Nicole Harris: Can you tell me about the work you’ll be performing as part of the OnStage Summer Performance Series? Lisa Costello & Nicole Zizzi: The work we are showcasing will be performed to the composer Roberto Cacciapaglia’s album titled Quarto Tempo. We are experimenting with how to bring visual diversity to a set of music that is more or less similar and coherent. We are also hoping to engage in a storytelling through movement by means of contemporary dance that is not literal in its purpose. We love to experiment with ambiguity in our movement vocabulary and choreography so that the audience can interpret our choreography in their own ways. We want each of the audience members to be able to connect to our work in their own ways so we don’t like to be too obvious in our intentions and meanings. However, we obviously pull our inspiration from very specific places, so it is always interesting to see how the audience interpretations align with our own inspirations. So we are very excited for the informal nature of the show and the ability to interact with the audience afterwords! The OnStage Summer Performance Series is a good place for us to experiment with our newest ideas and get feedback from a diverse audience.
L&N: Since January, we have both choreographed each of our own separate pieces and we think they have both been successful in their own ways! Our individual movement styles are very similar but it has been interesting to see how our choreography can be different. We both have similar choreographic processes in the way we use notebooks and notations, but the way they come out on the dancers bodies really show our individual personalities and that has been really cool to see! We compliment each other in our differences, which is why we ultimately decided to work together when we first founded Evolve. So it has always been something we knew, but it has been so fun to see how that has manifested itself physically! We’ve decided to highlight our differences by inviting additional guest choreographers to set pieces on us for this show. We are really testing the waters on our different movement and choreography styles have be brought together in a cohesive way. It’s almost like our differences are exactly what has inspired the whole concept of this show. N: Nicole, you had just recovered from hip reconstruction surgery in time to perform for NACHMO Boston. As dancers we are always hesitant to talk about injuries and setbacks, however, we all face them. What were the challenges you faced in getting yourself back on stage, especially after the prescribed “recovery time” was over? What did you learn from the time you were out of commission? What recommendations do you have for other dancers facing physical setbacks? Nicole: The prescribed recovery time technically wasn’t even over until mid-June, so I would say the biggest challenge was the time it took to recover. I had about a year and a half period of pain before the doctor’s could actually diagnose me with Hip Dysplasia. I won’t go into that story but if anyone is interested I have been keeping a recovery blog! https://www.nicolezizzi.com/never-give-up I think the biggest thing I learned from the whole 2 year process from pre-diagnosis to surgery and recovery was that you should never doubt yourself. If you feel like you’re in pain, listen to your body and, even more so, advocate for yourself! If the doctor’s aren’t listening, find doctors who will listen. I ended up with the most amazing support team from the doctors and nurses at Boston Children’s (who treat the Boston Ballet dancers!) to my physical therapy team at Girl Fit in Newton and finally my “mental skills coach” Kelsey Griffith out of the Micheli Center for Injury prevention at Boston Children’s. Each and every one of my care team members were fully invested in my recovery. I also had the most amazing friend by my side the entire time and that, of course, was Lisa. :) She came to visit me while I was in the hospital and danced for me when I couldn’t express my emotions through dance. I was fortunate enough to never have to leave the dance world because she helped me stay involved in every possible way I could. I unfortunately did have to give up a dance teaching job due to the injury, but Lisa and the rest of Evolve really made sure I was still involved in the dance community. I choreographed and improvised and even taught chair choreography while I was still on crutches. My biggest recommendation to any dancers facing any kind of physical set back is to surround yourself with people who support and care about you, who are able to listen to you when it feels like the world is caving in, and most importantly who are able to remind you that there ARE ways to keep dancing even if not the way you had before. N: What are three amazing things that have happened since NACHMO Boston? L&N: Since participating in NACHMO Boston, we have had some amazing advances through Evolve. After applying for the past three years, we were accepted to the Boston Contemporary Festival for the first time! A very big accomplishment for us as directors and as dancers. We have also hit double digits with our number of dancers. We now have 10 dancers and we feel very proud to know that two short years ago we were only a company of 2. Lastly, we are so happy to announce our first out of state collaboration with fellow company, The D’Amby Project, in New York. Keep your eyes peeled for the final product!
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?
