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reAct reBuild reCollect Guest Artists -- Part I

7/9/2018

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by Nicole Harris
Three dancers in dark room. Text reads: Monkeyhouse and OnStage Dance Company Present: React, Rebuild, Recollect. March 29-30
OnStage Dance Company Summer Series
We are very excited to have several guest artists as part of reAct reBuild reCollect on July 27th at OnStage Dance Company in Malden.  We have been slowly introducing you to all of the artists participating in the concert on social media but here's a look at two specific groups of guest artists!
$10 Tickets
can be yours right now by clicking here!  Any tickets using the VIP Code MH10 not only are less expensive, but give a higher percentage of the ticket price to the artist.  (psst, that's us!)  VIP Code rates are NOT available at the door, so get yours today!

For the past year I have been honored to have three former students return to the studio to take class as adults.  It began with Olivia Scharff, who sweated out the summer with me last year at Impulse Dance Center during my adult tap class.  When September rolled around she was joined by Kelsey Griffith and Monkeyhouse alum Sarah Friswell Cotton.  Towards the end of our first ten week session these ladies approached me to ask if they could dance on the "big stage" in Impulse's end of year concert.  LuAnn (Impulse's director) was more than happy to include three Impulse alumni in her show so we got down to work and the second ten week session was dedicated to creating a piece of choreography.
The piece they performed this June was to Waving Through a Window from the Broadway show Dear Evan Hansen.  The choreography was intricate and the incredible music gave the piece body and character.  However, the music also allowed for the dancers to hide within its orchestrations.  Don't get me wrong, these ladies aren't lazy!  But the fullness of the music overpowered some of the rhythms and counterpoints they were working so hard on, so we decided to also create a version of the piece with no music at all to be part of reAct reBuild reCollect in July.
The original plan was for all four of us to perform this new tacit piece but unfortunately, Kelsey tore her ACL this spring and will not be able to join us at the performance.  However, you can still learn about the amazing things she, Sarah and Olivia are doing by clicking on their images below.  It's exciting to see how people keep dance in their lives and these three are doing some pretty incredible work.
Headshot of woman Brown hair pulled back, brown eyes, smile Wears a yellow shirt
Picture
Headshot of woman Shoulder length blonde hair, wears black Smiles at camera
I can't describe to you how much fun it was to work with these ladies again.  Teaching adults is a very different thing than teaching children or even teenagers.  I loved seeing the different ways each of them had learned how to learn in the ten years since they last took class with me.  I am impressed by their ability to see their strengths and also their weaknesses and not be afraid to ask for or offer help.  I am honored to dance with them on July 27th and continue working with them in the future!  
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OnStage Summer Series Interview - Kelley Donovan

7/2/2018

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Short haired dancer in black pants and red shirt with cape throws arms, head, and one leg back.
Photo by Michael Hamilton
by Nicole Harris
With the first performance of the OnStage Summer Series coming up on Saturday we are excited to be sharing our next interview with you!  We interviewed Kelley Donovan for NACHMO Boston 2018 in January.  If you want to know more about what she's doing you can catch her show:

OnStage Dance Company, 665 Salem St, Malden, MA
Saturday, July 14th @ 8pm
Use VIP Code KDD10 to get a special ticket price here!

Nicole Harris:  Can you tell me about the work you’ll be performing as part of the OnStage Summer Performance Series?
Kelley Donovan:  We are developing a modern dance work using chance elements, numerology and imagery from the Tarot, Additionally, I am performing a recent solo and showing an old solo from 1994.  Rozann Kraus will perform "Waltz news" featuring 6 dancers depicting images of the "false news" featured on social media.  


N:  Who are the dancers you’ll be working with?
KD:  10 dancers, some new and some whom I have worked with since 2007,  The dancers include: Rose Gibney, Carolyn Jepsen, Crystal Heroux  Jacqueline Wilkinson Jane Wong, Katie Logan, Kira Mathiesen, Lauren Sava Marva Yates , Samantha Wilson, Sarah Takahagi,, Tiffany Lau and Rozann's work features:  Jacqueline Wilkinson, Jim Banta, Karen Klein, Kelley Donovan, Rozann Kraus, Dan Quinn and Samantha Wilson


N:  You have a performance series of your own called the Third Life Performance Series.  Can you tell us about it? How did it come about?
KD:  Yes, the third life series has been going for 6 years now since 2012 and we have presented over 150 choreographers and groups!  It is an informal series, designed to echo works in progress like the Judson Church Monday night showings in NYC.  When I started the series there were few informal showing in Boston and I felt a need for a stepping stone to full concerts and full productions and a need to build community that comes from seeing one anothers work.
N:  Last time we spoke was for NACHMO Boston in January. We talked about the challenges of creating choreography in such a short amount of time and the challenge you’d given yourself in creating a solo.  Now that that process is over I would love to hear about how you felt it went and what tools you used to create in such a potentially limiting environment.
KD:  I work improvisationally mostly so I consider it a step in a long process of creating material.  I consider every performance actually as part of a process, even the fully produced evenings.  I am more interested in the process, exploration and growth or work on creating.  I give myself structures and practice improvising with those structures leading up to the next showing.
Dancer in all black room, throws one arm up, head to side, and one leg bent in front
Photo by Olivia Moon Photography
N:  What are some amazing things you have been up to since we spoke in January?
KD:  ​I have mostly been performing solo work, at Thang at Somerville Armory, Mayfair, Third life and performed w/ teXtmoVes and with Kraus and..... in Dance for World Community, We Create at Hibernian Hall, I also reset a new work on Boston dancers called "Transitional State" at Dance Complex, and created a commissioned work for Boston Moving Arts for the same show!  It has been quite a busy year so far!
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Nozama Dance - OnStage Summer Performance Series Interviews

6/25/2018

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by Nicole Harris
Photo by Olivia Blaisdell
This summer Monkeyhouse is THRILLED to participate in the OnStage Summer Performance Series along with seven other local companies.  We're also pretty psyched that we got to talk to each of the choreographers in the lead up to their performance.

First up, Gracie Novikoff of Nozama Dance Collective!  We have interviewed Gracie twice before, for NACHMO Boston in 2018 and for 24hr ChoreoFest in in 2016.  As always, it was wonderful to hear about the amazing work Nozama is doing!
You can catch their show at 
OnStage Dance Company, 665 Salem St, Malden, MA
Saturday, July 7th @ 4pm
Use VIP Code NDC10 to get a special ticket price here!

​Follow Nozama on Facebook, Instagram & Twitter to learn more about them!!

Nicole Harris:  Can you tell me about the work you’ll be performing as part of the OnStage Summer Performance Series?
Gracie Novikoff:  Nozama Dance Collective is thrilled to be a part of the OnStage Summer Performance Series! We will be presenting a 45 minute set on Saturday, July 7th at 4pm. We will be performing predominantly new works, which is very exciting! We have been crafting a series of pieces surrounding the concept of “Enough”, in that as women we have seen enough, we have heard enough, we have had enough; now is the time to embrace that we are enough. Under this concept’s umbrella, we are presenting empowering works of frustration surrounding the threats to women’s rights, as well as uplifting dances of women coming together to celebrate one another. The tumultuous political climate of 2016-2018 has inspired us in numerous ways, particularly in how bold women have stood up and claimed their voices against oppressive forces. We are committed to bringing female empowerment to the Boston dance community, and this performance will fully embody that. This set list will then make up a large percentage of the choreography for our own full-length production, appropriately entitled “Enough”, which will be on August 3rd and 4th at Green Street Studios in Cambridge, MA. 
N:  I know Nozama Dance Collective is a group of strong, influential women.  Can you tell us about some other women who have influenced you in and out of the studio?
G:  The women of Nozama fully influence and empower one another. We are both a family and a community of women who truly care for and inspire one another. Our pieces are choreographed by numerous women within the company, with collaboration from the dancers. 
Photography by Mickey West
In creating our pieces, we pull inspiration from our own experiences as well as the other women in our lives and our relationships with them. Specifically, Natalie Schiera and I (Nozama’s Co-Directors) are inspired by our mentor from Boston University, Micki Taylor-Pinney. She taught us the bulk of what we know about the art of choreography, and how to captivate an audience with your message. She is our greatest instructor and guide! 

