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Finis: A Look Back At Dance Photography

November 30, 2014 by 4dancers

by Christopher Duggan

Jacob’s Pillow Dance just announced four dance companies that will be performing at the festival next summer 2015: Martha Graham Dance Company, Michelle Dorrance / Dorrance Dance, Jessica Lang Dance and New York Theatre Ballet.

I have photographed three of these dance companies at the festival in past years, and I’m looking forward to photographing more dance next summer. A look back below.

Jessica Lang Dance

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See more by visiting Christopher’s blog entry on Jessica Lang at the Pillow.

Martha Graham Dance Company

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See more by visiting Christopher’s blog entry on Martha Graham Dance Company at the Pillow.

Michelle Dorrance / Dorrance Dance

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See more by visiting Christopher’s blog entry on Dorrance Dance at the Pillow.


Contributor Christopher Duggan is a wedding and dance photographer in New York City, the Berkshires and beyond. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.
Christopher Duggan, Photo by Julia Newman
Christopher Duggan, Photo by Julia Newman

He photographs dancers in the studio and in performance, for promotional materials, portraits and press, and he often collaborates with his wife, Nel Shelby, and her Manhattan-based dance film and video editing company Nel Shelby Productions (nelshelby.com). Together, they have documented dance at performances from New York City to Vail International Dance Festival.

Christopher Duggan Photography also covers the finest wedding venues in the Metropolitan and Tri-State areas, in Massachusetts and the Berkshires, and frequently travels to destination weddings.

His photographs appear in The New York Times, The Huffington Post, The Knot, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, and Munaluchi Bridal, among other esteemed publications and popular dance and wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame and his dance photography has been exhibited at The National Museum of Dance and Jacob’s Pillow Dance Festival.

His Natural Light Studio (http://www.christopherduggan.com/portfolio/natural-light-studio-jacobs-pillow-photography/) at Jacob’s Pillow is his most ambitious photography project to date – check out his blog to see more portraits of dance artists in his pop-up photo studio on the Pillow grounds.

Filed Under: Dance Photography, Finis Tagged With: christopher duggan, dance photography, Dorrance Dance, finis, jessica lang, martha graham dance company, michelle dorrance

Digging Deep: Dancer Katherine Crockett On Her Role In “Fall To Rise”

May 29, 2014 by 4dancers

Aeric Meredith-Goujon, photo by Aeric Meredith-Goujon
Katherine Crockett, photo by Aeric Meredith-Goujon

The other day we reviewed “Fall To Rise” and posted the preview for this dance-themed movie on the site. Today we have dancer/actress Katherine Crockett with us to talk a little bit about her role in the movie…

Even though your role in Fall To Rise is that of a dancer, it is really an acting role. Can you talk a little about the differences and similarities in preparing for a performance in dance as compared to getting ready to play a character in a movie?

In many ways it is very similar, in that you need to be able to let go and become the character you are playing, you must do research on your character and rehearse whether it’s rehearsing movement or words it is the same, the goal is to integrate the form so deeply and find the instinct behind the form (the movement or words) that will give you a personal connection and meaning when you perform it for an audience of the camera or the theater.

The action, whether acting or dancing, should feel organic and come from a place of intimate truth from within, that can only be arrived at through deep study of the character and the material (script/choreography) you wish to bring to life. Coming from Martha Graham’s world which has been my main background, her work demands that you dig into your own being and the character beyond what is even happening on stage. She said, “when dancing Medea, I knew her so well I even know what she had for breakfast!”  When you walk onstage you don’t just walk onstage, you must know where you are walking in from, and carry that history with every step you take.

