Nicole Harris: You are building two solos for this performance. karen Krolak: Yes, through the Musings this year, I began to explore some choreographic ideas related to The Dictionary of Negative Space: an interdisciplinary lament. N: Can you talk a little about what the dictionary is and how the pieces relate to it? kK: The dictionary began as my thesis project for my MFA in Interdisciplinary Arts at Sierra Nevada College. It examines the negative space within the English language, the vast chasms of unnamed ideas related to mourning, trauma, and repair and it was inspired by the car accident that killed my mother, father, and older brother in 2012. By the time we began to plan Re act…, I had a two ideas for pieces based off of this research.
kK: So, in the Dictionary of Negative Space, entries are labeled by the number in the bracket. For instance, [1] is the place where a deceased person was last seen alive by the speaker. Exactly two weeks before the accident, my father, Kwaq7aj’, and I went to see Monkeyhouse’s creation in Luminarium’s very first 24hr ChoreoFest. I decided to create a choreographic score to guide someone from the Dance Complex to the place where we said goodbye that day. When I began mapping out these activities, a little more than 5 years had already passed. Odd, I just remembered that I started working on the score after I left a showing that Luminarium presented at Green Street Studios this fall. Anyway, it was challenging to recreate exactly what happened. How long did we wait for the walk signal? Where exactly was our table when we sat down to eat? Since I did not know that this would be my last outing with my father, I did not memorize as many details as I wanted later. More importantly, I realized that I had tricked myself into thinking that this was my father’s [1] because in reality both of my parent’s [1] no longer exists. That place was destroyed a few years after the accident. I had latched onto the goodbye from the day of ChoreoFest because my brain clearly did not want to deal with another missing thing. As I wrote out everything that was tangled up in my head, I realized that I was not writing instructions for my father’s [1]. I was writing out my father’s aaaaaaaaa[13] (n.[usually plural] activities that seem ordinary but take on new significance when they are the last moments spent with someone). I edited my thoughts down to just the verbs to emphasize those actions.
N: The one for Olivia Scharff was also influenced by a walk you went on in Malden Center. Can you explain what you saw on the walk and what path the idea took once you were in the studio with Olivia? kK: Right, I had received an email from Mobius and discovered that they were planning some dadamobile events in Boston at the Farmer’s Market on Copley Square. One of them was just a few hours after the email arrived and I had some free time. Two moments on that trip sparked an idea of how to approach this solo. First, while I was sitting near Copley over by the Finish Line for the Boston Marathon, a man approached me to use my phone. Having just recently adjusted to a new phone, I was hesitant to hand it over to a stranger. He was clearly in distress and wanted help to contact a medical clinic. I offered to call the clinic for him. As we navigated the phone tree, things got very frantic and confusing for him. He was in a treatment program for opioid addiction and had missed the time that he was supposed to contact his nurse that day. While he and I were sharing the phone in this awkward uncomfortable duet, people were just rushing by us and stepping over us. It was very similar to the feeling of Elizabeth’s phrase from that Musing. Then on the way home from the T in Malden Center, I was behind three strings of children on walking ropes. I was still worrying about the man from Copley. Juxtaposing the security and calm of these kids making their way to the Ed Emberley Park against the man’s isolation and despair, I began to wonder about a person who realizes that they are all alone on their walking rope. Once again, I understood that I was exploring yet another entry from the dictionary but I will let people guess about which one until they come to the show.
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by Nicole Harris
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.
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!
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: 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!
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.
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.
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: 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.
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.  Photo by Matthew Murphy
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.
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!
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.
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: Who are some of your favorite choreographers? L: Survey Says: Mia Michaels, Sonya Tayeh, JoJo Gomez, Matt Steffanina, Kyle Hanagami, Gregory Hines, Travis Wall
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.
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.
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.
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.
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.
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! 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!
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: 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.
 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!  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.  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.
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.
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.
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: 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.  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!
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 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
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: 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. by Nicole Harris  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?
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: 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!
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.
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.  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. by Nicole Harris  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.
N: What is your affiliation with Endicott College? EL: I am a Junior at Endicott currently in the undergraduate program.
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.
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: 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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