lucy vurusic riner

Dance Students: The Importance Of Good Character

February 8, 2016 by 4dancers

"Surrey Celebration Dance Team" by Brendan. Licensed under CC Attribution 2.0 Generic. — “Surrey Celebration Dance Team” by
Brendan. Licensed under CC
Attribution 2.0 Generic.

by Lucy Vurusic Riner

There is a lot of talk that typically surrounds the plight of the millennial. Did their parents raise them to be self-sufficient? What sort of work ethic do they have? How do their values and morals play out in today’s workforce?

And, for me as a teacher, how do I impart my “Gen X wisdom” on them in dance class?

I wonder about this each day as I watch my students come into class. They really do toggle back and forth from being complete perfectionists and go-getters to being completely entitled and lazy. As a parent I wonder when their character will begin to take shape and how much influence their own parents have over the kinds of humans that are walking into my dance class each day. As an executive director of a dance company I wonder if I would hire more than a fraction of them upon graduating from college.

Attitude matters these days.

Teaching high school dancers (and I believe this extends well into college as well) is challenging in that most of our students are setting goals that are superficial; or what I like to call surface level. They read the syllabus or the rubric to see what they need to do to get the A or get cast in the role and then they simply do the bare minimum to make that happen. There is a preconceived notion that if you’ve done all the work, you now deserve the job. Period. The problem is that a lot of them can do the work. A lot of them can even do the work well; but there aren’t enough jobs for the amount of dancers we’re cranking out these days.

We need to teach them that doing the work is standard. It’s status quo. It’s the bare minimum expectation. It’s what happens after you’ve done part one that leaves an impression. It’s more than just bringing your skills and talents. Attitude, character and work ethic matter. [Read more…]

Absence Makes The Dance Grow Stronger

July 28, 2014 by 4dancers

by Catherine L. Tully

Photo by William Frederking. — Michael Estanich and Lucy Vurusic-Riner

Mutual respect.

These are two words that form the cornerstone of any healthy long-term relationship—personal or professional. Even so, it’s often hard to check the ‘ol ego at the door for the greater good of the partnership. But take two people from the dance world that have known each other for 16 years, give them a shared vision and complementary skill sets…and wonderful things can happen.

It’s immediately obvious that there’s a deep rapport between Lucy Vurusic-Riner and Michael Estanich, and it is in every sense the foundation that their dance company is built upon. RE|Dance is a collaborative effort between these two long-time friends, and their respective titles provide all the information needed to dig a little deeper and see why they work so well together.

Vurusic-Riner is the Executive Director and handles the majority of the business aspects of RE|Dance. Estanich runs point on the creative arena as the Artistic Director. He choreographs and selects costumes. She writes grants and markets the performances.

Estanich lives in Wisconsin and teaches at University of Wisconsin/Stevens Point. Vurusic-Riner resides in Chicago and is a high school dance program instructor. They do the majority of the work for the company separately, coming together only for short spurts of time where they work together intensely, then return to their respective towns.

This makes for a challenging situation, but the two have learned to embrace it, and even thrive on it. Estanich explains saying, “Our time apart provides privacy to consider the ideas, movements, research etc., on our own (this includes the dancers too). When we are together it is RE|Dance Group nearly 24 hours a day. We are constantly together and with the company and feel a bit of pressure to generate a lot of material during those intensive rehearsals. The time apart gives me the chance to consider what the company and I have generated and see how it influences the direction of a project.”

Daily communication is important to this process, and Estanich believes this enriches the creative ideas that have been generated. “It is rare to have the opportunity to discuss the choreographic ideas so deeply before moving again,” he says, adding, “I think this builds indelible trust in each other, personally, creatively, administratively, and inspirationally.”

So how do the two artists make this arrangement work while teaching full time? They multi-task. Most projects begin with Estanich working with his students to create an initial jumping off point. Vurusic-Riner says, “We then take what they have put together, which is typically a smaller version of the piece, and we expand it to become an evening-length work.”

In the past this has meant learning from video, but for their upcoming project, The Long and Forgotten Winter, the pair used a different approach. “This is an idea that Michael developed for the company specifically and we have had full investment and ownership in it since day one,” says Vurusic-Riner, who took a more direct role in the movement development this time around.

The most interesting area of crossover is the company’s rehearsal time, directed, surprisingly, by Vurusic-Riner. Since home base is Chicago, she is responsible for keeping Estanich’s vision alive in the dancers and putting them through their paces. This creates unique challenges in its execution, but again, the respect for one another provides a through-line. “We trust each other to do what’s best for the company,” says Vurusic-Riner, adding, “We don’t always like the same things and our movement preferences are not always the same, but we do have the same vision when it comes to our artistic philosophy.”

Vurusic-Riner knows Estanich’s style so well that she is often able to “guesstimate” a movement pattern or linking step if it isn’t clear. But even so, the dancers must remain flexible in terms of learning the choreography as it can change in a moment once Estanich appears back on the scene.

