covid-19

Creating Dance in 2020: Hanna Brictson and Dance for Life

August 13, 2020 by 4dancers

Hanna Brictson, Photo by Nicolette Nunez

Dance for Life is a yearly fundraising event held in Chicago at the Auditorium Theatre, but this year the gathering of dance professionals and supporters will take place in a virtual format. Choreographer Hanna Brictson was asked to choreograph a world premiere – a challenge under usual circumstances – made more difficult by COVID-19. We sent Hanna some questions about how she crafted this new work, and her answers were educational–but perhaps even more importantly–hopeful.

What was the path that led to you being asked to make a dance for Dance for Life 2020: United as One?
My path to creating the new piece for DFL 2020 happened in the heat of the pandemic. DFL contacted me and noted that they loved the piece I had submitted in early February, “Natural Women.” This was back when it would have been in the show. Having seen my works over the last few years, they asked if I could create a brand new piece to represent the current situation. It wasn’t clear at this point when or how we could do such a thing during a quarantine. Then the wheels started turning and the plan to create virtually and do a film was born.

Can you talk just for a moment about your background in Chicago dance and how this affected your approach regarding the World Premiere you have choreographed for the event?
My background in Chicago starts from the beginning. I grew up in the suburbs and by the age of 15 was training very closely with River North Dance Chicago. At 18, after graduating high school, I joined River North as a company member, and that’s where I danced for 12 years, eventually choreographing on the company and being an assistant rehearsal director. During those years, I was brought into the DFL family, performing several years with RNDC at the performance each year—a definite highlight in my early career. Following RNDC, I joined Visceral Dance Chicago. I was able to perform again in DFL with a different company. Two seasons later I submitted my own choreographic work to be in the show. Prompted by mentors and pushed to show what I could do choreographically, I did it. It was picked for 2018. It’s been a journey! To be on both sides of the Auditorium stage as both a dancer and choreographer is beyond emotional for me. That young passionate 12-year-old never would have guessed that, at 34 years old, I would have accomplished these things. It still is quite surreal, and I am extremely grateful and honored to create and have people actually enjoy it! DFL has given me such wonderful opportunities.

“My Darling” – Choreographed by Hanna Brictson for Dance for Life 2018.
Photo by Todd Rosenburg.

Dance for Life has always been about community. Can you speak to the challenge of trying to bring that feeling into this year’s virtual event?
The community aspect was a challenge for this creation! We never were able to rehearse in person. We had only communication through emails, YouTube videos, and a few Zoom calls. I actually did note sessions talking to my camera and uploading it online to send! Completely different than the normal. Many dancers in Chicago had traveled home, taken breaks, and so much more during their own journey through a quarantine and worldwide pandemic. When I first started reaching out to people, it seemed like this was exactly what people needed in their life. Dancers are hungry to feel and share. These dancers are the most generous and humble humans. They really came together in a rough time for us all. Community is a tie that we will always have together. Sometimes it may seem thinner, but Chicago’s dance ties are a bond that will continue to stay strong and collected. We felt distanced at first but quickly realized we actually were capable of anything. That day, that ONE and ONLY day we came all together to film, we felt so strongly about our Chicago Dance Community, and so happy to finally be together!

What did you learn from this unusual approach to creating a work under these circumstances?
I learned through this process that a lot is possible going forward in this new world approaching us. I can still create under intense circumstances. It’s actually a very optimistic view for me to look forward to. We have a great community of dancers that are eager to create and share with the world. We need to keep dancing and creating as much as we can right now.

Those who are interested in participating in Dance for Life 2020: United as One can find information at Chicago Dancers United. It begins Saturday evening at 6:30 pm, CST.

A Dancer’s Reflections: COVID-19, Social Media and Art

June 23, 2020 by 4dancers

by Luis Gonzalez

Luis Gonzalez dancing — Luis Gonzales. Photo by Luis Coronas.

