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Getting to Know Alexander Davis - ChoreoFest Interviews

6/12/2019

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Person stands in black Arms rest on hips, staring out Wearing silver shirt
Photo by Mickey West
Here's the final interview with the ChoreoFest choreographers.  (Although you might just hear from some of the other voices within the festival soon!)  Introducing, Alexander Davis!
Get your tickets to see Alex and all of the ChoreoFest artists at Ignite at Green Street on June 23rd!
Word
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Nicole Harris: You talk a lot about tying fiber arts into your work as a choreographer.  Can you talk about places where those two worlds have intertwined in your work? What draws you to those two art forms?
Alexander Davis: Fiber is a very empathetic medium. There are lots of shared, tactical experiences with fiber and textiles. When one sees fiber in a heightened artistic context, it is easier to have a physical, empathetic response to it. For this reason I have always believed that dance and fiber are connected. I have created fiber works that are simply wall hangings, or installation experiences, but I have also create knit costumes and performance environments. Everything is related.
Dancer stands on stage Legs crossed, arms out, purple light People sit behind
Photo by Olivia Blaisdell
N: You are the director of Urbanity Dance’s Summer Choreography Intensive Program.  Can you tell me a little about the program? What makes that particular program unique?
AD: Urbanity's Summer Choreography Intensive program is a highly curated, one-week intensive focusing on creating a platform for helping emerging artists continue to develop their voices as makers. The cohort of artists work and support each other throughout the week. They create work across community spaces in Boston's South End, and it culminates in an informal showing. I believe what makes this program unique is the individualized attention and mentorship that each student receives during their time. I (along with a group of guest artists) take the time to first identify each individuals goals as a dance maker before then helping them gain the skills and experience to achieve growth within towards those goals.
Photo by Celso Enrique
N: You will be working in one of the site specific locations at this year’s ChoreoFest.  Where will you be working and what made you choose that spot?
AD: I enjoy adapting my work for specific spaces. In this case I was attracted to the nook between studios 1 and 2 as a challenge to explore entrance and exits. The nook is framed by two door ways. I am looking to use this time to research entrances, exits, beginnings, and endings in order to inform future, evening length works that are currently in process with my collaborator Joy Davis. 

​
N: What are you most nervous about for ChoreoFest?

AD: I am most nervous about being exhausted. I usually go to bed around 11:00pm and wake up around 7:00am. I am anxious about staying up all night, and how that will affect the following few days and the work I have to get done in those days.
Photo by Sarah Bilotta Belclaire
N: Who are your mentors, past and present?
AD: It takes a village, and I am endlessly grateful to all of the folks who have supported me and continue to support me along my journey. I would say my collaborators are my primary mentors; Joy Davis, Jenna Pollack, Harrison Burke, Eric Mullis and beyond. Peter DiMuro. Monica Bill Barnes. William Seigh. Too many to count and name. Thank you to all.
Photo by Celso Enrique
N: Where else can we find you this Spring/Summer?
AD: I will be performing at Gibney Dance in NYC with Peter DiMuro/Public Displays of Motion June 13-15th. This summer I am focusing on my own dance training by participating in One Body One Career at Springboard in Montreal. This is a two week Counter Technique intensive in July. In August I will be directing Urbanity's Choreography Intensive and preparing for the upcoming semester at Endicott College, where I am on faculty in the Visual and Performing Arts Department.
Photo by Celso Enrique
N: What other local companies/ choreographers do you recommend people check out?  Why?
AD: Boston has a dynamic and growing dance community. Joy Davis is my dear friend and collaborator (together we are The Davis Sisters), who is developing beautiful and thoughtful work. I am a huge fan of Heather Stewart. Her recent premier of "against hard air" at the Boston Center for the Arts was unbelievable.

6 squares, 5 are headshots, one says 24 Hour Choreofest
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Getting to Know Colleen Walsh - ChoreoFest Interviews

6/8/2019

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by Nicole Harris
Reaching toward the sky Head and shoulder on the floor Woman on tiptoes
Photo by Bradley Rhoton
ChoreoFest is less than two weeks away!  We are so excited to get into the studio with all of these artists!  Meet Colleen Walsh!
Silhouette of dancers and text: Ignite
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Get your tickets to see Colleen and the rest of the artists at Ignite on June 23rd!

Nicole Harris:  You began your relationship with movement as a competitive gymnast.  How does that experience inform your choreography today? In what ways are the two worlds similar?  Different?
Colleen Walsh:  
In my very young years I actually danced before my career as a competitive gymnast, but as gymnastics became more serious, I stopped dancing and didn’t return to it until college when my time as a gymnast came to an end. Although looking back, as a gymnast I choreographed my own floor and beam routines, so even during that time there were signs that dance would play a part in my future...


My time as a gymnast influenced the person I am in so many ways- and does continue to influence my choreography today. It taught me a lot about dedication during times of trial, overcoming obstacles, respect, and consistency- all of which we know to be required skills of a choreographer. My work also tends to be quite athletic, rooted in my love for pushing boundaries with gravity and being upside down.


Certainly there are some differences between ‘the two worlds’ of gymnastics and dance, but I see them as more similar than they are different. Both are communities of deeply passionate and dedicated individuals who love to move. As I became more involved in the dance community, I used to be embarrassed to admit that I didn’t study dance for hours in the studio during my childhood and teen years. I felt like without that, my place in this community wasn’t validated. But, I did spend hours in the gym during those years. As I’ve gotten older, I’ve come to appreciate that there’s a lot of different ways to do something right- there’s a lot of different ways to get to where you want to go- and no way of getting there makes your journey any less valid.


Photo by Doug West
N:  Who are the dancers you’ll be working with as part of ChoreoFest?
CW:  I’m actually still finalizing this based on availability and unfortunately a few dancers I work with dealing with injuries. I’m very interested in continuing to develop both solo work and group work- so no matter how things end up, I’m thrilled for this experience...I’m trusting it will work out exactly how it needs to best serving this experience. If I move forward working with dancers, I’ll be sharing who they are and how amazing they are on my social- so keep an eye out!

