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The Dance COLEctive Switches Gears

May 22, 2017 by 4dancers

Margi Cole
Margi Cole. Photo by Lisa DeShantz-Cook

Finding just the right model for a dance company is important, and there is no one-size-fits-all solution for every company out there. Margi Cole has been at the helm of The Dance COLEctive, a Chicago-based dance company, for two decades–and recently decided to change the model she had been using to something that will allow her to expand her work, while shifting the format around a bit.

We sent Margi some questions about this change so readers can take a look at what she’s doing, and why. She has some interesting thoughts to share…


Would you summarize the recent announcement about your company, The Dance COLEctive for our readers?

Basically, The Dance COLEctive (TDC) is transitioning to a new model. After 20 years, we will no longer maintain and work with a company of dancers on a continuous basis but will “pick up” dancers as needed for specific projects. While this is not a new idea, it is a new way to work for me and for TDC.

To be clear, the organization is not folding and I am not quitting. TDC’s new model will enable me to expand my work in several different ways:

  1. Developing a solo-focused initiative: creating, commissioning and highlighting solo work
  2. Creating new works to perform under the TDC banner, with other companies or in collaboration with other artists
  3.  Increasing national and international teaching and creative residencies
Margi Cole
Margi. Photo by Eric Olson

I guess the biggest question that comes to mind is, why is the shift happening now? After all this time, all these years, what was it that was going on under the surface that moved you in this direction at this particular time?

I am responding to changes in the field, the shifting economic and political climate and my own interests and needs as a mid-career artist and adapting to create sustainability for my organization. I want to shift my accountability from that of an organizational structure to the creative process, which was my basis for starting the company.  Without an ongoing group of dancers, I’ll more time and space to be more fluid with the projects I am working toward completing.

Is this a “fluid” shift in focus? Meaning, will you decide as you go along how much time and focus each area will receive? Or do you have an idea of how you might like to structure your efforts moving forward?

My new focus means that I am looking in places for opportunities and resources. Right now, I am working toward immersing myself in the creative process, so I’m focusing my efforts on researching funding and residency opportunities and strategizing artistic collaborations and projects. My primary focus at the moment is the Solo Swap Project, which will provide me with more flexibility if something comes up and allow me more time for research and development.

Margi Dancing
Margi dancing. Photo by William Frederking

You have always valued mentoring. How do you see your role as a mentor evolving in this new format?

Yes, mentorship has turned into a central focus for me, and it continues to be important and valuable to my plans. First, I have formalized something that I have always done: How to make it work or at least give it a try. I have always talked with people informally about the field and sometimes offered advice, feedback and resources. Not only does formalizing these conversations add value to what I am doing, it is generating revenue for TDC. I also discovered that I need administrative support. I have engaged a former company member to help me with some tasks as a way for me to provide guidance through arts administration. I am seeking opportunities to mentor choreographers in the studio. Thodos Dance Chicago invited me back to participate as a mentor in its New Dances Project as a resource giving feedback during their rehearsal process. I expect that opportunities will continue to present themselves and evolve. Mentorship remains a key element of the organization and a core value for me as an artist.

Can you talk a bit about the idea behind the Solo Swap Project, and how that idea came to pass?

I have always been committed to my solo work. It has been a way for me to put my money where my mouth is in terms of my expectations of others and my own work as a director. I want to continue this work and make it more of a central focus. The Solo Swap provides a framework for collaborative development and aims to develop scaleable work while expanding, exploring and deepening the participants’ work as artists. In short, this idea embodies all the elements that seem practical in our shifting economic climate and gives the participants the opportunity to customize work while simultaneously challenging themselves. As it turns out, this will enable me to do all of the things I am interested in: be collaborative, portable, mobile, a dancer and a choreographer.

For you personally, what do you see as your biggest hope moving forward in this new format, and in these new endeavors?

