Okay, okay, I know I'm a few weeks behind the rest of world. Give me a break, I don't have cable.
I wanted to post this up here because I believe that this is a prime example of the ways in which reality TV dance shows are actually good for our pop culture. While the name Complexions may not be familiar to everyone, a huge amount of people who would probably never see that type of dancing just got introduced to concert dance on the professional, international level. And yes, Complexions is a very commercially accessible company, but what's wrong with that? Art needs all kinds of audiences to be rich and vibrant. There is nothing wrong with dancing that appeals to the masses, especially when it has the potential to inspire audiences to delve deeper into the art form and maybe explore some of the not-so-accessible work. I think it is amazing that there is a show that is so commercially successful that showcases work of this caliber.
Monday, December 28, 2009
Oh, The Places You'll Go
Of all the things I never thought I'd end up doing, rehearsing in the middle of a Starbucks was definitely one of them. Frankly, I didn't think anyone would ever end up doing that.
We all gathered around a table in the tiniest cafe in the South Loop and strained our ears to hear our new music so we could set different counts. Unfortunately, the smooth jazz playing over the PA drowned out the sound from the laptop speakers we had huddled up against. Barely breathing, we all clapped out separate rhythms, trying to visualize the movement we would eventually be doing at this new tempo. The 45 minute rehearsal ended with everyone marking the movement sitting in stools, everyone off beat with the music we couldn't hear. That was the last rehearsal we had before the company went on break for Christmas.
Now we're getting ready to go back, but there are some minor snags. We no longer have two rehearsal locations, we only have one. Will we have to change rehearsal times? Will we have to find a new second studio? Will it be possible to have longer rehearsals as our February show draws nearer? These are questions only the dance gods can answer.
We all gathered around a table in the tiniest cafe in the South Loop and strained our ears to hear our new music so we could set different counts. Unfortunately, the smooth jazz playing over the PA drowned out the sound from the laptop speakers we had huddled up against. Barely breathing, we all clapped out separate rhythms, trying to visualize the movement we would eventually be doing at this new tempo. The 45 minute rehearsal ended with everyone marking the movement sitting in stools, everyone off beat with the music we couldn't hear. That was the last rehearsal we had before the company went on break for Christmas.
Now we're getting ready to go back, but there are some minor snags. We no longer have two rehearsal locations, we only have one. Will we have to change rehearsal times? Will we have to find a new second studio? Will it be possible to have longer rehearsals as our February show draws nearer? These are questions only the dance gods can answer.
Thursday, December 10, 2009
There's No Such Thing as a Free Lunch
One of the struggles of being a young artist is finding the funds to finance your projects. This is why I work well over 40 hours a week between all my different projects, as do most of my fellow company members. But no matter how much we work, there's never enough to cover all of our expense, so we are constantly looking for breaks in rehearsal space.
A little while ago, we thought we had finally had some good luck. A local theatre company with plenty of rehearsal space said that we could have the space one night a week for free! We only had three hours to squeeze in two rehearsals, but the space was bigger than any we'd had before. And it was free, so we didn't have to dig ourselves deeper into debt with every rehearsal.
When I arrived for our first rehearsal in the space, I was cold and tired and hungry and totally unprepared for what awaited me. One of the artistic directors of our company met me at the door practically pulling her hair out. "There's staples in the floor!" she cried. Not understanding what she was talking about, I quickly went upstairs to find half of the company on their hands and knees pulling industrial size staples out of the wooden floor with pliers. Tape marked any staples that had been found that were still awaiting removal and the pounding of hammers echoed off the walls as staples too mangled to be removed were beaten into harmlessness. The first twenty minutes of that rehearsal were spent concentrating on making sure that at least half of the floor was staple-free. The rest of the rehearsal was interrupted with banging hammers as dancers who weren't being used worked on the rest of the floor.
While it was certainly a less than ideal situation, I couldn't help smiling to myself throughout the entire night. It reminded me of my best friend's favorite saying: there's no such thing as a free lunch. We didn't spend any money on the space, but at what cost? To this day, we still find staples in the floor and every time we do, I smile.
A little while ago, we thought we had finally had some good luck. A local theatre company with plenty of rehearsal space said that we could have the space one night a week for free! We only had three hours to squeeze in two rehearsals, but the space was bigger than any we'd had before. And it was free, so we didn't have to dig ourselves deeper into debt with every rehearsal.