N:  What are you most nervous about for ChoreoFest?
CW:  My choreographic process tends to spend a lot of time in the ‘gathering inspiration’ or research phase, and I’m truly trying to not think much about what I’ll create until I walk in the door on June 21st, to really embrace the purpose of this festival, so that has me a bit outside of my element right now. 
Wearing all black clothes Woman stands downstage center Lights make squares on ground
Photo by Doug West
N:  Who are your mentors, past and present?
CW:  I feel really lucky to have had such tremendous mentors in so many different areas of my life. I’d love to give a shoutout to Duane Lee Holland, Jeanine McCain, Pam Pietro and T Lang who have each had a profound impact on me as a dancer and choreographer, teaching me along my journey a little bit more about the artist and human I want to be. 

I’m overwhelmed with gratitude when I think about the many beautiful people who have cheered me on, supported me, picked me back up, and loved me along the way. 

N:  What do you most value in a mentor?
CW:  A big open heart and honesty. 

N:  What other local companies/ choreographers do you recommend people check out?
CW:  This Boston dance community is the dang best. I’m lucky to come into contact with a lot of truly beautiful artists and companies and to have the opportunity to talk with them and watch them share their souls. Get out to festivals, classes, workshops, and performances this summer and support local artists!

A few people whose work, teaching, dedication, guts, service to the community, and artistry have been inspiring to me recently:

J Michael Winward
Jean Appolon
Kristin Wagner’s That’s What She Said 
Michael Figueroa
Aysha Upchurch
Ali Kenner Brodsky
Peter DiMuro/Public Displays of Motion​

...and truly so many more...
...and the people I get to stand alongside during this ChoreoFest...come on! Amazing!!
In a black tank top Woman with red hair in plank Smiles at cameraPicture
N:  Where else can we find you this Spring/Summer?
CW:  You can find me teaching at The Dance Complex’s Summer Sizzle Dance Festival, on a regular basis at Shanti Yoga in Hopkinton, and getting my butt into the studio a lot. A few years ago I lost a lot, and to be honest choreographing and performing has felt a lot like ripping off a bandaid since then...but it’s time to get ripping. ​

Collage of 6 squares. Five are headshots and the bottom center is the 24 Hour Choreofest Logo
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Getting to Know Kelsey Saulnier - ChoreoFest Interviews

6/3/2019

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By Nicole Harris
Woman on white floor Fingertips touch floor, elbows Bent, looks at shadowPicture
Welcome to be Here - PC: Derek Fowles
Introducing our next ChoreoFest choreographer, Kelsey Saulnier!  She will be working in one of the site specific locations at Green Street during the festival.
Silhouette of person, two arms from side, and seven hands making shapes. Red text says
Don't miss Kelsey and all of the ChoreoFest artists at Ignite on June 23rd!  Get your tickets today!
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Nicole Harris: Your work incorporates both choreographed movement and improvisational scores.  How do you weave those two things together within the same work? What sorts of improvisation scores are most interesting to you?  How have you developed an idea from simple improvisation to a repeatable score?
Kelsey Saulnier: I like to think of improvisation and set material as not so different, and this helps to weave these two ideas together and transition in and out of them within the same work. Improvisation is simply about in the moment choice making, and because of this there is always some degree of improvisation in all that we do. Even in set material, we are not necessarily choosing to come up with new movement, but we are constantly choosing how we embody what is already there; we are choosing how to make it come alive… how to make it more profound than just a shape; or how not to.

I am most interested in improvisational scores that stem from a more visceral place… scores that provoke movement from the inside out. It is one thing to put on a piece of sound and simply improvise to it, but this sort of feels like a wash for me. I do not know where the movement is coming from or why, and although this is a valid way of working it does not sit right with my dancing body. Which is sometimes okay, but not ideal. Scores that deal with an imagined density or resistance, a cooking of the organs, a spreading of skin or imagined imprinting of the air. Scores like this really allow me to work without the notion that my movement has too look a certain way, and dance from a place of true investigation.

I like to video myself improvising sometimes, then relearn only the best bits and string them together into a more repeatable phrase. Improvisational scores are also wonderful choreographic tools. For example, I can propose a score that deals with attempting to move exclusively from your most inner bone marrow, and instead of improvising with it, create set movements that embody this task and string them together into phrasework.

PicturePerson in all black Hands say
of Her - PC: Peter Raper
N:  What are you most nervous about for ChoreoFest?
KS:  I feel most nervous about being invested in a particular artistic process for twelve hours straight. I enjoy creating work in pieces because it allows me to step outside of it for a bit and get some perspective on what the heck I just made. This is especially helpful with solo work. I can revisit it later with fresh eyes. Being IN a work for this extended amount of time feels frightening but also like a totally exciting challenge. I am interested in how far I will fall into it.
Dancer on black stage Looks over shoulder at floor Grabs at her tan dress
Small Memory - PC: Stacey Hazen
N:  Who are your mentors, past and present?
KS:  Two movers/mentors that have been super important in my development as an artist are Chris Aiken and Leslie Frye-Maietta. They’re two very special humans in the Five Colleges that taught me during my time in undergrad and really helped me find my voice as an improviser. Chris teaches at Smith College and is a master at improvisation both in contact and composition. I have worked closely with him over the years in both class and rehearsal settings and he has supported me endlessly. Leslie really opened my eyes to what else dance and movement could be artistically when I first arrived at college. She is an amazingly thoughtful choreographer and really great at pulling heart and soul out of everyone she works with. I’ve danced for her in many of her works over the past four years and her rehearsal process has always been super transformative for me. 
Black and white photo Dancer on stage, looks at foot Off the ground and back
Welcome to be Here - PC: Derek Fowles
N:  Where else can we find you this Spring/Summer?
KS:  This summer is filled with lots of dance, work, and travel, which is so wonderful. I am showing a newish-solo around NYC throughout June. I’ll also be spending some time in Vienna during July/August dancing/studying at ImPulsTanz. I have had my eye on this festival for years and feel so grateful and excited that it was able to work out this summer. Other than that, I work as a nanny and a dog walker (the hustle is real). So, you might find me out walking some pooches. 
White woman leaping Arms extended front and back Two people watchingPicture
Welcome to be Here - PC: Derek Fowles
N:  What other local companies/ choreographers do you recommend people check out?  Why?
KS:  Jenna Pollock is a thoughtful and fiery choreographer who is doing wonderfully progressive things in the Boston area. She emphasizes the importance of improvisation and works to create thought provoking dance. I recommend checking her out if you haven’t. Also, David Dorfman Dance Company. They are not exactly local to Boston, but they often hold rehearsals and intensives in Connecticut as well as NYC. Their work is humorous, quirky, abstract, athletic, and truly joyful. They are a company of kind and caring individuals who everyone should really check out.
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Getting to Know Nick Daniels - ChoreoFest Interviews