To find a renewed sense of creativity and spirit, to work toward creating a more sustainable business model, to be a role model in terms of change and to support my ongoing curiosity about the field of dance inside and outside of the studio. I hope this will enable me to teach more, perform more, make more dances and be a more viable contributing artist to my own community and beyond.

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Filed Under: 4dancers Tagged With: dance mentor, dance mentorship, margi cole, Solo Swap Project, TDC, the dance colective

The Dance COLEctive Celebrates 20 Years

March 11, 2016 by Rachel Hellwig

Margi Cole reflects on her journey as a choreographer and The Dance COLEctive‘s upcoming 20th anniversary performance, Revelry/20 Years.

Margi Cole. Photograph by William Frederking.
Margi Cole. Photograph by William Frederking.

What continues to inspire you to choreograph after 20 years?

I am quite simply inspired by the creative process. I am still curious. I want to experiment with new ideas, new bodies, new challenges. I want to see if I can be more creative than the last time. How can I challenge the bodies in the space? How can I challenge myself? I get excited about working with the dancers, creating puzzles for them to take on, challenging their weaknesses and amplifying their strengths. I am enamored with watching the dancers tackle the material and grow from it. I am inspired by the authenticity of the experience. It is a truly intimate and satisfying privilege to be present in that creative space.

What are some of the most valuable artistic insights you’ve learned along the way?

Gosh. So many. Probably the biggest thing I would offer is that it is OK to fail. It is not fun, but there is so much to be learned from not succeeding. I can’t tell you how many times I have tried and failed and tried again. I wish I had been less worried about failing when I was younger and more of a risk taker. I find myself taking risks more now but they are calculated, less organic. Do your research. Be brave. Be humble about your failures and modest about your successes. The other thing that is just as hard is balancing your creative self, your personal self and your administrative self. Be careful that they do not become so tightly wound that you can’t separate one from the other. It means making sacrifices along the way. [Read more…]

Filed Under: 4dancers Tagged With: Katie Petrunich, Madelyn Doyle, Margaret Jenkins, margi cole, Revelry/20 Years, shannon edwards, the dance colective

Choreography, Collaboration & Laughter: Margi Cole & Peter Carpenter

April 24, 2015 by Rachel Hellwig

Choreographers Margi Cole of The Dance COLEctive and Peter Carpenter of Peter Carpenter Performance Project discuss collaborating on “Rituals of Abundance for Lean Times #14: Curious Reinventions”, a project that explores the concepts of mimicry and imitation.

Photograph by William Frederking.
Photograph by William Frederking.

What first inspired you to collaborate?

Margi Cole: Pete and I go way back, and I have always admired his work as a performer and choreographer. After a very chance conversation about the possibility of me being a performer in his work, it happened, and I had the great pleasure of performing in two of his very recent installments of Rituals of Abundance for Lean Times, the series he is working on. To be blunt, I am totally turned on by working with Pete in the studio, creating movement vocabulary, exploring the use of text and the creative process. As a result of my own experiences, I wanted my dancers to have an opportunity with him too, as I know firsthand how much can be gained from the work. Double bonus: I get to be a co-choreographer and continue to learn as well. It’s an awesome opportunity created by being in the right place at the right time.

Peter Carpenter: Margi and I have known each other as part of Chicago’s dance community for years. In the fall of 2012, she performed in an earlier installment of the Rituals of Abundance for Lean Times series (a series I’ve been working on since 2011), and then last year she invited me to come and do some workshops with her company. Several of her company members are former students of mine (from Columbia College Chicago, where we are both faculty members) so I was excited to work with them. From there we pursued an opportunity via the Department of Cultural Affairs and Special Events for a produced event at the Storefront Theater. That was about a year ago, and we’ve been in the planning stages of this performance ever since.