When I arrived for our first rehearsal in the space, I was cold and tired and hungry and totally unprepared for what awaited me. One of the artistic directors of our company met me at the door practically pulling her hair out. "There's staples in the floor!" she cried. Not understanding what she was talking about, I quickly went upstairs to find half of the company on their hands and knees pulling industrial size staples out of the wooden floor with pliers. Tape marked any staples that had been found that were still awaiting removal and the pounding of hammers echoed off the walls as staples too mangled to be removed were beaten into harmlessness. The first twenty minutes of that rehearsal were spent concentrating on making sure that at least half of the floor was staple-free. The rest of the rehearsal was interrupted with banging hammers as dancers who weren't being used worked on the rest of the floor.
While it was certainly a less than ideal situation, I couldn't help smiling to myself throughout the entire night. It reminded me of my best friend's favorite saying: there's no such thing as a free lunch. We didn't spend any money on the space, but at what cost? To this day, we still find staples in the floor and every time we do, I smile.
Tuesday, December 1, 2009
On Caffeine
One of the things that I used to ponder in college was how so many of my peers could come to class or rehearsal with giant cups of coffee. They would take swigs all the way through, rather than drinking water and it baffled me beyond words. This is not to say that I was unfamiliar with the fatigue of a serious dance student's life. But I always thought that drinking coffee or soda while dancing would be counter-productive.
I'm not one of those my-body-is-a-temple people (although my body sometimes wishes I was), but soda and coffee are one of those things I've always tried to stay away from. My older sister was a coffee house manager and seeing her seven-shot lattes made me steer clear of an over-indulgence in that particular poison, and soda has never appealed to me. This is probably due to my hippy mother and her insistence that appropriate beverages are pretty much limited to water, tea, and milk. Sometimes juice. Because of this, soda is a rare treat and coffee is a last resort to be turned to in times of dire need, such as a 12 hour day on 3 hours of sleep.
And then I graduate from college (is that my new tag line?). I am now obsessed with caffeine, mostly in soda form, because it is more refreshing and can be obtained from the vending machine in the break room at work. I am convinced that it's effects on me are largely mental. I believe that it is perking me up, and therefore it does. That doesn't change the fact that I have a soda every day at work and a coffee before every rehearsal. This is particularly upsetting on days when I have both work and rehearsal.
I have gone from someone obsessed with drinking at least two litres of water a day, to someone who balks at the thought of working eight hours without a cola. I don't have the option to keep water with me at work, and therefore I only drink a couple of glasses a day. The result is exactly what you would expect: frequent caffeine crashes, nausea from dancing immediately after chugging a venti-whatever-nonfat-something, bad skin, and headaches. And yet I remain convinced that the caffeine will make me feel better.
Since I dance so much less than I did while I was in school, it's important to me that I be at peak condition when I'm in class or rehearsal. So what am I to do? The short term effects of all those yummy beverages are great, but I think they're wearing on me long term. The best way to dance well, I'm sure, is to drink more water and get more sleep. Sleep is out.
One out of two isn't bad...
I'm not one of those my-body-is-a-temple people (although my body sometimes wishes I was), but soda and coffee are one of those things I've always tried to stay away from. My older sister was a coffee house manager and seeing her seven-shot lattes made me steer clear of an over-indulgence in that particular poison, and soda has never appealed to me. This is probably due to my hippy mother and her insistence that appropriate beverages are pretty much limited to water, tea, and milk. Sometimes juice. Because of this, soda is a rare treat and coffee is a last resort to be turned to in times of dire need, such as a 12 hour day on 3 hours of sleep.
And then I graduate from college (is that my new tag line?). I am now obsessed with caffeine, mostly in soda form, because it is more refreshing and can be obtained from the vending machine in the break room at work. I am convinced that it's effects on me are largely mental. I believe that it is perking me up, and therefore it does. That doesn't change the fact that I have a soda every day at work and a coffee before every rehearsal. This is particularly upsetting on days when I have both work and rehearsal.
I have gone from someone obsessed with drinking at least two litres of water a day, to someone who balks at the thought of working eight hours without a cola. I don't have the option to keep water with me at work, and therefore I only drink a couple of glasses a day. The result is exactly what you would expect: frequent caffeine crashes, nausea from dancing immediately after chugging a venti-whatever-nonfat-something, bad skin, and headaches. And yet I remain convinced that the caffeine will make me feel better.
Since I dance so much less than I did while I was in school, it's important to me that I be at peak condition when I'm in class or rehearsal. So what am I to do? The short term effects of all those yummy beverages are great, but I think they're wearing on me long term. The best way to dance well, I'm sure, is to drink more water and get more sleep. Sleep is out.
One out of two isn't bad...
Monday, November 23, 2009
Confession Time
Okay. So. Let's just jump right in:
When I started this blog, I was really hoping for it to be an extension of the work I did in college. As perhaps the world's nerdiest dancer, I wanted to have a place to write about the pieces that I saw and the articles that I read. I was not particularly invested in having others read it, I just wanted a place to organize and record the thoughts that I had about dance and dance scholarship. And then I graduated from school.