RE|Dance has enjoyed steady growth throughout the five years it has been in existence, but The Long And Forgotten Winter is more than just another choreographic vision coming to life. It also represents how dedication, mutual respect and love for one’s art can triumph over distance and time. It may not be the easiest way to work, but for these two artists, it is the only way they can do what they love with the other person at their side.

Even if it’s only some of the time.

_______________________________

The Long And Forgotten Winter will be at the Ruth Page Center for the Performing Arts August 1st and 2nd at 7:30 pm and August 3rd at 3 pm. Tickets are $20.

Read more about this production on Art Intercepts.

*Lucy Vurusic-Riner is a contributing writer to 4dancers.org.

To Choreograph or Not to Choreograph….That is Always My Question…..

November 4, 2011 by 4dancers

by Lucy Vurusic Riner

Being a high school dance teacher I typically choreograph anywhere between three to five full length dances each year for my student companies. Back in the day, when I was super young and wet behind the ears I made dances about just about anything. I might really enjoy a song and that would be my jumping off point. Or I might have just gotten out of a bad relationship or had a family quarrel and that would be enough to conjure up a combination or two. I was never at a loss for some idea and I was never afraid to try just about anything. I followed the basic rule that most high school dances (and I guess commercial dances as well) were typically three to five minutes in length and they may or may not have some sort of story line or underlying theme but they were always entertaining. And let’s be honest, choreographing on high school students can be somewhat forgiving because they can appreciate where all the above ideas might come from. Although they may have a limited movement vocabulary at such a young age they have plenty to dance about in their lives. My early dances were fun but simple. I know they were entertaining but they definitely weren’t masterpieces by any stretch of the imagination. And so why did I choreograph? Was it for me? The audience? Did I have a message or just some great moves I wanted people to see? [Read more…]

On Growing Professionally

September 10, 2010 by 4dancers

by Lucy Vurusic Riner

I Teach, Therefore I Do.

As a dance program director in a high school setting I have always been conscious of staying one step ahead of the game. After all, I have some very talented dance students who are working at a level far above where I was at their age. We live in a society where kindergarten is the new first grade and students are focused on what elite colleges and universities might be within their grasp. So as dance teachers, how do we keep up? How do we continue to be a resource to our young dancers who are looking to us for guidance?

I have always hated the old saying, “Those who can’t do, teach.” I have always thought the opposite. “Those who do, teach others how to do as well.” After all, as teachers don’t we learn that modeling is one of the most effective ways to teach our students what are expectations are of them?

As a dance teacher I am constantly reminding my students that there are a variety of careers in dance. Are they all lucrative? Absolutely not. But can you make ends meet doing what you love while finding ways to supplement your income with other things you love? Absolutely yes.

I had a former student once say to me that she dreamed of dancing for a captive audience each night. I quietly thought to myself that I actually do that every day, for a salary and health insurance. But I did understand her needs because regardless of how many students I touch with dance, my own personal fulfillment has always come from my own professional development.

I have the honor of knowing many dance educators, in my age bracket (which will go unmentioned) that continue to take class, rehearse for shows, and see dance on a regular basis. When I look to hire teachers that work in my program, I expect that their drive come from a place where students look to them as an inspiration and motivation to see all that the dance world has to offer. I want my students to know that they have options. And I want all of the teachers that work for me to understand and model that as well.

The world of dance will always have some constants. I’ll always talk to my students about Doris Humphrey, Martha Graham and Merce Cunningham. I’ll always expect them to know how to dress for class and behave in an audience. I’ll always give my speech on the importance of not just performing for yourself, but always allowing your audience into your experience. But in the meantime, I’ll keep taking classes to keep my lessons (and my body) fresh. I’ll keep researching colleges and universities that are forever adding and evolving their dance programs for my potential students and I’ll keep seeing and learning about dance as it constantly changes and offers us new insight.

Over the past fifteen years, I have had the opportunity to work with many different dance teachers and see many different programs. The ones that work do so because they have teachers that are in the “know.” They have a beat on what is happening in their communities, whether that be at the local dance studios, theaters or universities. The ones that remain complacent simply stay the same.

Are we using lesson plans that are ten years old? Do we get out much to see emerging dance companies in our communities or new national companies that are coming in on tour? Do you know about new dance studios and college programs that are in your area?

These are the questions we should ask ourselves each year, as we head into a new school year. Are we one step ahead? Is our commitment to our own professional development as dancers and educators being met?

We need to do and then teach.

Contributor Lucy Vurusic Riner is a native Chicagoan who has been supporting and contributing to the dance community for over twenty years. She received her BS Degree in dance and dance education from Illinois State University. Lucy has been a member of Molly Shanahan/Mad Shak Dance Company, RTG Dance Company and Matthew Hollis’ “The Power of Cheer.” She has also had the opportunity to be part of the community cast of White Oak Dance Project and David Dorfman Dance. Lucy has taught modern, hip hop, and jazz at numerous studios and high schools in the Chicagoland area. She has been the Director of Dance at Oak Park and River Forest High School since 1999. In 2005, Lucy completed her Masters Degree in Education from National Louis University and also received the Midwest Dance Teacher of the Year award and was the youngest of four finalists in the running for the National Dance Teacher of the Year award. Lucy and artistic partner, Michael Estanich, formed RE|Dance in 2010. This dancer theater company investigates humanity in movement through long distance collaboration. Lucy has also begun work on a long-term project entitled, “The Moving Vessel” which explores the impact of motherhood on the professional dancer. When Lucy is not working with independent choreographers and producing her own shows, she is at home with her two great kids, Margie and Luka, and her very supportive husband, Jim.

