dance for life chicago

Dance for Life 2021: Celebrating 30 Years

August 3, 2021 by 4dancers

Stephanie Martinez’s *kiss.,* with dancers Chris Bloom and Gabrielle Sprauve,
photo by PC Michelle Reid Photography

August is a special time in the Chicago dance community–because that is when Dance for Life takes place. This annual event is celebrating its 30th year in 2021, and now more than ever we’ll gather in true appreciation for the sense of community we have grown here over the three decades this performance has been running.

For those who don’t know what Dance for Life is, it’s a performance/benefit that takes place each year. Funds raised will benefit Chicago Dancers United, an organization that administers The Dancers’ Fund; premium bowl seating is available with a $300 minimum donation. The fund provides short-term financial assistance to Chicago dance professionals that have health and wellness needs. This year free seating will also be available in both the bowl and the lawn area.

Each year various dance artists/companies/groups are selected to perform at this event. Performers this year include: DanceWorks Chicago, Giordano Dance Chicago, Hubbard Street Dance Chicago, The Joffrey Ballet, Movement Revolution Dance Crew, South Chicago Dance Theatre, Trinity Irish Dance Company, Visceral Dance Chicago, and a finale choreographed by Randy Duncan. The program also includes a film by Winifred Haun & Dancers.

Stephanie Martinez’s PARA.MAR has also been chosen to perform this year. We caught up with Stephanie to learn more about her choreography for the evening’s show, as well as her long-standing involvement with Chicago’s dance community.

Can you briefly share the basic history of PARA.MAR Dance Theatre?

While my vision for creating a platform that empowers and elevates diverse artistic voices in contemporary ballet had been growing in me since the moment I first stepped into a studio, the timing of PARA.MAR‘s inception was activated by the pandemic. I saw incredible artists without work, displaced, and some even leaving the field. I felt compelled to create art and employment at a time of such scarcity and deep insecurity.

Would you also talk about how you became involved with this year’s Dance for Life program, and your ties to the Chicago dance community?

From training with Giordano and Lou Conte to becoming a founding member of River North, I’ve spent my life in this community. I’m pretty sure I was in the first Dance for Life! I’m humbled and honored that PARA.MAR was accepted into this year’s line-up alongside some of Chicago’s best. It’s really motivating to have such encouragement and to feel like we belong here. There truly couldn’t be a better way for P/M to round out our first year in existence than performing in such an iconic evening of Chicago dance.

Stephanie Martinez, photo by Cheryl Mann

Your piece, kiss., explores intimacy. How would you describe it to someone who hasn’t seen it?

The piece was created while we were still coming to grips with quarantine, and was heavily influenced by it. There was more time in isolation and time for reflection that anyone could have been prepared for.

The piece is an exploration of the human need for connection as we were grappling with what it meant and felt like to be without it.

You’ll see the characters go through the universal feelings of loneliness, loss, and love. Hopefully, watching the piece makes you realize that in any experience, you aren’t really alone.

You chose the music of Johann Sebastian Bach to choreograph this to – what drew you to it?

Bach, Mozart, and Schubert were perfect companions to the new, more abstract compositions that are featured in the work – three of which were created by the excellent Chicago-based/NY-born composer Darryl J. Hoffman and one by our multifaceted rehearsal director and creative force, Noelle Kayser. Throughout the creation process, we explored the difference between our private and public self. Bach, Mozart, and Schubert are so delicious…luxurious and grand. They were the perfect soundtrack for who we outwardly project ourselves to be and provide an interesting contrast to the more isolated and intimate realities we may feel inside.

Can you shed a little light on your choreographic process for this?

It remains astounding to me that the entire first half of the process took place over Zoom. The way it went is that the dancers were taught various phrases that I created. Then the dancers used the phrases and a series of physical and emotional prompts to manipulate the material. When we were finally able to be in the studio together, I placed and expanded upon the puzzle pieces that were created over Zoom to support the narrative of the piece.

