lauren Warnecke

The Dance USA Conference — Austin, TX, 2016

August 8, 2016 by 4dancers

***Dance USA Conference 2016, Ballet Austin***

by Catherine L. Tully

June 8-11 marked the 8th Annual Dance USA Conference, and this year it was held in Austin, TX. As in prior years, people came from all over to converse, network, enrich their knowledge base, and discuss the current state of our field. Nearly 500 dance professionals joined together, taking some time to both create new bonds and strengthen existing ones. This conference provides a much-needed “time-out” where space is set aside to concentrate on the big picture instead of the day-to-day tasks that consume so much of our time.

***Dance USA Executive Amy Fitterer addresses attendees***

Representatives from the dance community gathered for a wide range of sessions. First timers and long-standing attendees mingled and shared perspectives on the topics presented. Conferences have a way of transcending barriers, and this one was no exception. As a matter-of-fact, Executive Director Amy Fitterer made an announcement that came as a (pleasant) surprise to many about the National Company Roster (NCR) – summarized nicely on the Dance USA website: [Read more…]

Book Review: “The Ballet Lover’s Companion” by Zoë Anderson

April 11, 2016 by 4dancers

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by Lauren Warnecke

Ballet has been the topic of much debate among dance scholars and writers over the last decade. Authors, critics, and academics have questioned the relevance of an art form with more than 600 years of history, particularly given the fact that much of that history has centered around Euro-centric, imperialist, male dominated subject matter (or Euro-centric, imperialist, male-dominated stereotypes of non-Western themes). Ballet dancers, choreographers, and artistic directors have varying views on how to remain current and inclusive in modern society, with some companies focusing on preserving the classics, others re-imagining or somehow evolving older ballets, and still others trying to push the form into entirely new territory.

Published in 2015, The Ballet Lover’s Companion by Zoë Anderson is a brief dance primer on ballet, with each of its eight chapters dedicated to distinct periods throughout ballet’s long history. In fewer than 350 pages, Anderson sifts through 140 ballets, analyzing their context by examining the social and political eras in which they were created. It’s an exciting (context: exciting for dance nerds like me) update to the slew of western dance history books available in that Anderson actually digs into the late 20th and early 21st century, perhaps replacing Susan Au’s 1988 stalwart on many dance majors’ bookshelves.

The Ballet Lover’s Companion is essentially a less verbose, easier to read, more optimistic version of Jennifer Homans’ Apollo’s Angels; Anderson, a dance critic, is unafraid to infuse the facts with opinion and commentary. For this reader, those are the bits that allowed me to get all the way through the book as a recreational read, but a second, typo-free edition could easily complement a western dance history course given its interesting tidbits of history and thorough treatment of an impressive number of ballets.

That all of those ballets originated from Europe, Russia or the United States is a symptom of ballet’s history, and not necessarily the fault of Zoë Anderson. That only five of the 140 ballets surveyed were created by women (namely Bronislava Nijinska, Agnes de Mille and Twyla Tharp) might be more problematic given the scope of the book into the 2010s, but perhaps again indicative of a systemic problem, and not at all unique to Anderson’s book.

Unlike Au’s Ballet and Modern Dance, or Homans’ Apollo’s Angels, however, The Ballet Lover’s Companion doesn’t appear to identify a clear audience or position itself as a textbook, though it reads like one. One page offers an enlightened discussion on the radicalism of the Ballets Russes and the desire of early 20th century choreographers to abandon classicism for more meaning and authenticity, while the next page gives a definition of the word tendu. Unsure of its audience, The Ballet Lover’s Companion could be for everyone interested in ballet, or no one at all, but my guess is that pre-professional dance students and college dance majors have the most to gain from reading it.

Contributor Lauren Warnecke is a freelance dance writer based in Chicago, and regular contributor to SeeChicagoDance.com, Windy City Times, and Chicago Magazine. Lauren is the creator of artintercepts.org, a blog committed to critical discourse about dance and performance, and has written for nationally reputed sites such as Dance Advantage and 4Dancers. An experienced educator, administrator, and producer, Lauren holds degrees in dance (BA) and kinesiology (MS). She is a Certified Personal Trainer (ACSM), and holds specialty certificates in Functional Training (ACE) and Sports Performance and Weightlifting (USAW). Tweet her @artintercepts

The Dance USA Conference – Minneapolis, MN

July 16, 2014 by 4dancers

This year marked my second Dance USA experience. The first time I went by myself to speak on a panel titled “The Blogosphere: Writing About and For Dance”. This year I made the trip up to Minneapolis with a fellow dance writer, Lauren Warnecke. We piled in the car at 6 am and headed out to network and hear more about the current state of our field.

It has taken me a while to write this post because I wanted to think about how to frame it. Based on that, rather than give you a play-by-play of the sessions I attended and what they taught me, I’d rather talk a bit about the main thing that makes this conference well worth attending…

Basically, it comes down to this: the Dance USA Conference is an incredible forum where you can talk with other people in the dance field–from all over the country and beyond. Connecting with other dance professionals from different backgrounds provides an immense opportunity for learning and growth. I even wound up spending more time with people from my own city than I probably would have throughout the course of a year.

Let’s face it, those of us in the dance field often wind up in our own little bubble; busy working, creating and trying to keep everything afloat. The Dance USA Conference provides a kind of “time out” where one is able to get a better perspective on what is going on in other places. It gives you permission to put your own creative process on hold for a little bit, so you can hear more about what others are doing. This can be quite an informative, inspirational thing.