You Gotta Get A Gimmick

May 20, 2010 by 4dancers

by Lucy Vurisic Riner

In the United States today, it takes a lot of blood, sweat and tears to keep dance companies, especially contemporary modern dance companies, afloat. I started my dance career in grass roots companies that couldn’t promise me a set amount of cash for my performances, let alone rehearsals. It never bothered me, I did it for the experience and the networking. Eventually, I found myself working for a mid-level company in Chicago that could pay me for some rehearsals, always paid me for shows and even gave us per diem when we toured. I think I can safely say that I have run the gamut when it comes to the types of performances I have done and the money it has (or has not) gotten me.

When my good friend Michael asked me about starting our own company (or artistic partnership as we like to call it) I was excited but anxious about where this could lead. We had both served on boards for other dance companies, had both planned our fair share of fundraisers and produced more than just a spattering of our own shows. It seemed that this be the natural step. But how were we going to make this company different? How were we going to set a foundation that had the potential to prosper? In the words of one of the cheesiest musicals ever, “You Got A Get A Gimmick.”

And so RE|Dance was formed (that is Riner/Estanich Dance in long hand for the curious) in 2009. We are still a fledgling company that is working on it’s not for profit status and considering what our board of directors might look like, but we do know one thing for sure: We are creative partners dedicated to the presentation of dance theatre works that explore personal, intimate human relationships through long distance collaboration. Yup. That’s our claim to hopeful fame. Michael is a professor of dance at the University of Wisconsin in Stevens Point. I am the dance program director of Oak Park and River Forest High School in Illinois and the dancers that we have working for us now live in Chicago, San Francisco, Madison and the Twin Cities. We come together for intensive rehearsal processes that last about a week or two and then we all go back to our home bases and reflect on that process. This same cycle occurs several times within the creation phase of a work until it’s time to be performed.

It’s definitely an unconventional way of working but it has its merits. No, we do not see each other on a regular basis for class and rehearsals, so we have to really stay connected via video, internet, and phone to talk about the work, ask questions and plan. We have found that working in this manner has opened pathways to making dances that have developed characters and rich emotional content. We spend anywhere from 40 to 50 hours immersed in the learning of movement phrases, partnering and identifying the themes and motifs that are part of the work and then we are able to step away from each other, sometimes for a few weeks or months only to come back with a deeper understanding of what we were creating. We have found that our process works much in the same way as a writer’s might; to step away from his or her work and come back to it later to reread and reevaluate the words on the page.

Yes, there are challenges in determining when everyone is available for our intensives and yes we have to be committed to staying in contact with each other in our times apart to discuss video footage, journaling and any other production aspects that might come up for the work. But long distance collaboration also has many benefits, especially for our fledgling company, in that it is generally more cost effective (no, we still aren’t at a place to pay for rehearsal time) because our time is so condensed. Dancers do not have the same time commitments as other companies might ask of them. When we do come together, it can feel very much like a travel adventure for the dancers in the group that are coming to a city they are not yet familiar with. At these early stages of our development we can pay our dancers for their performances and offer them other perks of the job (free lodging, food, and other amenities) when we are together. But the idea is that in collaborating across state lines, we build an audience base that is not dependent on any one city we visit, but that builds upon itself with each city we perform in. Where most companies work towards building a budget that allows them to tour, we are dependent on our touring to build a budget.

Michael and I knew we could work successfully with each other based on our history, so making dances while he was in Stevens Point and I was in Chicago did not feel very risky. We also realized that through both of our combined dance experiences, we had dance friends in about 12 different states. Creating a company that could collaborate and share shows with some of our cross country connections has made for more performance opportunities as well as allowing us to curb our production costs when we can share a show. We get to bring our art to other places in the US and those cities are exposed to what contemporary modern dance looks like in other parts of the country. So far, it’s been a win/win for all.

So that is how RE|Dance has become another chapter in my life. Is our long distance collaboration gimmick a ground-breaking idea? Hardly. But it has provided RE|Dance with a successful first year as a tiny dance company trying to make it’s mark. It all starts with an idea…..

If you are interested in knowing (and seeing) RE|Dance when we come to a theater near you, here is our summer touring schedule and become our fan on Facebook as well!

June 4, 5 and 6 in San Francisco at the Dance Mission Theater

August 6-10 in Minneapolis as part of the Fringe Festival (Southern Theater)

Sept. 3-5 in Chicago as part of the Fringe Festival (theater TBA)

And later this fall in Madison and Stevens Point Wisconsin

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