my performances, let alone rehearsals. It never bothered me, I did it for the experience and the networking. Eventually, I found myself working for a mid-level company in Chicago that could pay me for some rehearsals, always paid me for shows and even gave us per diem when we toured. I think I can safely say that I have run the gamut when it comes to the types of performances I have done and the money it has (or has not) gotten me.

When my good friend Michael asked me about starting our own company (or artistic partnership as we like to call it) I was excited but anxious about where this could lead. We had both served on boards for other dance companies, had both planned our fair share of fundraisers and produced more than just a spattering of our own shows. It seemed that this be the natural step. But how were we going to make this company different? How were we going to set a foundation that had the potential to prosper? In the words of one of the cheesiest musicals ever, “You Got A Get A Gimmick.”

And so RE|Dance was formed (that is Riner/Estanich Dance in long hand for the curious) in 2009. We are still a fledgling company that is working on it’s not for profit status and considering what our board of directors might look like, but we do know one thing for sure: We are creative partners dedicated to the presentation of dance theatre works that explore personal, intimate human relationships through long distance collaboration. Yup. That’s our claim to hopeful fame. Michael is a professor of dance at the University of Wisconsin in Stevens Point. I am the dance program director of Oak Park and River Forest High School in Illinois and the dancers that we have working for us now live in Chicago, San Francisco, Madison and the Twin Cities. We come together for intensive rehearsal processes that last about a week or two and then we all go back to our home bases and reflect on that process. This same cycle occurs several times within the creation phase of a work until it’s time to be performed.

It’s definitely an unconventional way of working but it has its merits. No, we do not see each other on a regular basis for class and rehearsals, so we have to really stay connected via video, internet, and phone to talk about the work, ask questions and plan. We have found that working in this manner has opened pathways to making dances that have developed characters and rich emotional content. We spend anywhere from 40 to 50 hours immersed in the learning of movement phrases, partnering and identifying the themes and motifs that are part of the work and then we are able to step away from each other, sometimes for a few weeks or months only to come back with a deeper understanding of what we were creating. We have found that our process works much in the same way as a writer’s might; to step away from his or her work and come back to it later to reread and reevaluate the words on the page.

Yes, there are challenges in determining when everyone is available for our intensives and yes we have to be committed to staying in contact with each other in our times apart to discuss video footage, journaling and any other production aspects that might come up for the work. But long distance collaboration also has many benefits, especially for our fledgling company, in that it is generally more cost effective (no, we still aren’t at a place to pay for rehearsal time) because our time is so condensed. Dancers do not have the same time commitments as other companies might ask of them. When we do come together, it can feel very much like a travel adventure for the dancers in the group that are coming to a city they are not yet familiar with. At these early stages of our development we can pay our dancers for their performances and offer them other perks of the job (free lodging, food, and other amenities) when we are together. But the idea is that in collaborating across state lines, we build an audience base that is not dependent on any one city we visit, but that builds upon itself with each city we perform in. Where most companies work towards building a budget that allows them to tour, we are dependent on our touring to build a budget.

Michael and I knew we could work successfully with each other based on our history, so making dances while he was in Stevens Point and I was in Chicago did not feel very risky. We also realized that through both of our combined dance experiences, we had dance friends in about 12 different states. Creating a company that could collaborate and share shows with some of our cross country connections has made for more performance opportunities as well as allowing us to curb our production costs when we can share a show. We get to bring our art to other places in the US and those cities are exposed to what contemporary modern dance looks like in other parts of the country. So far, it’s been a win/win for all.

So that is how RE|Dance has become another chapter in my life. Is our long distance collaboration gimmick a ground-breaking idea? Hardly. But it has provided RE|Dance with a successful first year as a tiny dance company trying to make it’s mark. It all starts with an idea…..

If you are interested in knowing (and seeing) RE|Dance when we come to a theater near you, here is our summer touring schedule and become our fan on Facebook as well!

June 4, 5 and 6 in San Francisco at the Dance Mission Theater

August 6-10 in Minneapolis as part of the Fringe Festival (Southern Theater)

Sept. 3-5 in Chicago as part of the Fringe Festival (theater TBA)

And later this fall in Madison and Stevens Point Wisconsin

Introducing…Karen Hersh

January 6, 2010 by 4dancers

In 2010 4dancers readers will hear from a range of guest contributors here and there, talking about different styles of dance, or just sharing thoughts about the dance world. Today I would like to introduce Karen Hersh, a teacher and performer in the American Tribal Belly Dance style. I’ve asked Karen to share some information about how she became involved in dance so that you can get to know her a little bit…

My name is Karen, but I dance under and answer to the name of Piper. I began dancing close to 20 yrs ago in California when I decided to get in shape. I signed up for a what I thought was a ‘ballet’ workout class but in reality, it was a ballet floor bar class that was taught by a woman who studied and performed in Russia.

After a few years of that, I moved back to the Chicago area and started taking modern dance classes in Oak Park and in Chicago, and eventually had the privilege to study for a few years under the direction of the dance company Deeply Rooted. While I loved dancing with Deeply Rooted, I felt I needed to leave and focus on my personal life (as I just moved in with my now husband Brian). After about a year being away from dance, he suggested I find something to do. And so I did: belly dance.

I took my first class at Belle Plaine studios with a woman named Taj. I had no idea that I was at the beginning of my tribal fusion dance career. After Taj, I moved onto taking American Tribal Style (ATS) with Gabrielle Deschaine in Berwyn/Forest Park. And the rest, they say, is history.

Since that little beginning with Taj, I’ve taken as many classes as possible to improve on my own unique style of tribal fusion. I’ve been blessed to have been invited to teach overseas in the UK at Tribal Ford in England, (which is a weekend long group of workshops held in the Ford Castle located in Northumberland, England), and then 2 different workshops in Dublin and Glasgow. I am currently teaching my style of tribal fusion at Pineapple Dance Studio in Forest Park.

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