N:  Last time we spoke it was during NACHMO Boston and you were presenting work of a new choreographer for your company.  Have any additional company members choreographed work during 2018? How has it been for you and for the dancers to expand the number of choreographers you’re working with?  What have some of the challenges been? What has been really successful?
G:  One of the internal missions of Nozama Dance Collective in 2018 was to offer opportunities to our dancers that would promote their own individual goals as artists. With this, we now have numerous choreographers within the company. Natalie Schiera and I as Co-Directors still choreograph many of the pieces, but we have had stunning pieces choreographed by Kelly Gauthier, who has been with the company since its inception. Additionally, this season Dana Alsamsam is choreographing a phenomenal trio, while Juliana Wiley is crafting a fantastic duet. We are also excited to produce solos choreographed and performed by Teresa Tobin and Katy Esper, individually. We look forward to fostering the creativity and passion of our dancers as choreographers and as artists, and we are consistently seeking opportunities for them to achieve their goals. 
Photography by Christopher Huang
N:  I know it hasn’t been nearly as long between the last interview and now as it was between the first two, but what what are a couple of amazing things that have happened to the company since January?
G:  ​So many things! We are especially proud to now be officially partnered with the Big Sisters Association! We teach monthly workshops to girls ages 9-13 years old with their “Big Sisters” from the program. These workshops focus on topics such as girl power and positive body image, and incorporate movement and choreography to express these concepts. The partnership has been tremendously beneficial for both parties, and we are excited to donate a proceed of our ticket sales from our August 2018 production, “Enough”, to this organization. ​​
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Getting to Know Jennifer Crowell-Kuhnberg - OnStage Summer Performance Series Interview

6/18/2018

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Dancer on a stage One leg to side, arms waving Purple top and skirt
Photo by Kathryn Swayze Photography
by Nicole Harris
This summer Monkeyhouse will be performing as part of the OnStage Summer Performance Series in Malden, MA.  We are busy interviewing all of the participating companies, but first we wanted to introduce you to the woman who made it all happen, Jennifer Crowell-Kuhnberg.  Jennifer is the Executive Director of OnStage Dance Company, which just last year relocated to Malden.  
For more information about Jennifer and OnStage Dance Company check out their website, Facebook and Instagram.  For more information about the OnStage Summer Performance Series and to get tickets, click here!

Nicole Harris:  What made you want to start a performance series?  What are you goals for it?
Jennifer Crowell-Kuhnberg:  My goals for the performance series are multi-faceted! To start, producing an evening-length showcase is a very expensive and overwhelming endeavor for small dance companies. I wanted to provide an opportunity for these groups to show their work in a way that didn't cost them anything but could also yield a profit for them, from their ticket sales. Most small companies are lucky to break even after a show, much less walk away with a profit. On the other hand, being new to the Malden community, I wanted to help facilitate the beginning of what I hope will be a more robust arts' scene in this part of the city by bringing in some fantastic, local companies. Our new studio space is huge and has such incredible potential as a burgeoning arts space! It's a perfect location for experimental showcases and events and this idea seemed like a great way to expand on some of the successful programming we are already doing (like our Residency Program and Annual Arts Marathon). I hope we'll see members of the Malden community, and surrounding towns, come in to see some of the performances and experience dance in a new way (or for the first time!). 
N:  How did you pick this particular group of companies?
J:  At first, I wasn't sure if anyone would be interested in the idea! So I started by thinking of the companies that I personally admired, for one reason or another, and who I would want to see a full-length performance from. I have a great respect for all of the groups that will be showcased for this series, whether it's because of the choreography they produce, their impact in the local dance community, their creativity, their potential. I reached out to these Artistic Directors with a very brief proposal and everyone responded within a day saying they were in!  
Dancer in all black Foot in front, looks at back hand By stained glass windows
Photo by Kathryn Swayze Photography
N:  You also have a choreographer residency program.  Can you talk about that and how it came about?
J:  The Residency Program came about when OnStage first acquired our own studio space, about five years ago. Having our own space allowed us limitless possibilities in terms of the programs and opportunities we could offer as a non-profit arts organization. With our performance company, the choreographer auditions and rehearsal process are very regimented as we have a limited time frame to work within. The Residency program was an opportunity to give choreographers more time to play, explore and experiment by giving them no rules (other than to show up and create something!). It changes the dynamic of the choreographic process when you're free to create whatever you like, or can have an idea evolve in a way that you might not have expected.

​
N:  You have only been in your space for about a year.  How has it been? What are the unexpected challenges of running a space?  What has been wildly successful about it?
J:  Moving to this new space has been such an adventure!  We had our own studio in Somerville for several years, but I was very excited for the opportunity to expand into a larger space - and when I walked into this studio for the first time, I knew I had to have it! It's always challenging when you move to a new area, as we had to start from scratch with all of our marketing efforts and getting people to know who we were and where we were located. Even a year in, that's still something we're working to improve on! But it's been such a thrill seeing so many new people come in to take classes, or audition for our company, or sign up for our programs. I hope we'll continue seeing more new faces each day!

N:  You clearly have done a lot to champion choreography and choreographers.  What is that particular cause so important to you personally?
J:  Thank you! I think the reason this is so important to me personally is because I took the long way to get here and I wish I'd had a short cut! Meaning, I was very intimidated to break into the dance scene and find my place in it. I was told it was too "cut throat," too competitive, not a reasonable way to make a living, and so on. Finding success as a choreographer can seem impossible when there are not enough opportunities for emerging dance makers to show work, build their brand, or discover what their brand even is! It takes a lot of time to cultivate your artistic voice and get eyes in front of your work. By offering some of these programs through OnStage, I hope I can make it just a little easier for artists to find their way. ​
Dancer in short dress  Looks to side, arms overhead On stage with large group
Photo by Kathryn Swayze Photography
N:  Who are some of your favorite choreographers and why?
J:  Ohhh how much time do we have?! Starting from the top, I've always been drawn to Isadora Duncan. Aesthetically, our dance styles are quite different! But I've always admired her carefree spirit, and the way she carved her own path. I love that her movement comes from a very natural and primal place - I can relate to that! On the opposite end of the spectrum I love old-school Fosse. The precision, the subtlety, the coy sexiness - how every movement has a very deliberate and intentional purpose, even if it's just a small shoulder roll. His work is just delightful! For more contemporary stuff: I love what Camille A. Brown is doing - so fun and vibrant. Sonya Tayeh's "You'll Still Call Me By Name" gave me chills. Michelle Dorrance was the first evening length tap performance I'd ever seen, and I think I was in a trance the whole time. I also love scouring YouTube for new people I've never heard of!
N:  Monkeyhouse believes in the importance of both giving back and paying forward.  Who are some of your mentors? How are you paying forward what was given to you?
J:  My earliest mentor was Elaine Hershfeld from the Mark Twain School. She was the director of the dance program and was always so supportive of my little creations. She awarded me the Choreographer of the Year Award way back in 1998 and I swear, to this day, it's one of my most meaningful achievements. I also had some fantastic teachers at Horizons in Dance in Brooklyn who instilled that sense of joy in dance but also a very strong work ethic. I've been working as a full-time dance instructor at many studios over the years, and I definitely try to emulate their teaching style. They were a huge influence on me as a kid and if I can have even a fraction of the same impact, I know I'm doing ok. 

N:  Monkeyhouse has a Choreography Mentorship program and we are always interested in hearing what other artists have gone through.  What advice would you offer to emerging choreographers?
J:  Most advice that emerging choreographers will hear is related to working hard, being tenacious in their efforts to get work out there, applying to everything, etc. And that is all good, and important, advice. I would also add that the best thing you can do for yourself is not try to be someone or something that you're not. Be proud of your unique dance voice and don't worry about trying to change your work to fit what everyone else is doing. Your work will naturally evolve and be influenced by other things you see and experience, but the worst thing you can do with your art is compare it to others' and force it to be like theirs. The most successful and well respected choreographers have that reputation because they paved their own way.
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Repost - Getting to Know Derick K. Grant

5/19/2018

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Photo by Matthew Murphy
​Originally posted here on 11/21/2010

In celebration of his birthday we are reposting this interview Nicole did with Derick K. Grant back in 2010.  Derick continues to be an inspiration to us here at Monkeyhouse and we're excited to wish him a very happy birthday!

p.s.  Don't forget to check out the incredible work of dance and theatre photographer Matthew Murphy here!

by Nicole Harris
Somewhere around 2004 I took students of mine from Impulse Dance Center to a Manhattan Dance Project workshop where I met tap teacher Derick K. Grant.  I was instantly enamored with his laid back yet individualized teaching style and when I found out he taught regularly in New York City I promised to begin showing up at places he was.  A few months later I walked into his class at Steps on Broadway in New York City while I was in town visiting my sister and knew just who I was.  "You're that girl from Boston.  You said you were going to being stalking me and here you are!"  Since then I have been lucky enough to study fairly extensively with Derick and I consider him to be one of the biggest influences on my tap dancing today.  Last year he and I sat down to talk about his career, his choreography and his view on life.
NH: What was the first thing you ever choreographed?
DG: Lord have mercy, the first thing?  Well, let’s say the first official thing was a solo. It was called “Drums.” I was a rookie in the Jazz Tap Ensemble and I was challenged to choreograph a piece. I got to work with Jerry Kalaf, who was the musical director. It was the first time where I worked with live music, and had to like come up with arrangement, and make a dance. That was pretty cool. I was probably about 19. 