6/3/2019

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by Nicole Harris
Man with dark skin looks Up, fingertips touch his face His beard flecked with grey
by Curtis Reaves
Introducing another 24hr ChoreoFest artist, Nick Daniels!  He is coming to us from Pittsburgh.  We are thrilled to have him in the studios with us at Green Street in a couple of weeks!
Silhouette of person and seven hands making shapes. Text: ignite
This year the ChoreoFest artists will show their work at Ignite, Luminarium's gala event on Sunday, June 23rd.  Don't miss this opportunity to see new work and support a whole range of choreographers!
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Nicole Harris: You recently returned to choreographing after quite a few years.  What has been different in this “second chance”?  What are you most excited about doing with your work at this stage in your career?
Nick Daniels:  
When I left the dance world in 1994, the internet was a new thing.  I’m most excited to take advantage of technology advancements. Also, during my hiatus I lost both my parents at separate times. Through that loss I found strength and knew I had to come back to honor them.


Four dancers on stage, Sheer black fabric flowing out Amid sea green screen
Photo by Nick M Daniels
N: You recently resurrected Pittsburgh Dance Week.  Can you tell me a bit about what that is and why it was important to you to bring it back?
ND: When I returned, things in Pittsburgh’s community were very different.  I asked my dancers about Pittsburgh Dance week, but they weren’t aware it was even a thing.  At that point I knew I had to reinstate the tradition of having a week of classes, discussions, showcases and performances to showcase how very diverse and talented my hometown is.
Four dancers on stage In black and animal masks Arms thrown out to side.
Photo by Nick M Daniels
N: Where else can we find you this Spring/Summer?
ND: This summer I will be performing in Dancing Queerly here in Boston at the Dance Complex, then more work in festivals, teaching and developing new work for our next season.
Dancer on a stage Knees bent, back arched, bent arms out Wearing all black clothes
Photo by Nick M Daniels
N: What other local companies/ choreographers do you recommend people check out?  Why?
ND: Companies to look out for... In Pittsburgh, SlowDanger.  In Boston, I love Peter DiMuro’s work. There’s an honesty that I am drawn to with both groups.

6 squares, 5 have headshots, one reads 24 Hour ChoreoFest
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Getting to Know Emma Morris - ChoreoFest Interviews

5/31/2019

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by Nicole Harris
Headshot of white woman Looks over shoulder and smiles Long hair falls down back
All Photos by Jason Ayer
One of our favorite Boston choreography festivals is BACK!  We are honored to once again partner with Luminarium Dance Company for 24hr ChoreoFest!  We are kicking off the festivities with a series of interviews with this year's participants.
  
​24hr ChoreoFest is a unique choreography event fashioned after 24 hour play and film festivals.  Choreographers are locked into Green Street Studios overnight on June 21st with the mission of creating something new.  All of the work will be shown at Luminarium's Gala Event, Ignite, on Sunday, June 23rd.  Keep an eye out here for more information about the festival and the artists involved!  Get your tickets to be part of the magic!
Silhouette of dancer and seven hands in varying shapes. Red text : ignite
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The first interviewee is choreographer Emma Morris. She comes to us from Atlanta where she works as a dancer and freelance choreographer.

Nicole Harris: Who are the dancers you’ll be working with for ChoreoFest?
Emma Morris: I’ll be working with a couple dancers and long-time collaborators that I met during my time at USC. Meredith Price is a Boston native, who in addition to being a talented dancer is an outstanding visual artist as both a photographer and graphic designer. I will also be bringing Lauren Bobo, a dance artist and teacher who I’ve worked with on nearly every work I’ve created.

N: What are you most nervous about for ChoreoFest?
EM: 
What I’m most nervous for during ChoreoFest is shortening parts of my process to fit into such a short period of time. As a choreographer, words are used as a jumping off point. I discuss with my dancers the theme of the piece, and let where the conversation develop where it may between the people and the experiences in the room. I then collect words and phrases from those conversations and use them to inform gestures and base choreography. In only having a limited time, I will have to condense this process and I am nervous if my work will loose the layered intentionality my work possesses. Or it might allow for an even more intentional piece!
Person in a dress Reaches diagonally down With hair in their facePicture
N: Who are your mentors, past and present?
​EM: I have never really found myself in the direct mentorship of any one artist. I’ve learned so much from so many people, be it colleagues, teachers, or directors. But, I’ve learned the most from and still continue to look to for inspiration and advice from Shaun Boyle D’arcy. I met Shaun while a sophomore at USC when she selected me as an understudy for the creation of a new work, she saw something in me I didn’t see in myself yet. Her creation process deeply influenced the way I create, and working with her again my senior year, her encouragement in my personal voice gave me the confidence to pursue choreography.

N: Where else can we find you this Spring/Summer?
​EM: This summer I’m working a lot in Atlanta. I’m premiering a new work on June 14th at MIXTAPE, a feminist dance festival produced by Zoetic Dance. After 24hr ChoreoFest, I’ll head back to Atlanta to continue to work with multiple companies in the area- I’ve got a few new projects in the works. I’m hoping to head to WA for another project in August but its not finalized yet.
Dancer stands in black  Facing the side, one arm raised  Long socks, shorts, and tee
N: What other local companies/ choreographers do you recommend people check out?  Why?
​EM: So I’m not from Boston, so maybe not the best person to give advice on the dance scene but I can tell you all about the gems in Atlanta and Columbia SC. In Atlanta I love Zoetic, they’re an all female company that creates work centered on female empowerment, and Kit Modus, a company creating beautiful and intricate work with some of the most talented artists in the city. In Columbia I have to say Yuhas and Dancers is amazing, creating highly intelligent work that is socially relevant- most recently creating a work with SC’s poet laurate.

Six squares: 5 are headshots of people and one reads 24 Hour ChoreoFest
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Repost - ChoreoFest Interview - Tyler Catanella

6/16/2018

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Headshot of person, Dark hair, dark eyes, and a smile, Snowy ground behind
Originally Posted September 4, 2015 here.
In celebration of his birthday we're re-posting an interview we did with Tyler Catanella of Paradise Moves back in 2015 in preparation for that year's 24hr ChoreoFest.