Nicole: My biggest mentor was my dance professor in college Missy Pfohl-Smith. My university unfortunately did not have a dance major, so of course it made sense for me to study physics….(makes a lot of sense, right?) …. Anyways, Missy really encouraged me to bring in my interest of physics into my dance studies. She always encouraged me to be genuine and authentic in my artistic endeavors and that has been one of the most important life lessons I have ever learned. I ultimately decided to stray from the field of physics, but recently started my Masters in Architecture and I plan to one day own my own design firm in conjunction with Evolve. :) I am always striving to stay true to myself no matter how out of the ordinary that may be! Lisa: My biggest mentor is my former dance teachers, Karen White and Terry Paretti. They taught me every style of dance and instilled a pure love for the artform that dance can be. They also supported and encouraged me to pursue my dream of having a career in dance once I graduated from high school. I learned so much from them, I take the joy and love for dance that they taught me and pass it on to my youngest students at age 2 all the way up through my adult company members each day. I cannot thank them enough for shaping me through my early years into the dancer I am today.
1 Comment
Nicole Harris: Can you tell me about the work you’ll be performing as part of the OnStage Summer Performance Series? Jenny Oliver: This performance includes sections from our upcoming evening length concert, ‘Hot Water Over Raised Fists’ that will be further developed during our DanceMaker’s Residency at the Boston Center for the Arts and premiered in June 2019. HWORF was originally inspired by my desire to create meaningful dialogue around the broad issue of water rights and protest. The Dakota Access Pipeline protests and the water injustices in Flint, MI have stayed with me for the past 2 years. These issues became the nexus of the two themes of my show. The first theme water, exploring its importance, the destruction it can provoke & the sustainability it provides. The second theme is protest, investigating why it is needed, how it is used & the longevity it provides. We are in the beginning phases of exploring the development of these ideas and this concert includes excerpts resonant of a flip book of different manifestations of the two themes through a visceral experience using modern dance combined with a mix of jazz and eclectic music. While allowing us to share our perspective about water and protest this concert also allows us to fulfill our mission of Philanthropy through Dance. A large percentage of the ticket sales will go towards the Rasin Foundation’s De-Worming Initiative that it provides to the community of Leogane, Haiti. As a Board member of the Foundation I am eager to create an intersection between art and health in a tangible way. We are currently serving 1,000 children and 168 peri partum women providing medication to help prevent intestinal parasites that potentially lead to death.
To be a humanitarian is a duty that all privileged people should be aiming for. As defined by Merriam-Webster: a Humanitarian (n) is a person promoting human welfare and social reform. (adj) relating to or characteristic of people who work to improve the lives and living conditions of other people. These are the motivators for the work I want to produce. As Zora Neale Hurston is quoted as saying “If you are silent about your pain, they will kill you and say you enjoyed it.” My aim is still not remain silent about the things that affect my life and instead share my perspective with the world. The more variety of voices providing perspective, the richer the conversation and understanding can be. N: Your company’s mission, in part, is to create research based choreography. Can you explain what that means and how it may differ from other choreographic processes? JO: Creating research based choreography has been a wonderful experience and one that is new to my practice. In other works that I’ve made the focus has been heavily on movement, athleticism and the spectacle of the music. I’ve since shifted my approach to one that I’ve been exposed to through working with other choreographers that I admire and one that fully resonates with what I want to be saying as an Artist. Being able to immerse myself in the stories, facts, outcomes and potentials of the subject that I am focusing on has helped me to approach my dancers in a way that helps them create the relationships onstage that are full and robust. Once I have collected my research, I try to find ways to share that information with my dancers and discuss the most authentic representation on stage. Throughout my process with the dancers, we’re in constant dialogue about movement and how our relationships to each other are reflecting the overall message of the piece. Using this method is still new to my practice but experimenting with this approach has brought fulfilling challenges elevating my choreographic lens and enhancing the depth of my dancers.
Nailah Randall-Bellinger is a major mentor. She was my college professor who showed me a world of dance that I didn’t know existed. Almost 20 years later and she is the person that I call on as a friend and artistic advisor when creating work and discussing issues that effect that creation process. Bob Thomas was another college professor of mine who spoke truth to power about the realities of dance and career. He often helps me with strategizing to make money and inspires me with his ability to think way outside of the artistic box. He has often been a sounding board and friend to me over the years. Last but not least, Marlene Edouard, she has become my second mom and the person who introduced and guided me through the Haitian culture and tradition, not only of dance but life as well. She trained me in Folkloric Dance and opened many doors for me in Boston while encouraging me to dream bigger and execute larger. Through the work of my company and the classes that I teach both in the community and through the schools and universities that I work for, I am providing a space for people to discover dance and themselves. By creating critically thinking individuals who, hopefully, will continue to pay forward everything that I share with them my intention is to raise the artistic bar in this city.  Photo by Ernesto Galan N: Who are some of your favorite choreographers and why?