NH:  What are your biggest challenges as a choreographer?
DG:  For me being entertaining. I found that most of the tap choreography was very green. My main problem was getting people to dance while they tap, ‘cause most choreography that is used in shows is used with the purpose of telling a story. And most choreography that is used in tap dance are musical compositions. So finding a balance where you can use the body as a narrative, as an actor, but then use the sounds coming from those same movements, as a musical composition, is hardcore. 

NH:  Who are some of your favorite choreographers?
DG:  I’m going to have to say Jerome Robbins or Bob Fosse.  I started to study ballets because I realized that ballets were bodies of work that represented choreographers, and those pieces would live long after the choreographers died. And that in terms of being a choreographer, that’s kind of like the point, that’s like the painter making the painting. You want to have a piece that can live beyond you. You know? So then I started checking out the ballets, seeing what they had in common, and then what made them different from each other in terms of style and storytelling. And I had some success, I mean it was a rocky road because I don’t know a ton about ballet, so I probably missed a lot of the subtleties; they all kind of looked the same to me after awhile. I mean I know what’s a pretty turn, what’s a pretty leap, but that’s about the extent of it.  With Fosse and Jerome, you can see it in the body, like that’s a tap dancer there.  It was easy for me to respond and to understand that.
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Getting to Know Que Unlimited - NACHMO Boston Interview

2/9/2018

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Man in all denim poses outside with chin on hand
by Nicole Harris
The NACHMO Boston Concerts begin TONIGHT!  I hope you have your tickets!  Here is our final interview with choreographer Que Unlimited.

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  Don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!
N:  What are you most excited about for this year’s National Choreography Month?
Q:  I'm most excited about dancing alongside some of Boston's very best Choreographers and dancers but also I'm reeeeally excited to present a piece of work I believe will move and transform all in attendance very very deeply and profoundly.

N:  Can you talk about the dancers you’ll be working with? What are you looking forward to and what are the challenges of working with this particular group?
Q:  This is a solo performance.   The reason for a solo performance is to highlight the context of the music and lyrics by maintaining a solitary focus on a isolated emotional stimulus. It's more of a challenge as such but, in this case, very appropriate.  I'm looking forward to presenting this very emotionally relevant new Piece and rising to the challenges that comes with a solo performance.

N:  Who are some of your favorite choreographers?
Q:  Wow!  There are so many!   At the top?  In the Contemporary Hip Hop genre?  Ricardo Foster Jr. ..without a doubt the finest Instructor and Choreographer of his genre having worked with a number of famed R&B artists, Usher, Lady Gaga etc!!!

Next is Papa Sy,  PaSy Modern West African Dance Company,  of which I'm a proud member.

Lastly,  Loraine  Chapman who witnessed my teaching abilities in the area of healing movement,  Contemporary hip-hop and hired me as a Contemporary Hip Hop Instructor for a special project.  Her work is simply gorgeous!
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Getting to Know Caitlin Canty - NACHMO Boston Interview

2/9/2018

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Picture
Photo from The Yard 2017 by Sally Cohn
by Nicole Harris
Here's another new choreographer we interviewed for National Choreography Month!  Thank you, Caitlin Canty!

​You can learn more about Caitlin on Instagram!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  Don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!
N:  Who are some of your favorite choreographers?
C:  I have so many! I often find myself caught between a theatrical space and a more formal space, and take a lot of inspiration from all ends of that spectrum. Right now I'm especially inspired by Faye Driscoll, Beth Gill, Jack Ferver, and Juliana May, but the list is never ending. 

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?
C:  ​I actually felt fairly comfortable within the one month time span, I've been groomed to work in one-month time chunks in school where we only took one class at a time for almost exactly a month. Outside of that frame though, I usually take at least a few months to create a piece.
Picture
Photo by Tom Kimmel at Colorado College, choreography by Patrizia Herminjard

N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
C:  I'm actually creating a solo for myself. This is fairly outside of my comfort zone, as usually I like to work with a big cast and I don't like to perform in my own work. This summer I created and performed a solo for the first time, and it's a form that I'm excited to continue working in. In this process I have found that as a dancer it is a lot harder to listen to my own direction than it is to listen to the direction of others.
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Getting to Know Kinetic Synergy Dance Company - NACHMO Boston Interview

2/9/2018

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by Nicole Harris
Fourteen dancers pose in two lines outside in front of a blue sky with white clouds.
photos by Cory Plante
It's exciting to see so many large dance companies operating in Boston these days!  These are the folks from Kinetic Synergy Dance Company!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!


Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!
N:  Kinetic Synergy covers a lot of different dance styles.  That’s very exciting!  What do you feel is the core of who you are as a company?
L:  KSDC loves featuring all our dancers talents, which is why we showcase all styles of dance. We strive to reach our inner dancers dreams of the art we love and let dancers learn and teach each other. As a group, contemporary dance is a style we feel all of our dancers excel in. Contemporary dances allows dancers to interpret movement and music in their own way, making each piece whole.

N:  What are you most excited about for this year’s National Choreography Month?
L:  Being able to collaborate as a group to create a piece for this show. We worked as a group exploring the movement and patterns to create the sequences throughout the dance.
N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
L:  The dancers featured in this piece are a combination of veterans and rookies. Some have been with the company 9 years and others just 5 months. Working together has created unique bonds with these dancers that we would not have found having just a choreographer teach the group.  Having each dancer at every rehearsal would have been ideal. Working with missing bodies and minds tends to hinder the groups jive. 
6 dancers pose in a line in front of water. Dance on left is jumping in the air, dancers next to her descend in levels
N:  Who are some of your favorite choreographers?
L:  Survey Says: Mia Michaels, Sonya Tayeh, JoJo Gomez, Matt Steffanina, Kyle Hanagami, Gregory Hines, Travis Wall
Six dancers pose in front of large stone outdoor doorway.
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?
L:  ​KSDC typically choreographs their pieces in just four rehearsals, so as far as the time line, we didn't feel the pressure. We wanted to make this a special experience so all 10 dancers took part in the choreography. Throughout the piece there are movements created by each dancer that everyone learned together. We took each dancers movements to create all the phrases you will see throughout the piece. ​​
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Getting to Know Christopher Croucher - NACHMO Boston Interview

2/8/2018

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Photo by Amy Tatarka
by Nicole Harris
I can never decide if it's more exciting to have a change to talk with choreographers I know or to meet new choreographers through these interviews!  Thank you, Christopher Croucher!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  Don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

N: What are you most excited about for this year’s National Choreography Month?
C:  This is the first National Choreography Month that I’ve participated in so I’m excited for the experience and to see what kind of work the choreographers come up with. I’m really excited to be getting my work out there in a public setting. Since I graduated from Bard College about five years ago I’ve been dancing as a company member in Dance Prism, a small ballet company in West Concord, MA. It’s a wonderful company and community but with a degree in modern choreography I only really get to showcase any of my own work during our summer studio performance. Most of my solo work is done on pointe so I’m also interested to see what the general reaction is to my kind of work with a man dancing on pointe, being that it’s my first time putting it in front of a wider audience.
Photo by Judy Croucher
N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
C:  I’d be happy to talk about the dancers that I’m working with, namely because my dancer is me. I tend to dance in the majority of my own pieces, mostly because I like to dance in the style of work that I set on other dancers. I also like to use men who dance on pointe and because those are particularly difficult to find I am usually the one dancing those parts. My main challenge working as a soloist and choreographer is also what I’ve been most excited about setting my solo. I am TERRIBLE at setting solo work on myself that I actually like. For some reason, seeing the work on someone else I am usually very pleased with the outcome. Looking at myself however, I am very critical during my creation process which leads to hours in the studio with little or nothing to show for it. It has been the same throughout this month of choreography so far but with the looming deadline I am forced to be a little less critical and just let the work happen. I have actually had a wonderful (if occasionally frustrating) time just learning to let go and give in.
N:  Who are some of your favorite choreographers?
C:  My favorite choreographer is Antony Tudor. I love his understated style of ballet. It is so smooth and yet says so much. I often show clips of his Jardin aux Lilas and The Leaves are Fading to my dancers when I start a new piece, to give them a sense of the subtle arms and understated emotional cues that I love to see. I also love a lot of Twyla Tharp’s work because of her use of pointe shoes in a more modern setting. I love to see subtlety in a choreographer’s work. My “wow” moments happen most often when a choreographer hits all the right notes, in movement design, music choice, and their ability to elicit just the right response from a dancer. When a choreographer is able to make all the pieces fall together, it is just magical.