​ChoreoFest starts TODAY!! We are 25 hours away from the first of this years ChoreoFest performances, and we're rounding out our final choreographer interviews. Next up, longtime friend and collaborator, and one third of this year's choreographic super group, Paranarium House, Tyler Catanella of Paradise Lost!



Nicole Harris: What made you want to make the move from being a dancer to a choreographer?
Tyler Catanella: I feel like I've always been more of a choreographer than a dancer. I had some not-so-great experiences when I first started dancing where I felt like a pawn being used in a game I didn't believe in. So now I only do work where collaboration is premier. I encourage everybody in my company to be as smart of a director as they are a performer.

NH: What are you most nervous about regarding ChoreoFest?
TC: SLEEP! The last time we performed in 2013, I got really sick from staying up all night and composing the music to our piece, and only getting to sleep from 7:45-8:30am. I hope that we three companies can all gel together well so that the night goes smoothly (and with enough time to sleepsies)!

NH: Have you participated in ChoreoFest before? If so, what is your favorite memory of that experience? What advice do you have for new ChoreoFest choreographers? Are there things you hope to do differently this time?
TC: Hell yeah we have! My favorite memory was the 8:30am morning tech, where we realized: "Hey, we actually made a really great piece! And we're proud of it!" That was honestly the moment that gave us the confidence to form Paradise Lost into professional company.
As far as advice, I've got two big pointers: 1) Pace yourself! Don't exert a ton of energy in the first hour dancing all out. You've gotta conserve your mental and physical energy so that you have a cohesive piece at the end of the night. And 2) Say YES! Don't spend a lot of time talking about big ideas and improvising without setting. Make strong choices and roll with them. There is no room to go back and edit.

NH: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space?
TC: We will start with a strong ensemble-building exercise that allows us to drop in and play with whatever theme we receive. From there, who knows!

NH: In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how?
TC: Like I stated, I give lots of directorial freedom to those I perform with. I allow them to make choices with their characters, and even create space within the piece where they can set their own choreography. And often times, I'll let people work on something based on an idea or image I have, then bring it back for us to shape and mold together. I've got a ton of trust in these folks :)

NH: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do you hope she can help with in the overnight process?
TC: One word: Sanity. I hope that she can reassure our process and keep us level-headed and focused on the end goal. Seems a pretty cool cat.

NH: Who are some of your favorite choreographers?
TC: Right now, I'm really digging a ton of hip-hop choreographers. So I'm really digging Tricia Miranda, WilldaBeast Adams, and Kyle Hanagami to name a few. They're doing great stuff with their dance videos.

NH: Who are your mentors? How are you paying forward the things your mentor gave you?
TC: I've got a ton of mentors in life, many of which are right here in Boston. People like Josie Bray have been incredible mentors in helping me find myself in the work that I do. My Associate Artistic Director Shannon Sweeny is my biggest inspiration in dance world because of how much she believes in what we do, and her bold and much-needed honesty always keeps me in check in the best way. She's the other half of the brain at this point, and the finest collaborator I've ever had/probably will ever have. And most importantly, I reflect so much on my grandparents when I make art. They themselves were hairdressers and worked till they were in their late 80's, but their love, dedication and hard work always keeps me grounded. It reminds me that life comes first, and that we make our art for the people we love and ideas in which we believe.

NH: Where can people learn more about you and your work?
TC: www.paradisemoves.com
Thanks Monkeyhouse! Paradise Lost loves you!
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ChoreoFest Interview: Getting to Know Emma Limperis!

9/8/2016

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Monkeyhouse is thrilled to be working with dancers from Endicott College during ChoreoFest this weekend.  Nicole took some time to interview each of the dancers joining us tomorrow night.  Meet Emma Limperis!

Tickets for Saturday's shows are still available!  Get yours today before they sell out!

ChoreoFest takes place Friday/Saturday September 9/10!  Get more information and your tickets to this year's ChoreoFest concerts here!
N:  What is your affiliation with Endicott College?  
EL:  I am a Junior at Endicott currently in the undergraduate program.
N:  Outside of your time at Endicott, have you had any other performance or choreography opportunities?  If so, what?
EL:  I was recently involved in a dance program in Orange, CA this past summer, the  Backhausdance Summer Intensive. At the end of the program I got a chance to perform beside the company members in their renowned piece, Incandesent. This experience helped me branch out from what I've been focusing on as a dancer and it also helped me see my personal dancing in a new light. 

N:  Since Endicott does not have a dance major, you are taking/took a full load of dance classes on top of all the work required for another program.  What is your major?
EL:  My major is English and Creative Writing. Though dance is a huge part of my life and is what I want to pursue after college, writing has always been extremely important to me as well. It helps me express myself through powerful combinations of syllables and lyrics. I would love to write fiction books one day and am currently building a portfolio of self-reflective poetry. 
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N:  What is your favorite performance you've been part of?
EL:  Getting to perform in the opening number at the Arts in Motion Invitational in New York City was pretty spectacular. Performing in New York gives you this crazy adrenaline like no other.  
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N:  What is the most important lesson you feel you learned during your time working with Endicott's dance program?
EL:  I think learning that every dancer's movement vocabulary is different was a special lesson for me at Endicott. For years I spent so much time trying to dance and choreograph exactly like the someone else in the room, but this lesson helped me see that there are valuable parts of my quirks because they add unique elements to my dancing. 

N:  Who are some of your favorite choreographers?
EL:  Currently, some choreographers I am hooked on are Hope Boykin, Andrew Bartee, and Leconte Banks. 
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ChoreoFest Interview: Getting to Know Karen Krolak, Part I

9/6/2016

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Monkeyhouse LOVES ChoreoFest and we are thrilled to be so involved with this year's festival.  Karen will be returning as "Choreographic Guru" this year.  Here's the first half of our interview with Karen about what it means to mentor other choreographers.
 
ChoreoFest takes place Friday/Saturday September 9/10!  Get more information and your tickets to this year's ChoreoFest concerts here!