There are certain things that they tell you when you decide to go to art school, such as: you are going to be poor, you are going to be busier than average because you are going to have to work a job on top of all the dancing, it is not an easy life.
Things that they don't tell you include, but are not limited to: you are going to be embarrassed about the fact that you work in a mall and have no insurance or savings account while all the rest of your friends set up their 401(k)s, by the time you get around to dancing you will probably be too tired to enjoy it, you will get sick of explaining to people exactly what it is that you do, there is a certain set of people out there who think you mean "stripper" when you say "dancer," no one is going to take you seriously when you call rehearsal your other job, there is no conceivable way to pay back student loans when you are working retail with sporadic hours, and (my favorite) you will be lucky if you have the time and money to get to class even once a week, let alone go see shows.
That having been said, I have not been able to use this blog as intended. I can't afford to go see dance and, on the rare occasion that I have found a cheap enough show, I will admit that I have opted for a night of sleep instead. I also can't afford to buy books full of scholarly articles, nor do I have time to read them.
I have, however, been lucky in a few ways. I have been learning some life lessons that are actually quite funny in retrospect. I'm getting an inside view of what it's like to start and run a dance company. And, most importantly, I'm learning that I do really love dancing.
I have wondered for years if dancing is really a passion of mine, or if it's just something I happen to do well (I submit to the Reader the infamous Center Stage quote: "You don't have the feet. I don't have the heart.") Since the age of 14 I have been training for a career that I never had a chance to evaluate. I went to an arts high school where I danced 4 hours a day and then I went to college where I danced 8 hours a day. The only team I was ever on in high school was the dance team, despite my love of soccer. I almost never partied on the weekends because of morning rehearsals. Etc, etc, etc. But graduating from college and jumping into the "real world" of the "starving artist" has made me realize that I do, in fact, love dancing. If I didn't dance, I would have beautiful feet, a regular job and much more free time. But I choose not to have those things. Because I would rather dance.
While I'm dancing, I'm gaining insight into the world of the young artist and having quite a few laughs along the way (plenty of them in retrospect). So I decided to use this blog as a place to write about what it's actually like to live the dream. And if I am lucky enough to see a show or read something exciting, I'll throw that in here too. So in short, dear Reader (if you even exist), be prepared for a change. :)
When I started this blog, I was really hoping for it to be an extension of the work I did in college. As perhaps the world's nerdiest dancer, I wanted to have a place to write about the pieces that I saw and the articles that I read. I was not particularly invested in having others read it, I just wanted a place to organize and record the thoughts that I had about dance and dance scholarship. And then I graduated from school.
There are certain things that they tell you when you decide to go to art school, such as: you are going to be poor, you are going to be busier than average because you are going to have to work a job on top of all the dancing, it is not an easy life.
Things that they don't tell you include, but are not limited to: you are going to be embarrassed about the fact that you work in a mall and have no insurance or savings account while all the rest of your friends set up their 401(k)s, by the time you get around to dancing you will probably be too tired to enjoy it, you will get sick of explaining to people exactly what it is that you do, there is a certain set of people out there who think you mean "stripper" when you say "dancer," no one is going to take you seriously when you call rehearsal your other job, there is no conceivable way to pay back student loans when you are working retail with sporadic hours, and (my favorite) you will be lucky if you have the time and money to get to class even once a week, let alone go see shows.
That having been said, I have not been able to use this blog as intended. I can't afford to go see dance and, on the rare occasion that I have found a cheap enough show, I will admit that I have opted for a night of sleep instead. I also can't afford to buy books full of scholarly articles, nor do I have time to read them.
I have, however, been lucky in a few ways. I have been learning some life lessons that are actually quite funny in retrospect. I'm getting an inside view of what it's like to start and run a dance company. And, most importantly, I'm learning that I do really love dancing.
I have wondered for years if dancing is really a passion of mine, or if it's just something I happen to do well (I submit to the Reader the infamous Center Stage quote: "You don't have the feet. I don't have the heart.") Since the age of 14 I have been training for a career that I never had a chance to evaluate. I went to an arts high school where I danced 4 hours a day and then I went to college where I danced 8 hours a day. The only team I was ever on in high school was the dance team, despite my love of soccer. I almost never partied on the weekends because of morning rehearsals. Etc, etc, etc. But graduating from college and jumping into the "real world" of the "starving artist" has made me realize that I do, in fact, love dancing. If I didn't dance, I would have beautiful feet, a regular job and much more free time. But I choose not to have those things. Because I would rather dance.