[Read more…]

Filed Under: Editorial, Making Dances Tagged With: chicago, chicago dance, choreography, collaboration, DCA Storefront Theater, making dances, margi cole, Peter Carpenter, Peter Carpenter Performance Project, Rituals of Abundance for Lean Times #14: Curious Reinventions, the dance colective

Technology, Live-Streaming And Sharing Dances

October 27, 2014 by Rachel Hellwig

Margi Cole. Photograph by Eric Olson.
Margi Cole. Photograph by Eric Olson.

The Dance COLEctive has an upcoming performance series titled “Holding Ground.” You decided to do a live-stream so that it could be viewed by an additional audience. What made you move in this direction?

There are many reasons I’m interested in the idea of streaming a live performance. I want to share my work with students, collaborators and artists I have relationships with outside Chicago. In fact, we’re encouraging people in other states to organize viewing parties, which we’ll report on via social media. To date, fans in central Illinois, Ohio, Texas, Alabama, Florida, Michigan, North Carolina, Idaho, Tennessee, Vermont, Germany and the UK are already committed to watching! For those in Chicago, it offers another point of view on the live performance, perhaps even from backstage. I encourage Chicagoans to come to Links to experience the live version, then watch it streaming and compare.

Where will the live-streaming be broadcast, and how did you select that particular channel for it?

You will be able to watch the live stream from the TDC website. Our first priority is to drive traffic to our website, which is why it is important that it be viewed there. TDC is using YouTube to stream the event, which allows people around the world to also find the event there.

Live-streaming adds an additional component to the preparation for a performance. Can you talk about the challenges it presents?

My first concern is about quality—of the footage itself and the different views from which the work can be viewed. Right now we are talking about having three cameras. I think that could change this week when we get in the space. I think no matter how much we prepare that we still have to be ready for anything.

What do you think can be gained by incorporating this type of experience?

Besides engaging with the viewer virtually, it gives me a new lens to look through as a choreographer. While I did not have this live stream in mind when I created the work itself, I do think that having an understanding of the viewer’s experience will have an impact how I design and execute the work next time.

Do you think that anything can be lost by viewing dance via live-stream as opposed to in person?

Of course, dance is a three-dimensional form best viewed in person. I am hoping this will be the next best thing, especially for all our fans, friends and family who can’t be with us in the theater. But I have no expectations that this can in any way be the same as seeing something live!

Has preparing for a live-stream changed the way you choreographed your piece?

For this first experience, no. It has not changed the way I am choreographing the work. I feel, though, that “choreographically” and with the idea of live streaming in mind, Links Hall was an important venue to support the work and broadcast from. Not only does the intimacy of the space lend itself to the signature elements of our work, but I hope it will create a more intimate experience for the viewer.

Do you think you would consider doing this type of thing again down the line? Why or why not?

Like anything creative, I hope to learn from this experience and try again with the intention of doing it again in a more interesting and informed way. Maybe even make it a regular or exclusive part of the way in which we share our work with others. I feel as if I am only just skimming the surface of what the possibilities and technology can provide.


Margi Cole graduated from the Alabama School of Fine Arts and received a B.A. in dance from Columbia College Chicago and an M.F.A. in dance from the University of Illinois at Urbana-Champaign. She has taught and guest-lectured at numerous educational and professional organizations, including the Alabama Ballet, the American College Dance Festival, Ballet Tennessee, Northwestern University, Columbia College Chicago, Lou Conte Dance Studio, the Joffrey Academy of Dance, the American Dance Festival and other institutions throughout Illinois, the Midwest and the Southeast. She is currently on faculty at Columbia College Chicago, where she has served as a lecturer and associate chair. Awards and acknowledgements of her accomplishments include making the list of “Teachers Rated Excellent by their Students” in four consecutive semesters while on faculty at the University of Illinois. She has received two Choreographic Mentoring Scholarships from The Dance Center of Columbia College Chicago, two Illinois Arts Council Individual Artist Fellowships, a 2005 Chicago Dancemakers Forum grant and an American Marshall Memorial Fellowship (joining other leaders in their respective fields to represent the United States on a month-long tour of European countries). She won a Panoply Festival Choreography Award for Contemporary Dance in Huntsville, Alabama. Margi is active in the Chicago dance community, serving on grant panels and in public forums as an arts administrator, dancer and choreographer. In 2011, she was integral in organizing the Dance/USA and Marshall Forum annual conferences in Chicago. She has been a Chicago Dancemakers Forum Consortium Member for two years, is a member of the Marshall Memorial Fellowship Selection Committee and served as a mentor during the Thodos Dance Chicago New Dances Project in 2014. She was named one of The Players in NewCity’s “Fifty People Who Really Perform in Chicago” in 2012 and recognized by Today’s Chicago Woman among its 2014 “100 Women of Inspiration.”

