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Interview: Bobbi Jo Hart, Director of “Rebels on Pointe”

December 16, 2017 by Rachel Hellwig

Director Bobbi Jo Hart. Image courtesy of Icarus Films

How/when did you first become acquainted with the work of the Trocks?

I first discovered the Trocks several years ago when they came to Montreal to perform at Place des Arts. I saw an ad in the newspaper and was immediately intrigued by the photo of these men in ballet drag.

I did a bit of online research and couldn’t believe that I’d never heard of the company, who have been touring the world since 1974!

Then I was even more surprised than no one had ever done a behind-the-scenes documentary about them.

This is your first documentary on a dance subject. How was making this film different (or not) from your past work?

This is indeed my first film in the dance world, and, in fact, my first film with male main characters as well!

This year is my 20th anniversary as a documentary filmmaker, so I have spent some time this year reflecting on my filmmaking choices…asking myself why I am drawn to certain people and environments to follow and film.

It is now clear to me that my passion is observational documentary filmmaking.

I love to immerse myself in worlds and with people that I am often unfamiliar with, to build deep trust so I can follow in an intimate way, and then find the common human threads that connect these unique individuals and realities to a wider audience.

I am also a big fan of the underdogs in life…and love stories of determination and resilience.

My university degree is International Relations, so I also realize that with each film I am looking to bridge bridges of understanding to ultimately celebrate our shared humanity.

So the Trocks appealed to me because it was a world I knew so little about, and I wanted to learn more…and subsequently share what I learned with the public.

I also love uncovering untold stories that I feel the public should know more about, and the Trocks is definitely an example of this.

Dancers (left to right) Robert Carter, Philip Martin-Nielson, Chase Johnsey, Laszlo Major and Chris Ouellette. Image courtesy of Icarus Films

Tell us a little about the documentary’s style/format and how it tells the story of the company…

I am a cinema verite, observational filmmaker. In other words, I like to let life happen and hopefully catch narrative lightning in a bottle, so to speak.

I also had a wonderful editor to work with — Catherine Legault — who was instrumental in helping me structure the film in the editing room. Catherine was a dancer herself in the past, which was very helpful, and her timing and flow really added so much to the film.

I knew I wanted to juxtapose the company’s fascinating history with life on the road today, including some personal stories of a few of the dancers.

I have gravitated, over the years, to filming a lot of footage by myself, without any crew.

Although this is exhausting at times, it does allow for a deeper intimacy with the characters, not to mention quick mobility to follow the natural movements of characters at a moment’s notice.

Of course this can result in some technical challenges that my post production team help me correct as best they can (ie: colour, sound, etc.), but it also offers audiences a connection to the characters that is on a much deeper human level.

How long did it take to create this documentary? Were there any particular challenges with featuring a dance company on camera? Did you have concerns about losing certain elements of live performance?

From the moment I first discovered the Trocks, it took about 4 years to create the final film.

Some of the biggest challenges were trying to literally stay out of the way of the dancers, be it in rehearsal or during a live performance. They are professionals through and through, as are their incredible, skeleton staff who are the wind beneath their wings. I often had two cameras at live performances. I would shoot by myself backstage and a second cameraperson would be set up on a tripod out in the auditorium to film the performance itself.

I admit that there were a few times when the Associate Director and Production Manager Isabelle Martinez had to literally grab me by the collar and yank me in another direction so I wouldn’t get run into by a dancer zooming off stage into the wings, or to prevent me from wandering out on stage accidentally because I was so enraptured by filming what was going on.

But I think, overall, things went very well filming with the Trocks, and I developed such a deep respect for how hard they work on a daily basis to be such incredible dancers.

Where can audiences find “Rebels on Pointe”?

Audiences can check on our film website at www.rebelsonpointe.com to find the latest screening information, and we also post updates on the film Facebook page at https://www.facebook.com/RebelsonPointe/

Filed Under: 4dancers Tagged With: Bobbi Jo Hart, dance documentary, dance film, Dance Filmmaking, interview, Les Ballets Trockadero de Monte Carlo, Rebels on Pointe, Trocks

Close-up on a Dance Film: “I WISH”

January 4, 2017 by Rachel Hellwig

by Rachel Hellwig

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“Live performance will always be my first passion, but I am grateful for the opportunity to explore my craft through a different medium.”- Adriana Pierce

Looking a new, short dance film to watch?