While I'm dancing, I'm gaining insight into the world of the young artist and having quite a few laughs along the way (plenty of them in retrospect). So I decided to use this blog as a place to write about what it's actually like to live the dream. And if I am lucky enough to see a show or read something exciting, I'll throw that in here too. So in short, dear Reader (if you even exist), be prepared for a change. :)
Friday, September 25, 2009
Call for Artists!
ATTENTION ALL ARTISTS
The Laboratory Dancers are going to be hosting a fundraiser to take place in mid-to-late October! We will be having an art auction and an open mic. Anyone interested in donating some art work (painting, sculpture, drawing, photography, sketches, etc.) or performing (singing, playing music, dancing, comedy, magic, etc.) should contact me! We are open to all different kinds of submission ideas, no matter how unconventional.
To submit work, email me at: eliz.seim@gmail.com
Please be sure to include your name and contact information as well as information on what you would like to do, how long you would like to perform, what you would need from us (if anything) and/or details about any artwork you would like to submit.
The Laboratory Dancers are going to be hosting a fundraiser to take place in mid-to-late October! We will be having an art auction and an open mic. Anyone interested in donating some art work (painting, sculpture, drawing, photography, sketches, etc.) or performing (singing, playing music, dancing, comedy, magic, etc.) should contact me! We are open to all different kinds of submission ideas, no matter how unconventional.
To submit work, email me at: eliz.seim@gmail.com
Please be sure to include your name and contact information as well as information on what you would like to do, how long you would like to perform, what you would need from us (if anything) and/or details about any artwork you would like to submit.
Monday, September 21, 2009
The Other Dance Festival
The Other Dance Festival has begun! Located at Hamlin Park Fieldhouse's blackbox theatre, the shows take place on Thursday and Friday night. The first shows began this week, Sept. 17-18, and continue until October 1-2, 2009. Shows are at 7:30 and feature such artists as Mordine and Co., Matthew Hollis, and Peter Carpenter! This festival is an amazing opportunity to get a look at what highly respected local dance artists are doing. If you want a taste of the Chicago dance scene, this is the place to get it! This festival is popular, so buy your tickets in advance.
Click here for more information!
Click here for more information!
Monday, August 31, 2009
Laboratory Dancers In Full Swing!
Laboratory Dancers are holding an audition for their upcoming show! The show will take place at Hamlin Park. Dates are February 11 - 12, 2010. There will be two pieces, one each by Artistic Co-Directors Emily Lukasewski and Alexandra Subak. Dancers are welcome to audition for one or both pieces. Please arrive early and ready to move!
Tentative rehearsal times are Wednesdays from 5-9pm and Sundays from 1-5pm. If you have any scheduling conflicts regarding the audition or rehearsal times, please contact us at laboratorydancers@gmail.com as an alternate audition date is being planned.
AUDITION INFO:
Friday, September 11, 2009
7:00pm - 9:00pm
4057 Damn (near Damen and Lincoln/Irving Park Brown Line)
Enter on Belle Plaine
Also feel free to drop in on Laboratory Dancers Company Class, happening every Sunday from September 6 - October 25 from 10:00am - 12:00pm at the Rumble Arts Center (3413 W North Ave)! Classes include live accompaniment, guest teachers, and stimulating material to suit everyone, regardless of background or experience! This class is open to everyone, even beginners, with just a $5 suggested donation. You will not want to miss it!
Laboratory Dancers is an inclusive artist collective located in Chicago. We are an evolving project-based vehicle for creating and presenting all kinds of art from dance to magic.
Laboratory Dancers strives to fertilize a breeding ground for people to come out and create provocative conversation starters through any means or medium. We wish to provide a catalyst for production of ideas, a stage for the slow digestion of ideas and a collective of people to instigate the exchange between consumption and production.
Welcome to our Laboratory.
Tentative rehearsal times are Wednesdays from 5-9pm and Sundays from 1-5pm. If you have any scheduling conflicts regarding the audition or rehearsal times, please contact us at laboratorydancers@gmail.com as an alternate audition date is being planned.
AUDITION INFO:
Friday, September 11, 2009
7:00pm - 9:00pm
4057 Damn (near Damen and Lincoln/Irving Park Brown Line)
Enter on Belle Plaine
Also feel free to drop in on Laboratory Dancers Company Class, happening every Sunday from September 6 - October 25 from 10:00am - 12:00pm at the Rumble Arts Center (3413 W North Ave)! Classes include live accompaniment, guest teachers, and stimulating material to suit everyone, regardless of background or experience! This class is open to everyone, even beginners, with just a $5 suggested donation. You will not want to miss it!
Laboratory Dancers is an inclusive artist collective located in Chicago. We are an evolving project-based vehicle for creating and presenting all kinds of art from dance to magic.
