margi cole – Page 2

“Stop The Car!” – Margi Cole On Choreography

October 30, 2013 by 4dancers

Over the past week or so we have heard from three choreographers that will be participating in COLEctive Notions – a choreography showcase in Chicago November 1st, 2nd and 3rd. Today we hear from Margi Cole, Artistic Director and Founder of The Dance COLEctive (TDC) as she gives her perspective on how things are coming together…

Margi Cole, Photo by Cheryl Mann

Being transparent about the creative process…

Best laid plans. You start out with what you think is a good idea. Sometimes those ideas fail altogether and sometimes the experience shouts, “Whoa! Stop the car!”

As a result of our need to stop the car, TDC will invite the audience to participate in the creative process, sharing material with them and inviting them to inform it with a few choices of their own. In an effort to be transparent about the creative process please read about our experience around developing a 10-minute dance. Who knew it could be so complicated?!

Can you tell us a little bit about your new piece?

The new duet began as an exercise in what happens when two personalities collide around a task and how they negotiate accomplishing it. The task is to perform a 10-minute dance. The task is to accomplish performing choreographic material that is presented to them to assemble in sequence right before they perform it. The task is to tell their partner what they need while they perform the material. Then, once they have all the information, they must negotiate in the moment while performing the material. Sounds simple, right?

How did you come up with the idea for it? [Read more…]

Olivia May: Choreography And Raw Interactions

October 27, 2013 by 4dancers

This is the third in a series of four interviews about COLEctive Notions – a concert program that will be presented in Chicago on November 1st, 2nd and 3rd. We are featuring a behind-the-scenes look at the choreographers that are involved–today we are hearing from Olivia May…

Can you describe what your piece is about?

The dance started as a bit of a character study of women. I had each of the dancers write a bit about a women they saw as supremely feminine and then also write a bit about a woman that they admired. From those written traits we created some dance phrases and character movement and eventually created relationships (with movement) between each of the women/dancers. For me the dance plays on my admiration of Southern women that I grew up observing but not having a strong understanding of. Through the creation of the piece I have let the interpretation of “the women” really be the dancers’ own, so I know each one of them has a different connection than I do to the piece.

olivia — Olivia May, Photo by Eric Olson

As both a choreographer and a dancer I really enjoy the part of the creative process where first connections are made. Where the raw interactions really show themselves for the first time. In TDC we spend a while creating movement (usually individually), then “rubbing” it together to create relationships and layered phrases of movement, then lastly putting these phrases of movement together. I really love that second step, when all of the creative possibilities are revealed.

How was Margi able to help you clarify and shape your vision for this piece?

Snowballing off of my answer to the second question, my other favorite part of the creative process is when Margi comes into rehearsal and adds what we call the “Margi Spice.” She gives suggestions about tempo of movement and spacing and makes little tweaks to the phrases that really bring out the richness in the movement quality. When she mentors the choreographers during COLEctive Notions, she is able to add her “Margi Spice” by asking questions. These questions really help me understand what my piece is saying to the audience and thus help me to clarify what I am trying to say with my work.

What was it like to work with the dancers?

Working with the dancers is always enjoyable. These ladies are some of my closest friends, and I am very comfortable being creative around them and sharing my creative vision with them. I especially love when they interpret my creative vision through their dancing; that is when I feel the process is truly collaborative, which I have come to know is my preferred way of making dance. This time around with COLEctive Notions, I gave my ideas a little room to be interpreted. I didn’t try to be too rigid with what I wanted to see on stage, and I really think I was able to create a more well-rounded piece that the dancers really feel connected to as well.

How is choreography different for you from dancing?

Choreography for me is definitely more challenging than dancing with my peers. I feel that I make intuitive creative choices when I am dancing and creating movement on the floor with the other girls, but when I step to the side and become the person in charge, I don’t always have that same intuition. However, it is always very satisfying to see movement develop from a thought to a theme and then into a dance, and it’s great when it is yours truly, an idea that grows and takes shape.

Are you interested in doing something like this again?

I am always interested in creating, and I truly appreciate the opportunity Margi gives us with this project, so I have been quick to take advantage and submit a proposal because you never know when the opportunity will happen again. As with anything, having the time to really put thought and energy into the project so the final piece is a quality product is always the deciding factor for me. I know I don’t really have the creative spontaneity to come into a project like COLEctive Notions and work off the cuff, so I know I need to spend a lot of time developing and creating outside of the studio. Hopefully I will be able to commit if and when a project like this happens again.