Dance for Life has always been a time of coming together for the Chicago dance community. What does it mean to you personally?

Dance for Life is always an evening of celebration and community. The support you feel in the wings extends well beyond the once a year performance. Over the years, I’ve seen Chicago Dancers United assist my friends and colleagues in times of crisis and feel lucky and grateful to have resources like these available to the dance community in our city.

Dance for Life takes place Thursday, August 26th at the Jay Pritzker Pavilion in Chicago. The gates will open at 5:00 p.m. and the performance runs from 6:00 p.m. to 8:15 p.m. Premium seating benefiting Chicago Dancers United is available here for a donation of $300 or more. Please note that this year there will also be free seating available in both the bowl and the lawn area.

Choreographing “Echo Mine”

July 29, 2019 by 4dancers

Robyn Mineko Williams and Jacqueline Burnett rehearse “Echo Mine”.
Photo by Chloe Hamilton.

Chicago’s annual benefit performance, Dance for Life, is a time for community. It’s a time for celebrating dance–and dancers–right here in our city. It’s a time for coming together, and a time for reflection.

This year’s performance offers a great variety of talented dancers and dance companies, as well as a “first look” at Echo Mine, a work choreographed by former Hubbard Street Dance Chicago dancer and award-winning choreographer Robyn Mineko Williams. The piece was inspired by the late Claire Bataille—one of HSDC’s founding dancers, as well as a choreographer and director of the Lou Conte Dance Studio.

We are fortunate to be able to share excerpts from a recent conversation with Robyn, regarding how this piece came into focus, and how the decision was made to included it in this year’s Dance for Life Chicago performance.

You have deep roots in the Chicago dance community. Can you describe your journey from dancer to choreographer in broad terms?

The pathway from dancer to choreographer was not one I expected. When I left Hubbard Street in 2012, I didn’t intend to stop dancing, but choreographic opportunities presented themselves. The more I did it, the more I enjoyed it and found that I had a voice on the other side of the lens. I knew that I was not ready to leave the world of dance. So it’s been an interesting but unexpected career path. When I was a dancer, I thought I’d leave Hubbard and go back to math school, become a math teacher, open a bakery—so I’m very surprised, but not surprised, that I’m still immersed and feel passionate about being an active member of this community.

Robyn Mineko Williams, rehearsing “Echo Mine”. Photo by Chloe Hamilton.

Claire Bataille is a well-known figure in the Chicago dance community. Would you comment on the sense of loss that has been felt with her absence?

Speaking only for myself, it is a huge loss because of the incredible range that she had during her 40+ years in the dance community—dancer, teacher, mentor, friend. When I walk into Lou Conte Dance Studio, I still expect to see her even though I know I’m not going to. She’s been a constant for me and for thousands of people. She’s just part of the web, like the bones of the dance community. Michael Anderson [former Joffrey dancer and now Chicago Dancers United/Dance for Life board member] and I both noticed that, at Claire’s memorial last winter, so many different people were there, not just spanning generations but from many parts of Chicago and beyond. Claire was so much more than Hubbard; she brought dancers together. She was a key figure, like the glue for all of us.

How did this piece wind up coming about for Dance for Life 2019?

The solo I performed at Claire’s memorial was a work in progress and is now part of Echo Mine. I started to reach out to different people in the dance community for advice about a good venue for this piece and other general, technical questions. This is my first independent work on this level—a 50-minute, full-evening work for proscenium. I’d been in the studio and working with composer Tim Rutili of Califone, so creative elements had been in the works for a long time, but the logistical aspects of how to get it to a stage were things I didn’t know. So I reached out to people who I thought could help me. Michael Anderson wanted to bring the piece to Dance for Life as an option, especially since they knew they’d be paying tribute to Claire this year, so it was a good fit. There was some discussion of Hubbard doing Georgia—which they do a phenomenal job with—but it would be hard not to imagine Claire. So Echo Mine is inspired by and of Claire, and made alongside and with her, but not something she had done—it’s more representative of now.