Laboratory Dancers strives to fertilize a breeding ground for people to come out and create provocative conversation starters through any means or medium. We wish to provide a catalyst for production of ideas, a stage for the slow digestion of ideas and a collective of people to instigate the exchange between consumption and production.
Welcome to our Laboratory.
Sunday, August 23, 2009
Swan Lake Revamped
The ballet Swan Lake is a staple of classical theatrical dance in the West. It stands serenely on a pedestal, worshiped by little girls in tiny tutus. Who would dare to attempt such a daunting task as re-interpreting Swan Lake? Idan Cohen.
This Israeli choreographer's vision is realized through three female dancers who stay on stage throughout the entire piece. The work is given a complete aesthetic overhaul, with dark colors and twisted shapes. For more information, check out the link below for a full article from the Jerusalem Post titled When the Cygnet Grows Up.
Idan Cohen’s Swan Lake. Photo by Marek Weis.
Tuesday, August 18, 2009
Coming up in August!
August 22, 7:30pm
Jay Pritzker Pavilion, Millennium Park
Chicago Dancing Festival Finale
Artists presenting work that night include Lar Lubovich and William Forsythe.
FREE
See full line-up
August 26, 7:00pm
The Center on Halsted's Hoover-Leppen Theatre
River North's Artistic Director moderates a conversation/stage rehearsal with his dancers.
$10
RSVP: culture@centeronhalsted.org OR 773.661.0763
Jay Pritzker Pavilion, Millennium Park
Chicago Dancing Festival Finale
Artists presenting work that night include Lar Lubovich and William Forsythe.
FREE
See full line-up
August 26, 7:00pm
The Center on Halsted's Hoover-Leppen Theatre
River North's Artistic Director moderates a conversation/stage rehearsal with his dancers.
$10
RSVP: culture@centeronhalsted.org OR 773.661.0763
Wednesday, August 12, 2009
Getting Off the Ground
I have recently begun thinking more seriously about the enormity of a task like getting a new dance company up and running. The very idea is daunting enough that I'm sure many people never even try. Many more try and give up. And I'm beginning to understand why.
For starters, there's the dolla$. I mean, one of the most basic principles of fund raising is that the more you spend, the more you make. Well, when you're just starting out (especially when you're just starting out as a recent college graduate who doesn't even have insurance) your back is really up against a wall, finance-wise. So what are we to do? Especially in an economic climate as bleak as ours currently is. We aren't even supposed to feel the relief of the supposed upswing that we're in for a few more years!
The only answer that I can see is to get creative and recognize that patience is a virtue. Big shows and official status and regular paychecks may be years off. In fact, they're almost definitely far off in the future. But creative thinking and perseverence are really the only options we have. Arts work has never been easy, but a few have always made it to the big time. As time goes on, I'm starting to think it's hard work and not luck that makes the difference. Luck obviousy helps, but the work is so very hard. It's harder than I thought and I've been hearing horror stories about how hard arts work is since I was 14. But the biggest rewards come to those who wait and work and beat the odds.
I'm just going to put my nose to the grindstone and fight for my reward, even if it takes years.
For starters, there's the dolla$. I mean, one of the most basic principles of fund raising is that the more you spend, the more you make. Well, when you're just starting out (especially when you're just starting out as a recent college graduate who doesn't even have insurance) your back is really up against a wall, finance-wise. So what are we to do? Especially in an economic climate as bleak as ours currently is. We aren't even supposed to feel the relief of the supposed upswing that we're in for a few more years!
The only answer that I can see is to get creative and recognize that patience is a virtue. Big shows and official status and regular paychecks may be years off. In fact, they're almost definitely far off in the future. But creative thinking and perseverence are really the only options we have. Arts work has never been easy, but a few have always made it to the big time. As time goes on, I'm starting to think it's hard work and not luck that makes the difference. Luck obviousy helps, but the work is so very hard. It's harder than I thought and I've been hearing horror stories about how hard arts work is since I was 14. But the biggest rewards come to those who wait and work and beat the odds.
I'm just going to put my nose to the grindstone and fight for my reward, even if it takes years.
Wednesday, July 1, 2009
Nijinsky on youtube
Browsing through the June 29, 2009 issue of The New Yorker, I found a short piece about videos of Nijinsky dancing on youtube. Being an avid Nijinsky fan, I was immediately drawn in. Nijinsky was never filmed dancing, so I was curious as to how where these films had come from. Apparently, one enterprising youtube user, Christian Comte, has been making short clips of Nijinsky dancing based on photographs of his performances from the golden age of the Ballet Russes. The clips are very short (0:09 to 0:45) and appear quite stiff and awkward. However, they do give a sense of how Nijinsky's movement might have flowed, one into the other. Also, to be perfectly honest, it's quite enjoyable to lose oneself in the fantasy of such "lost footage."