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?
C:  ​Honestly, I am fairly well used to creating work in less than a month. For the summer performance that I mentioned earlier I am usually working on up to four of my own pieces while learning other choreographer’s pieces as well in an equally short time. I’ve been doing this for five years now so I am no stranger to this process. I do like to have time to go back and modify the work if the piece needs it. Having more time allows for more precision but the shorter rehearsal period, as I said before, has forced me to let go of my perfectionism. It has actually allowed me to produce a piece to which I feel surprisingly connected thus far because I don’t have time to obsess over the details. I’m also working on a piece now that won’t be performed until the summer and I am setting it on two dancers from Dance Prism which means that I am experiencing two very different kinds of process at the same time. It has certainly been an interesting experience to hold back to back rehearsals, one in which I can take all the time in the world to communicate the piece to my dancers, and one in which I struggle over trying to let go of detail enough to fall in love with my own movement in a very short period. It has been a very enlightening month of choreography and art.
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Getting to Know Nicole Laliberte - NACHMO Boston Interview

2/8/2018

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by Nicole Harris
It's great when we get the opportunity to catch up with artists again.  We interviewed Nicole Laliberté during 24Hr ChoreoFest in 2015 and here she is again! Read the original interview here!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  Don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!


"Complacency Will Kill You - (Contentment Is A Choice)" performed at NACHMO 2017
Photo Credit: Christopher Huang
Dancers: Heather Brown, Nicole C. Laliberté, Shayla Manning, Rebekah Ross

We interviewed you back in 2015 when you were part of 24Hr ChoreoFest.  What sort of amazing things have happened in your life since then?
I am grateful ChoreoFest sparked the re-birth of Freedom Dances in the Northeast, following my return to Rhode Island from North Carolina.  Since then, I have created many new works, co-produced a concert at AS220 with Heather Brown Dance in January 2016, produced “Verge” at the Providence Fringe Festival (FringePVD), and collaborated with composers Kirsten Volness, Dan VanHassel, and Verdant Vibes. Freedom Dances has also performed new work in a number of shared dance events including José Mateo’s Dance for World Community, AS220’s Dance Works in Process, The Dance Complex’s Friends and Faculty Showcase, Tiny and Short, Festival of Us, You, We and Them, and NACHMO 2017. In fall of 2016, as one of the guest choreographers for the Providence College Dance Company, I created “Silver Threads Among the Ashes”, inspired by the 15th anniversary of 9/11.  I have joined the dance faculty at AS220 and am completing my 2nd year of the Boston Feldenkrais Training Program.
What are you most excited about for this year’s National Choreography Month?
I am excited to be producing a new work, very much inspired my childhood memories of love and safety, with a fantastic group of dancers, after having been on hiatus for a few months as my life shifted gears.  I am equally excited to see and support the work of my fellow choreographers at NACHMO 2018.
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Freedom Dances’ mission is about creating works that explore individual, social, and cultural identities.  This last year has been a doozy in dealing with those departments.  How has the climate of the country impacted your work of late?
Last year’s NACHMO piece was very much a reflection of the results of the 2016 Presidential election, set to Kirsten Volness’ composition, “Complacency Will Kill You – (Contentment Is a Choice)”. There are so many incredulous and baffling things happening in our country and world recently, it is hard to grasp onto one strand before the next thing happens that leaves me with my mouth agape. There are a multitude of topics which infuriate me and pull on my heart strings promulgating a call to action. However, amidst the chaos, and changes in my personal life, I find myself logistically and emotionally much closer to my family. In troubling times, I find it important to remember that when push comes to shove, what is most important are the connections with those we love, those we can help in our day-to-day lives, and those who bolster us in times of need.
 
Who are some of your favorite choreographers?
Christopher Wheeldon, Alvin Ailey, Dwight Rhoden, George Balanchine
 
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?
 I find every process creates itself out of necessity of the parameters surrounding it. As dancemakers, we never have the luxury of time or money to pay for a lot of space, dancers, etc. so in that way, all processes are restricted by time. Of course, when in university, we are afforded free dancers and space, and a semester to make a piece or maybe two.  In the past couple of years, most of my dances are created in less than 15 hours, unless the work is one of my longer multi-media productions. In that way, this process isn’t much different in total hours, but shorter in overall duration. We had our first rehearsal on January 15th! My dancers are great – they love dancing and being in the studio, so they are super generous, amazingly talented, and a joy to work with! We have been meeting twice a week, a total 4 hours per week, plus company class. 
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Getting to Know Kelley Donovan - NACHMO Boston Interview

2/8/2018

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View of back of dancer with arms raised, one leg lifted, wearing red shirt and blue pants.
Photo by Michael Hamilton
by Nicole Harris


​We are excited to chat with Kelley Donovan of Kelley Donovan & Dancers!  We are so close to the end of NACHMO 2018 but there are still some choreographers for you to meet!  Hope to see you this weekend!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  Don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th! ​

N:  I’ve noticed a theme with several of the choreographers participating in this year’s festival splitting time between New York and Boston.  How has living in such close proximity to two major cities changed the way you build work?  What are the cons of splitting your time between two cities?
I am able to find many dancers and build work for large groups.  I mostly love it, after about 6 months I get bored of the same routine and need a change! The logistics of just remembering where I left things and maintaining relationships that include long absences.

N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
I am doing a solo so for me the challenge is finding inspiration. I am working from the sound more than I usually do in a group work. With a group I generally bring the sound in later but [for this piece] I am building it with the movement.


N:  
What changes in your process to build a piece in such a short time span (one month)? 
Mostly finding adequate time within such a short span of time to work on the piece. January is a particularly busy time for me because most years around this time we are finishing up a piece. I have been in NYC performing a new work which we will bring to Boston March 16-17th at the Dance Complex. I have packed up my NYC apt and moved back to start my spring semester of teaching this week. Getting my Boston place set up after subletters have departed and sorting thru all those details in the midst of trying to focus on creative work and starting classes. January is the busiest month of the year for me!

N:  How long do you usually take to create work?
I usually take several months so I am finding that I have to be less precious about the details, a bit easier in a solo. There is a freedom not to worry about perfecting something so much.
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Getting to Know Boston Community Dance Project - NACHMO Boston Interview

2/8/2018

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by Nicole Harris
Photo by Joseph Lee Photography
We are excited to talk with Skooj of Boston Community Dance Project again!  Check out our last interview with them here!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!
Don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

​N:  We interviewed you back in 2016 when Boston Community Dance Project was participating in 24Hr ChoreoFest.  What sorts of amazing things have happened since then?
It has been a world wind of excitement since 2016! In 2017 BCDP showcased in over 15 guest performances, held 8 workshops, continued our Thursday Contemporary Fusion class, had two successful CONTEMPORIZE! Intensives and sold out our 5th Annual Benefit Show! We solely have raised over 2,000 for charities and keep continuing to spread the love of movement through our hashtag #FollowTheArtistry.


N: What are you most excited about for this year’s National Choreography Month?​
HEELS HEELS HEELS! We have ventured into some new ways to approach the stage and have worked very hard to bring a new dimension to our pieces! ​We have broadened our repertoire and explored some new moves to express which we are extremely excited to perform! We also have asked other dancers from the community to join us in this movement that highlights empowerment in young women to succeed and make life happen!