Filed Under: Making Dances Tagged With: chicago, choreography, live streaming, live streaming dance, live streaming performance, live streaming performing arts, margi cole, the dance colective, youtube

Making Dances With Puzzles And “Margi Spice”

February 19, 2014 by 4dancers

Ladies and gentlemen…join me in welcoming back the marvelous Margi Cole. For those of you who don’t know her, Margi is a choreographer in the Chicago area and is the Founder/Director of The Dance COLEctive.

I had the good fortune to finally meet her last year at an event and found her thoughtful, interesting–and extremely nice. We are pleased to share this interview with her here so you can get a glimpse of what it is like to work as a choreographer in Chicago…as well as what it is like to be a dance maker–from her point of view…

___________________________

Margi Cole
Margi Cole, photo by William Frederking

You have been choreographing for a long time. How has your view about making dances changed over the years?

When I started making dances for me, it was all about making the steps. It has evolved over a long period of time into me creating puzzles my dancers must navigate to invent movement vocabulary. I come in with an idea, share it with them, put mechanisms in place for them to begin to investigate and let them have at it. I then become an editor, director, shaper – the girls call it adding the “Margi Spice”. I identify places in the material that are of interest or that don’t seem to work just right, and we explore them and edit it them. Sometimes that even means me inserting myself physically into the moment so that I can help make choices. It also means that lots of material “ends up on the cutting room floor.” I truly enjoy this process, especially watching the dancers engage with each other. I am always working to find new ways to challenge them and myself.

How important do you feel the music is to the dance-making process?

For me, the music always comes later in the process. I always want it to inform/rub against the material so it can be pushed further rather than be consumed by it. I want the movement itself to be interesting enough to exist on its own,  then I seek out its partner. The music for me is sometimes a last step. Fortunately, for the last couple of works I created, I had the luxury of working with someone to create a sound score. In some ways that has proven more satisfying than trying to find existing music.

If a dancer came to you and asked how they should pursue a career in choreography, what would your advice be?

Make lots of dances, see lots of dances, listen, have verbal discourse, be a risk taker, ask more of yourself every time and don’t work in a vacuum. Sometimes the answers to things can be found in the strangest places, not necessarily in the studio or during the process. If you have the good fortune of establishing a relationship with a mentor along the way treat it with respect and care. It is so rare to have someone with an outside eye and ear who can support and challenge you like no other. Treat your collaborators the way you would want to be treated. Allow yourself to fail. Sometimes the trip/journey ends up being the most important part of the work and not the work itself.

2014_29_Margi-3155
Margi Cole, photo by William Frederking

Do I sometimes hit a wall and not know which direction to turn? Yes! And I have found that it is really much simpler to be honest and say, “Hey, I really need to think about this some more. I don’t know what to do next.” Yes! Inevitably I have to walk away from the material for a bit and then come back to it in order to see it differently. It is like being stuck on a move in Words with Friends. You can’t think of anything and then you go back later and you can’t believe you didn’t see this great move sooner. Throughout the years, I have also given myself permission to turn a corner from my original ideas. I call it listening to the material and letting myself see where it takes me/us.

You are a Chicago-based choreographer. How do you feel about the state of dance in the area?

