 Photo Credit: Mel Taing We joyously continue our Adapting to Uncertainty Series this week with a quick conversation with Jessica Roseman. Eagle eyed readers might have noticed a photograph of her in the background of last week's interview with Kim Holman. Her Nourish project invites people into her creative practice and often utilizes some unexpected public spaces. If you are lucky, you can catch Jess in action at 6 Faneuil Hall Square Boston, MA, 02109 today from 6 - 7:30PM. And if you go, say hello to karen Krolak or Nicole Harris and share your response to the performance. For more information, click here
karen: During the pandemic you began building the Nourish project. I know that there is lots of information about that on your website but I am wondering what was different about how it developed compared to things you built pre-pandemic? Jessica Roseman: Pre-pandemic, my dances were experimental questions. I focused on understanding my choreographic vision - how do I want to present myself? What excites me? What themes and vocabularies serve me best? (Why) is it even important to make dances? Coming back to choreography after years of healing from trauma, I was examining choreographic approaches to pleasure, searching for ways to make myself - and others - feel better through dance. I was gathering tools, questioning every step and result along the way. My dances were testing the waters of my own vulnerability and creative capacity. Time and money-wise, I invested in my own self interest without worrying too much about expense, results, or exposure. During the pressure cooker conditions of the pandemic, it became necessary to use this line of choreographic inquiry as a means to process, heal, and to actively use my voice for change. I had an immediate need for connection, and to stake a claim in my art and my community. My work, the same approach and content, became at once more political. I invested in building a sustainable career, and built my business in the process . kK: One of my favorite parts of the land acknowledgements that you share at the start of Nourish workshops is how they encourage me to reflect on the specific site where we are dancing. You are going to be performing for Now +There at Faneuil Hall on August 16, 6pm How has that location influenced your thinking? What sort of research have you done there? JR: Boston is steeped in colonial history which typically does not tell the whole story. There are tons of historic maps, exhibits, books, tours, and websites about the layered history of Faneuil Hall. Boston’s wealthiest merchant of the time, Peter Faneuil, who built the meeting house, had a significant role in the slave trade. Farmers from inland, including from what is now called Lexington Community Farm (where I am Artist in Residence), brought their produce to sell in the Faneuil building. As ever, I found it challenging to process an inclusive land acknowledgement of that place without getting swept away by the sheer volume of information from a capitalistic, white supremacist perspective. To defy the confines of the colonialism, I am generating my own narrative from my personal connections to Faneuil Hall, and particularly my values for the present:
kK: You have been in residence at Bearnstow last week and previously at Subcircle in Biddeford. How do these weeks away reframe your investigations into the specificity of site where you are presenting work? How do they serve your larger creative practice? JR: I was born in Maine, and spent many magical summers visiting here as a child. Subcircle and Bearnstow's subsidized Maine residencies bring me back to my childhood self while directly supporting my growth as a choreographer. I feel so affirmed as an artist to be welcomed into their amazing spaces. I have come to rely on time away from my regular parenting routine. I also just love dancing among the plants and trees which each facility environmentally protects. In nature, I deepen my understanding of the good in the world, and my purpose in it. I reset my sense of time and space. I breathe deeper, and become more grounded. I take experimental new risks. In residency, I experience a cyclical process of nourishment in relation to the land, which feeds my creative practice. Thanks to Bearnstow and Subcircle, I become fortified to delve into politically challenging places like Boston’s Dock Square, and to make louder, more complex work.
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 Photo Credit: karen Krolak Recently Steve Wightman asked us about how local choreographers are adapting to the uncertainties of presenting work at this stage in the pandemic. As co-Artistic Director, karen Krolak replied, we were inspired to start a new series for the C2C blog. After helping to install Kimberleigh Holman’s installation What’s on the Line… (WOTL), at The Dance Complex’s Complex @ Canal space last week, karen thought this could be an excellent project to kick things off. Thanks Steve for for stirring up this conversation and to BioMed Realty and The Dance Complex for providing the Complex @ Canal space.
Complex @ Canal is at 650 E Kendall St Cambridge, MA 02142. WOTL can be viewed from outside or inside the building which is accessible to people who use mobility devices. More information on the exhibit and related audio files about the piece can be found here. Look out on The Dance Complex's blog too, we may soon continue this interview there! karen: Folks around Monkeyhouse know you as a choreographer and lighting designer, how did you get into creating a public art piece? Kimberleigh Holman: It’s been a bit of an identity crisis spun out of a need to take action, if we’re being totally honest. My MFA is in Interdisciplinary Arts with a Performance Creation Concentration (Goddard College) and while I also love to make what I consider installation work, it’s usually durational performance for, say, bodies in landscape or unusual settings. I love to utilize my knowledge in lighting, sound creation, and other methods of performance to make interdisciplinary work, where the elements interweave to strengthen the work as a whole, but it’s never taken the form of public art. That being said, it’s tough to sit around while hearing blow after blow for women’s rights and bodily autonomy in our news. It’s hard to hear stories from friends about their experiences with gender-based violence as a subsection of our country gets more emboldened in the political climate over the last few years especially. I feel like while I vote, and donate, and show up, we are still in a constant downward spiral in regard to how very human issues are politicized. What I CAN do is take this clothesline (from last fall’s Contradictions + Casual Self Loathing) that is always a conversation piece, put it in public spaces, and feel like I’m taking action—opening a door for people to talk with one another about their experiences with words that are predominantly used for women, and make some small scale change. Hence What’s on the Line… and thanks to the generosity of the arts spaces that are eager to house it, this step into public art. kK: Since I was dramaturg for Contradictions + Casual Self Loathing, I wonder if I can slip that hat back on for a moment and ask you to share a bit about how you chose the words for this installation. KH: We (myself, the performers, you) started generating this list of words that predominantly get used for women in both a virtual book club meeting and in rehearsal for Contradictions + Casual Self Loathing. I knew I wanted the visual of these often-derogatory—sometimes shocking—words being hung on a clothesline onstage. The juxtaposition of domestic labor and these language norms as things that are both given little thought appealed to me. Interview subjects from my research phase generously contributed some. Of course friends and family added theirs… even my husband gave me a jaw-dropper he’d heard in a work setting years ago. The funny part is that since we started listing these “words for women”, we haven’t stopped. Every time the line goes up, there are new words. Audience members at Contradictions’ debut in Dedham were eager to chime in with some of their own. We also recently installed What’s on the Line… at Bellforge Arts Center (Medfield) where viewers were quick to chime in with words (and the related stories) from their life experiences, and as I write this WOTL has been up at Complex @ Canal in Kendall Square for about a day and I’ve already received a dozen or so new additions. I keep a spreadsheet with where they came from, and I’m curious to start looking for trends in our ever-growing crowdsourced list. kK: As you were talking about questions of access to care, I was reflecting on how that intersects with accessibility in a general sense. You were just part of the 2022 ILN network, how did that program influence installing WOTL? KH: A lot of the education provided by Mass Cultural Council’s Universal Participation Initiative/ILN program is centered on access in cultural spaces, especially in museum settings. In installing WOTL I wanted to make sure that the QR codes that explain the installation are accessible from all heights, and the installation itself is viewable from all angles—floor to air. While it is currently a very visual experience, the website page that accompanies the work provides descriptions of the project, alt text on images, and audio in the form of both an artist statement and also a fifteen-minute track to listen to that can stand alone, or accompany the viewing experience. It’s also potentially difficult and triggering subject matter, so I gave a lot of thought in how to present it in a way that gives a viewer the time and space they may need to do so. I hope to eventually be working with a budget for this project that enables full access! kK: On a side note, I know you performed Maine this weekend and that you had to juggle things a bit due to COVID cases in Luminarium. Did you find that going through ILN helped you navigate that challenge? KH: I think ILN reinforced a human-first philosophy that I’ve always tried to work with, since I started making performance with others. We live in complicated times, things happen, and health and safety come first… the people come first. kK: How was jumping back into your trio, Getting There is Half the Battle, to take the place of your dancer? KH: It’s interesting to insert yourself back into physical work you’re familiar with at different stages in your life. I last did that piece (filling in for another dancer, actually) in 2016-ish, and revisiting it in 2022 was like taking a census of all that’s changed in my body (less hip mobility, more leg strength, etc) as I would dance the movement and it felt different. It was a bit of a stressor as I was dancing alongside newer Luminarium dancers Angie Benitez and Katrina Conte, and both of them are so brilliantly in tune with not just learning and dancing new movement but making the work their own, but ultimately it was exciting to have one rehearsal to insert myself into a piece and take it up to Acadia Dance Festival. We had a really engaged and appreciative audience, so that made it all the better. A good skills check!  Happy Birthday to all our friends who celebrate in August!