In acting it is the same, you have your own inner subtext, you have personal connections and associations with very specific details of your character and these may or may not be revealed through the action or script, but serve as an inner life that fills the action and even the stillness that one carries forth. So the preparation involves exploring every avenue to embody this character you are about to inhabit, you must become possessed by her, again to quote Martha Graham, “There is a moment when you look in the mirror and she looks back at you and recognizes herself in you.” You must find this connection first by looking at yourself, and how you can connect to this character on the deepest most primal level, and I believe some of the smallest details hold a particular link to finding these connections. Being a dancer, I’m highly sensitive to my body and know how to use the power of nonverbal communication, so my challenge was how to have that same organic flow and ease with words.

For me, the preparation for this role was a similar process to my preparations for other dance roles. What was more of a difference was how your character comes into play with the other characters during the process of shooting or performing. It is not just about acting, but for me, almost more about reacting to your fellow actors. Like in life, you don’t now what is going to happen next, so there needs to be the same unknowing, for me that meant really listening, really being in the moment, and then letting my reactions and my words come from that impulse, even though the words themselves are of course scripted and rehearsed.

Performing a dance has this same quality of reacting and responding to your fellow dancers, but the difference I felt was that in shooting, because there were several takes of a scene, I could try several different ways of communicating the same lines, or actions, and my co-stars would do the same which would then necessitate my own actions/reactions to change on the spot. It really puts you in the moment, you are not performing any virtuosic, spectacle, you are being present, you are being open and vulnerable, you can’t worry about how you look,  because that will take you away from your emotional connection of the moment. Sometimes, we had to shoot an emotionally difficult scene over and over, and you really have to keep yourself connected to your character and the moment, or you will have nothing. There is a sensitivity to subtlety in your expression that is really important. The camera catches every detail, so unlike the stage where some things have to be exaggerated, in film, much of the power comes in the subtle movements and expressions.

Are any of your character’s struggles things that you have had to deal with in your own dance career?

Well, I don’t have a child, so that major struggle that my character is dealing with, I don’t have. But what I relate to and every dancer understands, is how after living a life as a professional dancer for a significant amount of years, your identity is absolutely linked to that. I’ve struggled with injuries that put me out for a year twice in my career, and I felt so lost, and depressed during that time. Dance, for me, is the heightened sensation of life moving through me, performing is an adrenaline rush, and the years of practice and dedication to your craft can finally be the means to which you can express your soul. Without that, you feel empty. It exists only in the moment, there is no product, nothing to hold or show after, it only exits the moment that it is lived. And by it’s very nature, of the instrument being the human body itself, it is a career, that has an early death.

Martha Graham said ” A dancer dies 2 deaths, the first one is when she can no longer dance.” I’ve been at this career my whole life, and my body has been through a lot, and I am terrified for the day that I can’t dance as fully as I want. I see things that already have shifted. Aging as a dancer is painful, emotionally and physically as well. The dance world is a ageist world, where youth is glorified, the extreme exaggeration of what our culture already does to women in particular. I feel this pressure, and though I’m still at my prime, I know that there will be a time when it will become more difficult.

Martha Graham broke this stereotype in her own life and choreographed and performed her major peak life works in her 50’s and continued to perform into her 70’s on stage.* I admire artists like Mikhail Baryshnikov, who continue to transform and evolve reaching out to new territories, and redefining themselves.

I think my character, Lauren Drake, has tried to give up dance and replace it with motherhood, which she had hoped would make her feel whole, and she is trying to live a different life, the life that society says should make her happy. She misses her art. She doesn’t know how to be a mom, and she doesn’t have the one thing she knew she was good at. She feels lost.

That for me was something I connected with, through having to be out with injuries. And also, the need to have someone understand her, which she is looking to her husband for, and he doesn’t get her–which is why her friendship with Sheila becomes such a huge moment for her. Though I’m happily married now, I was engaged to another man before I met my current husband, and I went through a very similar experience as my character Lauren. It was so painful, he didn’t understand my need to dance, and wanted me to fit into the traditional wife role, and I was tying to please him but was losing myself. He was jealous of my dancing, and took it out by cheating on me. So that scene in our film Fall to Rise, was really tough and deep for me. It triggered a lot of painful memories. I think a lot of women, even non dancers will relate to this feeling.

