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Summer Study Guide 2011: Creative Encounters
Strictly Seattle gives a workout for body and mind.
By the fifth day of Strictly Seattle, choreographer Michele Miller already sees improvement in her advanced students. She walks through the renovated, brick-walled studio at Velocity Dance Center, eyes and hands alert to the tiniest bit of tension in the students’ backs as they hang over from the hips. The 22 students in this modern technique class are working their way through Miller’s seamless warm-up—a floor-barre mash-up of modern, martial arts, gymnastics, Wii Fit, and Pilates. Watching it feels like a massage, but the students are working hard, and they haven’t even gotten to the killer ab series yet. Miller touches a back here, a hip bone there, so they can feel where to release. “Your hips are more square today,” she notes happily.
Velocity staffs this three-week intensive with the movers and shakers of Seattle’s modern dance scene (see “Seattle Takes Off,” p. 70). And the advanced students could be the next generation of movers and shakers themselves. Many are just finishing up college dance degrees and starting to look for work. At Strictly Seattle (which accepts students ages 16 and up), they have the chance to interact with nine different local artists in a challenging yet supportive environment. Working with faculty from a range of contemporary backgrounds, students explore multiple styles and philosophies. The common denominators? All classes emphasize risk-taking and artistic experimentation, while helping dancers tap directly into Seattle’s professional dance network.
A day at Strictly Seattle means almost seven hours in the studio. Last summer, the advanced students kicked off the morning with a technique class—modern one day, foundational ballet the next. “Our ballet has a very modern bent to it,” says executive director Kara O’Toole. Her smile widens as she adds, “Your ballet teacher has a mohawk.” Next, they explored creative process and improvisation with four contemporary choreographers: KT Niehoff, Beth Graczyk and Corrie Befort of Salt Horse, and Bebe Miller. In the afternoons, they split up into smaller groups to work with other choreographers, including the 2009 A.W.A.R.D. Show winner Amelia Reeber, on pieces they would perform at the end of the program. An hour-long lunch break gave them time to relax in the park behind Velocity or explore the hip surrounding neighborhood of Capitol Hill. (The studios are also busy at night, when Strictly Seattle offers evening classes for less advanced adult dancers.)
According to O’Toole, many of the faculty members are former program participants. “A lot of dancers who have built their careers in the community started with Strictly Seattle,” she says. “This was their first touchstone, where they met a bunch of choreographers and dancers.” As students get to know these innovative artists, those same artists are learning about the students, getting a sense of whether they might be a good match for future projects. Not everyone lands a job, but some do. For instance, choreographer Amy O’Neal—a major draw of the program for her high-energy, funk-influenced classes and sharp observations—hired two of her 2010 students for a February 2011 show.
For dancers who bring a healthy attitude, seven hours a day for three weeks can result in exponential growth. Graczyk says that many students she worked with “came in with a focus and readiness that enabled them to make great strides in a short time. They knew the value of their time, and you could see it in their willingness to take risks.” By the end, she says, they emerged “more articulate and powerful as performers.” Befort, who has taught at Strictly Seattle in the past, noted that the “rigor and variety of techniques” pushed dancers to test their own physical and intellectual boundaries.
While some students enroll in the Professional Session, an audition-only level that allows the most accomplished dancers to push themselves even further, the atmosphere at Strictly Seattle is inclusive. A 15-minute break on the first Friday morning of the program finds most of the advanced students resting in the largest of Velocity’s three studios, sunlight slanting in from the skylights and pooling on the wooden floor. The students chat in small groups in a loose circle; nobody’s back is turned on anyone. In the final balance, they are all mature dancers working on their craft, discovering what kind of artistic voice speaks to them—and what they have to share with other artists.
To borrow a phrase that the Salt Horse duo used during one class, the teachers at Strictly Seattle hope “you’ll find your specific curiosity.” This is perhaps the greatest reward of the program: In the process of meeting Seattle’s choreographers, you have an opportunity to meet yourself.
Rosie Gaynor is a freelance writer in Seattle.
Amy O'Neal (in black) teaches modern class at Strictly Seattle. Photo by Jennifer Richard, courtesy Velocity
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
José Greco popularized Spanish dance in 1950s and '60s America through his work onstage and on screen. Ensemble Español Spanish Dance Theater's American Spanish Dance & Music Festival is honoring the icon in recognition of what would have been his 100th birthday. As part of the tribute, Greco's three dancing children are reuniting to perform together for the first time since their father's death in 2000. Also on the program is the premiere of contemporary flamenco choreographer Carlos Rodriguez's Mar de Fuego (Sea of Fire). June 15–17, North Shore Center for the Performing Arts. ensembleespanol.org.
Dance Theatre of Harlem dancers Christopher McDaniel and Crystal Serrano were working on Nacho Duato's Coming Together in rehearsal when McDaniel's foot hit a slippery spot on the marley. As they attempted a swinging lift, both dancers went tumbling, injuring Serrano as they fell. She ended up being out for a week with a badly bruised knee.
"I immediately felt, This is my fault," says McDaniel. "I broke my friend."
What's on the minds of college students today?
I recently had the honor of adjudicating at the American College Dance Association's National College Dance Festival, along with choreographer Dana Tai Soon Burgess and former National Endowment for the Arts dance specialist Douglas C. Sonntag. We chose three winners—one for Outstanding Choreography and two for Outstanding Performance—from 30 pieces representing schools throughout the country. It was a great opportunity to see what college dance students are up to—from the issues they care about to the kinds movement they're interested in exploring.
Here were the biggest trends and takeaways:
It's summer festival season! If you're feeling overwhelmed by the dizzying array of offerings, never fear: We've combed through the usual suspects to highlight the shows we most want to catch.
Subscription box services have quickly gained a dedicated following among the fashion and fitness set. And while we'd never say no to a box with new jewelry or workout wear to try, we've been waiting for the subscription model to make its way to the dance world.
Enter barre + bag, a new service that sends a curated set of items to your door each season. Created by Faye Morrow Bell and her daughter Tyler, a student in the pre-professional ballet program at University of North Carolina School of the Arts, this just-launched service offers dance, lifestyle and wellness finds in four themed bags each year: Spring Performance, Summer Study, Back-to-Studio and Nutcracker. Since all the products are specifically made for dancers, everything barre + bag sends you is something you'll actually use, (Plus, it all comes in a bag instead of a box—because what dancer can ever have enough bags?).
barre + bag's Summer Collection
Today, American Ballet Theatre announced a new initiative to foster the development of choreography by company members and freelance dancemakers. Aptly titled ABT Incubator, the program, directed by principal David Hallberg, will give selected choreographers the opportunity to spend two weeks workshopping new dances.
"It has always been my vision to establish a process-oriented hub to explore the directions ballet can forge now and in the future," said Hallberg in a press release from the company. Interested? Here's how you can apply to participate.
Back in January, Chase Johnsey grabbed headlines when he resigned from Les Ballets Trockadero de Monte Carlo, where his performances had garnered critical acclaim for over a decade, alleging a culture of harassment and discrimination. (An independent investigation launched by the company did not substantiate any legal claims.) Johnsey, who identifies as genderqueer, later told us that he feared his dance career was at an end—where else, as a ballet dancer, would he be allowed to perform traditionally female roles?
But the story didn't end there. After a surprise offer from Tamara Rojo, artistic director of English National Ballet, Johnsey has found a temporary artistic home with the company, joining as a guest at the rank of first artist for its run of The Sleeping Beauty, which continues this week. After weeks of working and rehearsing with the company, last week Johnsey quietly marked a new milestone: He performed with ENB's corps de ballet as one of the ladies in the prince's court.