Alexandra Caporale, Alyssa Harris, Andrea West, Angelina Benitez, Bril Barrett, Courtney Blanch, Denise Sao Pedro, Derek Roland, Dorothy Christian, Drew Jameson, Ed Ryan, Elana Furtado, Elizabeth Powers, Emma Foley, Enid Beaton, Erin McDonough, Eva Yaa Asantewaa, Felipe Galganni, James Gant, Jeremy Wechsler, Jessica Muise, Jillian Grunnah, Jilly Richcrick, Jordan Rosin, Joseph Maimone, Joshua Legg, Kelly Long, Laura Neese, Laurie Sales, Lisa La Touche, Madonna, Michael Jackson, Michael Wonson, Mikki Shoji, Olivia Blaisdell, Samara Seligsohn, and Sarah Duclos Monkeyhouse Loves You!  Happy birthday to everyone who celebrates in July, especially
Aisha Cruse, Andrew Nemr, Arleigh Rothenberg, Catherine Buell, Dorothy Mahoney, Edgar Degas, Ginger Rogers, Jason LaVoie, Jessica Friswell, Joanna Macone, Jon Wye, Katelyn Alcott, Kim Holman, Lisa Conley, Marie Libbin, Mary McCarthy, Michael Flatley, Nicole Adams, Nicole Zizzi, Ninette Paloma, Pam Vlach, Rachel Solem, Randall Rosenberg, Renee Harris, Ruth Birnburg, Thelma Goldberg, Theresa Fellion, and Twyla Tharp Monkeyhouse Loves You!
N: You have been working not only on creating a budget but on developing a 5 year budget plan. Can you talk a little about what you’ve learned about Alive and the company’s values through that process? What was something surprising that came out of planning and dreaming years in advance? BB: Breaking down the budget and looking ahead has really solidified the community connections we want to have. Whether that’s our internal community of members, our connection with other area artists, or our partnerships with local nonprofits and organizations, our budget reflects a desire to honor the work of those we’re connected to currently and hope to connect with in the future. This is an important value for Alive and one that our budget clearly celebrates. One of the priorities in the 5 year plan is putting money back into the hands of our own artists. While Alive is a “passion project”, it still requires a lot of time and energy from those involved, and that work deserves to be compensated. Paying the administrative team for their hard work and removing the out-of-pocket fees for members to pay for rehearsal space are big priorities in our new budget, and when broken down over five years, are achievable goals (which was surprising!). Rather than starting with what we ideally want to see these individuals paid, we’re building in stipends over time to gradually increase the pay until, in five years, it’s where we want. The Monkeyhouse Spring Fling Fundraiser is allowing us to get this process started and we’re beyond grateful!
N: Through the Vault grant you are receiving mentoring from Monkeyhouse. Can you talk about something you were nervous about going into that process? What have you learned so far? What are you still hoping to dig into? BB: Luckily for me, I know and love the Monkeyhouse team, so I didn’t feel any nervousness going into the process-only excitement! I know that karen and Nicole value meeting people where they are and helping people and organizations reach their goals as opposed to forcing ideas upon them, so I felt eager to explore! I’ve been most interested in the conversations around how to build community, as that’s something that’s very important to me. There’s always more to explore there and I can’t wait to keep talking about that!  N: Why is mentoring important to you? Think a bit about the mentoring you have received in your life and where it has come from. Think especially about unexpected relationships or mentoring that has come from completely outside of your field. Can you tell us a bit about one specific mentoring experience and the impact it has had on you? BB: Mentoring is important to me for many reasons. Talking about dance strengthens the work, resulting in more accessible, interesting, and engaging choreographies. While formal mentorship has been an important part of developing pieces, I have particularly enjoyed the more “casual” peer-to-peer mentorship I’ve received throughout my dance career. These moments happen often; in rehearsals, over text, on car rides, etc. I love sharing my work with Alive members and other dancers I know well and discussing what’s happening. Having these conversations with those close to me allow me to think deeply about my work and what I’m presenting. I also often am able to get feedback from close friends who aren’t dancers, which is also immensely valuable. Alive strives to have work accessible to all, so hearing from a non-dancer what they’re taking away from choreography helps to shape the work. N: Who is your community? Why does community matter? What makes you feel part of the community? What do you want to see to make the community feel more connected? BB: Alive’s current community consists of our members, our audiences, the artists we work with in the area, and the local organizations we partner with. Community is important because connection is innately human and life works best when we come together. Existing in a vacuum does not result in satisfaction or larger success; community is needed to make that happen. For me, feeling like part of the community comes from connections that feel safe and working towards common goals. I hope that over time the community Alive is creating becomes more integrated. For example, this past season our workshops at The Somerville Community Growing Center were attended by the Growing Center’s community, whereas Alive’s performance was attended by our community. In the future, I hope that both communities (and more!) attend all events and create one large community to learn, grow, and connect with. Alive plans for sustained partnerships with local organizations to allow this to happen.
N: Land acknowledgements are often given for the spot you are on in the moment, but we’ve all occupied land for our entire lives. Where are you from? Where are you living now? Where does the majority of your work take place? Whose land is it? How does the land you are on impact you as a human and as an artist? How has place shaped the work you are making?
BB: I grew up mostly on Wabanki land, but now live on the land of Massachuset and Pawtucket people, which is also where the majority of Alive’s work takes place. Place has definitely shaped work we’ve made, particularly in our recent show Bloom. In that production, all of our work related to nature; Audrey choreographed a piece inspired by hiking the White Mountains, Tova’s piece pulled from her explorations around her neighborhood to watch the summer sunsets, I choreographed a piece filmed on Nahant beach, and Lila filmed her piece in the Somerville Community Growing Center. Land is something to which we all have connection, so creating work inspired by it allows for choreography that is accessible to our audiences.  Happy birthday to everyone who celebrates in June! Monkeyhouse Loves you!