What was your greatest challenge in playing this character?

Not only was this my first leading role in a feature film, but I had to do most of my scenes with a screaming baby, which was a huge challenge, especially in scenes where she was supposed to be quiet. She was only 4 months old and did not like being in a strange woman’s arms, so it was really hard to focus on acting and her, but maybe that made my character’s uncomfortability with being a mom come through stronger. I felt so bad for her, especially when I had to change her diapers, it was not pretty, and I know she could tell, I didn’t have a clue how to change them!

What did you enjoy the most about the process of making this film?

These amazing artists, Daphne Rubin-Vega, Tamara Tunie, Desomond Richardson, Kohl Suddoth, Kate White and more, were such a pleasure to collaborate with. I felt so much openness, and respect from the entire cast. I really learned from everyone and had special moments with each one. Especially working with my director Jayce Bartok, I felt such encouragement and trust. He gave me permission to try things and I felt safe and supported to dig in and go for it. And of course, working with Daphne Rubin-Vega was a highlight, I learned so much on the spot by working with her. She pushed me, yet made me feel comfortable enough to just try things as crazy as they might be.

To have such a connection and chemistry with someone is really important, because it reflects on screen, and it definitely keeps the intense shooting schedule from killing you off. I adore Desmond Richardson, and to get to dance with him onscreen or off is a dream, so this was certainly a highlight, absolutely I loved our scenes together. And then I must say, the process of collaborating with our DP Kate Phelan was incredible. It was definitely a dance duet between she and I, and because she has a background as a dancer herself, she understood how to film my movement and to anticipate where my body would go, to capture the essence and flow as well as the emotion and depth. We developed a truly a special connection that made the process of creating each scene a really beautiful experience.

What would you say is this film’s greatest strength?

The vulnerable way it shares with us the journeys of these two women who both have lost themselves and find themselves again by finding each other for this moment in time.

Do you think that non-dancers could related to the movie? Why or why not?

Yes, because it isn’t just a film about dance or a dancer, it is a film about friendship, and about following one’ s heart. It is about being able to be a parent and also have your own career and how to balance this. It is the journey of losing oneself and coming to find oneself in a deeper and more whole way.

What is coming up next for you?

I’m currently starring as The Queen in the Off-Broadway immersive theater hit production of Queen of the Night, by the producers of Sleep No More and The Box. We opened on Dec. 31st 2013, and up indefinitely. I love immersive theater and am interested in continuing to work on this and other such projects in the future.I also, would love to collaborate with a few choreographers I like to create a full evening show to perform in NY and tour.

*edited at author’s request 5/29

Filed Under: Dance Video Tagged With: dance movie, fall to rise, katherine crockett, martha graham, martha graham dance company

The Spice Of Life

April 29, 2013 by 4dancers

Hubbard Street 2 Dancers Lissa Smith, left, and Alicia Delgadillo in one5two4three by Taryn Kaschock Russell. Photo by Todd Rosenberg.
Hubbard Street 2 Dancers Lissa Smith, left, and Alicia Delgadillo in one5two4three by Taryn Kaschock Russell. Photo by Todd Rosenberg.

by Lissa Smith

One of many special things about working at Hubbard Street Dance Chicago is the opportunity to dive into a variety of works, both new and existing. As a dancer, having a piece created on you allows an immediate personal connection with the choreographer and the choreography. It provides the opportunity to take ownership.

In contrast, learning and performing a revival presents the chance to step into a different pair of shoes. I have equal admiration for both creative and restaging processes, and in my recent work with Hubbard Street 2, I’ve done both — simultaneously.

On May 4, 2013, HS2 performs with the Chicago Symphony Orchestra as part of its family-friendly “Get Up and Dance” series. I’ll perform excerpts from the famous Martha Graham work, Appalachian Spring (1944).