Olivia May is in her 6th season with the Dance COLEctive. She is a Dance BFA graduate of The University of North Carolina at Greensboro and has studied dance through middle school and high school as well as studying abroad in Cape Town, South Africa during her time at UNCG. Here in Chicago she is the director of Starbright Dance as well an athletic trainer at On Your Mark Coaching and Training. This past summer she completed her first half Ironman Triathlon and is really looking forward to new challenges with the Dance COLEctive this season.

Shannon Edwards: Choreography And Nostalgia

October 24, 2013 by 4dancers

This is the second in a series of four interviews about COLEctive Notions – a concert program that will be presented in Chicago on November 1st, 2nd and 3rd. We are featuring a behind-the-scenes look at the choreographers that are involved, and today we have some thoughts from Shannon Edwards about what it was like to work on her piece…

Can you describe what your piece is about?

Chronicles of Nostalgia is about the deep, nostalgic memories of a specific person that creep into our thoughts at unexpected times. It is about missing someone without consciously knowing it. This piece chronicles three unique, nostalgic experiences. Emotional in their own way, these recounts happen sort of unwillingly. As in our own lives, memories can be avoided, abrupt, and uninvited. However, recounting the experience is almost always visceral.

shannon — Shannon Edwards, Photo by Eric Olson

I went into choreographing for COLEctive Notions this time willing to use spoken text. It was an avenue I had been eager to go down for quite some time now. I was willing to try it, throw it out if need be, or go with it. I found the use of text effective in setting the tone of my piece. I found it challenging at times. At times I found it interesting and fun. Now, I am not just choreographing a dance, but I am directing vocals and exploring different ways of delivering text. So this new tool brought an interesting new way of shaping the work.

How was Margi able to help you clarify and shape your vision for this piece?

Margi is incredibly open to our work. She comes in as an eager viewer, not judging or expecting anything. This is so important to me as an artist. The hardest thing about making work can be fulfilling expectations of others. Margi watches with a viewer’s eye, not a director’s eye. She notes what she saw, what she enjoyed, which parts resonated with her, and even what parts were confusing. I take what I need from that. If I have questions, I ask, and she honestly replies. If I need her suggestions, she is right there with honest input. I appreciate that honesty and openness about her. It always puts me in the right direction.

What was it like to work with the dancers?

It is always a pleasure to work with women who I have worked very intimately with for years. I love seeing what they come up with when I give them directions. It is so lovely to watch from the outside. The thing is, we (as dancers) have developed a deep partnering/group relationship over time. So I knew going into the work how these dancers would be at taking direction and developing relationships within Chronicles of Nostalgia. I had full faith in their ability to work intimately. And, more recently, we have had the pleasure of practicing our spoken text on stage. So I was pretty confident in these wonderful ladies since the beginning.

How is choreography different for you from dancing?

Choreographing is quite different and laboring. Choreography is a passion, and a thrill for me. However, it does not come easy. I spend a lot of time pondering, contemplating, and thinking intensely about every single step. Dancing is very natural and instinctual in my body. Although dancing is laborious in a physical way, and I do spend time thinking about intentions, I am intuitive about it. Choreographing is where I spend a lot of time answering my own questions, making sure that each step means exactly what I want it to mean, and second guessing (and then reassuring) each part of the dance.

Are you interested in doing something like this again?

I always have new ideas and interests that I would love to explore on the dance floor. So I am sure I will be doing this again when I have the opportunity.

Shannon Edwards graduated with a BA in Dance from Columbia College Chicago. She was a member of MaryAnn McGovern and Dancers from 2009-2011. Shannon has recently performed in works by Liz Burritt, Pete Carpenter, Maggie Koller, and Stephanie Williams. Shannon recently co-founded Mongan Dance Academy in Evergreen Park. She enjoys sharing her knowledge and passion for dance with children at other local studios, as well. Shannon is thrilled to be dancing her fifth season with The Dance COLEctive.

Katie Petrunich: Choreography — Running Parallel

October 22, 2013 by 4dancers

This is the first in a series of interviews with choreographers from the upcoming “COLEctive Notions” showcase, which will run in Chicago from November 1st – November 3rd.

COLEctive Notions is choreographed by dancers from The Dance COLEctive and performed by members of the company. This concert program was covered by 4dancers last year as a way to learn more about the choreographic process. We’re pleased to present it again for you this year…

We’ll hear from Artistic Director and Founder Margi Cole and three choreographers over the next week. First up is Katie Petrunich…

Can you describe what your piece is about?