It’s hard to put into words how it feels to be an artist during this time. There is so much that we are undergoing that no one was prepared for. Globally people are dying, economies are on the verge of collapse, theatres are closed, ballet companies can’t perform or rehearse, dancers all over the world are going unpaid–with no promise of upcoming paychecks. Careers in the arts are decidedly of an uncertain nature, and so in that sense I suppose the lifestyles we’ve led have in some ways provided insight into what it takes to navigate chaos; and maybe sometimes to even thrive in it.

The enterprise of abrupt change bleeding into our lives can feel like a merciless, consistent and destructive threat as it does to many of our livelihoods and mediums for expression right now. Still all one has to do is look around and see where people are finding shelter from the anxiety and where they find the ability to still be exposed to growth from different perspectives. Art, music, dance, movies, and television shows. Stories are being told through many different mediums that make life within our bland confinements have color. If anything, the global pandemic has shown us all the level of resilience that the art within us can provide.

I am no stranger to anxiety, and as I write I know that this is one of the many generous mediums I frequent whenever I find myself in need of the kind of peace that is only rendered through the process making a thing. I’m sitting at my desk with a cup of hot black coffee, looking out on to a rainy Georgia morning–just trying to process the fact the state of the world as it was when I went to bed just a few weeks ago was stripped out from under us. The one we woke up to was sick and uncertain and lonely, and – although some of them tried to convince us otherwise – no mentor, no politician, no figure of authority had any of the answers.

Luis dancing the Jester in Victoria Morgan’s *Cinderella* for Orlando Ballet.
Picture by Michael Cairns

I remember having the feeling for the first time in a long time of not knowing what to do with myself. My season had dropped off at a time when I was probably in the best shape I’ve been in my entire career. I had come off doing a full length classical ballet where I was pushed to dance dynamic virtuoso steps that were outside of my comfort zone as the Jester in Victoria Morgan’s Cinderella, and we were going full speed ahead into the next triple bill which included Jessica Lang’s Lyric Pieces, Robert’s Visions, and Val Caniparoli’s Lambarena. My body, my heart, and my art felt in sync. In my experience, as well as experiences that have been shared with me, no career gives you that feeling all the time, and some don’t have it at all, but when it happens in dance it’s one of the most euphoric states one can experience. In many ways an abrupt drop-off from that can feel like withdrawal.

[Read more…]

COVID-19 and the Love of Dance Challenge…

June 18, 2020 by 4dancers

I so glad to be able to let you know about a just-launched charity effort to benefit the dance community, specifically dance studios – The Love of Dance Challenge. As we all know, the COVID-19 crisis has devastated the dance community, especially studios — which are the foundation of our training, and create a springboard for the art. Like so many in our community, studio owners are facing financial challenges, and many are facing the reality of potentially closing their doors for good.

The Love of Dance Challenge is the brainchild of Kaycee Cope Jones and Bri Zborowski, co-founders and co-owners of Apolla Performance Footwear. Here’s how it works:
-Donations are being given by industry leaders — each donor then will “challenge” three more friends / colleagues to also donate, all for the love of dance. (Think of the Water Bucket Challenge for just dance!)
-Anyone can enter to win experiences that they may never have again – with just a starting donation of $10, you can choose which prize(s) you will be entered to win. You can also donate cash, if you don’t want to enter to win anything. All donations / proceeds go towards helping dance studios survive this crisis, and allow the dance world to come together for the Love of Dance Challenge.
-Dance studios from all over the world can apply to be considered for a monetary gift raised by this effort. All applicants will be vetted thoroughly and are required to complete the StEPS 2020 Initiative (see below). A lottery then selects the qualified applicants who will receive the financial gift.

ALL monies raised goes completely to dance studios, to help them survive and keep going.

The StEPS 2020 Initiative is a major part of this Challenge:
It stands for Studios for Equity, Prevention, and Science. StEPS is a brief online course that involves education for studio owners in:
1) Racism in Dance

2) Sexual Abuse Awareness, Prevention, and Response

3) Bringing Dance Science to the Studio4) Gender, Inclusion and Integration in Dance
Further information can be found he re.