N:  What is your goal as the "choreographic guru"?
kK:  I just want to be able to offer another set of eyes and ears for the choreographers. Having participated as a choreographer in Choreofest, I understand how overwhelming the process can be and know that sometimes all a person needs is a friendly voice to say, "This looks amazing." My early experiences as a pee wee cheerleader in Nashville and Atlanta are great assets over the course of the night. However, if somebody needs more, I am happy to help sort through tangled up moments too. I think it is important, however to respect the each choreographer's creative process and not to impose my own onto them.
N:  What is a "choreographic guru"? 
kK:  I like to think of the choreographic guru as being a mentor at large for the event. Someone who can remind you of tools/ideas/resources that people may forget about when they get stuck at 4 AM. Part of the reason that we put guru in the title was to make things less serious sounding...more playful. Trust me, I know how hard it can be to ask for help on a creation when it is in those early stages.

N:  Is there a way that choreographers can prepare themselves and you for a productive mentoring moment?
kK:  Yes, ask direct questions rather than "What do you think?"  or "Do you like it?" If someone comes to me and says, " Do you think that this section is too scattered and people will not know where to focus their attention?" then it is really easy to give feedback. Just be prepared for me to ask questions in response like "Where do you want them to focus?" or " Do you want the focus to become clearer as the section evolves?" rather than a yes or no answer. Frankly, it does not matter whether I like it. What is most important to me is whether the choreographer is articulately expressing her own ideas.​
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photo by Stephanie Sune
N:  Why is mentoring so important to you? 
kK:  I have been really fortunate to have found many wonderful mentors in my life several of whom have since passed away. Can you imagine what quagmires I would still be stuck in without them? More importantly, my mentors did not try to mold me to be like them or to create the same way that they did. They nudged, cajoled, and sometimes kicked my toukas but they let me discover my own voice, own weird way of wrestling with ideas. Passing on their ways of guiding people and sharing their advice is my way of keeping their legacy alive. 
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ChoreoFest Interview: Getting to Know Monkeyhouse's Aisha Cruse

8/29/2016

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Person lies on ground, Holds a colorful blanket, A smile on their face
photo by JK Photo
We are incredibly excited to announce that Aisha Cruse is going to be representing Monkeyhouse at ChoreoFest this year.  It's been wonderful to watch Aisha grow as a choreographer over the last few years and we are glad we are able to give her the opportunity to create something new during one of our favorite festivals.

ChoreoFest takes place Friday/Saturday September 9/10!  Get more information and your tickets to this year's ChoreoFest concerts here!
N: This is your third ChoreoFest but the first as choreographer.  What are you most nervous about regarding this year's ChoreoFest?
AC: I'm always pretty anxious about setting my work on other people. When I'm the one performing, when I'm inside my own work, I'm not nearly as self concious about how the movement and ideas read. When I'm putting on the director's hat, I get so much more critical of my ideas. I'm definitely nervous that I'll trip myself up.

N: What's your favorite memory of a previous ChoreoFest?
AC: Oh my gosh that moment when the yarn ball hit Sam in the head during dress rehearsal my first year. It was too perfect. There was no way to reproduce it, so we sort of accepted it as a one time perfect moment.

N: 
ChoreoFest is a controlled situation to create work in in terms of time and topic.  What the first thing you hope to do once you get your dancers in the studio?
AC: Get comfortable. Really though, I'm going to be focusing on getting everyone comfortable with each other and with me. The parameters of the festival make it so that the more comfortable we are and the more trust we have in each other, the faster we can get things done. 
N: You will be working with dancers from Endicott College's Dance Program.  How did your relationship with them begin?  How are you feeling about potentially working with dancers you've never met before?
AC: I first got to work with some Endicott students earlier this year when Karen asked me to work on the exquisite corpse piece. The group I worked with will probably have some overlap with the group at Choreofest, and this is why getting everyone warm and relaxed and comfortable is so important and so challenging. We won't all know eachother, and building a rapport before we start building a dance will probably make things a lot smoother.
N: Karen Krolak will be on hand as "choreographic guru" for the entire festival.  How have you incorporated outside voices/mentoring in the creation of new work in the past?  What's a question you often have about your work for someone outside of the creation process?
AC: Karen has given me constant feedback in the time we've been working together, but coming off the Pilobolus workshop I think the thing I'm going to ask the most is "What do you see?" In the past I've been very precious with my work, and I'm hoping Pilobolus has broken me of the habit. I want to ask about the moments that stand out and and build on them, and it will be interesting to see whether what I think is interesting and what Karen thinks is interesting matches up or diverges.

N: If you could pick any performer from any time to set a piece on who would it be and why? 
AC: I'm reinterpreting this question because what I actually want is for  Martha Graham to set a piece on Pilobolus (any iteration, really, they're all pretty spectacular). Her dancing has such an intensely sculptural element; even though they're vastly different schools I feel like they would have made amazing choreography together. So I guess I'm saying I want to set a piece on Pilobolus, but as Martha Graham. #lifegoals 

N: Who are your mentors? 
AC: Karen Krolak and Nicole Harris have been such driving forces in my life, I don't think I would ever have done ChoreoFest as a choreographer if they hadn't asked. To be fair, Karen and Nicole are less "you can do this" coaches than "can you do this by friday" coaches. They know you can do it, or they wouldn't ask.

N: What's something that you feel you learned from them that you want to pass on to people you mentor?
AC: Perfection is boring. If your choices are perfect or unique, pick unique. There are no mistakes. They're usually the best part of a dance.

N: Where can people learn more about you and your work?
AC: Monkeyhouse can be found on Facebook, Instagram and Twitter as well as here at MonkeyhouseLovesMe.com.  I can be found on Instagram and Twitter as well as on my Dance Every Day YouTube channel!
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ChoreoFest Interview: Getting to Know Boston Community Dance Project

8/19/2016

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Getting to Know Nicole Laliberte

8/17/2016

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Photo by Robert Coghill
Originally Posted September 2015
We're only 4 days away from ChoreoFest, the one and only 24-hour dance festival! Today we bring you the next installment of our ChoreoFest choreographer interviews, a chat with first time ChoreoFest participant, Nicole C. Laliberté!