For more information, check out the article from The New Yorker
http://www.newyorker.com/talk/2009/06/29/090629ta_talk_acocella
Christian Comte's youtube page
http://www.youtube.com/user/christiancomte
For more information, check out the article from The New Yorker
http://www.newyorker.com/talk/2009/06/29/090629ta_talk_acocella
Christian Comte's youtube page
http://www.youtube.com/user/christiancomte
The Tragic Loss of Pina Bausch
German choreographer Pina Bausch is dead at 68. Her creativity and imagination breathed fresh life into concert dance and her choreography captured emotion on a whole new scale. Her version of the "Rite of Spring" is the only choreography I have seen (other than the reconstruction of Nijinsky's original work) that is powerful enough to stand up to Stravinsky's score. She will be sorely missed in the dance community.
http://www.nytimes.com/2009/07/01/arts/dance/01bausch.html?partner=rss&emc=rss
http://www.nytimes.com/2009/07/01/arts/dance/01bausch.html?partner=rss&emc=rss
Saturday, June 27, 2009
The A.W.A.R.D. Show
The Dance Center of Columbia College Chicago has been hosting The A.W.A.R.D. Show this week (A.W.A.R.D. standing for Artists With Audiences Responding to Dance). The premise is simple. Beginning Wednesday the 24th, every night there was a concert of dance from various independent artists and companies. At the end of the concert the audience voted on their favorites. Finalists advanced to tonight's concert where the audience will again vote to choose a winner. The grand prize is $10,000, which is no chump change to working artists. The finals are tonight at 8pm at the Dance Center (1306 S Michigan) so get out and show your support for htis awesome project. The A.W.A.R.D. Show is a great way to both support artists and encourage audience involvement. It also helps artists gauge what audiences will respond to most favorably. Make your voice heard and get out and vote tonight!
FINALISTS:
Lucky Plush
Jessica Miller Tomlinson
Allyson Esposito & Megan Schneeberger
FINALISTS:
Lucky Plush
Jessica Miller Tomlinson
Allyson Esposito & Megan Schneeberger
Wednesday, June 10, 2009
Brandon's Top 20 Controversy
Well, it's no secret that I'm a So You Think You Can Dance fan. My personal thoughts on how the show elevates the popular interest in dance and stands out as one of the only ways to get people excited about dance in a dismal landscape of undervalued arts can be saved for another post, as can my thoughts on whether these positive effects are negated by the tendency to pigeon-hole and insist on personality rather than artistry. That having been said, I do have some thoughts on Mr. Brandon Bryant.
Brandon has been the talk of the SYTYCD-followers for quite some time now. He was heralded as a shoo-in for the Top 20 after his audition in Miami, bringing Mary Murphy to tears. Yet, in Vegas he failed to impress judges Mia Michaels and Lil C. He did end up making the Top 20, but not without some controversy between the judges. Mia Michaels went so far as to say that she couldn't stand what Brandon brought to the floor as an artist and accused him of arrogance.
Brandon caught my eye right from his audition. However, it wasn't his dancing that got my attention (more on the dancing later), it was his music selection. I distinctly remember the first time that I was told that my performance was entirely forgettable because I didn't live up to my music, which in that instance was Claire de Lune. Brandon is only 19 years old, but he apparently never got the memo that you should never use music of a certain caliber. The music that he chose to dance to was O Fortuna from Carmina Burana. This particular piece of music has been so overused in popular culture to depict everything from drug addiction to the animal force of football that it is cliche when used outside of the concert hall. Furthermore, the power and drama of the music cannot be done justice by only one person. The sight of Brandon dancing to this highly revered classic by himself on a stage was, frankly, comical. But more than comedy, Brandon's choice does reveal a certain amount of arrogance in his belief that his dancing is a deserving accompaniment to this musical selection (because in this case he was definitely accompanying the music and not the other way around). I can't say that I've witnessed any other evidence of an attitude coming from Brandon, but Mia's accusation of a swelled-ego has at least some support in his audition.
Frankly, I'm surprised that no one has pointed out to Brandon that he made a huge mistake in his music. Perhaps my teachers were the odd men out in impressing on me the importance of carefully considering the impact that music will have on an audience. It seems to me, however, to be common sense to steer clear of music of legendary fame. How can someone focus on your dancing when they are swept up in the passion of the music? Especially since very few dancers as young as Brandon can capture the artistry of such selections and fully embody them.