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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?
We seems to put ourselves in these tight matters a lot with producing a two hour show in just a few weeks each summer. BCDP seems to thrive in these situations and accept the challenge with open minds! To be honest, one month makes us feel better relieved and unstressed compared to the demand we go through to create for other events​. We are sending so much love, creative juices, and positive energy to all the other artists as they put together for NACHMO 2018! Happy Dancing!
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Getting to Know Turning Key Dance Company - NACHMO Boston Interview

1/29/2018

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by Nicole Harris
In maroon and black  Two dancers, spiral sculpture Strike balletic pose
Introducing Juliana Utz and
​Turning Key Dance Company!

To learn more about NACHMO Boston you can find them on Facebook and Instagram! You can also support this year's NACHMO Boston programming here!
​
Want to be part of National Choreography Month? Take the #MonkeyhouseNACHMOChallege. Every day we will be posting a new prompt on Facebook, Instagram and Twitter. Follow along on social media to get the prompts and see some incredible dances! ​Share your own videos (no previous choreographic experience required!) using the #MonkeyhouseNACHMOChallenge hashtag in order to be featured!

​Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

N: Can you talk about the dancers you’ll be working with? What are you looking forward to and what are the challenges of working with this particular group?
J: Turning Key is excited to announce that we are working with Orchard House, home to Louisa May Alcott and author of Little Women, to present a Little Women piece this summer to celebrate the 150 anniversary of the novel. All of the movement will be generated from the original text. For this particular piece, dancer Melenie Diarbekirian will be dancing the role of Jo March, transposing the poem “My Beth” into a solo. In the novel, Jo writes this poem in response to her sister Beth dying of scarlet fever. I am intrigued to see how Melenie can bring the emotion of the text to the stage.
N: What are you most excited about for this year’s National Choreography Month?
J: I am very excited to be involved with NACHMO for a second year and I am most excited to see what can be created in a short amount of time. Having to make quick decisions about movement, music and concepts, can lead to interesting and surprising work. ​

N: Who are some of your favorite choreographers?
J: ​I have always been drawn to choreographers who produce narrative work in new and exciting ways. I am fascinated by Matthew Bourne's ability to take the classics like Swan Lake, Sleeping Beauty and The Red Shoes, and transform them into works that are fresh, yet familiar. I am also interested in how seamlessly Bourne uses contemporary movement to enhance these classical ballets.​
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Dancer stands outside Foot points to knee, arms to side Snow melts around
N: ​Can you talk about your college mentoring program? Why do you put so much emphasis on college programs for dancers?
J: ​Turning Key Dance Company supports dance in higher education, and offers a college mentoring program to young dancers seeking a career in the performing arts. We are passionate about informing students about all of the possible job opportunities in the field of dance. Our company has dancers that have graduated from undergraduate, and graduate dance programs, as well as dance conservatories. We have a good understanding of these programs and their differences. Artistic director Juliana Utz offers private lessons and seminars on finding the right dance program, choreographed solos for auditions, resume and application guidance and how to make a career in dance. We strive to present our students with the tools they need to thrive in higher education and the dance community. Turning Key Dance is proud to have successfully mentored seniors into prestigious dance programs such as Boston Conservatory, University of South Carolina and Marymount Manhattan College.
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Getting to Know Elizabeth Powers - NACHMO Boston Interview

1/24/2018

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by Nicole Harris
Photo by Paradise Photo
​Today's interview is with our own Choreography Mentee, Elizabeth Powers!  Learn more about her and see the awesome movement she's been creating on Instagram!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!
Want to be part of National Choreography Month?  Take the #MonkeyhouseNACHMOChallege. Every day we will be posting a new prompt on Facebook, Instagram and Twitter. Follow along on social media to get the prompts and see some incredible dances! ​Share your own videos (no previous choreographic experience required!) using the #MonkeyhouseNACHMOChallenge hashtag in order to be featured!
Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

Four dancers rehearse Front: one stands over other Back: two side by side
N:  You are participating in NACHMO Boston as part of the Choreography Mentorship program here at Monkeyhouse.  What most excites you about creating choreography?
E:  ​I think that the most exciting part of creating choreography for me is watching a piece tell me where it’s going. I tend to base what I do off of the dancers that I have and how they respond to various tasks and structures. Sometimes I start off with a concept and other times I start off with one specific movement but however it happens, whatever is presented at the end is rarely indicative of that original idea. I am always amazed by the transition that occurs throughout the process of creating a piece and love that I can count on the process to inform me about what’s supposed to happen next.
 
N:  You have been working on how to include improvisation structures in your choreography.  What is it about that idea that appeals to you?
E:  One of the things that I appreciate most about dance is its presence. Any movement is literally occurring the second that it is being done and then it is gone. Even in dances that are highly specific and choreographed with every detail in place, there is always a factor that will make it different each time it is performed. In college I was encouraged to allow different things to happen with each performance as a way to not get stuck in the choreography that we had been practicing for months. By incorporating improvisation structures into my piece I am looking to max out this concept. I am hoping that the improvisational elements will facilitate a feeling of exciting uncertainty within the dancers regarding what is coming next that it will read for audience members.

Two dancers inside One has feet on others back All four hands on floor
N:  What are you most excited about for this year’s National Choreography Month?
E:  Honestly just having the opportunity to make a dance and move with people that I care about. I am super excited about the cast that I am working with and having the support and guidance of Monkeyhouse has made this process so positive. I love that NACHMO is in January because it gives us the opportunity to start off this new year by making and sharing art. I am also super excited to attend the NACHMO final performance and see what all of the other choreographers have been up to this month!
N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
E:  The dancers that I am working with are connected to Monkeyhouse in various ways but most come from different dance backgrounds. What I am looking forward to and the challenges of working with this group are almost the same. Other than working with Karen and Nicole as either students or company members, there are not many past experiences that all dancers have in common. While this can be a challenge in figuring out how to explain certain tasks or improvisation structures, it also allows me as a choreographer to highlight the individual strengths of each dancer. Additionally, when dancers from different backgrounds come together and work on tasks, what comes out of them is often not at all what I anticipated which is really exciting to see from a choreographers perspective.

N:  Who are some of your favorite choreographers? 
E:  There are so many! Two of my favorite choreographers whose work I was fortunate enough to see live when I studied abroad in London are Akram Khan and Hofesh Shechter. I’m a big fan of Heidi Henderson and Doug Varone as well. I also greatly appreciate the classic work and specifically the methods of creating movement of Trisha Brown.
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Getting to Know Deepa Srinath - NACHMO Boston Interview

1/23/2018

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by Nicole Harris
Indian dancer One hand pointed up, one down Wears a green costume
Photo by Bhanu Suryadevara


​It was so lovely to meet Deepa Srinath!  You can learn more about her on her website:  www.deepasrinath.com


To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!

Want to be part of National Choreography Month?  Take the #MonkeyhouseNACHMOChallenge. Every day we will be posting a new prompt on Facebook, Instagram and Twitter. Follow along on social media to get the prompts and see some incredible dances! ​Share your own videos (no previous choreographic experience required!) using the #MonkeyhouseNACHMOChallenge hashtag in order to be featured!
Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

N:  I am so excited to see group concerts invest in forms outside the traditional modern and ballet! Can you talk about what is that first drew you to Bharatanatyam?
D:  ​I started learning dance when I was 5 years old and at that point I was just fascinated with the story telling aspect by using facial expressions and hand gestures. I had no idea of any movements that were involved. I was just happy to stomp my feet. Since I grew up in Bangalore, India, I was surrounded by Indian culture and I was constantly in touch with classical music and dance. My family was full of connoisseurs of classical arts, probably all these things put together has helped me fall in love with Bharatanatyam.

N:  Since all of our relationships with dance change over the years, what is it that you love about Bharatanatyam today?
D:  If you had asked me the same question 10 years ago, I would have said the energy that this dance form brings in is what I love. The ‘Nritta’ or dance movements was what I loved the most. Today, I would say, ‘Abhinaya’ or the conversation with the audience through facial expressions, hand gestures and the story telling is what fascinates me the most. Bharatanatyam has such a vast language that you can easily present different characters of different eras and of different stories with ease. Even though this art form is ancient, it still can connect to today’s generation. You can portray a piece on Devadasi from 1900s to a current issue of either global warming or Equal rights.

N:  You grew up in India. What brought you to Boston?
D:  Marriage brought me to Boston. I am glad I came here! Boston has an eclectic mix of people and I got to see many many dance forms. I saw such passionate dancers, and helped me see the uniqueness and differences from my own dance form especially when I was teaching at Dance Complex.
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​N:  What are you most excited about for this year’s National Choreography Month?
D:  The dancers that have been selected for NACHMO 2018 represent a broad diversity of dance forms. I am excited to see what dances they have choreographed and what unique interpretation they bring to the table. I am also excited to present my dance. I am doing it in a way that is usually not presented in the traditional Bharatanatyam repertoire.