I hope everyone gets involved with this wonderful effort, and passes it on to as many dance colleagues as you can. I am so proud to be involved in it (as part of #3 above — Bringing Dance Science to the Studio) –and we can all be proud of becoming part of this industry-wide effort to help our hurting dance world.

Thank you –with Love– Jan Dunn, Editor, Dance Wellness

Dancing Through The Unexpected

June 4, 2020 by 4dancers

dancer practicing at home — Samantha Galler, dancing at home.

by Samantha Galler

In life, I was taught to always prepare for the worst. So, you do what you can and hope that it is enough.

With injuries, if mobile, a dancer can travel from place to place knowing there is an outside world to interact with. As an established dancer well into a career, transiting from dance later on needs to surface in the back of the mind at some point or another. It is important to be properly prepared for a transition when the time eventually comes. It can also help the situation become less frightening.

Most artists, are aware that this change may be quick, due to injury or personal situations, so it is important to maintain a level head and understand that nothing in this life is guaranteed. Committing to this career comes with those risks and sacrifices. Right now, the situation is very different and we are facing challenges we could not have entirely prepared for.

Now, the country is well over a month into this so-called new life. New life, meaning sheltering in place and adapting to no work and no consistent schedule. As a dancer, I can say this is definitely one of the hardest situations I have ever faced. It has forced me to break from my mold in every way and brainstorm new routes for normal activity. Going to the theater or the studio are not options. The strangest thing about this situation is that everyone around the world is dealing with the same circumstances. In a way, we are all in this together. There are those who do not have jobs and/or money to survive and there are those who are working from home. Either way, it is not the same. Right now, I believe artists are facing a new battle based off of the worlds’ needs. The health of people is at the forefront and professionals are forced to sacrifice their familiarities to save lives.

Artists are working through an unknown territory. I guess the future is always unknown, but what we are experiencing now is unfamiliarity in every way. What has hurt me the most, is seeing ballet schools, performing arts schools, and dance colleges come to a screeching halt. As professionals, we are more likely to have the experience and a deeper understanding of the training we need to stay strong in a time like this. For a student, each month is crucial to the finalization of their training.

With this change in their schedule, it affects students who are growing and molding into their development as a professional. I have made every effort to create a ballet class teaching schedule for myself with students across different areas in the country in hopes of providing a continuation of their training. In addition, a major challenge that pre-professional and professional dancers face when returning to work is the act of standing. The weight of our body on our feet for 7 hours is part of our day to day training. An advantage to teaching, is that it keeps me focused on ballet and forces me to stay on my feet for long periods of time. Some days, up to five hours. I teach through Zoom for students from different schools including, The Ballet Academy Inc., Northeast School of Ballet, and Boston Ballet in Massachusetts where I trained when I was younger. It has made me so happy to see all smiling and eager faces.

The Ballet Academy Inc. has directed students to me ages 6-13 which has been enjoyable. I am extremely grateful for these opportunities and responsibilities. It brings me back to when I was an 8 year old training. In fact, my parents have started pulling out old videos of me being taught by my ballet teacher when I was 9. It has been humbling and rewarding even though the world is facing a major challenge at the same time. There is a glimmer of hope that there can continue to be some happiness and beauty even at a time like this.

Dancer outside — Samantha Galler. Photo by Jonathan Taylor.

The day we were told that we had to stay in our homes, I did not really understand the situation we faced. In fact, I was so motivated, and thought this would only last a couple weeks. I figured we would be back to work and performing again soon. About a week in, it was clear that it would be a much longer period of time before this would happen. During the first week, Ryan, my fiancé, and I had to decide to postpone our wedding which was devastating. Part of me thought that there might be a way to have the wedding, but it was clear we had made the right decision given how the circumstances were developing and we could not put our guests at risk to travel. That was the first challenge in quarantine and, believe me, that is not an easy process. We were able to officially get married at the end of April while social distancing, and with our parents on Zoom.

Secondly, it was hard to go from dancing all day in the studio to having to do ballet class at home in my living room. The difficulty to this, which I am sure a lot of in-season dancers can agree with, is that we were in shape and then it was a cold turkey halt. Our bodies were forced to stop and find a new way of working. This new schedule has taken time to adjust to for many reasons.