Arie Steiner Hockman, Bob Fosse, Brenna Banister, Caleb Howe, Deb Pierce, Elisa Nikoloulias, Elizabeth Krolak, Fay DeAvignon, Fred Kelly, Gabe Nesser, Harold Cromer, Henry LeTang, Hjordis Blanford, Jeff Shade, Jim Peerless, Kristin Wagner, Laila Fatimi, Lucie Baker, Martha Clarke, Mary Sousa, Melissa Dollman, Micheline Heal, Nikki Felix, Pat Krolak, Patrick Flynn, Paula Abdul, Rebecca Whittington Ross, Rita Krolak, Rosie Steinberg, Sean Cummings, Shannon Sweeny Curran, Shari Kaplan, Terri Beaton, Tom Christian, Tyler Cantanella, and Xander Weinman, Be sure to check out the links above to learn more about some of these amazing people! Want to be featured here? Let us know when your birthday is!  Photo Credit: Purpleganesh One of the most exciting aspects of producing NACHMO Boston each year is getting to work with dancers from other styles and traditions. When we heard about Samāgata, Monkeyhouse co-Artistic Director, karen Krolak, thought it would be a great opportunity to introduce you to three outstanding classical Indian soloists that we have met through NACHMO Boston: Soumya Rajaram (Bharatanatyam), Sapna Govindan (Mohiniyattam), and Priya Bangal (Odissi). Samāgata, is an evening of classical Indian dance solos by three artists in - Mohiniyattam, Bharatanatyam and Odissi. It will be presented at Andover Town House (Old Town Hall) at 20 Main St, Andover, MA on Saturday, June 11 2022 at 7:30pm. The venue is accessible for people who use mobility devices. Tickets are free. Pre-register here to reserve seating. karen decided to interview each one of the artists for a different local dance blog. We start with Sapna here but be on the lookout for another interview with Priya on the Dance Complex's blog, and a conversation with Soumya on the CreativeGround blog. karen: Recently, I have been mentoring Alive Dance Collective whose company talks about being "full time humans, part time dancers". It has made me curious about how many dancers in our area balance performing with other seemingly unrelated jobs. You are both an Anesthesiologist and a Mohiniyattam soloist. How do those parts of you influence each other? Sapna Govindan: Full time humans, part time dancers - that is quite an interesting take. It made me think about how many different roles we juggle in our day to day lives. I have been a doctor and a dancer for a long time now. So by now it feels quite natural to be both. However, this dichotomy is not without its struggles. So maybe I should talk about the struggles first. It goes without saying that being a doctor is a very demanding and at most times a very inflexible job. Balancing that with serious dance pursuit has required me to let go of certain other things in life. I certainly do not believe that one can have it all. Even simple things like getting enough sleep to ensure one has stamina to dance can seem like a project when I have been on frequent overnight calls at the hospital. However, this has taught me to strike a balance and make use of what time is available to me smartly. I told myself that I will continue to dance no matter what when I started my medical training many years back. Dance has certainly kept me grounded throughout my medical career. It has been a home to go back to regardless of how hard the medical training got. On the other hand, being an anesthesiologist has definitely shaped my personality to stay calm, even-keeled and meet challenges head on. Also, it has built a certain sense of responsibility and professionalism towards everything I do. I believe this has translated into my dance career as well. k: You previously performed with Priya and Soumya in Transcendence as part of Jose Mateo's Dance Saturdays program. One of the things that I truly appreciated about that concert was how Janani Swamy wove the pieces together with insights about each of the different forms of classical Indian dance and music. What are you learning from performing alongside artists in different dance styles? SG: Performing as part of the Transcendence project is something I truly enjoyed. I believe that having a community of like-minded dancers is huge. This feels all the more important coming off of the isolation we went through during the pandemic. Priya, Soumya and I were already working on a project called “Samāgata: A coming together”, when Transcendence happened. The various Indian classical dance forms have many pan-Indian factors that connect them with each other such as the texts they are based on, musical styles, or the content that takes inspiration from epics and other literary works. At the same time, each of them have strong regional identities depending on which part of India they come from. To me, this kind of collaboration has provided a much needed sense of community, a kind of give and take where we encourage each other, enjoy the commonalities and at the same time learn about nuances and aspects that are unique to each style. I strongly believe that this kind of engagement with dancers of different backgrounds leads to the organic growth of an artist as ultimately art connects everyone beyond all differences.  Photo Credit: Olivia Moon Photography @halfasianlens k: One of the challenges I find when I am an audience member for a style of dance that I have not previously studied is figuring out which nuances of the form have meaning. My undergraduate degree was in linguistics and the metaphor that I use in my head is finding the phoneme of this dance language. I really appreciate how your work with Soumya and Priya teaches you more about that in Bharatanatyam and Odissi. I wonder what details do you want first time audience members to notice about Mohiniyattam?
SG: All classical dance forms of India are structurally categorized into abstract dance and interpretive dance. Some dances are purely abstract in nature where body movements are combined with footwork and hand gestures to create dance that explores the melodic and rhythmic aspects of music. Others use body movements and footwork along with hand gestures with meaning and facial expressions to create interpretive dance. These elements are common across Mohiniyattam, Bharatanatyam and Odissi. The difference lies in how this is executed. Mohiniyattam, a dance form originating in the southern Indian state of Kerala, has been variously described as lyrical, sinuous and as a lasya (feminine grace) predominant form. The reason lies in the distinct curvilinear movements of the upper torso called “Andolika” or “Chuzhippu”. In its abstract form, Mohiniyattam employs a stable and grounded lower body while the upper body moves with a controlled lightness in circles, half circles and side to side swaying movements. The arms also follow a similar pattern. While the footwork responds to the rhythmic aspect, the upper body movements respond to the melodic aspect of the music. How the dancing body responds to the music is definitely something to notice while watching this form. Mohiniyattam is also known for its detailed abhinaya (dance with meaning) using specific hand gestures, and facial expressions with particular emphasis on the usage of eyes in expressing meaning. It stands close to the theatrical traditions of Kerala in this aspect. These are some details to watch out for in the performance. k: What do you admire about Priya's dancing that you would suggest that first time audience members observe? SG: Odissi is a form that I admire greatly. I might have learned it if I hadn’t fallen in love with Mohiniyattam! Odissi also employs fluid, sinuous movements of the upper torso but this is executed in a stylistically different manner than Mohiniyattam. Watch out for the soft, undulation of the upper torso isolated from the hips and shoulders (in Mohiniyattam, the upper torso generally moves as one unit) which brings out the musical quality in the dance. Odissi has also taken inspiration from the temple sculptures of Odisha, the land of its origin. This can be seen in the distinctive “Tribhangi” stance – an asymmetrical stance achieved by thrice deflecting the body into an S shaped curve which was adapted from sculptures. As with other forms, the musicality of body movements and rhythmic patterns in the footwork are to watch out for. k: I know that Mohiniyattam and Bharatanatyam are more closely related. What are some differences that audiences should notice? SG: You are right. Both Mohiniyattam and Bharatanatyam are closely related as both forms are from southern India and yet they are distinct from each other in many ways. Bharatanatyam is the first dance form I learned as a young girl as I made my first foray into dancing. This has allowed me to appreciate the similarities and differences in the movement vocabulary better. To start with the basics, the basic stance in Mohiniyattam employs a wide base with feet apart which allows for volume in the curvilinear movements of the upper torso. Bharatanatyam’s basic stance is with feet close together and the upper torso is held erect for most of the time. In Bharatanatyam, the arm movements are more angular and straight (but not always) compared to the rounded movements employed by Mohiniyattam. You will notice the dancer employing leaps and jumps in Bharatanatyam whereas Mohiniyattam is very much a grounded form. In general, you will notice brisk and fast paced movements in Bharatanatyam whereas Mohiniyattam is set to slow to medium tempo which allows for the detailed execution of its curvilinear movements. These are some of the differences you will be noticing. I think these are great questions which give us an opportunity to engage with our potential audience. In an effort to prepare our audience for the performance, we will be holding a pre-performance talk and demonstration at the Andover Center for History and Culture on June 2 at 7:00 pm. The admission is free, though RSVP is requested as seating is limited. Those interested may visit andoverhistoryandculture.org for registration. We hope efforts like these will work towards demystifying these forms and help to build an audience for them. k: As a performer from a non-western dance tradition, it must be exhausting having to educate people about your work. If people want to learn more so that you do not have to do all that extra labor on our behalf, are there books or websites that you would suggest? SG:These are complex art forms and there isn't a concise resource to learn technicalities but the way to learn about it is the way you would learn about any complex art form - watch more good dance, watch the stalwarts in the field, follow their work and don't miss a chance to watch them live. Most professional dancers introduce their work in a way friendly to the uninitiated audience, especially when performing in foreign countries. Most of them also conduct lecture-demonstrations on their tours, or have educational materials posted online. Since art and cultural ethos are so closely tied, it also helps to familiarize yourself with other cultural aspects, music, literature, mythology and other arts. There are art magazines and online resources available. It is difficult to recommend one or two but Sahapedia is a very well researched and exhaustive source. I have been a guest contributor on Sahapedia. My article "Traditions in Mohiniyattam" is available there where I have tried to put together the history and evolution of different traditions/styles within the form of Mohiniyattam from available sources. k: Thank you, that is super helpful. I am so looking forward to seeing Samāgata!
