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Choreography: Play Between Past & Present

May 17, 2012 by 4dancers

This is the last installment in our series of posts on The Dance COLEctive‘s upcoming choreography showcase. We’ve talked with each of the choreographers, and today we have Melissa Pillarella with us to talk about her piece, where the dancers confront the complexities of feeling and accepting resentment by incorporating athleticism and a non-linear structure. Music from local band To Destroy a City furthers the tone and theme of the piece.

Melissa Pillarella

In life, I think there are always past events that people look back on and hold a little resentment or regret towards. Even if those events have brought them to a place where they are satisfied and happy, they may still think in the back of their mind about how they would like to go back and change something or do something differently. Of course, it isn’t possible, but the play between the present and the past, moving forward and looking back, is something that makes us who we are and is endlessly interesting to me.

What role did the band play in this process?

Usually music is one of the things I struggle with most, and I feel like it always becomes an afterthought once the piece is finished. I create something, and try to find something to slap on top of it that isn’t completely distracting. This time, I wanted to approach this project with a clear idea of what kind of music I wanted to use. I saw To Destroy a City perform at The Empty Bottle, and I turned to my brother and said, “I want to dance to that.” I was really into the mood and atmosphere they created with their intricate soundscapes.

At the beginning of the process, when we were first focusing on inventing movement, I played the album throughout rehearsals which I think influenced a lot of the vocabulary we created. As we got deeper into the project I was influenced by other sounds that I also wanted to incorporate in the piece, and it started to go a different direction. I decided I wanted to create a piece that used different samples of sounds I was interested in and convinced my hesitant friend, Donovan Lampa, to help me. Donovan is not a musician, so it was an experiment for both of us.

We liked what he created, but it needed something else. We decided to try reincorporating To Destroy a City, and it was exactly what the piece needed coming full circle. Now, the music is partially our experiment and partially the band (which is much better than our sorry attempt, but here goes nothing).

How did you communicate the idea behind this piece to the dancers—and was it difficult to do?

I actually waited until we were a few rehearsals in to discuss my idea behind the piece to the dancers at all. I didn’t want to feel confined by the desire to get a specific thought across, but instead I wanted to see where the piece naturally took us. It was only difficult to talk to the dancers about the idea because it wasn’t very easy for me to articulate. I do believe the original idea, whatever that was exactly, is very prevalent in the piece at least in structure and overall mood.

How much collaboration was involved in the creation of the piece?

I came into the process with some movement phrases and also gave specific assignments to the dancers to generate material. Together, we played with layering and working more in depth with the movement both I and they had created. Then I used a trial and error method for structuring the piece by watching the dancers work with various potential structures I threw out until we found one that seemed to make sense both thematically and aesthetically. Overall, I think the process was very collaborative, and I was incredibly lucky to have such talented dance artists working with me. The piece would not be the same without them.

Did you enjoy the choreographic process—or how would you describe it?

I have a love/hate relationship with the choreographic process. Like any true love, it can be horribly frustrating and totally satisfying all at the same time. Sometimes I wanted to throw out everything I had because it was shit and start over, and other times I thought that I was a genius who had just created the best work ever seen. In reality, neither are true, and I’m just beyond privileged to have a creative outlet that can sweep me up in the process… sometimes.

If you are interested in seeing this show, it runs May 18 & 19 at 8:00pm and May 20 at 7:00pm. Tickets are available here.

BIO: Melissa Pillarella, originally from Chicago, began dancing at Whitney Young Magnet High School and received a BFA in Dance from the University of Illinois.  While at U of I, Melissa performed in works by Jan Erkert, Linda Lehovec, Rebecca Nettl-Fiol, Lorie Carlos and others. Currently, Melissa also dances with Mordine & Co. Dance Theater as well as independent choreographer Cristina Walterman.  Melissa is excited and honored to be returning for her second season with The Dance COLEctive.

Filed Under: 4dancers, Making Dances Tagged With: choreographer, choreography, dancers, Melissa Pillarella, the dance colective

Student Spotlight: Steffi Acain

May 14, 2012 by 4dancers

Nuevo Student Steffi Acain

Today we have another “student spotlight” to share with you. Meet Steffi Acain from Nuevo School of Contemporary Dance….

1.      Can you tell readers how you became involved with dance?

When I was four years old my parents thought I was very shy and awkward around people my own age because I was an only child. So to remedy my lack of social skills, they enrolled me into my first dance class at The Dance Spot. My parents thought it would just be something fun for me to do after school. But after those first initial years, I think they started to take notice that I actually held promise and passion for dance. I then started competing at dance competitions, performing at recitals, attending various intensives, and taking classes at other studios in order to expand my dance vocabulary.