I WISH was created by Miami City Ballet dancers Adriana Pierce and Eric Trope and Miami filmmaker Alejandro Gonzalvez. Learn more about the film in our interview with them…

What is I WISH about?

Adriana: I WISH is about the struggle we experience when we lose ourselves in romantic relationships, and, though we may share passion and intimacy, sometimes the only logical conclusion is that we are better off apart.

What inspired I WISH?

Adriana: First, we fell in love with the song MY DEER, written by a local Miami band, and the themes of the challenges of love resonated deeply with us. We got into a studio and created movements which we felt represented the emotions described by the lyrics. The film took on its own personality as Eric and I delved into the characters and worked off of each other, allowing our organic creative connection to inform and inspire the choreography.

How is the film connected to the city of Miami?

Adriana: The professional ballet sphere can often feel isolating, but collaborating with Miami’s vibrant music scene was a wonderful way to broaden our world and forge a connection with local artists. Different shots of film were taken in locations which we felt were truly representative of our lives in this city, and we discovered the ways in which Miami’s color and passion parallel our own.

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What are the artistic advantages and challenges of making a dance film?

Adriana: Working on dance films has given me the power to be bold in my choreographic decisions in a way that my concert dance projects cannot always allow me to. I can place emphasis on certain movements and themes in an extremely direct way, and the emotion of a close-up is immediate and powerful. Live performance will always be my first passion, but I am grateful for the opportunity to explore my craft through a different medium.

The biggest difference between dance on film and live theater, and the biggest challenge, is living up to the pressure of capturing the “perfect shot.” Staying in the frame and maintaining a relationship with the camera can also present challenges, but Eric, Alejandro and I have found a rhythm that works for all of us.

How do you feel about the future of the dance film genre?

Adriana: The intimacy of film allows for an eclectic range of themes and production which I feel can stretch dance in unique ways. I hope that artists continue to use film to provide a virtual voice for different dance forms, and to create relevant commentary on today’s world. I am excited to see how dance films can push our art form into the future.

i-wish-2-screen-shot-2016-11-06-at-7-29-59-pm

How did this project help you grow as a performing artist?

Eric: I WISH challenged me to explore movement that I never would in my normal day to day as a ballet dancer. Many of the shots we used in the film were improvisational and it was nice to have the freedom to trust our instincts. When we perform, we have to leave the decisions we make for better or worse on the stage. Film allows us the opportunity to critique, improve, and try again. This self-criticism and evaluation helps to improve the movement and ultimately creates the best product.

How did I WISH help you grow as a filmmaker? What are the challenges and advantages of making a dance film?

Alejandro:  I met Adriana and Eric two years prior to this shoot, and having experienced their talents, and, by osmosis, the talents of other dancers, I fell in love with the art form. I wanted to make sure that my work in no way would impede their creativity; almost trying to film them in their “natural habitat.”

Working with those whose experiences differ from our own allows for the creation of works with a unique depth, and can add new meaning to your world. I do not like to limit myself to what I’m used to, to what I’m comfortable with–this causes a kind of artistic agoraphobia and that is a place I very much dread.

Short dance films are one of the best ways to deliver the art form to thousands of individuals. Particularly with ballet dancers, it is the best way to deliver their talents outside of the theater and reach a wider audience.

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Filed Under: 4dancers Tagged With: Adriana Pierce, Alejandro Gonzalvez, dance film, Dance on Film, Eric Trope, Film, I WISH, Miami City Ballet, Short Dance Film

Making “Mr. Gaga” – A Film About Choreographer Ohad Naharin

December 11, 2013 by 4dancers

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Tomer Heymann, Director

Today we are pleased to share with readers an interview with Tomer Heymann – the man behind countless hours of footage of the well-known dance figure Ohad Naharin. Heymann is working to create a film about the choreographer (Titled, “Mr. Gaga”), and it has been a project to which he has truly devoted himself.

1. How did you first meet Ohad Naharin?

I met Ohad Naharin more than twenty years ago on one of my vacations from military service. My aunt was a director of the Batsheva Dance Company at the time and I got a ticket to see Naharin’s piece “Kir” (“Wall”). This was the first piece he staged in Israel after his return from the U.S. I had never seen any dance before in my life, so I didn’t know what to expect.