By Nicole Harris
You can see Tova’s work at Arts at the Armory on Saturday, February 26th a 8pm! Tickets are by donation (pay what you can) and available RIGHT NOW! Get yours today! Nicole Harris: This is your first time choreographing for NACHMO Boston. What are you most excited about? What makes you the most nervous? Tova Teperow: I am excited to challenge myself to choreograph to house music. In the past I always selected music that told its own story through lyrics or big sweeping changes in the music, but choreographing to a steady house beat with little variation requires the choreography to do more of that work. I am nervous to challenge myself to make a piece so quickly! N: You work as a pediatric occupational therapist for students with visual impairments and disabilities. How has your dance training helped you better communicate and connect as an OT? How have your students/patients informed you as a dancer and dance maker? TT: I definitely think that being a dancer has helped me be a better occupational therapist. My dance training has given me a high level of body awareness (my dance teacher growing up used to say that you should dance all the way through to your pinky finger) and an ability to easily break down movements into smaller pieces. These are both critical skills for occupational therapy. Also, working with kids who are blind has taught me to be even more specific in my communication when teaching motor patterns for tasks, and I think this has translated to better communication with dancers when in rehearsal.  Alive Dance Collective by Olivia Moon Photography N: You have been with Alive Dance Collective since its inception. In what ways has the collective helped you grow? What makes the collective unique? TT: Being with Alive for this many years and being able to see it grow has been such an amazing and moving experience. I think that one way Alive has helped me grow is in being a better collaborator with other dancers to create movement. What makes Alive so special is that there has always been a very high level of emotional trust and vulnerability in our group. When a member wants to choreograph a piece that is very personal, everybody immediately rallies around that person and is ready to help them tell their story. N: I hear your piece for NACHMO is inspired by sunsets. Can you tell us a little about what you’re making and how it came about? TT: My piece is inspired by sunsets. The last few summers I have been particularly enamored with them and have gone out of my way multiple nights a week to go to a special spot where I can watch the sun go down and take a million pictures throughout. The cyclical nature of the sun setting and then rising and setting again but never the same way twice, the way a sunset seemingly starts small and then fills up the whole sky, and the bittersweet feeling of it finally becoming dark, are some aspects that have inspired my movement. 
Nicole Harris: This is your first time participating in NACHMO Boston. What are you most excited about? What makes you the most nervous? Geetika Bajpai: Yes this is my first time. Honestly, I am taking this first time with NACHMO as an "educational experience" since I am still new to the MA area (didn't get to know a whole lot and mingle due to covid since I moved here in Feb 2020), getting to know the fellow artists and their journeys, and getting involved in the dancing community is really a big deal for me. These are the things I am most excited about. I hope I can find dance partners who would be willing to dance to some bollywood tunes and create fusions of indo-western sorts ;)
GB: Yes, I began the group sometime in July 2021. The dancers that have participated in my group are all working women with full time jobs with kids/families to take care of. We all take time out from our busy lives just for the love of art. The name "Bawri" in a nutshell describes this love or passion for dancing. "Bawri" means crazy for or passionate for .. and in this case it's dancing. So Bawri is a group of women passionate for dancing. N: You started Bawri in July of 2021. How did you come together? What challenges did you face beginning while we are still in a pandemic? GB: I started looking for events to perform and given the pandemic situation, not many opportunities are out there to begin with for live performances. I am kind of shy to be on digital platforms (which I should), as in making insta reels or Youtube videos, basically not so big on creating my own stage through social/digital media. I love performing live with a live audience, even when the number of audience is less, pretty old school that way :) . Finding this kind of opportunity has been challenging with the pandemic and, also because I am new to the area. Another challenge was to find dancers who were willing to commit to practice for events and meet consistently for the same. Finding a location for practice that would work for all of us to meet and practice was another challenge. Given all this, I still consider this endeavor as somewhat successful as we got to perform at 4 events in short 6 months. I hope to find more events and connect with more dancers in future for performances.
GB: This is a great question. It's been extremely tough to manage both simultaneously, honestly. But it's doable at-least now, after being somewhat settled with higher educational endeavors with my name search leading to a google scholar profile :). Both science and dancing is about creativity and this creativity is the common denominator in the two. In science, a lot of creative thinking is needed to solve the tough questions and be able to apply the knowledge in creative ways. Isn't dancing the same? Be able to flow creatively and apply the movements in creative ways to create a peice. Another common denominator is being "immersed" I feel both science and dance require being immersed into them. The deeper you go, the more there is to explore/learn and it never ends. N: We recognize how important mentors are to artists at all stages of their careers. Who are your mentors and how have they impacted your trajectory?
GB: Many mentors shaped my artistic journey. My Kathak guru, the late Shri Reva Vidyarthi, had a huge impact in my early years as I began the training as a child. My arts teachers at junior high and high school years were very encouraging. My dance teacher in the early 2000s when I had joined a hip-hop professional dance troupe in New Delhi was very supportive. Hip-Hop was new to me totally at that time and he showed incredible patience and belief in me. I was fortunate to learn and perform at various events in Delhi. After starting higher education, a sort of formal training has been on and off but many artists have provided inspiration indirectly. I consider all of this equally important.