Nicole Harris: What made you want to make the move from being a dancer to a choreographer?
Nicole C. Laliberté: I have always choreographed. As a little girl I would stage shows in my basement for my dear, patient parents. My best friend Lisa and I would perform. I had my first public showing of my choreography when I was in the 4th grade for a school talent show. I set a solo on Lisa to Blondie’s “Heart of Glass,” and one on myself to Gloria Gaynor’s “I Will Survive,” complete with multi-colored sequin tube top, LOL!
​
Later, as I pursued my formal dance training at The Boston Conservatory, I realized two things 
that prompted me to start removing myself from my own work:
1. Being in the work prevented me from seeing the overall piece, its structure, spatial 
design, cohesiveness….and also from being able to give dancers prompts / feedback for nuanced performance.

2. I sadly realized that although I had a powerful performance presence, my little body had 
too many anatomical limitations to achieve the look I wanted. I would focus so hard on 
extensions and pointed feet, thinking I had really done well, and then I would see myself 
on video and cringe. This is still emotional and deeply personal for me to discuss; in fact, I’m not sure I should be disclosing this fact as I don’t want it plastered all over the web. I 
chose to work with dancers who had the technical capacity and performance aesthetic
that I wanted for my works.


NH: What are you most nervous about regarding ChoreoFest?
NL: Well, I suppose keeping tensions down as we all become more sleep deprived, especially since I am working with some of my dancers for the first time, and this group is definitely working together for the first time. So I am unfamiliar with their personal triggers and preferred learning styles. Working with new people in a new group is always challenging for optimal 
communication, and this setting adds much deeper challenges due to its nature. Keeping calm 
and gentle communication open is key to a successful and enjoyable experience for all.
On a humorous but very real note: I am concerned about bringing too much stuff and the horrors 
of trying to get all the stuff from my little Mazda into The Dance Complex on a traffic filled 
Friday evening. I’m one of those people who thinks it best to bring something “just in case” 
rather than to be caught without. 

NH: Since this is a very controlled creative space (in terms of time and topic) where do 
you see yourself starting when you get in the space?
NL: I will most likely start with some guided improvisation to help all of us get more comfortable 
with each other. Depending on the topic, I may ask the dancers to engage in a written 
exploration as a means of movement generation. Writing or no writing, unless I have an extremely strong personal connection to the theme, I would like the initial movement generation 
to come from each of the dancers. We tend to better remember and most fully execute that 
movement which naturally emanates from within our own bodies.


NH: In creating a new work, what is the relationship between you and your dancers? Do 
they participate in the creative process? If so, how?

NL: Please refer to the information provided in response to the previous question. Additionally, I like to verbally engage with the dancers as to their thoughts and valuable insights about the creation of meaning in the work. Often I will ask the dancers what feels most comfortable or natural when finessing the details of the movement.

NH: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do 
you hope she can help with in the overnight process?

NL: Probably technological assistance with computer audio editing. I have a new laptop that I really don’t know how to use with its Windows 8 platform (grrr), and an old laptop that (at best) 
functions at the speed of a snail trying to get up a molasses covered hill in winter.

NH: Who are some of your favorite choreographers?
NL: Oh boy…Alvin Ailey, George Balanchine, Mark Morris, Alonzo King, Jill Bahr, Dwight 
Rhoden, Desmond Richardson, Bill T. Jones, Ulysses S. Dove… is that enough?


NH: Who are your mentors? How are you paying forward the things your mentor gave you?
NL: Oh my god, I could go on forever here…but first and foremost I must honor the memory of my recently departed mentor and colleague, Dr. Jan Van Dyke of Greensboro, NC. I can’t believe she is gone. She is being honored with a memorial this coming Sunday August 22nd, held at the UNCG Dance Theatre and livestreamed on the web. I can’t say enough about or adequately summarize how much I learned from Jan as a teacher, choreographer, administrator, and woman of dignity in the arts and academe. 
Last week I was teaching young student choreographers during an intensive at The Dance 
Academy in Fall River. I gave them the same first day lesson that Jan used in Choreography II, 
The Craft at UNCG, for which I was twice her TA. We wrote rhythms on the board and 
discussed time values of different musical notes, and how many beats per measure, and how to vary rhythm and apply it to movement to create new and interesting variations. It’s actually a 
very difficult concept to grasp for most of us, but invariably successful in the end. The school 
director was impressed when she saw the material and commented that they were learning so 
much from me. I told her that it was all Jan, or JVD as we lovingly called her.
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ChoreoFest Interview: Getting to Know Bridges Dance Theatre

8/12/2016

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Picture
photo by Carolyn Jepsen


This year's ChoreoFest is sneaking up on us fast!  Here's a quick chat we had with ChoreoFest choreographers Jennifer Webb and Carolyn Jepsen of Bridges Dance Theatre.

Get more information and your tickets to this year's ChoreoFest concerts here!

​


N:  What are you most nervous about regarding ChoreoFest?
BDT:  We are keenly aware that we will be working within a creative space that is controlled by both time and subject matter. Our areas of concern are A) the structure of the choreographic process itself and B) time management. Our work incorporates many artistic mediums (dance, text work, writing, and multimedia), which would normally be layered into a performance piece one by one at comfortable pace.  What would normally be a multi day process will now be shaved down to a multi hour process.

N:  Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space?
BDT:  After we pull our prompt we plan to discuss thematic material as a group, using the ideas generated to put everyone to task. The company will then be divided into subgroups of writers, dancers and technicians to begin gathering kernels of material that will provide the foundation of the performance piece.
N:  In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how?
BDT:  All art is collaborative. In order for a work to be powerful all participating artists must have a voice and ownership in the creative process. We feel that the best choreographers use their own movement vocabulary to aide dancers in finding their own pathways, rather than dictating how things must be executed. We plan to start this dialogue with a series of guided questions that will give all performers reasonable parameters to work between.
Picture
photo by Carolyn Jepsen
N:  Karen Krolak will be on hand as "choreographic guru" for the entire festival.  How have you incorporated outside voices/mentoring in the creation of new work in the past?  What's a question you often have about your work for someone outside of the creation process?
BDT:  We love and respect outside voices! Having a different individual with an informed set of eyes reviewing your work is critical to the process and success of a piece. Typically, we like to receive “blind feedback,” meaning that anyone viewing our rehearsal process for the first time will not be given much, if any, direct information regarding our vision for the piece. This gives the opportunity to truly see the work without pretense, allowing us to find out where we have clear moments, distortion, other potential avenues to utilize, etc…Only after feedback has been given will we divulge our intention for the piece.