Currently, I am eighteen years old and a member of the Nuevo School of Contemporary Dance. I train about four to five hours a day, five days a week, in styles ranging from ballet and jazz to contemporary and hip hop. After having dance in my life for so long, my love and appreciation for the art form has grown every single day. And if it were up to me to judge, I would say that I’m not as socially awkward as I used to be.

2.      What do you find you like best about dance class?

For me, I think just having that opportunity to take class so that I can learn and grow more as a dancer is my favorite aspect. One of the most important lessons that I’ve learned from dance is that you get what you put into it. Taking class can be nothing but help to a dancer because it is one of those rare times when mistakes are forgivable and expected. This is the time when you can experiment with what works on your body and truly explore who you are & can be as a dancer. Class can only be what you make of it. So although it is important to be physically present, you will only truly benefit if you are mentally and emotionally invested as well.

'Palladio' with choreography by Francisco Gella, Steffi Acain - back row center

Taking class is such an amazing experience because that is when I not only get to enjoy dancing myself, but also watching my friends dance and learning from them. Seeing different people interpret the same music and choreography in their own way is very eye opening since it shows the universal language of dance. The classroom experience is so real because you can’t hide behind make-up, costumes, or stage lights. It’s simply just dance at its most authentic state.

3.      What is the hardest part about dance for you?

Personally, the hardest part is staying motivated and focused. Being in high school, especially as a senior, there have been so many times when I have let my mind wander off because I was worried about where I was going to be next year and what I was going to be doing. I would especially get even more anxious when trying to figure out how dance was going to fall into the equation. However, when I stopped thinking about problems that I could not fix at the moment and started focusing on what I was doing right then and there, that is when I got the most out of the class. Fortunately, I have an outlet like dance that allows me to temporarily forget about my problems and express how I am feeling through movement.

4.      What advice would you give to other dancers?

My advice to dancers would be to always have faith in yourself. As dancers, we are constantly being compared and ranked against one another. It’s then that we begin to feel self-conscious of our looks and even question our own abilities. But despite what a judge at a local competition or a random bystander may think, it’s always important to have confidence in yourself and what you do. Their opinion is just one out of many people watching. It’s only natural that we are drawn to specific dancers more than others. By letting a couple of negative comments affect how you perceive yourself, you are not only doing an injustice to yourself but also to the many hours you have worked and trained to get to where you are.

Steffi Acain

Basically, just remember to believe in yourself. Even if you may not have the best technique or you’re not as skinny as the dancer standing next to you, I think everyone is drawn to a performer who possesses confidence. Before you expect people to believe that you are good, you have to believe that you are good enough and worth their attention. Although it is easier said than done, I think believing in yourself -both onstage and off- is one of the greatest things you can do for yourself.

5.      How has dance changed your life?

Dance has been such a positive influence on my life. I definitely would not be the same person without it nor can I imagine my life without dance. Aside from growing as a dancer in the studio, dance has helped me grow as a person in the real world. From dance, I’ve learned what hard work, dedication, and perseverance can bring. The work ethic that has been instilled in me at the studio has also helped me succeed in school and other activities. Most importantly, the friends and relationships that I have made through dance are ones that I will carry even after the stage lights go down. My entire dance experience thus far will forever have a lasting impression on me.

Filed Under: 4dancers, Student Spotlight Tagged With: dance, Dance student, dancers, nuevo school of contemporary dance

Choreography & Following Directions

May 8, 2012 by Ashley David

Today we’re continuing our series on choreography, thanks to the dancers from The Dance COLEctive who are choreographing for a show that is coming up in May…

Alaina Murray

Alaina Murray’s trio is about following directions. “Everything comes with directions: driving, cooking, games, taxes, school, work. What is the outcome of following, or not following, directions? Can not following directions prove to be its own path altogether? Routine movement sequences layered with surprising detours will explore these questions.”

Alaina’s pieces is called “Please read carefully. Here’s more about it…

1. How did you decide on this idea for your piece?

Recently the concept of rules has been a point of interest in my life.  I’ve been thinking a lot about how this affects my life and the decisions I make.  The initial broader concept of rules seemed to narrow into following directions as I thought about it further.  This idea seemed to naturally lend itself to movement, and I was excited to explore it.

2. How did the idea of following/not following directions inform your choreographic process?

We were able to generate movement from very literal directions.  We used a bread recipe, directions for changing a tire, and directions for being a good housewife.  I wanted to convey the sense of order and repetition that comes from following directions in the structure of the piece.   I also asked the dancers to write about their own experiences with following directions early on in the process.  I wanted to know if they see themselves as rule followers or not; this was helpful in creating their individual characters for the piece.