​N:  Who are some of your favorite choreographers?
D:  Well, inspiration comes from everywhere, if we can keep our eyes open. I have many favorite choreographers and dancers. I have always loved the work of my Guru Radha Sridhar of Bangalore and she has definitely passed on the love of dancing to me. At the moment, I have two favorites: A) I love the work of the dancer Rama Vaidyanathan, who experiments with number of topics and thinks outside of the box. B) Malathi Iyengar of Rangoli Dance Company, Los Angeles, who knows how to choreograph in a way that enthralls the audience and make Bharatanatyam palatable not only for dancers but for everyone.
Indian woman Smiles at camera in blue Hands held at her waist
Photo by Shrenik Sadalgi
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?
D:  It usually takes me about a week or two to choreograph a single 5-10 minute dance piece. The relatively short time span of one month that NACHMO provides would therefore have been sufficient if I were just doing a single piece. However, as I wanted to carefully pick a couple of pieces to showcase the breadth of my dance form, the time span of one month had to include selection of songs and choreography, which was a challenge.
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Getting to Know Margaret Wiss - NACHMO Boston Interview!

1/22/2018

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by Nicole Harris
Picture
Photo by Robert Uehlin
We are excited to share our first interview with choreographer Margaret Wiss!  Learn more about her on Instagram or on her website!

​To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!

Want to be part of National Choreography Month?  Take the #MonkeyhouseNACHMOChallege.
Every day we will be posting a new prompt on Facebook, Instagram and Twitter. 
Follow along on social media to get the prompts and see some incredible dances! Share your own videos (no previous choreographic experience required!) using the #MonkeyhouseNACHMOChallenge hashtag in order to be featured!

​Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

N:  You are interested in dance and science.  Can you talk about how those two things come together?
M:  Definitely. Ever since I was little I have been fascinated by science - loving rocks and cloud formations. Later, I became invested in physical therapy as a career through anatomical courses and various dissections, which lead me to self-design a major in Dance Kinesiology at Mount Holyoke College. Therefore buried in Gray's Anatomy and scientific textbooks, I found a love of physics through translating principles to dance. Albert Einstein inspired my first choreographic plunge in 2014 as well as Thomas Edison’s phonograph and motion picture inventions fostered my curiosity with science and art. In each new creation, I hope to further explore this kinetic interaction and stimulate the perception of dance as a scientific sport.
N:  What are you most excited about for this year’s National Choreography Month?
M:  I am most excited to be presenting a new work utilizing the dancers' voices as the soundscore! This is the first piece that I have created without live instrumentation or recorded sound and I am excited to see what the result will be!! I was able to flesh out this material and get a glimpse into the result during Jessie Jeanne & Dancers Winter Immersion Project! 
Picture
Photo by Eileen O'Grady
N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
M:  Yes, they are great! I am working with Katy Esper and Nora Buonagurio. We have been dancing together since 2015, therefore there is already a foundation of collaboration and trust. I am looking forward to being on the sidelines and watching these dancers take lead of the material. The challenge of working without a soundscore is that there will be no musical cues or counts and therefore Esper and Buonagurio will need to be extra aware to clearly converse physically and verbally within the space. 

N:  Who are some of your favorite choreographers?
M:  Some of my favorite choreographers include Jiří Kylián for his harmonic combination of fragile movements juxtaposed with a sharp attack. Adele Myers prompted my love of athleticism and risk-taking. Jessica Lang inspires me with her brilliance in installation and innovation in each new work. Ohad Naharin pushes me to create work that is socially and culturally poignant. Andrea Miller allows me to be ok with the quirky. And as always, Fred Astaire has always been an inspiration; a brilliant technician, incorporating clean and syncopated rhythms.
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Photo by Margaret Wiss
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?
M:  What I create for NACHMO will be a rough draft of an idea. I usually spend 1- 3 years on a piece. This includes many smaller showings and refinings of sketches, which allow me to spread out in as many directions and as quickly as possible. From these reworkings, I will compress the dances into a comprehensive whole. I just had a big finale to the work I had been creating for the past year and a half. Therefore what I am creating for NACHMO 2018 is completely new!... movement - concept - dancers and collaborators. Excited to see where 2018 takes me!
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Getting to Know Evolve Dynamicz - NACHMO Boston Interview

1/19/2018

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by Nicole Harris
All Photos by McCarthy Visuals

​We're excited to share our interview with Lisa Costello and Nicole Zizzi from
Evolve Dynamicz! 

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!

Don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!
Want to be part of National Choreography Month?  Take the #MonkeyhouseNACHMOChallege. Every day we will be posting a new prompt on Facebook, Instagram and Twitter. Follow along on social media to get the prompts and see some incredible dances! Share your own videos (no previous choreographic experience required!) using the #MonkeyhouseNACHMOChallenge hashtag in order to be featured!

N:  Can you talk a bit about how Evolve Dynamicz came about?  How would you describe your work?
L&N:  In the summer of 2015, Lisa Costello and Nicole Zizzi met by chance through a project put together by a local Boston choreographer. In October of 2015, Evolve Dynamicz was established, with the hope of creating a repertoire to share the mutual  passions for life and movement. In September of 2016, Evolve brought on their first set of new members and has continued to grow into what they are now. Evolve Dynamicz has become an oasis for this unique group of strong willed people— as they each face their own individual life challenges, they support each other and find common ground through the arts of dance, choreography, and movement.
As artists, we seek to confront the challenges of a millennial life with a sense of openness and vulnerability. Our work embraces these challenges with curiosity, intimacy, playfulness, and a deep- seated passion for movement. Our interests in improvisational composition, site specific choreography, and collaboration with our dancers are brought forth in our choreographic processes.  With this, we aspire to continually experiment with new vocabularies, ideas, collaborators, and mediums of expression— we are committed to sharing our passion of dance with audiences in all spaces, of all types.

N:  How do you and Nicole divide responsibilities within the company?  Do you generally choreograph together?
L&N:  Together we make the decisions and final choreographic choices. We meet weekly to make sure we are on track administratively as well as in the studio. Our choreographic process varies with each piece we do! For our last show SPACES, we did each piece collaboratively, but recently we decided to explore choreographing separately and seeing how our work compliments each other. We’re still a fairly young company, so we are doing a lot of experimentation. :)   
N:  What are you most excited about for this year’s National Choreography Month?
L&N:  We’re excited for another year of sharing our creations with the greater Boston dance community and seeing what our dancing friends have been up to! This will also be Nicole’s first performance post hip reconstruction surgery!
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?
L&N:  With a short time span, we need to streamline things a bit, so we will do less of our improv work that would normally help us build a piece and we will focus more on our choreographic notation.  The notation helps us sort out choreographic ideas on paper outside of the studio. It is a way for us to step back from getting overwhelmed with movement possibilities and look at things with a more abstract eye.

​N:  Who are some of your favorite choreographers?
L&N:  William Forsythe, Andrew Winghart and Justin Peck
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Getting to Know Heather Brown - NACHMO Boston Interview

1/19/2018

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by Nicole Harris
Picture
Photo by David Lee Black
Next up on the NACHMO Boston Interview list...  Heather Brown!  Learn more about her here then follow her on Facebook!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!

Want to be part of National Choreography Month?  Take the #MonkeyhouseNACHMOChallege. Every day we will be posting a new prompt on Facebook, Instagram and Twitter. Follow along on social media to get the prompts and see some incredible dances! ​Share your own videos (no previous choreographic experience required!) using the #MonkeyhouseNACHMOChallenge hashtag in order to be featured!

Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!
N:  You are very open about living with Cystic Fibrosis and raise awareness about it in your work.  Can you tell us a bit about Continuing Fluctuations; a piece you created about living with invisible chronic illness?
H:  Continuing Fluctuations is actually a collection of work that we are hoping to share in a full evening performance in May. Each piece explores a different aspect of life with chronic illness. We have been trying to tackle a little bit of everything. Current inspirations include facing feelings of anxiety, finding your place in the world and dealing with outside perception. I strive to create work that can reach an audience on an emotional level regardless of their previous experience with chronic illness. Everyone can relate to these feelings because they are innately human. If people can make the connections on an emotional level, maybe they can start to understand and be more empathetic in their daily lives. You never know what someone is silently struggling with.