Conference sessions often serve as a starting point for conversations that continue afterwards into the evening over dinner and drinks. There is ample opportunity to meet up with people one-on-one over the course of the conference and talk about common interests, investigate new ideas or simply spend a little time getting to know one another better. When I attended the Dance USA Conference in San Francisco, it was the first time I had met many of my fellow bloggers in person, even though we had been corresponding on the web for some time. The bond we forged over just the course of a few days is one that remains strong even years later.

So, yes, the conference sessions provide interesting information, and yes, the opportunity to see several evenings of dance performances in another city is a wonderful thing. But the real benefit of attending the Dance USA Conference is that of camaraderie and community. It is the chance to form relationships that continue long after the meetings and initial discussions take place. It gives each of us the gift of time to set aside all we are immersed in so that we can tune in to the bigger picture and see things from an entirely different perspective.

And that alone is definitely worth the trip.

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Mark your calendars for the Dance USA Conference in 2015, taking place in Miami, Florida from June 17th-20th.

Naked Dancing: A Cautionary Tale

August 28, 2012 by 4dancers

by Lauren Warnecke, MS

In 2010, Alastair Macaulay seriously pissed me off.

His gross review of NYCB’s Sugar Plum Fairy and her Cavalier, and specifically his comment on their waist sizes, sent shockwaves through the interwebs. I wouldn’t say that he’s necessarily done it again, but there’s a little buzz beginning on the social media about his new editorial on naked dancing.

437px-Bakst_Nizhinsky — Naked or nearly naked dancing is not new: the bare-chested Nijinski shocked his 1912 audiences with the overtly sexual L’Apres Midi D’Une Faune

I’m hardly shocked that Macaulay’s first paragraph, and most of the essay, are comparing modern experimental dance to porn and strippers. To be honest, I fully expected to be writing another rant about sensationalism in dance writing….. but I have to say, I’m aligned with Mr. Macaulay on a couple of points.

Dancing in the buff has serious implications that you can’t avoid (no matter how much we want them to). It’s an artistic choice that instantly personalizes dancers and makes them into real people, with legs and hips and – other parts. Depending on the degree of naked, your costume (or lack thereof) also creates the distinct persona of sexual beings, and if that’s what you want, then go for it.

But…

Naked is not a decision you should make lightly as a dancemaker, or, in my opinion, frequently. That’s not because I don’t want to see naked people; it’s because the one thing that you think is so extreme and unique and impactful is actually quite overdone. It’s sort of like making a dance to Barber’s Adagio. Like it or not, most audience members are going to have preconceived notions about nudity. Maybe you can prep them in program notes and pre-show talks to depersonalize the dance and see the beauty of the human form in motion, or maybe you’re okay with the influence of the giggling twelve-year-old boy in all of us seeping into the overall impact you want your piece to have. If not, find another way.

I’m not frustrated by nudity in dance because I find it offensive. Rather, I’m put off by the fact that the choreographer couldn’t find another way to represent vulnerability, or truth, or love, or whatever. Getting naked isn’t as extreme as you might think… I’ve used it (more than once), along with almost every dancemaker in my acquaintance.

My point is: Go ahead! Get naked if you have to, but recognize that there will always be that guy giggling in the back comparing your art to a strip club. Just, whatever you do, please don’t make a naked dance to Barber’s Adagio…

Contributor Lauren Warnecke, M.S., is a Chicago-based dance artist, educator, and writer. She trained at the Barat Conservatory of Dance before earning a BA in Dance at Columbia College Chicago. In 2009, Lauren completed her MS in Kinesiology at the University of Illinois at Chicago, with a concentration in Motor Control and Learning. Lauren is a Visiting Instructor for the department of Kinesiology and Nutrition at UIC, and teaches master classes and seminars in ballet, modern dance, creative movement, and dance pedegogy. She is certified in ballet by the Cecchetti Council of America and a member of the American College of Sports Medicine.

In addition to teaching at UIC, Lauren owns and operates Art Intercepts, under which she creates, informs, and writes about dance. The primary mission of Art Intercepts is to bridge the gap between the scientific and artistic communities to present programming that is informed, inventive, and evidence-based. Lauren is a freelance writer/blogger and maintains monthly columns at Danceadvantage.net and 4dancers.org. and was featured on a panel of nationally reputed dance writers at the 2012 Dance/USA conference. She also works periodically as a grant writer and production/stage manager for artists in the Chicago dance and performance community, and volunteers for initiatives encouraging Chicagoans to engage in local, sustainable, and active lifestyles. Lauren likes to hike, bake scones, and dig in the dirt.

Making Dances: To Theme or Not to Theme?

June 21, 2012 by Ashley David

by Lauren Warnecke

I was working tech on a show recently and the choreographer presented two pieces of modern dance. Before the show she gave a brief introduction to each piece, and explained that the first piece was a narrative and the second was a “pure movement” dance. She encouraged them to find the story within the first dance, while not toiling over the second; just to sit back and relax. It might be crucial to mention at this point that the audience consisted of 800+ physicists who inherently look for the greater meaning in everything. This got me thinking about how they might respond to the two pieces, both individually and as a whole experience.

There are conflicting opinions in modern dance with some choreographers gravitating toward stories and themes, and others making “dance for dance’s sake”. Many do some combination of the two, or abstract their work to the point that any allegorical relevance is beyond comprehension to the naked eye (this is where program notes come in handy). Some dances may rely on a simple adjective, feeling, or concept to generate the dance, where others may go to the extreme of being full-on story ballets that aren’t ballet. You might see this in choreographers like Mark Morris, while Trisha Brown runs a tight ship of process-driven, anti-thematic dances consisting of pure movement. [Read more…]

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