In The Studio: Roy Assaf On His Greatest Fears As a Choreographer
As the sun beams into the beautiful John Cage & Merce Cunningham studio at the Baryshikov Arts Center, Roy Assaf and his dancers are exploding in the space preparing for their upcoming performance. The fact that Assaf grew up with no formal dance training would come as a surprise to anyone watching this rehearsal. Afterward, we sat down with Assaf to hear about his creative process and the fears he finds himself trying to overcome.
What do the initial stages of your creative process feel like?
The most important thing for me when entering the studio is overcoming the fear of creating. Because I am frightened each time I am coming to the studio. Frightened from not succeeding, not making a dance at all, or a good dance—a dance that I find good—or letting down the people who work with me. That they came into the studio with curiosity and then their curiosity went away somehow. After overcoming the fear, basically what I'm trying to do is create an environment where everybody feels secure and very much engaged.
Shlomi Bitton, Igal Furman and Roy Assaf in The Hill, Photo by Gadi Dagon
What happens when you are creating and something isn't working?
We try something else. We try to find out why the idea doesn't work. I don't believe in good or bad ideas. I believe that there is the right timing and the right people attacking an idea from a specific angle. So, if you are not at the right timing to use this idea, or you do not have the right collaborators in the studio and you don't try from the right angle then you will not succeed. It has happened so many times that I had an idea and it didn't work. I left it aside and then half a year or a year later in a new process I used the same idea and suddenly I found it great and significant for the piece.
Roy Assaf Dance performs October 12 - 13 at the Baryshnikov Arts Center.
Just hearing the word "improvisation" is enough to make some ballet dancers shake in their pointe shoes. But for Chantelle Pianetta, it's a practice she relishes. Depending on the weekend, you might find her gracing Bay Area stages as a principal with Menlowe Ballet or sweeping in awards at West Coast swing competitions.
She specializes in Jack and Jill events, which involve improvised swing dancing with an unexpected partner in front of a panel of judges. (Check her out in action below.) While sustaining her ballet career, over the past four years Pianetta has quickly risen from novice to champion level on the WCS international competition circuit.
Sean Dorsey was always going to be an activist. Growing up in a politically engaged, progressive family in Vancouver, British Columbia, "it was my heart's desire to create change in the world," he says. Far less certain was his future as a dancer.
Like many dancers, Dorsey fell in love with movement as a toddler. However, he didn't identify strongly with any particular gender growing up. Dorsey, who now identifies as trans, says, "I didn't see a single person like me anywhere in the modern dance world." The lack of trans role models and teachers, let alone all-gender studio facilities where he could feel safe and welcome, "meant that even in my wildest dreams, there was no room for that possibility."
It's hour three of an intense rehearsal, you're feeling mentally foggy and exhausted, and your stomach hurts. Did you know the culprit could be something as simple as dehydration?
Proper hydration helps maintain physical and mental function while you're dancing, and keeps your energy levels high. But with so many products on the market promising to help you rehydrate more effectively, how do you know when it's time to reach for more than water?