The piece that we are working on for NACHMO is an extension of this work starting to explore the idea of losing independence. Everyone is faced with the prospect of becoming dependent upon family members for care. For most people it is a temporary situation and does not become permanent until very old age. People living with chronic illness, even young, otherwise independent people, often find themselves in positions where they must rely on the support of others to help with everyday activities. Sometimes this dependence is for a short stretch of time just to recover. Other times this dependence can become permanent and last for years. In this piece, I am hoping to capture what it feels like to loose that independence.

​
N:  Several members of Monkeyhouse live with invisible illnesses.  Thank you for tackling such an important topic!  What has the response been to the work?  What do you feel you’ve learned through the process of creating it?
H:  The overall response has been positive, but like everything in the arts we need more support to keep the project going. We are currently running a fundraising campaign to support the production costs of the May performance. I hope that seeing a glimpse of what we are working on as part of NACHMO, people will step up and support our small company.

Creating this work has been an amazing experience. With every new idea comes a new opportunity not only to explore movement, but also to explore within myself what is at the root of the idea, what am I actually trying to say. I think that is true for any artist working through his or her own process of artistic expression. Each idea I have presented has been a part of who I am for a long time. They are snippits of thoughts that have shaped the person I have become and how I have decided to live my life. They are all things that people living with chronic illness are often faced with every day. We are forced to work through these ideas and make life- altering decisions long before our peers. In exploring these ideas in a public space, maybe we can start a conversation.


N: What are you most excited about for this year’s National Choreography Month?
H:  I am most excited about seeing what other choreographers have created in such a short period of time. NACHMO is always a great opportunity to touch base with the dance community and see what everyone is doing.
N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
H:  I am working with a few dancers who have been with me since I started working on this project and a few new people as well. I always look forward to seeing each persons individual style and working their movement into the piece. My current process always starts with having the dancers generate their own movement using prompts as inspiration. My biggest challenge is always trying to establish the connection between the dancers with the movement. If anyone is interested in seeing what we are up to, I have been sharing our NACHMO rehearsal process on YouTube here.
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Photo by Joe Malone
N:  Who are some of your favorite choreographers?
H:  I think my favorite at the moment is Wayne McGregor. He did a Ted Talk back in 2012 about his choreographic process. It was really interesting to see how he creates abstract movement that is inspired by seemingly mundane things. I like the way his work is modern and yet uses the lines of ballet to create interesting shapes.
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Getting to Know Lacey Sasso - NACHMO Boston Interview

1/16/2018

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by Nicole Harris
Headshot of white woman Long brown hair, grey eyes, smiling Freckles on her face
Photo by Spin Inspired Photography
I love when we get to interview people more than once!  It has been a lot of years since we last talked to Lacey Sasso and many amazing things have happened!  She's here to tell us about herself and her work with NACHMO Boston this year!  Learn more about her here!

To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!

Want to be part of National Choreography Month?  Take the #MonkeyhouseNACHMOChallege. Every day we will be posting a new prompt on Facebook, Instagram and Twitter. Follow along on social media to get the prompts and see some incredible dances! ​Share your own videos (no previous choreographic experience required!) using the #MonkeyhouseNACHMOChallenge hashtag in order to be featured!

Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

N:  We interviewed you way back in 2013 when you were part of Against the Odds.  (Read that interview here!) It’s great to talk with you again!  So much has happened in the last five years!  In 2014 you started your own company.  How did that come about?
Dancer in orange dress, Balances on arm and legs, Hair swinging behind
Photo by KPWee Photography
L:  ​Hello!  Thank you for chatting with me again!  A lot has happened in the last 5 years.  Since I was in undergrad, I knew that eventually I wanted to have my own company.  In 2014, I started creating more of my own work and pursuing performance opportunities.  Somewhere in the middle of all that excitement, I had a conversation with my dancers about producing my own show and they were completely supportive. Before I knew it, we had Love in Motion, our first independent evening length performance, and Sasso & Company was born. 
N:  In 2013 you were splitting your time between Boston and New York.  Are you working in both cities?
L:  Following that period of time, I moved to London and spent the last two years teaching and performing overseas.  It was a brilliant opportunity to see how dancers in other nations train, to work with a diverse student population, and to perform in some incredibly creative work.  Since moving back to Boston this fall, I have refocused on how I can be a part of and engage in the local dance community.  We have so many wonderful programs and opportunities here in the city!  I do still have connections in New York and am hoping to collaborate with a few of my artist friends to create work together soon.  Currently, I am looking at performance opportunities in both cities, however, I consider myself to be Boston-based now and am so excited to be participating in NACHMO and producing on a new shared show, Deeply Rooted which is being presented in February.

N:  What are you most excited about for this year’s National Choreography Month?
L:  NACHMO has a wonderful way of kicking my winter blues away.  Even today, I was trying to plan rehearsal and feeling rather uninspired, then I got on instagram and was instantly excited by the phrases other participants are coming up with.  One of my favorite things about NACHMO is that the prompts continuously challenge me to move in ways that I ordinarily would not.  I also love how the whole dance community comes together to share in this creative challenge.  The work that is produced is exciting, innovative, and inspiring.
N:  What changes in your process to build a piece in such a short time span (one month)? 
L:  When I am on a deadline, I have to go with my gut instincts.  I have no time to question myself or the movement.  Sometimes that feels exhilarating and at others, it can be rather stressful.  Generally, I find that work created in a short amount of time is clearer, in that I don’t try to complicate my phrases or make too many phrases.  I stick with the bones and focus on the message. 
White woman jumping in a red dress and blue light
Photo by GSCS Photography
N:  How long do you usually take to create work?
L:  Completely depends on the piece.  Some pieces come out in 4 hours and others take 4 months.  For me, it can depend on how clear my vision is for the work.  I love that NACHMO inspires me to focus and get a clear vision in a short amount of time. It can be so refreshing to see a finished product after such an intense period of creativity. 

N:  Who are some of your favorite choreographers? 
L:  Trisha Brown, Jose Limon, Michelle Dorrance, Akram Khan, Hofesh Shechter, Tracie Stanfield, Melody Squire…. I could go on and on!
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Getting to Know Grant Jacoby - NACHMO Boston Interview

1/15/2018

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by Nicole Harris
Photo by Paula Court
We're excited to introduce you to Grant Jacoby for our next NACHMO Boston Interview!  Follow him on his website, Facebook & Instagram!

Want to be part of National Choreography Month?  Take the 
​#MonkeyhouseNACHMOChallege. Every day we will be posting a new prompt on Facebook, Instagram 
and Twitter. Follow along on social media to get the prompts and see some incredible dances! ​Share your own videos (no previous choreographic experience required!) using the 
#MonkeyhouseNACHMOChallenge hashtag in order to be featured!
To learn more about NACHMO Boston you can find them on Facebook and Instagram!  You can also support this year's NACHMO Boston programming here!  Finally, don't miss the NACHMO Boston Concerts at the Dance Complex on Friday, February 9th and Saturday, February 10th!

N:  You are working in both New York City and Boston.  How does that work?  What is keeping you in both cities?
G:  Once I left Boston to move to New York to pursue my MFA in Dance full time, I knew I wanted to maintain a presence in both cities. I was excited to see what opportunities NYC had, but I also didn't want to forsake my Boston dance community that had provided so much support that lead me to my pursuit of graduate studies in dance. Luckily, the commute is easy enough, and since my family is located in the greater Boston area, I have been able to come back for choreographic showcases, master classes, and performances. It is my hope that no matter where my career takes me, that I always have roots in Boston.

N:  What are you most excited about for this year’s National Choreography Month?
G:  What excites me about this year's NACHMO showcase was that I took upon the task to free myself from self-editing and overthinking structure. As I am working out concepts for my choreographic MFA thesis for later this spring, I wanted to present movement phrases in their raw and purest form as a way of exposing the bones of creating a dance.
Photo by short photo co.
N:  Can you talk about the dancers you’ll be working with?  What are you looking forward to and what are the challenges of working with this particular group?
G:  For this particular rendition of the project, I have been working with Audrey MacLean and Sasha Peterson, two of my closest dance companions. I have worked with both of them on numerous dance projects respectively, but never actually on the same one together. They both have an expanse of physical knowledge and the capability to learn movement quickly, two extremely desirable skills when creating a piece in such a short time frame. Plus, they look beautiful dancing together, despite being very unique movers on their own.
N:  Who are some of your favorite choreographers?
G:  The greatest inspiration to my work is Trisha Brown, in particular her works "Newark," "Set and Reset," and "Sone of Gone Fishin'." I am also a huge fan of Merce Cunningham, Lucinda Childs, Beth Gill, Jodi Melnick, and Heidi Henderson. All of the aforementioned choreographers have brought intrigue and insight to the field that I hope to emulate in my work in some capacity. 