It’s also really important to me that people know that this started with Claire. This is not a piece about cancer or about Claire’s past. I was really interested, and she was too, about creating something together in the present moment, of her today, and all of her history and my history is part of it, they’re ingredients. When I asked Claire what she wanted, she said it was important to tell a story, and I felt it was important that it be about “present Claire.” And after she got sick, she was still OK with that. As this piece comes more and more together, I see that it’s a snapshot of this amazing time we were able to spend together and make something in the present.

I started talking to her about it in early 2017; that was when original idea came up, because I was encouraged to apply for a grant from Chicago Dancemakers Forum. So this was the idea that came to mind: to work with Claire and see her perform my movement and see how much of my movement is actually her. To see her dance again, and for me to be in the room and create with her, would be the coolest, most rare gem. How often do you get to do that with your idol? A person who you looked up to, who you had posters of in your room? I sheepishly asked her, thinking she would never do it, and she said OK, let’s explore it! She agreed to it, we talked a couple times about early ideas, themes—ironically, she brought up the theme of loss and how it’s been a thread throughout her life, and this was before she got sick. We had one rehearsal in October and a month later she was diagnosed with cancer. In late January 2018, I contacted her again to see how she felt about continuing, and she was fine with it. At first she wasn’t comfortable going back into the studio, not because she physically couldn’t do it but emotionally. But in July she did feel well enough, so we were in the studio for about a month, off and on, and we made a solo for her together, and now that’s the source material for the whole piece. It was such a gift. Regardless of her being sick or not, it was such a great excuse to hang out with her and learn more from her and hear her Hubbard Street stories, which brought to life the photos I had of her.

Claire dancing — Claire Bataille teaching at Lou Conte Dance Studio. © Todd Rosenberg Photography 2015.

Can you share a bit about your connection with Claire?

My connection with Claire changed. I saw her dance with Hubbard Street when I was nine, and from that moment on, I thought, “This is it.” So I started as an observer, a fan; when I was a teen, I started taking classes with her. Then at 16, I was on scholarship at Lou Conte Dance Studio for a couple years. When I joined River North, she was our ballet mistress. So our relationship evolved. I joined Hubbard in 2000 when she was still rehearsal director. One of my favorite memories is this: I had auditioned a number of times, and I decided to try one more time in 1999. I went to an open audition, and I think Lou [Conte], Jim [Vincent, income artistic director] and Claire were there. I got the job and Claire said that she asked if she could be the one to call and tell me. So I got the call from Claire, and she said I screamed bloody murder, and when she hung up, her son Isaac asked if she thought I’d call my Mom right away because he could hear me screaming. I remember my first day at Hubbard in class, and she welcomed me to my new home. While at Hubbard I got to know Claire on a different level; I was less socially awkward around her and could talk to her about various things like both of us being moms. So our relationship matured and evolved. I was able to spend time with her, and she was really important to me.

How has this piece taken shape? What’s the process you have used to craft it to specifically honor Claire?

I’ve been talking with Tim Rutili about this as long as I talked to Claire about it. He and his band have composed an original score, which is very different than anything I’ve ever done. He created it after watching videos of Claire and of Claire and me, listening to interviews, and not making it literal but taking it all in and doing his thing. I also have a set and projection designer, Deborah Johnson (aka CandyStations), and will integrate film components. It’s important that we see Claire, and now it’s becoming more evident that the story is a snapshot of this experience I’ve had. I want to finish and share it, keep it simple. I find, as a maker, I tend to go a bit smaller and do what I know and hope that it resonates and makes sense. My story doesn’t have to be the story everyone in the audience gets but I hope it’s filled with enough honesty and humanity that people can take that and make their own thing out of it. And part of what I’m figuring out now is the story and its arc. Part of my initial desire to make a work with Claire is to share beyond Chicago who Claire was—people need to know about this woman and how great she was. I want it to be an introduction for some and a validation or reminiscence for others.