First, it is important to be working on the proper floor. My floor is tile, so I needed to be careful to take class on a rug and limit small jumps until I received a piece of floor from the ballet, which we are so fortunate for. Now with a good piece of Marley, it has made it easier to create a consistent working schedule.

The most incredible challenge is to motivate ourselves to keep cross training. Cross training requires cardio, ballet, stretching, meditating, and more. I try my best to take a ballet class 5 days a week. Also, since I cannot swim right now because the pools are closed, I am taking extended walks. These are typically an hour to an hour and a half or 4 miles. With this, I walk or do a light jog and then return to walking. I repeat this pattern so that my heart rate increases mimicking what it would feel like if I were dancing a ballet.

It is scary to see how fast the body loses stamina and how long it usually takes to build it back up. It is a steep mountain to climb. Other than working on my cross training and teaching, I am researching future dance education. It is a topic that has always interested me and I figured now was a good time. In addition, I have connected with friends through Zoom, some of which I have not spoken to in years. One friend I reconnected with, I last spoke to in 2007 before she moved from Boston back to her hometown in Australia. There has also been a lot of reconnecting with my family. Typically, I see family members during performance season or the holidays. Right now, since we are not traveling, Zoom dates with my parents and brother, aunt, and close friends are on my weekly schedule. I do not know why this was not a normal event before! Seeing my family and forming new connections has filled me with so much joy and it has opened my eyes to new perspectives on our present situation. I just hope to continue these dates after our “shelter in place” is lifted. It has been an unbelievable ride.

With this challenge, there is a silver lining. I firmly believe everything happens for a reason. I would say the days are starting to blur together, but I am trying to find a comfort that what I am doing is enough to stay on track. As I self-reflect, I am so eager and inspired to be back in the studio. I will embrace each moment more than I already do and enjoy the freedom of being in an open space fueled with energy. For now, more than any injury I have dealt with in the past, I realize again how quickly life can change.

Samantha Hope Galler. Photo by Daniel Azoulay.

Contributor Samantha Hope Galler, a Bedford, Mass. native, spent 13 years training with The Ballet Academy, Inc., under the direction of Frances Kotelly in the Cecchetti Method. She performed six seasons with The Northeast Youth Ballet under the direction of Denise Cecere. She continued training, on scholarship, with Boston Ballet School and received the PAO Merit Trainee Scholarship. She received the NFAA Honorable Mention Award in Ballet. Galler spent summers training at Boston Ballet, Central Pennsylvania Youth Ballet and Boston Conservatory. She danced with Cincinnati Ballet in their 2008-2009 season under the direction of Victoria Morgan.

Samantha spent five seasons with Alabama Ballet under the direction of Tracey Alvey and Roger Van Fleteren. During her tenure there, she was promoted to principal dancer. She had the honor of performing some of her dream roles including Juliet in Romeo and Juliet, Odette/Odile in Swan Lake, The Lilac Fairy in The Sleeping Beauty, The Sylph and Effie in La Sylphide, Myrtha and Moyna in Giselle, Dryad Queen and Mercedes in Don Quixote, the Rancher’s Daughter in Agnes De Mille’s Rodeo. Her Balanchine roles included Dark Angel in Serenade; The Sugarplum Fairy, Arabian and Lead Marzipan in George Balanchine’s The Nutcracker™; and the principal roles in Allegro Brillante and Tarantella. She has also performed in Jiří Kylian’s Sechs Tanze, and Van Fleteren’s Shostakovich and Romancing Rachmaninov, both world premieres.

Samantha joined Miami City Ballet as a member of the corps de ballet in 2014. Since joining Miami City Ballet, Samantha has performed in various roles including as the Sugar Plum Fairy in Balanchine’s The Nutcracker and as the Harp Soloist in Balanchine’s Raymonda Variations.

Galler joined Miami City Ballet as a member of the corps de ballet in 2014 and was promoted to Soloist in 2018. Galler was named a Capezio Athlete in August 2017.

Follow Samantha on her website and blog.

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