Running Parallel is a duet that portrays the progression of a lifelong marital relationship. The intimate and quirky movement was generated utilizing literature, photographs, and real life experiences. The dated costumes, blues and jazz music fragments, and stagnant static of an old record player create a cozy and recognizable atmosphere. Watching the piece reminds me of looking at photographs of my grandparents when they were in their early 20s and first married, in which I find comfort.

katie — Katie Petrunich, Photo by Eric Olson

The initial movement was inspired by “Love Poem” by Linda Pastan. I wanted the descriptive words and flow of the poem to translate into the structure of the piece. The well-known 1945 photograph of a sailor kissing a woman in a white dress, V-J Day in Times Square by Alfred Eisentaedt, was the sole image used to set the tone of the piece and created a warm connection between the dancers. I also developed a survey in which I had grandparents, co-workers, and random elderly strangers from a breakfast shop fill out together or on behalf of their experiences within marriages lasting 40-50+ years. The dancers and I used their experiences to create movement phrases. In the surveys, I discovered that some individuals lost their other half, which changed my initial concept. The piece unfolded in the opposite direction, but I am completely happy with the outcome.

The richness of the movement also stems from the dancers’ personal experiences, which resulted in soft gestures against strong, sharp movement.

Although I am not committed to a lifelong relationship, I believe that the secret to maintaining a successful and happy marriage is that each individual must be on the same path, consisting of similar wavelengths in relation to morals, beliefs, values, understanding, and having the ability for adjusting and accepting one’s daily habits and quirks. How does one adapt initially and how does it shift in later years? There are ups and downs, and in order to obtain functionality, the through line should flow naturally, running parallel to one another. I have Maggie Koller to thank for our hour-long conversations on this topic, and this is definitely the concept I have embraced and translated into Running Parallel.

What did you enjoy most about this process?

I simply have enjoyed the feeling of being inspired to delve into choreography. I feel like we can get caught up in our habitual, redundant daily routines. It is exciting to work towards personal goals, and this has been a great one of mine to accomplish. Getting into the studio and watching the dancers’ movement materialize and evolve has been a magical experience. I have also enjoyed seeing the movement and intentions solidify into the dancers’ bodies—they are very passionate and lovely.

How was Margi able to help you clarify and shape your vision for this piece?

Working directly with Margi has been a pleasure, offering me guidance with her innovative and experienced eye. I am lucky I had access and the ability to reap the benefits of obtaining the opinions from such a skillful dancemaker. During our feedback sessions, Margi questioned many aspects of my piece, not because there was a right answer or because she did not trust me, but to make sure I had the answers to these questions in order to understand the piece as a whole for myself. She brought awareness to the minute details that make the special moments more meaningful. Margi gives her dancers a wide range of creative freedom. We can either take or leave her suggestions, but in the end we are able to make the final decision, which is a huge responsibility and accomplishment in seeing the final product. I am grateful for her resilience and her trust in allowing us to make smart choreographic decisions.

What was it like to work with the dancers?

Shannon and Julie’s dynamic movement styles and creativity is exactly what Running Parallel needs. I appreciate their willingness to be vulnerable, which helped to fuel the movement and create a strong personal connection. They have embraced the concept genuinely. I enjoyed visualizing their progression of the piece, bringing it to life during each rehearsal. They worked really hard and I am thankful for their dedication.

How is choreography different for you from dancing?

Choreography goes far beyond just dancing. When choreographing, I am thinking of the big picture, whereas dancing, I am mainly thinking about the movement itself and what feels right in my body. It is gratifying to be able to see the dance from the outside. When initiating a TDC piece, Margi lets us create our own movement phrases and she puts it all together and adds what we call, “the Margi spice.” Starting as a dancer and being able to witness Margi’s tactics for the past five seasons, I finally felt well prepared and comfortable enough to choreograph. I used a similar framework in constructing the piece. I was able to form a sequence of the dancers in unison, but the majority of the movement was generated by the dancers.

Are you interested in doing something like this again?

I definitely would be interested in choreographing again, as long as I have the opportunity, an idea, and support. I already work with a great group of dancers, which makes this whole process fun, easy, inspiring, and completely satisfying. If I could be successful in this profession once, if not more, I would be overly pleased and proud. I cannot imagine how it feels to accomplish the same 18 years in a row, such as Margi has done for TDC.