​​N: Who are some of your favorite choreographers?
BDT:  Top 6: Twyla Tharp, Mark Morris, Bob Fosse, Alvin Ailey, Paula Josa-Jones, Bill T. Jones, Dada Masilo, Lamine Thiam. Ok, we lied…that’s a top 8…and Pilobolus has to be thrown in just for fun!
Picture
photo by Carolyn Jepsen
N:  If you could pick any choreographer from any time to set a piece on you, who would it be and why?
BDT:  Carolyn: Dada Masilo, South African dancer and choreographer…her work fuses the stories and technique of classical ballet with contemporary and traditional South African dance to create truly innovative performance works whose choreography never compromises. Her style is fast-paced and vibrant, at times feeding off of current events to shed new light and relevance on the challenges that are faced by many marginalized groups in the world today.
BDT:  Jenn: Alvin Ailey because I admire the strength, grace, athleticism and incredible storytelling experience of this company.

N:  Who are your mentors? How are you paying forward the things your mentor gave you?
BDT:  Jenn: Chuck Brown, Janet Taisy-Craft, Robb Fessler, KJ Hubner, Carolyn Jepsen, Craig North

Carolyn: Laurel Browne, Wendy Dwyer, Doug Ingalls, Peggy-Rae Johnson, Bob Lawson, Jenn Webb

The people in each of these lists have many common threads connecting them to one another. The overarching theme that we keep returning to as we discuss their work and influence is “Let your passions overwhelm your fears.” We’ve inherited an element of bravery and grit that directly informs our work as performers and teaching artists, and we pass this on to anyone who works with us.  Over the years we have been given many lenses to work with, resulting in a fierce passion for the body stories that are capable of scouring the soul for truth. We put that truth in non-linear form within the body, with as much authenticity and transparency as possible. We have been taught to give value to and to hold space for voices and stories that might not otherwise be touched. It is our goal to continue to pass on the tools we have been given to any who find them useful.


N:  What other events do you have coming up?
BDT:  We are currently in pre-production for an evening-length work featuring the music and writing of Jim Morrison, to debut in the spring and summer festival circuits in the Greater New England area.  We are also currently rehearsing a work featuring emerging youth writers that centers around children who have been caught in the folds of war throughout history, premiering in early 2017.

N:  Where can people learn more about you and your work?
BDT:  Instagram, Twitter, Facebook
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ChoreoFest Revisited: Nicole Laliberte

8/9/2016

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Picture
Photo by Robert Coghill
​​ChoreoFest is one month away!  We are busy partnering up with the Endicott College Dance Department in preparation for the festival, but not too busy to catch you up with one of last year's ChoreoFest participants, Nicole Laliberte!  You can find the original interview here. - Nicole
N: Have you used the piece you created during ChoreoFest? In what way?
NL: Unfortunately no, while I thoroughly enjoyed the challenge of the process, the subject matter did not touch my heart in a way that propelled me to pursue the piece further.

N: What advice do you have for this year's participants?
NL: Get movement generated first thing. Less talking about it...more doing it.  Attempt to be asleep by 3am. Bring lots of Ibuprofen. Dress for heat. Be prepared for petulant Wi-Fi.
N: What is your favorite memory from last year's festival?
NL: The Ah-Ha moment of using old TV show themes, namely Peanuts and Mr. Rogers' Neighborhood...and having them work when we tried them with the movement!


N: What have you been up to in the last year?
NL: I have been deeply blessed. The Choreofest kicked off an unprecedented string of opportunities for Freedom Dances that truly re-birthed the company here in RI / Boston. For one, I met a fabulous dancer, the incomparable Whitney Cover, in the mandatory workshop with Peter DiMuro. Not only did she perform with me for the 24 Hour Choreofest, but I have been lucky enough to continue working with her, and to have her dance the lead role in a very emotional and challenging work - in 2 different sets of performances. The work would not be the same without her!


We did the Dance Works in Process at AS220 in October 2015.


In January 2016, Freedom Dances and Heather Brown Dance co-produced a 3-show concert as part of a Production Residency at AS220 in Providence.


In February, 2 of my works were performed in the Boston Regional Youth America Grand Prix.


​In June we performed "Ruffled" at Dance For World Community in Harvard Square and the Festival of Us, You, We, and Them at the Dance Complex.

July was spent re-staging "Verge - Part 1 - Greatness", and "Verge - Part 2 - Despair" for the Providence Fringe Festival in which we performed 2 evenings.
I am starting my certification training in the Feldenkrais Method in Newton onAugust 19th - something I have wanted to do for years!

N: Where can people see you/your work these days? Any upcoming performances?
NL: Adrienne Hawkins invited us to dance in the upcoming Friends and Family shows at the Dance Complex. We will be presenting "Ruffled" on August 19th and 20th. I am honored by the invitation!
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ChoreoFest: Nozama Dance

8/2/2016

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Photo by Bill Parsons
We are so excited to share the first interview with one of the 2016 ChoreoFest choreographers!  Gracie Novikoff and Natalie Schiera are the co-directors of Nozama Dance Collective.  They took a moment out of their preparations for a show in mid August to talk to Nicole about who they are and their thoughts on ChoreoFest!  

Interested in learning more about ChoreoFest or purchasing your tickets?  Visit LuminariumDance.org!

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Gracie and Natalie - "Raw Artists Boston"
N: What are you most nervous about regarding ChoreoFest?

​ND: We are most nervous for the time constraint that comes with Choreofest. We typically take 2-4 weeks to create the skeleton for a new work, but we are confident that we can condense our creative process and build a work we are proud of in 24 hours. It is an exciting challenge!

N: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space?
ND: To begin a new work, we take the concept and the piece of music and ask ourselves how those two make us want to move. We improvise to the music and picture ourselves in the time and place the concept lends itself to, and we build choreography based on the improvisations. Each new piece is a new world. We think about how choreography would naturally fit in this world, and who the dancers are portraying in this world. At times the dancers are humans, and in other worlds they are not. We think about if and how the dancers would interact, and if it makes sense for the dancers to be aware of one another's existence. When all of the elements come together into a cohesive world, we have a piece we are excited about.