JO: Ulysses Dove!! His works are some of the first that I saw that really moved me to want to dance fully and share stories through movement. Particularly, VESPERS, still has me awe struck and butterfly filled. After watching his interviews I felt more connected to his work. He states “I am interested in passion. In every embrace, every second of life (should be) lived so fully that there can be no regrets, no retreat, no looking back.” -Published in Connoisseur magazine Other choreographers that I admire are Katherine Dunham for her anthropological approach to black dance, Pearl Primus for her choreographic works that reflected her research of black dance and culture in Africa and the Caribbean. Fatima Robinson for her edge and creativity in commercial dance and more recently Reggie Wilson for his approach and process to creating black dance using research based methods. I often find myself being motivated by the works that these people have created and the dedication that they gave to the art form.
Nicole Harris: Can you tell me about the work you’ll be performing as part of the OnStage Summer Performance Series? Noa Barankin: The theme of the show is "Rhythm Re-imagined" (which is also the title). In my work, the audience will be able to see new uses of props and technology, for the purpose of making rhythms and integrating them with dance and movement. In particular, the cast is made of all tap dancers. However, we are also drumming (on and with various objects), and doing body percussion. There is some integration of modern dance, as well as tap dance classics. I also like to call what I do - "visual rhythm", because it is rhythm that you can see. Most of our pieces are stand-alone, meaning that you can take them out of the context of the full show and they can be performed on their own. A lot of thought was put into making these pieces come to life, and the details are noticeable - from the choice of the prop to the way we use it and integrate it with the sounds of tap dance or percussion.
N: Who are some of your favorite choreographers and why? NB: Ummmmm all of them? I love all artists and learn from what I see. I absorb. Possibly Gene Kelly and Fred Astaire for their lack of fear in tap, and the endless incorporation of props and special effects in their dances. I'm ALL about props (as you shall see in the show!!) 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?
Another mentor is Doron Raphaeli, who gave me my first professional paying job as a dancer. It was in Tararam, a drummimg company, where before that I have never laid my hands on a pair of drumsticks. As artists, we need that person in our lives, who gives us that trust. I'm paying it forward to my cast by doing the same - creating opportunity and teaching them something new.
The third one is Sean Fielder, through which I encountered most of my cast, and who gave me the opportunity to join the Boston Tap Company - my introductory dance path as a newbie in Boston. There is also Pam Caira, director of Step by Step dance studio, which is where we rehearse, and I cannot omit her name from this list by any means because she's a source of inspiration and a real supporter of DrumatiX. It's through her help and support that I am now able to bring drumming classes to the studio, for young dancers to get a taste of DrumatiX and explore a whole new world of rhythm making.
Musing Prompt #46.329 (premiere) Improvisation Prompt by Karen Krolak Performed by Caleb Howe, Elyssa Berg, Nicole Harris, Olivia Scharff and Sam Mullen Music by Twink the Toy Piano Band Special Thanks to Aisha Cruse Ukiyo (premiere) Choreographed by Nicole Harris Performed by Sarah Friswell Cotton, Olivia Scharff, Nicole Harris Costumes by Nicole Harris Special Thanks to Kelsey Griffith, Impulse Dance Center Ukiyo (Japanese) - the “floating world”; a place of fleeting beauty and living in the moment, detached from the bothers of life. [220] (premiere) Choreographed by Karen Krolak in collaboration with Sam Mullen Performed by Sam Mullen Music by Twink the Toy Piano Band Sam would like to thank Karen for the encouragement, freedom of expression and constant support. www.DictionaryofNegativeSpace.com
4 things (2018) Choreographed by Elizabeth Powers in collaboration with the dancers Performed by Michelle Boilard, Michela Doherty, Sarah Feinberg, and Elizabeth Powers Music by Mystified Costumes by Elizabeth Powers
Voetstoots (premiere) Choreographed and Performed by Caleb Howe and Nicole Harris Music by Francois Couture Sound Design by Nicole Harris Umbrella Design by Karen Krolak Special Thanks to Karen Krolak and Peter-John de Kock Voetstoots (Afrikaans) - refers to something, usually sold, with all its faults and without guarantees - “As is” * Created as part of Monkeyhouse’s Choreography Mentorship Program