But from the moment I saw the dancers move, the movement, their bodies, I just couldn’t take my eyes off it. By the end of the show, my eyes were sore from staring. It was phenomenal. Since then I haven’t missed one of Ohad’s productions: I have seen 25 of Ohad’s pieces, and more than once. A few years later, I also fell in love with a dancer from Batsheva.

One time, when I was working as a waiter in a coffee shop, I found the courage to introduce myself to Naharin.

2. What made you decide to do this film?

Even before I’d become a filmmaker, I felt I had to be close to this man. I had to understand how he creates something that magnificent, that inspiring. As we became friends I never abandoned the idea of making a film about Ohad Naharin. But only after I had made a few films, did I feel able to approach him and ask. This turned into an obsession, I stalked him. And only 7 years ago did he finally agree to let me bring a camera to the studio.

3. Did you find that filming dance was a challenge? Why or why not?

Before agreeing to participate in “Mr. Gaga” Ohad had many times told me that he forbids the filming of dance, as it goes against the momentary and fleeting nature of dance. This is why it was very challenging for me to shoot and edit this film. Where do you cut when you are editing a wholesome creation, a dance piece? I hope that I have managed to capture these moments, to make a collection of these moments that evolves into something larger than just the sum of its parts and also tells a story.

4. Where has the filming taken you in terms of following Ohad and Batsheva?

I have followed the company to seven different countries and spent countless hours in the studio in Tel Aviv. I’ve witnessed some dancers “grow up” with the company and Naharin, starting in the ensemble as kids 18-19 years old and then coming to the company to become extraordinary dancers–and then move on to other places. For example Sharon Eyal, once a prodigy of the company, and present a lot in our footage, now is one of the leading choreographers in Israel and Europe. Danielle Agami, another talented dancer now has her own successful company in L.A.

Being with Batsheva and Ohad Naharin really became a part of my life. It is safe to say that I spent 1 to 2 days of every week in the past seven years with them, not counting the hours I spend in the editing room.

“Mr. Gaga” is a film that took me one step further as a filmmaker, as a director – in terms of the responsibility it demanded from me, the amount of people involved, the volume of materials to be processed, and in terms of the time and resources I am investing. Ohad is such an influential figure in his field, and this puts a lot responsibility on me to deliver a film that will match his stature.

5. In your view, what stands out about this man and this company?

What is so interesting about Ohad Naharin is that he is one of the rare choreographers who appeals to a very wide range of audiences; not just regular dance fans who are familiar with classical ballet. His language and art are universal; it goes deep into something primal in our emotional selves–to our bodily awareness of ourselves. And he also does this without becoming “pop” or compromising his art. On the contrary, Naharin always finds new ways to recreate, to redefine his language.

6. What has been the biggest challenge in this process so far?

There was a lot of resistance. It may seem like a very rosy picture from the outside: We are friends, we are intimate and I am making a film about Ohad Naharin over seven years. But the opposite is true. Ohad is a difficult and complicated man and he gave me a hard time. There was a lot of resistance. Sometimes he would just say “cut” – as if he were the director – he would just “cut” the communication, stop cooperating with me, exclude me from his space. But in these moments I knew we were only spiraling deeper in our relationship, reaching yet another new level of intimacy.

Tomer and Ohad Naharin

7. Can you talk about a special moment you experienced while filming?

One example–I knew that Ohad had a TREASURE chest in his home: An enormous collection of still images, recordings, rehearsals, performances, family footage; his work in New York with Martha Graham, work with Maurice Béjart, his first wife – the legendary Alvin Ailey dancer, Mari Kajiwara, many many things. I was obsessed with these materials for years; I knew that I had to get them into the film somehow.

And suddenly this year I felt that we had reached the point where I could ask for it. I just told Ohad: “Give me this!” And he just gave it to me, all of it, just like that. He just handed over his past into my hands.

8. What do you think people might be surprised to learn about Ohad Naharin?

Ohad harbors a very sensitive nature under his tough appearance. People might also be very surprised to discover Ohad’s sense of humor and the relationships he builds with the dancers.

9. What does the next phase of this project look like, and when are you hoping to finish it?

Right now we are processing the footage shot over the past year and adding it to the rough cut. It includes Ohad Naharin working on his latest creation “The Hole” with the Batsheva Dance Company. Interesting footage because there was a special octagon stage created for this piece in one of the studios of the Suzan Dallal center in Tel Aviv, with dancers also standing right behind the audience and even under the very ceiling. It’s really a 360 degrees experience for the audience; something very special. We also filmed Ohad working on his repertoire in Finland and we travelled with him to New York.