N:  You’ve had a busy career so far.  What is some advice you can offer aspiring choreographers?
G:  ​My greatest piece of advice I could give to aspiring choreographers is don't wait for an opportunity to come to you, go out and make it for yourself. It seems cliche, but it was integral to my success as a dance maker. When I first moved to Boston, no one knew who I was, so I had to really pound the pavement to make my mark. I took classes, went to performances, and networked with those in the community to make myself known. Furthermore, while it took a lot of fundraising, I presented a self-produced concert of my own choreography during my first spring in the city as a way of establishing myself. It didn't all fall into place at once, but each action lead from one opportunity, to another opportunity, and so on. It takes a lot of work, but it's worth it.
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Getting to know Elizabeth Powers

11/14/2017

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Five sets of dancer feet overlaid by Elizabeth's headshot. Text: Elizabeth Powers 2017/2018 Choreography Mentorship
Photo by Paradise Photo. Graphic by Nicole Harris
A conversation between the two choreographers for this years choreographic mentorship program; Elizabeth Powers and Elyssa Berg.

​EB: You just recently finished school at Roger Williams University this past May, what have you been up to since graduation?
EP: I am currently living in Providence, RI and working as a teaching artist in a middle school where I work with teachers to integrate arts into the academic curriculum. I'm taking classes and dancing in various projects around the Boston and Providence areas. I'm also working on creating some new work that pushes me into a different mode of creating movement. 

EB: So now that you have a chance to pursue new ideas what are you finding yourself most interested in exploring as a choreographer?
EP: As a choreographer a lot of my interests come from thoughts. I am really interested in people and how they work. I think that dance and movement facilitate exploration of these sorts of topics. I am also interested in exploring the possibilities of improvisation. I like to create improvisation scores that involve challenges or problems that have to be solved by doing the improvisation. Personally I use this method as a way to get myself to create movement that is different from what I usually do. I find that improvisation allows dancers to constantly be pushing the limitations of movement without getting stuck in a pattern, or at least provides the option of editing a score to create an escape from the pattern. I am also interested in using improvisation within the structure of a final piece. I get sick of doing the same thing all the time and am interested in the ways that a piece can be different every time that it is performed while it is still the same piece.

EB: It sounds like you are trying to push yourself to constantly change and try new approaches and tools, where do you find most of your inspiration for these new ideas comes from?
EP: A lot of my inspiration comes from watching dance. When I need to come up with an idea for a piece, going to see a good show always brings me into that mindset and gives me ideas to play with. I'm also inspired by relationships and observations throughout daily life. I find that the movement that is constantly occurring everyday is often as interesting as any movement that we classify as dance, when it's put in the appropriate context.

EB: You are about to begin the process of creating a piece for NACHMO, as you start this process and other processes what would you say is your biggest challenge in creating a new work?
EP: My biggest challenge when creating work is probably choosing what to focus on. I often have a lot of completely random ideas and so choosing which ideas to focus on is a challenge. I like to let ideas develop and pull my work in a certain direction, but before I can do that, I have to choose which ideas to give that power to. Sometimes I'll let a piece go in one direction for a while before deciding that isn't where it is supposed to go, so being open to giving a piece multiple chances to identify itself is important to me. 

EB: Do you have any plans for the near future? Are there any goals or things you would like to accomplish in the next five years or so?
EP: Honestly the only thing that I know I still want to be doing in five years is dancing. I want to be creating and sharing work regularly. I want to work with populations who have varying abilities as well as share the power of movement with anyone who could benefit from it. I want to be moving in a different way than I am right now. There are so many different ways to move and in my 22 years of life I have just scratched the surface.

EB: As you have had a long relationship with Monkeyhouse what would you say is your favorite part about working with the company?
EP: I love that I get to work with people who are so willing to try and to support. I can go into a musing with a weird idea or a hand gesture and come out with something really interesting. Also working with people like Karen and Nicole who have been teaching me dance since I was a kid is amazing because I know that they won't hesitate to push me out of my comfort zone but they will also help me make sense of things when they seem to be going nowhere. So, my favorite part of working with Monkeyhouse is being able to work with a community of dancers who will accept crazy ideas and make something out of anything that they are given. 
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All New and Very Exciting...

11/10/2017

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by Nicole Harris
Five set of dancer feet. Text: Elyssa Berg & Elizabeth Powers 2017/2018 Choreography Mentorship
We have been so lucky over the last seventeen years to have former students from Impulse Dance Center, Dover Sherborn High School, the Dancing Arts Center, Natick High School, Groton School, Endicott College and beyond who have returned to be part of Monkeyhouse in some way.  They've been board members, funders, company choreographers, audience members and guest artists.  They have participated in Musings and company class as well as been invaluable advisors to us in and out of the studio.  We are forever grateful to each and every one of them!

This past summer we created a series of Musings at Impulse Dance Center to give the alumni an opportunity to dance at a more professional level and to play with choreographic ideas in a low stakes setting.  (We'll be talking more about that particular program in a future blog post.  Keep an eye out!)  During that process we were inspired to create a new Choreography Mentorship for emerging choreographers.  Many of our former students have gone on to complete dance programs at the college level and came home with inspiring new skills, ideas and goals.  We want to help these emerging choreographers as they transition from an academic dance life to a professional one.  

We are starting this program with two of our Impulse Dance Center alumni, Elizabeth Powers and Elyssa Berg (who you might also remember as being a choreographic intern during her senior year of high school and a guest artist at Monkeyhouse's Misplaced/Displaced concert).  These two dynamic choreographers will continue to lead Musings for December and January as they refine a choreographic idea.  During the month of January, they will each create a piece of choreography for NACHMO (National Choreography Month) using dancers from Monkeyhouse.  

This is an exciting opportunity for emerging choreographers.  They receive studio space for both Musings and rehearsal; mentoring in choreography, design and all the administrative work involved in producing a new work; the opportunity to set work on a company and a whole lot more.  You will hear a whole lot about these two ladies and the work they are creating over the next three months.  But first, here's a quick introduction:
photo by Paradise Photo
​Elizabeth Powers graduated from Roger Williams University in May 2017 with a BA in Dance and Performance Studies and a double major in Psychology. Elizabeth grew up dancing at Impulse Dance Center in Natick, MA where she studied a variety of dance styles before finding contemporary-modern and improvisation techniques to be her passion. Nicole Harris and Karen Krolak were two of Elizabeth’s teachers at Impulse who encouraged her to find her creative voice and push boundaries. They continue to do so today.
 
Throughout college, Elizabeth had the opportunity to study with and perform in works by Heather Ahern, Hilary Easton, Ori Flomin, Kellie Ann Lynch, Fritha Pengelley, and Christina Robson. She was graced with the mentorship of Michael Bolger, France Hunter, Cathy Nicoli, and Gary Shore. She was also able to spend a semester studying dance and performance in London, UK where she worked with choreographer Katie Lusby.
Elizabeth is currently working as a teaching artist in Providence, RI, where she works with middle school teachers to integrate the arts into their academic curriculum. She is also performing and choreographing for various events throughout the Boston and Providence areas. She is extremely excited to be exploring a new idea with Monkeyhouse.

Elyssa Berg began her dance training at Impulse Dance Center in Natick, Massachusetts. She graduated Magna Cum Laude from Virginia Commonwealth University with a BFA in Dance andChoreography. In 2016, she studied abroad with the University of South Florida’s Dance in Paris Semester Program, under the direction of Michael Foley. During her time at VCU, Elyssa performed in works by Scott Putman, Melanie Richards, Judy Steel, as well as guest artists; Doug Varone, Liz Lerman/Dance Exchange, and Dawn Bazemore. In 2015, she performed in the official music video for Victor by Prinze George, a finalist in the LA Music Video Festival. 
Outside of VCU, Elyssa has studied at Bates Dance Festival’s Young Dancers Program as well as their Professional Training Program. Elyssa has been commissioned twice by Monkeyhouse to create work and has presented choreography in the Boston area as well as Richmond, Virginia.
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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: 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. 
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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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