How did you go about selecting dancers for the work?

Originally it was supposed to be a solo for Claire. When she fell ill, I asked Jacqueline Burnett to dance. Then I realized it was not going to be 10 minutes, it was something larger, so I thought we needed more than one dancer. I was very reluctant to dance myself, so I brought in Meredith Dincolo. We’re sort of different generations of Hubbard Street and had different relationships with Claire, but we were all lucky enough to have a solid time with her. In rehearsals, we have an understanding of Claire’s essence. We were all around her, learned from her, watched her—we don’t have to talk about it, we just know. I’ve never danced my own work; I’d rather be outside, it’s easier to create that way. I don’t feel like I need to get back onstage; I feel good about my career, and there’s no unfinished business. But I’m dancing this because it makes sense conceptually. I took myself out maybe four times, but now I’m committed to doing it.

Dance for Life Chicago 2019 takes place at the Auditorium Theatre on August 17th. Tickets are available online, or at the door that evening. 4dancers is proud to serve as a long-time media sponsor for the event. Learn more about the performance, or about DFL’s parent organization, Chicago Dancers United here.

Dance Imagery – A Special Collaboration

August 6, 2018 by 4dancers

Dance for Life 2018 Final Imagery, Dancer Rena Butler
Photographer: Todd Rosenberg, Painting: Alice Klock.
© Todd Rosenberg 2018

Each year in August the Chicago dance community comes together to provide a night of support for its own through the Dance for Life benefit performance, organized by Chicago Dancers United. Money raised from this event goes directly into the Dancer’s Fund, which supports local dance community professionals affected by critical health issues.

Each year new artwork is commissioned, and this year it features the work of two talented artists, not just one. 4dancers asked executive director Phil Reynolds about how the artists were selected for the imagery this year. Here was his response:

“Dance for Life conducts an annual photo shoot with Chicago dancers to develop imagery for our marketing and promotional material. Knowing of Todd Rosenberg’s extraordinary work with many Chicago-based dance companies, I reached out to him asking if he would consider working with us on Dance for Life Chicago 2017. He very generously agreed. The result, “The Red Shoot,” as we refer to it, was spectacular. A year later, I contacted Todd about working with Dance for Life in 2018. He said, “yes,” and suggested a collaborative concept he had in mind with painter Alice Klock. His photographs would be painted upon by Alice. Again, the resulting images are magical.”

We thought it would be interesting to explore the collaboration between these two artists a bit more, so we sent them each a few questions about the process of creating these images for the event. What follows is our Q&A with each, starting with Todd.

HS Pro Portraits, Todd Rosenberg. © Todd Rosenberg Photography 2017. Portrait shot by Sophie Paolino

What made you think of doing this collaboration with Alice, and how did you manage the actual workflow of collaborating with one another?

I have always loved and appreciated Alice’s work, so when it came time to do something for this year’s Dance for Life campaign, I approached Alice and she was completely on board. Initially we tested out some images for the DFL committee to see and once the concept was approved, we got the ball rolling. At the time of the actual shoot, Alice was not feeling well, so she couldn’t be at the actual DFL shoot. But we had already discussed specifics as far as what could or would work well movement-wise for her.

Can you describe how the photo shoot process worked for this—things such as where it took place, how many dancers there were, and how you directed the shoot?

Basically there 8 dancers from four companies in the city, including Hubbard Street Dance Chicago (my “home” company and where I had met Alice), Joffrey, Giordano and Visceral. With this process, I talked with the companies and worked with them finding dancers who would volunteer their time. In some cases, these were dancers I had worked with in studio or enjoy photographing during performance. It is always nice to have a familiar dancer. Joffrey was generous enough to donate space for us so we did the shoot at their studios. The work was done on a white seamless with the dancers wearing “nude” clothing to easily allow for Alice to create their costumes and the art around the bodies. We had both hair and makeup artists: Sara Jean Stevens for hair and Kasha Rodig for makeup.