I began intense training in Graham technique at the age of nine. I took Graham master classes once a week at my dance studio with an incredible teacher, Peter London, who was and is a great mentor. He encouraged me to audition for, and later attend, New World School of the Arts, where I had the opportunity to study Graham technique in further depth.

During my four years at New World, I performed renowned Martha Graham works such as Diversion of Angels (the Couple in Yellow) and “Conversation of Lovers” within the piece Acts of Light, both staged by London. Throughout the years, I have also studied at the Martha Graham School of Contemporary Dance in New York, and I have enjoyed seeing the Martha Graham Dance Company perform many times. I am always moved by their passion and language. Their repertory transports me into their scenario and has me follow their dramatic story line from start to finish.

Yuriko, left, and Hubbard Street 2 Dancer Lissa Smith at the Boston Conservatory. Photo by Giulia Pline.
Yuriko, left, and Hubbard Street 2 Dancer Lissa Smith at the Boston Conservatory. Photo by Giulia Pline.

My sophomore year at the Boston Conservatory, where I was pursuing a BFA in dance performance, I was privileged to work with former Graham dancers Yuriko and her daughter, Susan Kikuchi, on the restaging of Martha Graham’s piece Frontier. This happened to also be the last Graham work that Yuriko would restage.

Never in my life could I have predicted that here, at Hubbard Street, I would have the opportunity to perform yet another piece by Martha Graham. My costume arrived at our studios the other day and, coincidentally, it is the same dress that my current director, Taryn Kaschock Russell, wore when she performed this same piece with the Joffrey Ballet. In the dance world, the passing of a costume is like passing the torch; it’s incredibly exciting and meaningful to me and I’m grateful and honored to work with Susan Kikuchi again on Appalachian Spring. To be able to perform this masterwork, passed down through generations of dancers, is a dream come true.

Hubbard Street’s next hometown performances are June 6–16, our second annual danc(e)volve: New Works Festival at the Museum of Contemporary Art. The danc(e)volve choreographers are all company members, selected from the previous year’s Inside/Out Choreographic Workshop at the UIC Theatre. (Save the date for our next Inside/Out, coming up on July 6!) These choreographers are asked to either expand their projects or create brand-new works for danc(e)volve.

Working with Andrew Wright, a fellow HS2 dancer, on his new piece has been a bonding experience for our company. We are all so eager and hungry to try new things, to really explore, and our excitement provides fuel for each other’s creative energy. A different side of each one of us has emerged as we learn Andy’s specific movement style and get to know his approach to directing.

I chatted with Andy about his piece and he said, “The process turned out to be completely different than I expected, going into it. I had all these grand ideas, thoughts, and inspirations, but at the end of the day, when I took a step back and just allowed myself to be present in the studio with my cast, things just ended up flowing. The piece ended up going in a much more personal direction than I had originally intended, but I understand why it had to.”

Andrew Wright Taryn Kaschock Russell Susan Kikuchi Lissa Smith photo Kristen Brogdon
From left: Hubbard Street 2 Dancers Lissa Smith and Andrew Wright; HS2 Director Taryn Kashock Russell, and Martha Graham repetiteur Susan Kikuchi. Photo by Kristen Brogdon.

I asked him to elaborate. “These past two years at Hubbard Street have had a profound effect on my life,” he explained, “and I think that comes across in the work. At the end of the day, when I watch it, I see us. I see our experiences. I see Hubbard Street 2.”

Having a coworker at the helm of the studio has been inspiring. There are definitely times when we all laugh and goof off, as friends do, but we are a focused group of committed dancers, and we give Andy the respect and attention he deserves — and we can’t wait to share his piece with audiences next month.

Another work I’ll perform during danc(e)volve is a duet for myself and Richard Walters, another fellow HS2 dancer, with comedic cameos by main company member Quinn B Wharton. It’s a portrait, really, of Ricky’s and my different, strong personalities, anxieties and habits. Making it even more personal is the fact that Terry recorded, edited, and arranged our voices to make the piece’s score.