Which brings me to my issue with Brandon's dancing. For starters, the choreography does not match the music. It is at times animalistic and powerful, suddenly bound and, briefly, humourous. This may or may not be Brandon's doing. But his execution of the movement is neither fully connected to the music nor the floor nor the audience. Does Brandon exhibit good coordination, balance, and technique? Yes. But in order for Brandon to truly be something to make us sit up and pay attention, he would have to show some suspension and reach, a sense of bringing himself into the movement. He does not lose himself in his dancing, rather he relies on his power to impress. He certainly has potential and we must not forget that he is very young and will probably grow into his artistry given the time. However, I must agree with Mia and Lil C when they say that they are not impressed. Nor do I believe that he deserves his spot in the Top 20. I would rather have seen it go to someone slightly more mature in their artistry. Brandon needs a few more years to grow. Although I will say that most of the dancers on SYTYCD fit into this category and I was slightly surprised to find such harsh criticism being directed to a dancer that is, as far as I can tell, a carbon copy of every other contemporary dancer the show seeks out.
Brandon has been the talk of the SYTYCD-followers for quite some time now. He was heralded as a shoo-in for the Top 20 after his audition in Miami, bringing Mary Murphy to tears. Yet, in Vegas he failed to impress judges Mia Michaels and Lil C. He did end up making the Top 20, but not without some controversy between the judges. Mia Michaels went so far as to say that she couldn't stand what Brandon brought to the floor as an artist and accused him of arrogance.
Brandon caught my eye right from his audition. However, it wasn't his dancing that got my attention (more on the dancing later), it was his music selection. I distinctly remember the first time that I was told that my performance was entirely forgettable because I didn't live up to my music, which in that instance was Claire de Lune. Brandon is only 19 years old, but he apparently never got the memo that you should never use music of a certain caliber. The music that he chose to dance to was O Fortuna from Carmina Burana. This particular piece of music has been so overused in popular culture to depict everything from drug addiction to the animal force of football that it is cliche when used outside of the concert hall. Furthermore, the power and drama of the music cannot be done justice by only one person. The sight of Brandon dancing to this highly revered classic by himself on a stage was, frankly, comical. But more than comedy, Brandon's choice does reveal a certain amount of arrogance in his belief that his dancing is a deserving accompaniment to this musical selection (because in this case he was definitely accompanying the music and not the other way around). I can't say that I've witnessed any other evidence of an attitude coming from Brandon, but Mia's accusation of a swelled-ego has at least some support in his audition.
Frankly, I'm surprised that no one has pointed out to Brandon that he made a huge mistake in his music. Perhaps my teachers were the odd men out in impressing on me the importance of carefully considering the impact that music will have on an audience. It seems to me, however, to be common sense to steer clear of music of legendary fame. How can someone focus on your dancing when they are swept up in the passion of the music? Especially since very few dancers as young as Brandon can capture the artistry of such selections and fully embody them.
Which brings me to my issue with Brandon's dancing. For starters, the choreography does not match the music. It is at times animalistic and powerful, suddenly bound and, briefly, humourous. This may or may not be Brandon's doing. But his execution of the movement is neither fully connected to the music nor the floor nor the audience. Does Brandon exhibit good coordination, balance, and technique? Yes. But in order for Brandon to truly be something to make us sit up and pay attention, he would have to show some suspension and reach, a sense of bringing himself into the movement. He does not lose himself in his dancing, rather he relies on his power to impress. He certainly has potential and we must not forget that he is very young and will probably grow into his artistry given the time. However, I must agree with Mia and Lil C when they say that they are not impressed. Nor do I believe that he deserves his spot in the Top 20. I would rather have seen it go to someone slightly more mature in their artistry. Brandon needs a few more years to grow. Although I will say that most of the dancers on SYTYCD fit into this category and I was slightly surprised to find such harsh criticism being directed to a dancer that is, as far as I can tell, a carbon copy of every other contemporary dancer the show seeks out.
Friday, June 5, 2009
Laboratory Dancers
What's the point of having a blog if I can't use it to promote my own stuff, right? :)
I've been working since January with a group of fellow Columbia grads/students to put on a show at Links Hall. We call ourselves the Laboratory Dancers because we're interested in creating, experimenting, and thinking. We've put on a couple of small performances at galleries and loft spaces doing everything from magic tricks to improvisations to work-in-progress showings. There has been a lot of laughs, a lot of sweat, a fair amount of winging it, and plenty of hours logged in rehearsals. Our show finally goes up this weekend with two full-length pieces (one explore the power of memories and the other questions the value of pro-life/pro-choice debate). I have learned a lot about the logistics of putting together a professional show and, to be frank, I'm amazed at the two choreographers. We've come a really far way and I'm very proud to be a part of this. I believe that the questions raised by these pieces are worthwhile, and that the choreographers have done their best to explore these issues fully. Of course I want everyone to come see a show that I'm in. But more than that, I think that with time and resources the Laboratory Dancers have a promising future. This will definitely not be the last that you see of us.