Dance for Life 2018 Final Imagery. Dancer Andrew Murdock. Photographer: Todd Rosenberg, Painting: Alice Klock. © Todd Rosenberg 2018

As far as direction, a lot of it was free improv where the dancers provided the input. As we shot, the images were coming up on a screen and we could see what could or would work. Having different dancers with different dance disciplines, it provided us a wide variety of options. I was able to text images to Alice along the way and she was providing input.

Once the images were taken, they were provided to Dance for Life for selections, preferences to be made. Those images were then worked on by my former assistant Sophie Paolino, who blended the clothing into the dancers for Alice to paint. I printed the images onto the same water color paper Alice normally paints on, which gave her the texture she needed for her portion. I was able to print a few copies of each selected image to allow for creativity without fear of having only one copy.

What was the best part about working with Alice on this, and was it easier or more difficult than doing a shoot for Dance for Life on your own?

The best part is that I got to enjoy her mind as she created around my photos. My main goal was to make sure that she had a good canvas to work so we could create awesome works of art. There is nothing difficult about working with Alice, she is the furthest thing from high maintenance. I loved the process to create these, and I really love the final products. And she and I already talked collaborating again.

Next we asked for some perspective from Alice’s point of view:

How was this type of artwork similar or different from what you have been doing with your painting?

Movement has always been a very important element in my visual art. To create this work with Todd has been a pleasure for this reason and was very much in keeping with the energy of my usual work. It differed in that here I have been working with subjects that are outside of my own design. Complimenting the dancers has been the goal throughout and within that has been a fun challenge of creating movement with the paint that does not take away or distract from the beauty of the photographs.

Where did you draw your inspiration from for the theme of your painting throughout this process?

I drew inspiration from the dancers themselves, and the design already apparent in their movement. With each photo I took time to examine the directions of energy within their bodies and from that attempted to describe these trajectories. When painting on photos it can be easy for the final image to come off as a bit cartoony. I worked to avoid this by illustrating the energy I perceived, to extrapolate out what was already in the photo vs. projecting something external onto the image.

Dance for Life 2018 Final Imagery. Dancers: Hanna Brictson, Prince Lyons. Photographer: Todd Rosenberg, Painting: Alice Klock. © Todd Rosenberg 2018

What was the best part about working with Todd on this, and was it harder or easier than working on your own?

The best part of working with Todd on this was our mutual commitment to this very important cause. Todd is an amazing artist, it’s always a pleasure to work with him, and his generosity and collaborative energy is perfect for this kind of project. Artistically it was harder than working on my own, not because of Todd, but because of the technical and logistical difficulty of working with watercolor on photographs! I’m used to working on my own blank canvases so to work on a surface that is itself part of the image was interesting. I went through quite a few drafts, and destroyed more than a few of the photos with water leakage or rogue paint drops before we completed the final pieces. It was a wonderful process though, I loved the challenge, and am very happy with what we created together.

A selection of prints that Todd and Alice collaborated on will be available for purchase at Dance for Life Chicago on Saturday, August 18th at the Auditorium Theatre of Roosevelt University.

The mission of Dance for Life is to support organizations and dance professionals facing critical health issues. The money raised through the annual benefit performance goes directly to the Dancer’s Fund. Learn more about the fund here, and get tickets for the 2018 show here.