Learn more about Zack here. Take the #MonkeyhouseNACHMOChallenge, learn more about NACHMO Boston, and discover where you can see these incredible artists’ work by following Monkeyhouse and NACHMO Boston on social media! Nicole Harris: I believe you will be working on something for your grad school thesis during NACHMO this year. Can you tell us about it? Zackery Betty Neagle: Yes, the work I am exploring for this NACHMO season is in conjunction with my grad school thesis. This will be 1 section out of 7 that will be a representation of the bioregion of New Hampshire through concert dance. Through research, explorations, adaptations, and conversations I am putting together an evening's length work highlighting New Hampshire's history, art's culture & community, agriculture, economy, and geography. There are seven regions to New Hampshire and this will be a synopsis of one section of the state! A goal would be to take this work to each of the regions and revitalize some Theatre's, Opera Houses, or Town Hall stages to show the ability & impact dance has!
ZBN: Since completion of filming with Turning Key Dance, we learned working with Jules the power of "YES and"; as both Jules and myself are Artistic Directors, we're used to making decisions solely based for our companies, however getting to collaborate on movement and angles and storyline, it was like we had a blank canvas and we each got to splatter paint of our own colors to create our work! Playing off of one another's ideas and energies. It was a wonderful artistic and friendship building experience!  Image by Sam Krueger N: NSquared has kept busy during Covid. What have you been up to? ZBN: NSquared Dance has been quite busy during COVID, aside from filming with Turning Key Dance, NSquared has been performing in several showcases in New Hampshire & Mass and has grown to be a fully established entity in Manchester, NH. Furthering our roots in New Hampshire, we are in the process of becoming a Non-Profit and look forward to sharing more concert dance works with Northern New England and the Boston area. Sharing the JOY of dance!
ZBN: We're great friends with NACHMO participant Amanda Whitworth and also Brett Bell. Luminarium Dance, and Bosoma are another of the NSquared Dance's favorites! karen Krolak, Nicole Harris, and Brenna Banister are fabulous artists for making this all happen and we are grateful for their creativity and encouragement! There is such diversity within the contemporary/ modern dance language and each choreographer has their own dialect which makes the performances and creations exceptionally special to watch, especially during this month of creativity!
You can learn more about Aftab here. To meet the rest of the artists, take the #MonkeyhouseNACHMOChallenge, and learn about upcoming performances follow NACHMO Boston and Monkeyhouse on social media!
Aftab Dance Group: In the Spring 2019 we performed in several Persian New Year events in the New England area (including the annual Persian Parade in NYC)! As we usually take a break over the summer and then start up again in the Fall, we then performed in Winter of 2019 at two local "Shabe Yalda" (Winter Solstice) events with new choreography. We had fully prepared for a Spring performance season with brand new choreography for 2020, but unfortunately the pandemic started right as Persian New Year events were kicking off (March) and all our remaining shows were canceled. We proceeded to take some time off and just filmed some videos outdoors until Fall 2021, but we are now excited to get back into rehearsing and performing! N: You have challenged yourselves to take on many different forms of Persian dance over the years. What is the thing that unifies all the forms? What draws you to one form over another? ADG: Over the history of the group we have taken on many different styles of Persian dance (Bandari, Baba Karam, Azeri to name a few), but we typically perform a fusion of modern and traditional styles as this is our strength and our audiences enjoy it. If a dancer joins the group with experience in a specific style or expresses interest in trying something new we explore ways to incorporate it into our routines!
ADG: We hope to expand our audiences to the greater dance community in Boston this year! This year our biggest challenge, like many others, is to create new pieces that are stage-ready while navigating the ever-changing landscape of what "performance" season looks like.
Aftab has long had a presence in the Persian community in Boston, but we have not had as much exposure to the larger dance community in the city. We are excited to continue branching out and to share our culture and choreography with everyone. We hope everyone enjoys all the work we put into our costumes and performances.
Learn more about Alex here. Learn about all of the NACHMO Boston 2022 artists, take the #MonkeyhouseNACHMOChallenge, and keep up with when you can see these artists work by following NACHMO Boston and Monkeyhouse on social media! N: You have done a whole lot since I interviewed you for NACHMO last year! Can you tell us a bit about the work you are currently touring? AN: Yes! NACHMO 2021 feels like so long ago and so many things have happened since then. I’ve been using it as a marker for my year so I’m glad it’s always in January. The work in question, 10 Recalling-20, is a collaboration between myself and Ashlea Sovetts, a South Carolina based dancer/choreographer. We both are Winthrop University alums and roomed together abroad many moons ago so the pandemic and reconnecting on Zoom is really how this piece started. We interviewed ten individuals varying in age, backgrounds, religions, orientations, and occupations about their experiences in 2020. Nodding to the fact that it was 10 individuals recalling 2020, we named the piece such and have taken inspiration truly from the stories told, gestures used, and connected the themes from each interview. One of things that still strikes me about the interviews was my favorite question we asked each of them: “What is one word to describe your year?” None of these participatns knew each other and they were all interviewed separately, however, three of the ten answers with “roller coaster.” It became a major theme of the work and inspiration for the entire second section of the piece. We premiered at the Philadelphia Fringe Festival in October and have been working our way up and down the east coast performing and presenting the process at the National Dance Education Organization Conference, the World Dance Alliance Assembly, and the Dance Studies Association Conference. We’re planning to bring it home to Boston in May alongside a few other artists for CURE8 Cambridge, another new venture of mine.
N: Ah yes, ‘Subtly Alice’ from last year’s NACHMO was such a shining light for me creatively. I had never made a dance on film and had really only dabbled in the process back in college with a film student, so it was a nice challenge for me. That process relied heavily on editing as we didn’t have as much time in the studio as I would to create a live piece. I was surprised in what we were able to accomplish with three rehearsals, well let’s call them filming sessions, and how I was able to meld my process to fit different schedules, maintain social distance and dive back into dance in person. N: This year you are working on a solo for yourself. Can you talk about what your goals are and why you are using NACHMO to reach them? AN: Something I learned in the last year is the importance of solo work. I was able to reconnect with a colleague of mine at the Equinox Dance Festival where we both were teaching master classes and presenting work. She mentioned that solo work, while rigorous and intentional, is something that you should always have in your back pocket. Realizing there is a work I’ve always wanted to build out, I’m using NACHMO for the mentorship and really the accountability to create a new solo work. My goal for this piece to process aging and birthday rituals as I close in on my 30th birthday this month.
AN: In so many other fields it is engrained that it’s all in who you know… well I’ve found it is the same in the arts. Maybe even more important. It was exciting last year to be able to meet some new people, see new dance and for some NACHMO participants watch the piece evolve for the Malden Dance Mile. I’ve also come into a mindset that nothing is ever truly finished. With 10 Recalling-20, every time Ashlea and I come into the studio there are new ideas, stronger ways to convey our message, and other avenues to explore. Strength needs time, and time creates strength. Ashlea and I have found a balance as a duo in collaboration and I’m always keen to mix in more of this in my life. Peer-to-peer mentorship is bigger than just creating something for NACHMO, it’s creating relationships in the greater Boston area and furthering the field of dance with deep meaningful conversation. N: Like Monkeyhouse, you are a Malden resident. We have been thrilled to see the arts community here growing since we first arrived. What do you love about this community and how do you hope dance can thrive here moving forward? AN: I’ve been living in Malden for going on three years now and I have loved to watch it grow! I really love the support of the local politicians like Mayor Gary Christenson. He’s always there for things, supports the arts, and I’ve caught him playing Pokémon Go on his breaks from the office, which I think is so funny! It’s been really affirming to see the stuff popping up in the center of town and the new forthcoming community arts center. Very exciting!