At the same time there is a team of 5 very experienced researchers that are looking for any piece of archival material there can be found about Ohad Naharin or the company. We are finding unbelievable footage and all of that needs to be incorporated into the film as well.

Should we succeed with our Kickstarter campaign we will be able to acquire this footage and to proceed with the post-production. We are planning to release the film in spring 2014, in conjunction with the celebrations of the 50th anniversary of the Batsheva Dance Company in Israel and in the U.S.A.

Filed Under: Dance Video, Making Dances Tagged With: choreographer, dance film, dance video, mr. gaga, Ohad Naharin, Tomer Heymann

Filming “Where Women Don’t Dance”

November 15, 2013 by 4dancers

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by Nel Shelby

Four years ago, I was invited by choreographer Nejla Y. Yatkin to follow her dance company NY2 Dance on tour in Central America. Our daughter Gracie was only 15 months old, and I was ready to say no – that I couldn’t take this on right now, but something told me there was something too special about this opportunity to pass up.So I packed my bags and left Gracie home with Christopher. I filmed hours and hours of performances, workshops, site-specific works and personal interviews during the tour, and the more I filmed, the more I realized that this story we were telling was bigger than we ever imagined. It wasn’t documenting performance or experience on tour – it was documenting Nejla’s personal story of strength and perseverance in her culture and career. We’ve held on to the footage for far too long, and it’s time to make this film.  Where Women Don’t Dance is a truly inspiring story. It translates beyond the personal, beyond the dances performed on stage. In many ways, this documentary is a contribution to a more serious conversation about the ways women face restrictions in full expression near and far.In a time when politicians, business leaders, news outlets and more and more women are openly discussing how to deal with glass ceilings, achieve equal pay for equal work and find balance professionally, spiritually and personally at work and at home, we need to finish this film and add to the discourse. So we’re working on it!!

In our film, Nejla opens up about her personal passion for dance and the conflicts it has posed within her family and community. Born to Turkish parents in Berlin, Nejla and her family were expected to honor their roots and culture through their everyday actions. Encouraged by her parents, she studied Turkish folk dance at a very young age. Folk dance was a way for her to connect to her heritage. They didn’t realize it was also an entryway into the wider dance world – a realm where she learned to truly express herself. At the age of 14, Nejla started studying with two dance teachers from New York City. They changed her life as they introduced her to new ways of moving. (How many of us have had dance teachers that have changed our lives? I’m pretty sure we all relate to this part!!) But contemporary styles of dance would not be received well by her parents, and performance was out of the question. It is considered a sin in her culture for women to dance in public. So Nejla continued to study but was forced to hide this part of her training and her life from everyone she knew.

I invite you to watch our trailer and learn more about how we’re raising the money to make this film a reality.  Please help us spread the word about this beautiful film. We can’t wait to share it with you!

Where Women Don’t Dance: My Next Documentary Project from Nel Shelby on Vimeo.

Nel Shelby, Photo by Matthew Murphy
Nel Shelby, Photo by Matthew Murphy

Contributor Nel Shelby, Founder and Principal of Nel Shelby Productions, is deeply dedicated to the preservation and promotion of dance through documentation of live performances, fully edited marketing reels, live-stream capture, and documentaries and promotional films.

Her New York City-based video production company has grown to encompass a diverse list of dance clients, and she works with an ever-wider variety of dance artists each year in her role as the Festival Videographer at Jacob’s Pillow and as Resident Videographer at the Vail International Dance Festival. Her half-hour documentary on Vail’s festival, The Altitude of Dance, debuted on Rocky Mountain PBS in May 2013. She collaborated with Adam Barruch Dance to create a short film titled “Folie a Deux,” which was selected and screened at the Dance on Camera Festival in New York City.

Nel has a B.A. in dance, a B.S. in broadcast video and is a certified Pilates instructor. She often collaborates with her wonderful husband, dance photographer (and fellow 4dancers contributor) Christopher Duggan on creative projects with dancers in New York City and beyond. They live with their beautiful daughter Gracie in Manhattan.

Filed Under: Uncategorized Tagged With: dance film, dance video, nejla y. yatkin, nel shelby, women dance

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