Katie Petrunich received a BA in dance from Columbia College Chicago in 2008. Katie has performed with Antibody Dance, the Minneapolis based company, HIJACK, and has danced around for various projects at the MCA for DanceUSA and CDF. She’s also had the pleasure to perform works by Margi Cole, Jeff Hancock, Stephanie Williams, and current and former members of TDC. Katie also works as a legal assistant for a law firm downtown and spends her free time volunteering at Lurie Children’s Hospital. Katie is honored to be apart of TDC for her fifth season, thanking Margi for letting her delve into an inventive, fulfilling process year round. Katie also thanks her family and friends for all of their love and support; she’d be lost without them.

FlySpace – A Strategic Dance Partnership

April 2, 2013 by 4dancers

Once again Chicago is blazing a trail in the dance world–this time with a collaborative effort between four female choreographers who are teaming up to get ahead instead of going it alone. Each of these women is the head of a contemporary dance company in the area, and together they have decided that pooling resources is a better approach than competing against one another.

We shared some questions with Margi Cole, Artistic Director of The Dance COLEctive and one of the founders of FlySpace–the name they have given to this new sharing paradigm. We’re pleased to tell you more about this new consortium here…

What exactly is FlySpace, and how did the idea for it come about?

Margi Cole, Member of FlySpace and Founder of The Dance COLEctive

In a theater, fly space is the volume above the stage where scenery and lighting hang together ready to be lowered into view. Some call it ‘heaven.’

Initially a funder brought our peer group together to talk about reasons why we had all garnered a certain amount of stability and accolades for our work as artists but had not been able to get over the hump in terms of elevating our general operating budgets to a higher level that, in a sense, matched the prestige we had accomplished thus far as artists in the community. After that meeting we started meeting on our own and from there we started discussing ways in which we could combine resources to help each other, and a shared vision for marketing our genre seemed like the most level playing field. Things progressed from there.

Now we’ve launched FlySpace as a resource-sharing consortium comprised of The Dance COLEctive, Hedwig Dances, Same Planet Different World Dance Theatre, and Zephyr Dance.

When you were discussing the idea with the other participants, were there any concerns about working together in this way?

Yes and no. Many of us were and are primary administrators for our organizations. I spend a lot of time talking to myself… To that end it was a gift to be able to share ideas, bounce things off each other, have critical discourse and come out on the other side with some new and exciting ideas. Sadly we are all competing for the same resources so the real key during these discussions is leaving your “ME” shirt at the door. I think it takes a sophisticated, seasoned administrator and artist to sit at the table in an altruistic way and think for the better of the group, the community and the art form at large. These are important skills!

dance performance — The Dance COLEctive performing “Moving Stories”, Photo by William Frederking

In terms of pooling resources, can you give a few examples of specific things you will be sharing?

Well, first and foremost, we are sharing ideas, knowledge, connections and trust. Not that we did not want to do that before but now we really have the space to do that, and the brainpower. All of these things take time, energy and thoughtful progression. Ultimately we will have a shared email list of patrons that we can use individually and for ongoing FlySpace events. We have several ideas related to technology that we are going to explore throughout our next phase of development. These ideas are related to data gathering and management, ticketing, marketing, social media and actively engaging with our patrons. So the sky is the limit!

The FlySpace Dance Series is a joint performance effort at the Jay Pritzker Pavilion in Chicago. How did the four of you work together to make this event happen?

We worked together to submit a proposal to the city, knowing all along that we wanted to make sure when we launched officially that we did what we do best – making work and performing. We were fortunate to be offered two weekends on the Pritzker Stage. Absolutely no way we could pass that up. Then, ultimately, how we divided the presentation into two companies over two weekends came down to the ways in which we wanted to use the space and the desire to put forward a substantial chunk of work to represent each company, and its aesthetic, fully.

As FlySpace evolves, how will the four of you make decisions about its scope and direction?

We have really been treating FlySpace like making a dance. The process around any good collaboration has flexibility, improvisation, happy surprises and failures. Ultimately we have an idea and as it unfolds and grows we will shape FlySpace with intuition and luck. That luck is sometimes finely calculated and sometimes just about being in the right place at the right time. It is a lot like flying…

The FlySpace Dance Series runs from April 5th through April 14th at the Jay Pritzker Pavilion in Chicago. Tickets are available at brownpapertickets.com or by phone at 773-871-0872.

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