AN: So many locals I love! In the last few months, I’ve danced with and grown to know and love Rachel Linksy. She has such a wonderfully keen sense of herself and is always down to play. I’ve also been working more closely with Lonnie Stanton who inspires me every day to think somatically, be open to process, and invite others in.
Nicole Harris: You will be collaborating with a painter and a musician on your piece for NACHMO this year. Can you tell us about that? Abigail Ripin: We are playing somewhat of a game of broken telephone where we create art across our own mediums of expertise. I've sent both the musician and painter a video of a piece of choreography I created. Using this choreography as inspiration, they are creating music and a painting, respectively. They will share their work with me, and I will use it to inspire my next piece of choreography. I will then show the painter this choreography, and he will paint something inspired by it. We are planning to repeat this exchange a few times. N: You have extended out an invitation to work with new dancers. How has the process of finding dancers gone? How has it been working with new dancers? AR: I have been very lucky to have received a lot of interest from dancers who want to participate in my piece. I am looking forward to starting rehearsals and building a cohesive group dynamic. This is the first time I've assembled a group of dancers for a project in almost 4 years, so I am grateful for the dancers who are eager to contribute their time and talent, and I am optimistic for the potential of this work. I'm really excited to create on a group of 5 to 8 dancers and just play director and choreographer. It has been a very long time since I have not performed in my own work, so I'm looking forward to taking a step back and just focusing on creating. I'm also excited to connect with local choreographers through the mentorship tracks and see how my collaborations progress. 
Learn more about Cassandre here. To learn more about NACHMO, take the #MonkeyhouseNACHMOChallenge, and learn about where you can see these artists’ work, follow NACHMO Boston and Monkeyhouse on social media! Nicole Harris: What will you be working on for NACHMO this year? In what ways will you be pushing yourself in new directions? Cassandre Charles: This year I will allow myself to embrace stillness and smallness in my process. I’ll be continuing on the Dance on Film track for, This Black Artist, A Digital Visual Journal. This TIME based dance film is my arts journaling experience, prompted by working with NACHMO last year. I am pushing myself to have complete choreography for a “transition” vs. using improv to “tell a story”. I would love to see words like “and” “therefore” and the sound of breath in my body. ‘I am asking my body and brain to use the breathing, dance and reiki training I have received, (and continue to receive) to come together with joy and gratitude in choreography and self healing. And I want to dance!’
CC: My film was shown at the virtual 8th Annual We Create Festival (June, 2021) the Festival of You, Us and Them, The Dance Complex (September, 2021), and the City of Malden Winter Festival (December, 2021). N: You have been BUSY in the last year! Tell us a bit about what you’ve been up to and what you have coming up! CC: I reconnected and performed with my neo-burlesque troupes, Lipstick Criminals and Slaughterhouse Society. It was fun to choreograph a 90s hip hop piece for the Crimz show and sociopathic clown act for the Society in October. It was a chance to just have fun and be silly after being away from each other for so long. Luckily, both troupes have members who are casted in The Slutcracker, a burly holiday tradition that usually keeps us very busy during the season. We had a smaller cast this year and all were vaccinated. Unfortunately, we followed suit of many theatre shows and cancelled our last closing weekend performances after a Covid exposure. Our producers were always about safety first. We were required to be vaccinated and they provided rapid tests. But, like much of indoor stage life, the pandemic is driving the artists’ calendar. It’s a lesson in accepting the new normal in exhibiting dance. After a long, unexpected time-off, (thanks quarantine life) I am looking forward to using my Fall 2022 Monkeyouse @ ArtsAssembled Space Grant to work on filming for the NACHMO February event. I’ve peeked at the prompts and think this a perfect time for a ‘transition’ reel in my dance film journaling that challenges my choreographic skills.
CC: For me the difference I have noticed is the “when” I want to practice or produce in each medium. As I continue to view my dance journal I see that I am able to draw and dance, but not dance and draw. I don’t let myself go on the latter. Perhaps because I am a visual learner, to “see” a movement or shape then embody it is easier. I am excited about using NACHMO to explore dance then drawing as a prompt for creating work. I think it will help me let go of worrying about technique and just dance! N: We love our local community! Who are some of your favorite local choreographers? And why? CC: Marsha Parrilla, Danza Organica - I have learned a huge amount from Marsha’s workshops and was honored to be part of her first and most recent We Create Festival, celebrating women of color. Marsha has truly been a social justice warrior through her company’s work. Her dance aesthetic is strong and graceful, and she is generous with her curriculums in cultural storytelling and research. Jenny Oliver, Modern Connections - Jenny’s choreography makes me feel like this is what I am supposed to do in the world. Her classes are fun, hard and you will walk away each time so proud of yourself because she has told you to “live” when you perform her center choreo. She answers every question and when you are lucky enough to see her perform, it is magical! Jean Appolon, JAE Expressions - Jean takes me back to first Saturday dance classes in Haitian Folklore. I did not know all the connections to healing this grounded dance style has as a child. I learn and practice through JAE. His company members are just as kind in teaching and welcoming the community to move into healing. I am SO excited to see Wisty Andres on the list of NACHMO participants. Wisty is a beautiful dancer with such control of their body. I have experienced their choreographic genius as a dancer, and their healer’s spirit in their mindful workshops. And have to shout out Boston choreographers McKersin Previlus, LaKai Dance and Ronnie Thomas, Mystique Illusions. Both have a quality of movement that back up their beliefs and dance styles. It was an honor to see their growth as company founders and creative directors. They also promised I could jazz hands in their shows, a flare I think is underused.
Being from Boston, a predominantly white city, I saw a need to focus solely on Black dancers & choreographers in my first archival project. Boston’s black dancers deserve a space to know their works are exhibited with the best intentions and stored in ways that will preserve them for true historical research and reference in all the mediums possible.
