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By Nicole Harris N: In addition to being the NACHMO Boston regional director you were inspired to choreograph a piece this year! What made you excited about your idea? BB: I initially started off the year not intending to choreograph. My first year as regional director I also choreographed and danced in a piece, and it was far too much for one month! However, once the month got rolling I was so excited by what everyone else was doing that I wanted in. A prompt put forth by NACHMO HQ this year was to dance with a piece of paper constantly connected to your body and the ground, and I found that very appealing. That was how the first phrase of my piece was created and I went from there!
I’ve also learned that organizing is key, having help makes everything more exciting (yay Monkeyhouse!), the Boston dance community needs more positive experiences with what mentorship means, and that choreographers are always excited by this opportunity. My favorite part of NACHMO is seeing new connections being formed! N: This year’s NACHMO was different than past years. What was one of your favorite moments? What was something that went a little sideways? BB: It was certainly different but so wonderful! I loved forming connections in the small groups of the Mental Health Happy Hours. It was amazing to form real, deep connection in a time when connection was so hard to come by. I also loved all of the group mentorship sessions. Each one was unique, but the current running through all of them was how kind and thoughtful people were about offering insight and feedback to each other. I left each session feeling inspired and full of admiration for the community that was created.
I try to pay these gifts forward by having a door open to talk about dance and life with the younger generation that I was lucky enough to get to know through a few years of teaching dance. Plus, by offering mentorship opportunities at NACHMO Boston with the goal that they feel as safe and fortifying as mine do. N: It is important to us that we continue to lift up other artists in our community. Who are some of your favorite Boston area choreographers? Why? BB: There are so many! Evolve Dynamicz, Ruth Benson & Lynn Modell, Kristin Wagner, Monkeyhouse, Sasso and Co, Public Displays of Motion, Ryan P Casey, and more!  N: We are so thrilled to be in Malden! Do you have any connections to this fantastic city?
BB: I unfortunately have not spent a lot of time in Malden, except for one time in Summer 2020 when my partner and I kayaked in the Mystic River. It was a beautiful day towards the end of the summer and was a new spot for us. I'm looking forward to returning to kayak again at some point this year!
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N: You have recently taken over NACHMO Boston. How did that come about? B: NACHMO Boston has been something I’ve enjoyed doing since its conception here in Boston. I have danced with Jess Muise, the former organizer, in a number of different settings. She approached me last year to let me know that she would likely be moving on and asked if I would be interested. I told her that with the support of Alive, I would be so excited to host such a wonderful dance opportunity in Boston! Alive looks forward to NACHMO every year and we’re thrilled we get to share that in a new way this year. N: What are you most excited about for this year’s National Choreography Month? B: I’m always excited to see what everyone else brings to the table and the work that’s created. The connections made are always fun, and it will be so exciting to experience all of it from the driver’s seat.
N: You come from a traditional jazz, tap, ballet, modern background. How does that range of styles impact the work you’re building today?
B: I think having a wide knowledge base allows me to pull from many different areas and helps me to not feel boxed in. Although I don’t perform Tap very often, it is one of my heart’s biggest pleasures, and I find that my Tap training comes out in my Contemporary choreography, particularly with how I hear and interpret music. N: What changes in your process to build a piece in such a short time span (one month)? How long do you usually take to create work? B: Creating work really varies for me. The piece that I started on Alive in July 2014 (“Shallows” or “The Pit”) took over two years (off and on) to complete. However, it is not uncommon for me to create something in a month if there’s an impending deadline. When I have to create work quickly, I usually start with an idea that is more fleshed out or less abstract. That way I either have already done some of the journey involving the concept of the piece, or there’s less of a complicated journey to take when thinking about the work. Then, I will usually create the choreography and teach it to the dancers. I usually incorporate less improv or collaborative building when there’s such a tight deadline, but I constantly talk to my dancers and other friends about the piece to gain ideas and inspiration. And sometimes, with a deadline, I just have to make a decision and can’t wait for the decision to come to me. One of my mottos is: “we can always change it later,” and I find myself reminding myself of that regularly during NACHMO. Nothing is set in stone, and sometimes making a decision actually gets you closer to what you want than sitting around waiting for the right answer to appear out of thin air. N: Who are some of your favorite choreographers? B: I’m a big Kate Jablonski fan. I love her combination of technique and artistry and unique athleticism. I also love Emma Portner and Michelle Dorrance. In addition, I’ve loved Wayne McGregor’s work that I’ve seen, and I adored Yury Yanowsky’s “Smoke and Mirrors” and hope to see more of his work. Plus, he and Kathleen Breen Combs have the cutest baby! |
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