​N: In creating a new work, what is the relationship between you and your dancers? Do they participate in the creative process? If so, how?
​

ND: We are so lucky that our dancers are our friends! Many of us trained together in college, and most of us were members of the same contemporary company at Boston University. We work together to create new works. We (Gracie and Natalie) are the directors, so the concepts and music choices are often ours. However, if a dancers has an idea, we are always ​excited to work with it and help the dancer to develop as a choreographer. In creating new movement, we (G&N) direct the improvisations to see what movements fit this new world. We pull from our dancers' strengths and how they interpret the concept before we set any choreography. It is absolutely a dance collective in that sense. 

N: Who are your mentors?
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Photo by Raw Artists Boston
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Photo by Short photo co.
ND: In college, Natalie and Gracie were dancers and choreographers with Dance Theatre Group, a contemporary company directed by Micki Taylor Pinney. In choreographing new works for Dance Theatre Group, Micki along with other faculty would give constructive feedback throughout the creative process. We were encouraged to think through the aesthetics of the piece, as well as how the choreography fit and how we could push the movement to be bigger and bolder. We greatly appreciate Micki's assistance during those years, and since the creation of Nozama Dance Collective in 2013, we have asked Micki for her guidance. Natalie and Gracie were the Choreographers in Residence at Green Street Studios in January-February 2015, and during those months we asked Micki to assist us with the creation of our two solos, "Vortex" and "Nightmare". We were encouraged to take a concept and create not just one, but multiple worlds in which that concept could live. We improvised movement, and then built variations of those movements. As a result, we have successfully created four pieces based on the movement created during those residencies. We are ever in debt to Micki's expertise, and we continue to seek her guidance. 
Picture
Photo by Short photo co.
N: Karen Krolak will be on hand as "choreographic guru" for the entire festival.  How have you incorporated outside voices/mentoring in the creation of new work in the past?  What's a question you often have about your work for someone outside of the creation process?
 ​​
ND: Whenever we are lucky enough to have a mentor assist with our work, we ask whether or not the movement that we are presenting makes sense with the concept, the music, and the world in general. We want everything to be cohesive and make sense. We don't necessarily want to direct the audience to an exact emotion or an exact instance in time, but we want to create a world that the audience can relate to that can be easily followed. We want to take the audience on a journey that they will enjoy and be excited about. We also ask our mentors, "have you seen work like this already?", because we are consistently striving to create new choreographic experiences. 

N: Who are some of your favorite choreographers?  If you could pick any choreographer from any time to set a piece on you, who would it be and why?

ND: We are both currently obsessed with the work of Jaci Royal, the director and choreographer of  Royal Flux based in Los Angeles. Her movement is raw, athletic, bold, daring, and exciting. Her larger group pieces are captivating, and the stage pictures that she creates are incredible. As we create works that portray women empowering one another, choreography like Jaci Royal's is inspiring. We would be honored to have Jaci Royal set a piece on us!! 

N: What other events do you have coming up?

ND: We have our first full-length production, "Pushing Past Impulse" at Green Street Studios on Friday, August 19th at 8pm. Tickets are $20 for adults and $15 for students/children. We are thrilled to produce our best works since our inception! Here is the Eventbrite link for tickets, and our post in the Boston Calendar.

N: Where can people learn more about you and your work?
​
​
ND: Here are our Facebook page, website, and Twitter page. Check out what we are all about!
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created by Natalie Schiera
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ChoreoFest Revisited - Onstage Dance Company!

7/21/2016

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We loved catching up with Jennifer from Onstage Dance Company!  You can find our previous interview with Onstage here!

N: Have you used the piece you created during ChoreoFest? In what way?

ODC: While we haven't used the specific piece we created during ChoreoFest, we did discover many new methods for creating collaborative choreography. We've used these strategies while creating new work for our Repertory group and have been really happy with the results!

N: What advice do you have for this year's participants?
ODC: Focus on the quality of whatever you create, instead of the quantity. It can feel overwhelming to create an entire piece in one night and worry that it's not long enough. Instead, we created a relatively short piece last year that was probably around 3:30 minutes and focused more on the quality of the content and making sure we were really happy with what we were making, as opposed to throwing stuff together just to fill time.


N: What is your favorite memory from last year's festival?
ODC: There were so many favorite memories from last year. Just the experience of spending that much crazy quality time with my dancers was a real treat. But at one point one of our dancers was teaching us a really complex Bollywood-inspired movement phrase that was a challenge for the rest of us. The moment we all nailed it, we screamed so loud in celebration. It was a high-point of the night!

N: What have you been up to in the last year?
ODC: We have been up to so much this year! We've wrapped two performance seasons since our last ChoreoFest, expanded our Repertory group, created a Residency program at our studio, and have help hundreds of classes. OnStage is on a roll!

N: Where can people see you/your work these days? Any upcoming performances?
ODC: We've had a ton of performances over the past few months but our next ones are: The Festival of Us, You, We & Them, The Southern Vermont Dance Festival, The OnStage | Repertory Fall Showcase and the 12th Season of OnStage begins in October.
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ChoreoFest Revisited - Impact Dance

6/20/2016

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Many dancers on stage throwing newspapers, purple light behind
Image by Nicole Tomaselli Nachmo 2014

​
We're back with our second ChoreoFest Revisited interview! Applications are in and as we all anxiously await news of who will be participating in the 2016 ChoreoFest - here's Meghan McCaffrey from Impact Dance! You can catch her interview from last year
HERE!
N: What have you been up to in the last year?
ID:
IMPACT celebrated its fifth year as a company and we put on our fifth concert at the BU dance theater in January 2016! Since then we have been on a break and this year's ChoreoFest would be our reunion!!

N: Have you used the piece you created during ChoreoFest? In what way?
ID: Surprisingly no.. However ChoreoFest usually kicks off our company's season :)

​N: What advice do you have for this year's participants?
ID:
Enjoy it. Yes you will get tired, frustrated and slap happy but it is worth it. I have learned numerous things about myself, my dancers and my movement by being open to the festival and all its challenges!

N: What is your favorite memory from last year's festival?
ID:
Hmm that's a tough one... I remember talking to my dancers prior to choreofest and telling them 'I know we are not suppose to plan anything but I would love to do a funny piece.' Low and behold the two, yes two themes we pulled were far from 'funny!' We all had a good laugh.

N: Where can people see you/your work these days? Any upcoming performances?
ID:
ChoreoFest 2016 hopefully ;) I also started teaching an open Contemporary class at Jeanette Neill's on Wednesday nights!
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