I feel like dance here in Chicago has a strong prescence on numerous levels. There are many unique voices. It has been wonderful to see the dance community grow and the work become more sophisticated over the years. I think Chicago is more recognized as a city for dance, and I am proud of to that and feel good about my involvement in helping that to happen. I am seeing more people work collaboratively across disciplines. Our emerging and mid-career artists are both working hard seeking out new models for ourselves to ensure more thriving and less surviving. Our biggest struggle is that we are all scrambling for the same resources, but that is true of the dance community at large, not just in Chicago. With all that in mind, I would say there is a lot of innovation and enthusiasm around creating a sustained presence here and beyond.

If you had to do your career as a choreographer all over again—what would you change?

I would be less judgmental and more open. Less fearful and more risky. Less conservative and more bold. Less know-it-all and more curious. I would see challenges as opportunities. In short, I would have given myself permission to fail. But, that is just one of those things that it takes time to figure out.

What have you been working on lately?

Right now the company is working on three duets. They are sourced from the same initial topic and movement vocabulary but are developing into three very different studies. It is fun to watch how they are evolving so differently. I also have a deep curiosity for site specific work and an interest in finding new ways to engage the audience. I am trying to wrap my brain around how I can do both those things in a different way. We will see what happens.

Bio: Margi Cole is Founder and Artistic Director of The Dance COLEctive.  She graduated from the Alabama School of Fine Arts, received a Bachelor of Arts in Dance from Columbia College Chicago and a Masters of Fine Arts in Dance from the University of Illinois at Urbana-Champaign. As a teacher and guest lecturer, she has taught for numerous educational and professional organizations such as the Alabama Ballet, the American College Dance Festival, Ballet Tennessee, Northwestern University, Columbia College Chicago, Lou Conte Dance Studio, the Joffrey Academy of Dance, the American Dance Festival, and various other institutions throughout Illinois, the Midwest, and the Southeast. As a choreographer, Margi has been commissioned by The Alabama Ballet, Springfield Ballet Company, Sanspointe Dance Company, the Birmingham Museum of Art, Girl’s Preparatory School of Tennessee, Beloit College and Columbia College Chicago.

As a performer, Margi has danced with well-known choreographers and companies, including Ralph Lemon, Joe Goode Performance Group, Liz Burritt, Stephen Koplowitz, Ann Boyd, David Rousseve, Bill Young, Douglas Nielsen, Peter Carpenter, Timothy O’Slynne, Paula Frasz, Colleen Halloran, Molly Shanahan/Mad Shak, Mordine & Company Dance Theatre, Renee Wadleigh, and Ellie Klopp. In August 2011, Cole traveled to Findhorn Scotland to join 19 international performers to participate in the Deborah Hay Solo Commissioning Project.

Awards and acknowledgements of Margi’s accomplishments include making the list of “Teachers Rated Excellent by their Students” four consecutive semesters while on faculty at the University of Illinois, receiving two Dance Center of Columbia College Choreographic Mentoring Scholarships, two Illinois Arts Council Individual Artist Fellowships, a 2005 Chicago Dancemakers Forum grant, a American Marshall Memorial Fellowship, and winning a Panoply Festival Choreography Award for Contemporary Dance in Huntsville, AL.

Margi is active in the Chicago dance community, serving on grant panels and in public forums as an arts administrator, dancer and choreographer. In 2011, she was integral in organizing both the Dance/USA and Marshall Forum annual conferences in Chicago. Cole is currently a Chicago Dancemakers Forum Consortium Member and was a part of the Marshall Memorial Fellowship Selection Committee. She is currently on faculty at Columbia College Chicago, where she has served as a Lecturer and Associate Chair. In 2012 she was named one of The Players in New City”s “Fifty People Who Really Perform in Chicago” List.

Filed Under: Making Dances Tagged With: chicago dance, choreographer, choreographing, choreography, making dances, margi cole, the dance colective

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