There’s nothing like rehearsing to the sound of your own voice. It’s fulfilling (and refreshing!) to spend a rehearsal day rehearsing three projects so different from each other. Terry’s piece is very versatile, and is choreographed around a small table and two chairs. We will perform this at danc(e)volve and at Chicago City Winery on May 6, as part of Hubbard Street 2’s opening act for Fear No Art’s “The Dinner Party.” The choreography is extremely detailed and fast-moving, which keeps Ricky and me on the edges of our seats — literally!

More of Terry’s new choreography shares our program with the Chicago Symphony Orchestra and Appalachian Spring. He’s been the main company’s rehearsal director since 2010 but, at the end of this month, our current director Taryn Kaschock Russell departs with her family for New York and Terry takes over as director of Hubbard Street 2. I’m so grateful to be having this experience during the transition. Although I will truly miss working with Taryn, I’m very excited for all that’s in store for Hubbard Street 2 — which you’ll hear more about in my next guest post, here at 4dancers.org. Thanks for reading!

Catch Lissa Smith and Hubbard Street 2 onstage:

• May 4 at Symphony Center, with the Chicago Symphony Orchestra

• May 6 at Chicago City Winery for “The Dinner Party” (also streamed live online)

• May 11 at Ramsey Auditorium in Batavia, Illinois as part of Fermilab’s 2012–13 Arts & Lecture Series

• May 30 at the Harris Theater, during Hubbard Street’s 35th Anniversary Spotlight Ball

• June 6–16 at the Museum of Contemporary Art, for danc(e)volve: New Works Festival

lissa smith
Lissa Smith

Contributor Lissa Smith, age 21, was born and raised in Miami, Florida. She is currently dancing with Hubbard Street 2 of Hubbard Street Dance Chicago. She attended The Boston Conservatory where she was both a Dance Conservatory Scholarship recipient and Jan Veen Dance Scholarship recipient.

Lissa has trained at the prestigious Jacob’s Pillow Dance Festival, Hubbard Street Dance Chicago, The Juilliard School, Alonzo King’s Lines Ballet, The Martha Graham School, The Joffrey Ballet School and The Joffrey Midwest Workshop. Lissa has worked with world renowned choreographers such as: Thang Dao, Peter London, Alberto Del Saz, Maurya Kerr, Clébio Oliveira, Penny Saunders, Hofesh Shecter, Didy Veldman, Uri Sands, Gregory Dawson, Stephen Pier, John Magnus, Josée Garant, Viktor Plotnikov, Robyn Mineko Williams, Tony Fabre, and Judith Jamison. She has danced principal roles such as: “Yellow Girl” in “Diversion of Angels”, “Conversation of Lovers” within “Acts of Light” and “Frontier”, the solo choreographed by Martha Graham and staged by Yuriko and Susan Kikuchi along with Yasuko Tokunaga.

Lissa was the soloist lead dancer in both Thang Dao’s contemporary ballet, “Foil” and Greg Dawson’s contemporary ballet, “Eclipsing Venus”. She has also performed Jose Limon’s “Choreographic Offerings” staged by Jennifer Scanlon and Libby Nye. Lissa has performed the “Doll with Broken Head” solo from within “Mechanical Organ” choreographed by Alwin Nikolais, staged by Alberto Del Saz. Lissa received the “Modern Dance Award” and the “Dean’s Dance Award” upon her graduation from New World School of the Arts High School in June 2009 and won the “Arts For Life!” dance scholarship in 2009 presented by Former First Lady Columba Bush.

In 2012, Lissa was awarded the Martha Hill Young Professional Award.

Lissa’s posts on 4dancers are her own opinion and in no way reflect the thoughts or opinions of her employer, Hubbard Street 2.

Filed Under: Editorial Tagged With: dance(e)volve, hubbard street 2, hubbard street dance chicago, joffrey ballet, lissa smith, martha graham dance company, peter london, quinn b. wharton, richard walters, taryn kaschock russell

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