by Nicole Harris  Photo by Lucas Buriche Next up, Choreography Mentee, Elizabeth Powers! You saw the piece she created as part of the Choreography Mentorship Program at NACHMO Boston in January. You'll have the chance to see it again on stage tomorrow. We're excited to see what Elizabeth brings to the company in the future! Elizabeth is also dancing in work by Sarah Feinberg and Elyssa Berg. Here she is talking about the two pieces she has in tomorrow's concert. re{ACT} re{BUILD} re{COLLECT} Friday, July 27th @ 8pm 665 Salem St, Malden, MA Tickets available here for only $10 if you use the VIP Code MH10. VIP tickets are not available at the door so get yours today! Nicole Harris: You have two pieces in this concert that you created as part of two different choreography programs this winter. What were some of the highlights of your experiences with each program? Elizabeth Powers: Many of the best parts of each program are the same! Both gave me as an emerging choreographer free space along with lots of freedom and little pressure to make something new. A highlight from OnStage Dance Company’s residency program was that I had the opportunity to bring together dancers who I new from different dance communities as well as meet other dancers from the OnStage community. A highlight from the Choreography Mentorship Program with Monkeyhouse was all of the opportunities for feedback and reflection on the work I was making. Additionally with this program I was given mentorship in all kinds of areas of the field including working with a lighting designer, finding/licensing music, costuming mentorship, and more.  Photo by Olivia Blaisdell N: The piece you created for OnStage Dance Co's Residency Program was fairly significantly less improv based than the one you created for Monkeyhouse's Choreography Mentorship Program. Can you talk about the differences between those two processes? EP: The main difference between the two processes was what I came in with. For OnStage, I began the first rehearsal by teaching a phrase. The first rehearsal with Monkeyhouse began with several improvisation prompts as well as dancers creating their own phrases from these prompts. With the OnStage piece, the improvisation tasks were mostly developed into set material. For this piece, I imagined very specific images while working to bring them to life. Comparatively, the Monkeyhouse piece was created by honing specific improvisation scores and combining them into a cohesive dance. N: Will you be making any changes to the two pieces from their first performances? EP: Definitely! Every time I see my work I think of something new to add, alter, or take out. The main structure of each piece will stay the same but I definitely made several small edits to both. Additionally, since there are elements of improvisation between each piece, there is no question that the pieces will not be exactly the same as they were in their original form, which is what I love about dance :)  Photo by Sarah Friswell Cotton N: What is a favorite rehearsal moment for each piece? EP: A favorite rehearsal moment for the OnStage piece was the moment when all of the pieces finally went together. There was a time in the process when we had so many bits of material that we had been playing with, but they didn’t seem to work together. Trying one combination that finally worked was a great moment. A favorite rehearsal movement for the Monkeyhouse piece would have to be the first time we played with creating the duet between Sam and Olivia. It was just so much fun to watch them explore their silly and playful movement that was fun and thought provoking to watch.
reACT reBUILD reCOLLECT Friday, July 27th @ 8pm 665 Salem St, Malden, MA Tickets available here for only $10 if you use the VIP Code MH10. VIP tickets are not available at the door so get yours today!
N: You have led a series of Musings (a time for choreographers to play with ideas in a low stakes setting) over the last several months in preparation for creating this piece. How have you used Musing time to help get you where you are now? SF: Musings have been a great opportunity to try out ideas and get feedback. I had some improvisational prompts that I started with but then got stuck when it came to setting choreography. I was challenged by karen during a musing to come up with a phrase to teach and then use the improvisational prompts I had been playing with in conjunction with the phrase. This was a major turning point in the choreographic process for me. The phrase I came up with that day ended up laying the foundation for the entire piece. N: What is a favorite rehearsal moment from the creation of this piece? SF: One of my favorite moments was when the last bit of choreography came together and all of a sudden I had an ending to my piece. I had initially came in to rehearsal that day with a very different plan for a possible ending and as we were working through the choreography the ending came naturally and that was that.
they make it their own. A few bits of choreography got adjusted here and there but the biggest change is just new dancers bringing new life to the characters. One of the things I love most about this piece is that no two dancers are going to perform it the same way. Every time this piece gets performed its a little bit different and that is part of what keeps it exciting.
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. |
Categories
All
Archives
April 2023
|
MONKEYHOUSE
RSS Feed