Todd Rosenberg has been recognized among the top tier entertainment and sports photographers in the city of Chicago. A native of Chicago, his impressive client list contains some of the the most distinguished entertainment venues in the city including a 20 year relationship with the Chicago Symphony Orchestra, the Lyric Opera, Hubbard Street Dance, and Second City. In addition, his work is seen nationally through advertising as well as with the NFL and on the pages of Sports Illustrated; the publisher of 24 years of Rosenberg’s sports images, including more than 15 cover photos. www.toddrphoto.com

Alice Klock attributes her painting and drawing skills to self study and to tutelage from her visual artist Grandfather and Father. She has shown paintings at multiple Chicago art galleries, designs personalized tattoos, and enjoys sharing her work and process worldwide with the 15,000+ followers of her online blogs under the name “Klockonian”. Alice is also a dancer and choreographer in her ninth season with Hubbard Street Dance Chicago. For more information visit www.klockonian.com

10 Questions With Kelsey Middleton

December 15, 2014 by Rachel Hellwig

Kelsey Middleton. Photograph by Todd Rosenberg.

Kelsey Middleton dances with the contemporary dance company Visceral Dance Chicago

1. How did you first become involved with dance?

I started dancing at the Academy of Movement in Music in Oak Park, IL at the age of 12. Both of my younger sisters were enrolled in ballet classes and I thought it looked like something I would enjoy.

2. What are you currently doing in the dance field?

I’m currently in my second season with Visceral Dance Chicago. We are busy preparing for our fall engagement at the Harris. When I’m not rehearsing with Visceral I also like to find time to collaborate on small projects with other dancers in the Chicago community.

3. What is the best advice you have received about dance?

The best piece of advice I’ve received about dance is to stay focused on myself and trust in my own journey. It’s so easy to compare your progress with your peers or covet the careers of dancers you admire. While it’s only natural to compare yourself to the other artists, the only way you’re going to grow and achieve your goals is by focusing on your own unique strengths and weaknesses.

4.What do you find most challenging about dance?

I’ve always been a highly self-critical person. This definitely presents its challenges as dance classes and rehearsals are largely centered around receiving corrections. I’m working to find some levity in my dancing and to simply not be so hard on myself. I also try to remember to hone in on my strengths just as much as I work to improve on my weaknesses.

5. What dance achievement are you most proud of so far?

Becoming a member of Visceral Dance Chicago has been my proudest dance achievement thus far. It was a dream come true.

6. What advice would you give to students who are considering majoring in dance in college? [Read more…]

10 Questions With…Maxwell Parr Perkins

March 22, 2013 by Ashley David

Maxwell Perkins — Maxwell Par Perkins, Photo by Cheryl Mann

I met Maxwell and his parents at Dance For Life Chicago and thought he’d be a great interview for 4dancers. Learn more about him here…

1. Tell me a bit about your background in ballet.

I took my first ballet class when I was four – in my neighborhood – a way for an overactive kid to burn off some energy. I did that until the “boy taking ballet” teasing kicked-in, and then I switched to Jazz. I concentrated on Jazz for a few years and ended up at Giordano Dance where a very wise teacher explained the importance of ballet. I have had a love-hate relationship with ballet ever since! Studying with many great Chicago Ballet teachers – Lizzie MacKenzie, Laura Wade, Homer Bryant, Claire Bataille, Mike Gosney, Peff Modelski, Fury Gold, I also concentrated on summer programs that were strong in ballet – Milwaukee Ballet, Haird Conservatory, San Francisco Ballet, American Ballet Theatre and The Juilliard School.

2. What are you currently doing?

I am pursuing a BFA in Dance at NYU – Tisch School of the Arts – in my second year of a three- year program.

3. Can you share some of the best advice you have received from a teacher/mentor?

I feel so blessed to have a great support system from my family, friends and teachers. It has been eye opening, as I expand my dance universe, not everyone has it. It has made me appreciate ALL the support that I have. The very best advice that I have received is, “There are things in store for you that you can not even dream of. Just let it unfold.”

4. What is the thing you enjoy most about being a dancer?

When I am able to give-in and experience true release – allowing the music, movement and environment to consume not only the audience but the performers. I love being attuned to my own body and soul; dancing is an expression of my whole self.

5. What has been the high point of your career so far? [Read more…]

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