Laboratory Dancers at Links Hall June 5 & 6 @ 8pm and 7 @ 7pm. $5.
I've been working since January with a group of fellow Columbia grads/students to put on a show at Links Hall. We call ourselves the Laboratory Dancers because we're interested in creating, experimenting, and thinking. We've put on a couple of small performances at galleries and loft spaces doing everything from magic tricks to improvisations to work-in-progress showings. There has been a lot of laughs, a lot of sweat, a fair amount of winging it, and plenty of hours logged in rehearsals. Our show finally goes up this weekend with two full-length pieces (one explore the power of memories and the other questions the value of pro-life/pro-choice debate). I have learned a lot about the logistics of putting together a professional show and, to be frank, I'm amazed at the two choreographers. We've come a really far way and I'm very proud to be a part of this. I believe that the questions raised by these pieces are worthwhile, and that the choreographers have done their best to explore these issues fully. Of course I want everyone to come see a show that I'm in. But more than that, I think that with time and resources the Laboratory Dancers have a promising future. This will definitely not be the last that you see of us.
Laboratory Dancers at Links Hall June 5 & 6 @ 8pm and 7 @ 7pm. $5.
Friday, May 29, 2009
StealThisDance.com – Examining Intellectual Property Through Dance
The intellectual property debate has affected everything from rap mix tapes to illegal downloads. As part of their new work, Punk Yankees, Lucky Plush Productions of Chicago have created a website that (rather humorously) examines this debate as it exists for dancers. In an art form where creation can often be largely comprised of a reordering of known material, the lines between sampling and stealing can be quite blurred. Where is the line between appropriate borrowing and stealing? How do you steal respectfully? Lucky Plush explores these and other questions on their new website: StealThisDance.com
The site features many videos that explore various forms of appropriation. Some particularly interesting selections explore the idea of teaching an impersonation of a re-choreographing of a remembering of a phrase (a true brain teaser). This convoluted method of developing material rather puts one in mind of the game of Telephone. The end result is quite different from the original, which itself is questionable in integrity because it is remembered rather than created. These videos make the viewer question the originality of the newly-developed material.
The most memorable video shows a dance that is a mash-up of different iconic moments of dance in the media. The piece is set to Beyonce’s song-of-the-moment, “Single Ladies.” The song’s music video has gained notoriety because it features Beyonce performing a routine that is heavily influenced by Bob Fosse, making "Single Ladies" an excellent music choice for a dance that focuses on appropriating movement. The finished product is entertaining and, oddly enough, puts me in mind of the days when I would watch and re-watch TRL every afternoon until I had the moves to “Bye Bye Bye” down pat. At the same time, the piece gets me thinking about the difference between an homage and appropriation. Fosse’s material is well-known enough that it doesn’t really need to be specifically cited in order for people to know that it is his. However, use of any material without proper acknowledgement of the original author is generally considered plagiarism. Did the “Single Ladies” choreographer, whoever s/he is, pay tribute to Fosse or steal from him? It’s a question I’m not sure I can answer, but I will say that given a choice between Lucky Plush’s Single Ladies (Stole This Dance) video and the new iconic-dance-moments-mash-up movie Dance Flick, I would much rather watch Lucky Plush.
The highlight of the site, however, is the Moves Boutique. Various movers (including Peter Carpenter and David Roussève) donated video-recorded moves and suggested a price at which the moves can be purchased. Of course, as the website acknowledges, it is up to the individual whether or not they will pay the full price, a portion of the price, or steal the moves instead of paying. While this is obviously a humorous spin on the concept of stealing movement, the idea of putting a dollar value on a given movement really gets me thinking about what the value of dance is in this society and who gets to decide which dances are move valued than others (in terms of dollar amounts).
The only criticism of the site that I have is that there is no discussion forum available to the visitor. I would love to discuss some of the questions that these works raise for me with others. However, I’m sure that Lucky Plush is receiving reactions to the site, thanks to an open invitation to share any work that includes moves, bought or stolen, from the website. There’s a lot to explore on this site, all of it thought-provoking and entertaining. I highly encourage everyone to check it out.
Punk Yankees is set to premiere in October of 2009 at the Dance Center of Columbia College Chicago.
Tuesday, May 26, 2009
Removing the Veil of Fantasy
The most recently updated copy of my Capstone paper (an analysis of Orientalist tendencies in Western approaches to belly dance) is available at the following link. Feel free to leave comments and let me know what you think!
http://docs.google.com/View?id=dcvvs22n_0dtxwg2hk
http://docs.google.com/View?id=dcvvs22n_0dtxwg2hk
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