It will also be a space for honoring our lost and living legend of multidisciplinary artists, who can be researched at the BPL. I want to support and honor black artists of all mediums. Please join my website or follow me on instagram for project highlights and how you can help Cassandre bring The Black Arts Sanctuary to public and private institutions across Massachusetts and beyond. Insta: @charleyarts Cassandre Charles The Black Arts Sanctuary
Learn more about Brenna here. Learn more about NACHMO, take the #MonkeyhouseNACHMOChallenge, and learn about where you can see these artists’ work by following NACHMO Boston and Monkeyhouse on social media! Nicole Harris: NACHMO Boston has stretched itself in a whole lot of ways in the last few years. After needing to switch to creating dance films last year there are now three different tracks available for choreographers this year and choreographers are coming to NACHMO Boston from all over New England! What are you most excited about with all of this growth and change? What roles are you hoping NACHMO can play for the artists in our community? Brenna Banister: I love that NACHMO Boston has grown and adapted over the years that I've run it. It feels like every year we're able to offer something more that benefits the choreographers we work with. For me, the excitement is in hearing how NACHMO Boston has impacted people in their choreographic journeys. We hear time and time again about how mentorship has offered so much to people, how they've met and deepened connections with other artists through NACHMO, and how this is an important time they take to set aside and create. Mostly, I hope that NACHMO creates community within Boston. I hope for artists to find people they can connect with and who enhance their artistic exploration. Whether that's someone they talk to about dance frequently, artists they collaborate with, or someone they just check in with now and again. All forms of connection are valid and offer us as artists a chance to deepen our work and practice. It's my opinion that often artists get lost in a small bubble or their own internal space, and growth and expansion happen when we connect with those around us
Where do you find the creative energy with everything else you do to keep NACHMO Boston up and running during the month of January? Where do you turn when that creative energy is running low? BB: It feels really ambitious to create while running NACHMO Boston! For the first few years I ran NACHMO I absolutely refused to also choreograph. However, I think due to my injury (mentioned later) and so much time of inactivity, I'm itching to do something creative right now. I also always find that NACHMO inspires me. The mentorship sessions keep my spirits and creativity up. Even the sessions where I don't show my own work offer me so much inspiration and motivation. Additionally, using the Creation track this year takes some of the burden off. I can create as much as works for me, and not feel pressure to come up with something that feels very "complete" and ready to present. Finally, working collaboratively with my dancers helps to keep ideas flowing and sharing the process with them allows for me to have rehearsals where I come in less prepared and see where the movement takes us!  Photo by Olivia Moon Photography N: You have been dealing with an injury for the last few months. How do you plan to tackle choreographing alongside this new obstacle? What are you most excited about for this new approach? What are you most nervous about? BB: Yes; in October I ruptured my Achilles tendon. I 10/10 would not recommend! I still won't be able to move much in January- walking is my expected limit. I plan to build my piece very collaboratively, which is an approach I've grown to love. However, this time I won't really be able to contribute my own movement. I'm excited to see what the dancers develop and watch them create instead of creating alongside. It will be fun to see their movement develop! As for nerves, I don't have many! I feel pretty connected to the dancers I'm working with so I feel confident that they'll be able to interpret my ideas without me being able to move and that they'll offer many of their own wonderful ideas!
BB: It's been so great to rotate Alive Dance Collective choreographers for the past few NACHMOs! I think it gives a chance for our group to get that kick in the pants and start the year off with someone different each year. Additionally, I'm so excited for added mentorship requirements. I hope that mentorship helps members of Alive find their voices and bolsters their confidence, while also connecting individual members of our collective with more members of the Boston dance community. N: Last year you shared your love for Evolve Dynamicz, Ruth Benson Levin & Lynn Modell, Kristin Wagner, Monkeyhouse, Sasso and Co, Public Displays of Motion, and Ryan P. Casey. Who are some local artists you specifically met through NACHMO that you love? And why? BB: I meet so many people through NACHMO! Jessica Roseman is someone who I got to know much better through Mental Health Happy Hours last year. She's a lovely person and I love how she works to make movement accessible to broader communities. I was able to attend one of her Nourish days at LexFarm and was so inspired! Also, Anne Goldberg-Baldwin is a NACHMO connection for me and I'm so fascinated with how her film last year combined her background in figure skating and dance. It was so beautiful! 
Learn more about NACHMO Boston, take the #MonkeyhouseNACHMOChallenge, and learn about how to see these artists’ work by following NACHMO Boston and Monkeyhouse on social media! Nicole Harris: This is your first time participating in NACHMO Boston. What are you most excited about? What makes you the most nervous? Dani Robbins: I'm most excited about participating in NACHMO because of the timeline--I think a huge part of a creative practice is sometimes making yourself available to create small projects quickly and with less self-judgment than projects with more luxurious timelines. There's an important set of skills buried there--following your intuition, making choices quickly, removing the second-guess impulse, celebrating your taste. I'm thrilled to be participating in NACHMO because I think so many of those deeper creative skills come to the surface in a collapsed timeline like one month. Now following my own advice on that is what I'm most nervous about... N: You run a dance program at College of the Atlantic in Bar Harbor, ME. From what I understand it’s a fairly unique program. Can you tell us about it? DR: I'm really lucky to be teaching as an adjunct at College of the Atlantic right now. COA is a tiny liberal arts school where every student receives the same credential: a degree in Human Ecology. This makes for really well-rounded students that take everything from contemporary dance technique, to marine biology, to conflict resolution or poetry. I'm working to make the dance curriculum as interdisciplinary as the model of the college. Dancers and choreographers write, draw, and heal. They are political, they are scientists, they are active citizens. I try to replace the term "dance practice" with "embodied scholarship practice" as much as possible.
DR: To be honest, my rural location in Bar Harbor has been the singular largest challenge to my work as an artist for the past four years. It's difficult to make a 6 hour round trip to take class, see a show, or connect in-person with a larger dance community. However, I feel that I'd choose being a rurally-based artist again and again, because it has pushed me to develop a creative community for myself. That often means reaching beyond circles of "dance people" and engaging community members who might not have a long history with contemporary dance. That's where some serious magic happens, and it's allowed me to foster relationships with families, schools, students, seniors etc. I'm excited about the opportunity NACHMO provides to connect with the larger New England dance community, as that's something I really crave. I'm finding that being a rural artist just means casting your net for community a little further. N: You were artist in residence at Acadia National Park. Tell us about your experience! DR: I was really lucky to participate in the Acadia National Park Artist Residency program back in 2019 alongside a close collaborator of mine. We spent lots of time doing sensory-based work in the National Park (lots of tourists wondered who the folks laying on the rocks were...) I think the residency really challenged us to consider our relationship between our bodies, colonization, and the concept of "property." I feel grateful to have had that space as an emerging artist.
N: There are so many incredible local choreographers here. Who are some of your favorites and why? DR: One of my favorite Boston-based choreographers is Betsi Graves. I feel really lucky to have studied with Betsi as a young dancer through Urbanity Dance. I really think of her as a whimsical genius--she builds a captivating world for each dance to live in with its own delightfully bizarre logic. I also love to share space with Scott McPheeters, who is based in Biddeford, Maine. Just a radiant human. His movement really captures the expansive joy of dancing. N: We recognize how important mentors are to artists at all stages of their careers. Who are your mentors and how have they impacted your trajectory?
DR: One of my closest mentors is actually a Boston-based dancer, teacher, choreographer, Jaclyn Thompson Waguespack. Jaclyn and I met when I was really young, and in a very tender place in terms of my relationship to dance. She offered me a pathway through dance that was healthier and served my growth as a whole person. It's been a huge gift to grow together as artists.
Learn more about NACHMO, take the #MonkeyhouseNACHMOChallenge, and learn where you can see these amazing artists’ work by following NACHMO Boston and Monkeyhouse on social media! Nicole Harris: We are thrilled that NACHMO Boston is expanding into NACHMO New England! We are so excited to have you with us this year. What are you hoping to get out of this process? What will you be working on? Amanda Whitworth: I’m hoping to meet new artists and to prioritize joy in my own process. I’ll be working on animating soft sculptures where the body is fully or partially obscured. N: This is your first time participating in NACHMO Boston. What are you most excited about? What makes you the most nervous? AW: Most excited about expanding my community and being part of a creative movement that gets us talking and working. I don’t feel nervous, just glad to be connected.