3. Do you think that the piece would have been the same if you worked with different dancers? Why or why not?

Absolutely not, the dancers invented most of the movement vocabulary in the rehearsal process.  I then was able to piece it all together with the dancers’ writing in mind.  The dancers were very creative and thoughtful throughout the process, allowing the dance to unfold naturally.  It has been a very collaborative process.

4. Did exploring this idea leave you with any new ideas once the dance was created?

The movement that we generated started to take on a very feminine tone early on.  This was not my initial intention, but I went with it.  What evolved was a vintage feminine theme that naturally displays the order and uniformity of following directions.

5. What was the most enjoyable part of this process for you and why?

I have loved quirkiness in the piece.  It was not my intention, but there are several humorous moments that evolved unexpectedly, and I love them.

BIO: This is Alaina Murray’s seventh season with TDC.  Originally from Michigan, she received her BA in Dance from Western Michigan University. Alaina has also worked with Open House Dance Collective as a choreographer, dancer, and teacher for many years.  She performed with Inaside Chicago Dance as a guest artist in 2006.  Alaina shares her love of dance with little ballerinas every day at A Fairytale Ballet, a children’s ballet and creative movement program.  She is the Chicago Regional Director of A Fairytale Ballet and Starbright Dance and manages four studios in the city.

Filed Under: 4dancers, Making Dances Tagged With: alaina murray, chicago, choreography, dance, dancers, the dance colective

The Youth America Grand Prix (YAGP)

April 10, 2012 by Ashley David

by Jessica Wilson

The Youth America Grand Prix (YAGP) was formed in 2000 as a non-profit educational organization in order to support and develop world-class dancers from the ages 9 to 19, of all racial, ethnic, and economic backgrounds.

YAGP aims to provide educational opportunities and scholarships to the world’s leading dance schools for young dancers as a global network of resources and opportunities which connect students, teachers, schools and dance companies. YAGP is known for providing students with top-quality education and training from the directors and faculties of some of the world’s foremost companies, such as Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet and Paris Opera Ballet, among others. As a result, YAGP refers to itself as the “internet of the dance world”, working to maintain and extend the dance network of the United States, and provide a multitude of prospects for the next generation of dancers.

Each year, YAGP conducts 12 regional semi-finals competitions throughout the US, and an additional 4 international competitions in Brazil, Mexico, France and Japan, considerably extending the reach of YAGP. Each season culminates in a week-long ‘New York City Finals’, in which over 1,000 of the world’s most promising dancers compete for scholarships and professional job contracts offered by YAGP. The dancers are renowned for representing 30 different countries on 5 continents, emphasising the sheer expanse of YAGP in the dance world, and just how prestigious the organisation has become since its inception. [Read more…]

Filed Under: 4dancers, Competition, Organizations Tagged With: Alvin Ailey American Dance Theater, american ballet theatre, dance scholarships, dance schools, dancers, New York City Ballet and Paris Opera Ballet, yagp, youth america grand prix

Keeping Dancers Dancing – Conditioning

April 3, 2012 by 4dancers

by Jan Dunn, MS

Jan Dunn, MS

You’re a dancer.  You spend hours every day taking class / rehearsing / performing – so you must be in great physical shape, perfectly conditioned to withstand the demands of your chosen profession – right ???  Don’t be too sure  – that may not be the case! Dancers are not always as “fit” as they think they are, in regard to this important aspect of their training.

“Conditioning” means to be physically fit, in certain defined ways (read on!), so that your body can safely perform the physical demands you ask of it, with the least risk of possible injury.  Dance is one of the most physically demanding activities a person can do.  A famous study at Lenox Hill Hospital in New York (1975) compared all forms of sports, including dance, in terms of the athletes’ physical fitness capacities.  Ballet, boxing, and hockey were ranked at the top, in terms of requiring high levels of strength, endurance, flexibility, cardiovascular fitness, and other measures of fitness.  Understanding what this means for you personally is crucial to your well being and LONGEVITY as a dancer !

There have been a number of books written especially for dancers (listed at the end of the article) specifically about fitness for dance, so clearly there is a lot of researched information out there.  Today we’ll just touch on the basics, and if you’re interested, I encourage you to find out more on your own.

What ARE the aspects of conditioning that we need to understand?  The list below tells us, and it’s important to know that ALL are equally important for a well-trained body (these are not listed in any order of importance): [Read more…]

Filed Under: 4dancers, conditioning, Dance Wellness Tagged With: Alexander Technique, conditioning for dancers, dance medicine, dancers, Feldenkrais Method, Franklin Method, jan dunn

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