AW: The cohort of artists at RDDI have helped me think about the kind of work I really want to make. That work is emergent, collaborative and not made for the proscenium. I’m collaborating with two badass women; Christina Pitsch, an mixed-media installation artist and Vivian Beer, a designer who works primarily in metal. We have given ourselves complete permission to play with whatever ideas we want. Together, we will show three short “experiments” that fully or partially obscure the human form. It’s definitely a WIP, very weird (hopefully in a delightful way) and not exactly intended for the stage - FUN! N: We recognize how important mentors are to artists at all stages of their careers. Who are your mentors and how have they impacted your trajectory? AW: I use the feedback and support from a “brain trust” to center my own process. That looks like a group of artists, friends, colleagues who I trust and check in with. Because dance shows up for me in non-performance ways, that brain trust includes folx from different disciplines and sectors. This diverse feedback helps me think about ways dance lives (for me and others) to sharpen creative projects and also as tools or modalities to support innovation in healthcare and education. N: There are so many incredible local choreographers. Who are some of your favorites (both from Boston and New Hampshire!) and why?
AW: It’s impossible to pick favorites so let me shout out NH based artists/companies: Sarah Duclos/Neoteric Dance, Nick Neagle and Zack Betty/N-Squared Dance, Joan Brodsky/NH Dance Collaborative, Aaron Tolson/Speaking in Taps, Amy Fortier/Ballet Misha, Lissa Curtis/Safe Haven Ballet.
Between now and the performance in February we will be sharing interviews with the 30+ choreographers who are taking the NACHMO Challenge with us this year! First up is Brett Bell, who is back with us for his second NACHMO in 2022! Nicole Harris: We are so excited to have you back for NACHMO again this year! What are you hoping to build now that we’re (hopefully) looking at live performance once again? Brett Bell: I am hoping to build a beautiful piece for the stage. My dancers are so talented and I’m thrilled to have them.
N: You do a lot of teaching all over the Boston area. What draws you to education? What do you hope your students take away from your classes? BB: Education is life, there is more to teaching just movement. I hope my students take away a sense of discipline and the importance of repetition. These are important life lessons that will keep you moving in the right direction.  N: What else are you working on these days? Can people see your work any time soon?
BB: I’m working on building my youtube channel in the hopes of my work will get out there for people to see. I would love to have more opportunities to create with other artists and build a decent repertoire. I’m also closely working with Jeryl Palaña on a new project she is developing which I am excited to be a part of.  Happy birthday to all our friends who celebrate in December!
Amanda Untracht, Amy Foley, Barry Duncan, Brianna Unsworth, Carly Krolak, Corey Hutchins, Darren Buck, David Makransky, Frank Sinatra, Jenna Dewan, Jennifer Beals, Jennifer Kuhnberg, Jessica Roseman, Jon Lavalley, Jose Greco, Khalid Hill, Mara Blumenfeld, Marty Allen, Natalie Schiera, Nicole Ohr, Ralph Farris, Robert Joffrey, Rowan Salem, Rudolf Laban, Ruth Faris, Sammy Davis Jr., Sarah Grace, Thomas Durand, Todd Shanks, and Vanessa Martinez de Banos  Happy Birthday to all of our friends who celebrate in November!
Kyla Barkin, Gracie Baruzzi, Busby Berkeley, Nick Boraine, Benjamin Britten, Isabella Carmenate, Ryan P. Casey, Aaron Copland, Andrea Underhill Curtin, Lane Dansereux, Eva Dean, Brian Eastman, Rick Frank, Savion Glover, Chuck Green, Alexander Godunov, Soufiane Karim, Laura Kinlin, Remy Marin, Jenny Oliver, Mia Paschal, Courtney Peerless, Jordan Pierce, Eleanor Powell, Kora Radella, Donna Rosenberg, Connor Shea, Michelle Schlief, Jon Taft, Susie Telsey, Aaron Ximm  Happy Birthday to all our friends who celebrate in August!
Alexandra Caporale, Alyssa Harris, Andrea West, Angelina Benitez, Bril Barrett, Courtney Blanch, Denise Sao Pedro, Derek Roland, Dorothy Christian, Drew Jameson, Ed Ryan, Elana Furtado, Elizabeth Powers, Emma Foley, Enid Beaton, Erin McDonough, Eva Yaa Asantewaa, Felipe Galganni, James Gant, Jeremy Wechsler, Jessica Muise, Jillian Grunnah, Jilly Richcrick, Jordan Rosin, Joseph Maimone, Joshua Legg, Kelly Long, Laura Neese, Laurie Sales, Lisa La Touche, Madonna, Michael Jackson, Michael Wonson, Mikki Shoji, Olivia Blaisdell, Samara Seligsohn, and Sarah Duclos Monkeyhouse Loves You!  Happy birthday to everyone who celebrates in July, especially
Aisha Cruse, Andrew Nemr, Arleigh Rothenberg, Catherine Buell, Dorothy Mahoney, Edgar Degas, Ginger Rogers, Jason LaVoie, Jessica Friswell, Joanna Macone, Jon Wye, Katelyn Alcott, Kim Holman, Lisa Conley, Marie Libbin, Mary McCarthy, Michael Flatley, Nicole Adams, Nicole Zizzi, Ninette Paloma, Pam Vlach, Rachel Solem, Randall Rosenberg, Renee Harris, Ruth Birnburg, Thelma Goldberg, Theresa Fellion, and Twyla Tharp Monkeyhouse Loves You!  Happy birthday to everyone who celebrates in June! Monkeyhouse Loves you!
Arie Steiner Hockman, Bob Fosse, Brenna Banister, Caleb Howe, Deb Pierce, Elisa Nikoloulias, Elizabeth Krolak, Fay DeAvignon, Fred Kelly, Gabe Nesser, Harold Cromer, Henry LeTang, Hjordis Blanford, Jeff Shade, Jim Peerless, Kristin Wagner, Laila Fatimi, Lucie Baker, Martha Clarke, Mary Sousa, Melissa Dollman, Micheline Heal, Nikki Felix, Pat Krolak, Patrick Flynn, Paula Abdul, Rebecca Whittington Ross, Rita Krolak, Rosie Steinberg, Sean Cummings, Shannon Sweeny Curran, Shari Kaplan, Terri Beaton, Tom Christian, Tyler Cantanella, and Xander Weinman, Be sure to check out the links above to learn more about some of these amazing people! Want to be featured here? Let us know when your birthday is! By Nicole Harris N: How was the NACHMO experience? What was something that went really well? What was something that went a little sideways? BB: I have been choreographing for over 10 years and every experience has its ups and downs. For NACHMO, I felt it was such a new experience creating dance on film that everything felt wrong, but in a good way. I was challenged to use tools that went familiar, and unsure of where to start and what the outcome would be as a whole. I am pleased to say I would do this over and over and over again, and take what I have learned from NACHMO as I continue to create for as long as I can.
N: What sort of changes (if any) did you make between the NACHMO Boston informal showing and the Malden Dance Mile? BB: The changes between the informal and MDM showing I made, were use of space. I needed to consider the audience receiving more of a personal experience. Taking away the frontal view, and giving a visually uncomfortable take of searching for happiness.
BB: YES, this is very important. We must lift each other as artists because what we do is valuable and could have great impact on our communities. Im a FAN FAV of my dancers/ Boston based creators, Jeryl Palana and Deidre Lewis. These two fantastic women have continued to support me as I have supported them. To name a few more, Angie Conte, William McLaughlin, and Joe Gonzalez.  |
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