Joshua Tuason and Melissa Toogood in Petronio’s Locomotor / Non Locomotor. Photo by Yi-Chun Wu, Courtesy Stephen Petronio Company.
Stephen Petronio’s residency program
Stephen Petronio Company spent much of 2015 looking back, performing works by Merce Cunningham and Trisha Brown. Now, it’s looking forward. Petronio is creating a residency for choreographers in Pawling, New York, two hours north of New York City and near the artistic director’s home. The program will likely start in the summer of 2017. “I wanted to create a place where dancers could be removed from the pressures of New York City, and separate themselves from the daily grind,” says Petronio. For now, it’s a closed selection process: Petronio will choose artists he’s interested in for the inaugural residency.
Urban Bush Women in Zollar’s Walking with ‘Trane. Photo by Christopher Duggan.
Urban Bush Women Choreographic Center
Don’t let the name fool you: Jawole Willa Jo Zollar’s plan for the Urban Bush Women Choreographic Center doesn’t include a physical center. Instead, Zollar plans on partnering with individuals and organizations in different U.S. cities to help support local artists—more specifically, female choreographers of color—across all stages of their careers. At this time, there is no public start date or list of collaborators. But Zollar, who has been known to encourage her company dancers’ choreographic talents, is sure to bring more attention to talented artists who can add new voices to the field.
Commissioning work from a composer
Choreographers often think of their tools as space, time, shape and motion. But as choreographer Stephen Petronio puts it, music rules: “You can shut your eyes, but you have to put your fingers in your ears to stop listening.” He regularly commissions composers whose work he admires—like Laurie Anderson and Rufus Wainwright. “The more different brains work on something, the more exciting it is,” he says.
For any choreographer, commissioning music can open your mind to new artistic possibilities. But no two composers work the same way and each collaborative relationship is unique. It’s essential to understand how to find the right composer for the project and approach the process.
Choosing a Composer
In today’s digital age, we benefit from the abundance of music at our fingertips. There’s no harm in blindly contacting a composer, but Petronio thinks it’s wiser, especially in the early stages of your career, to work with artists you know. “Start with people you can screw up in front of,” he jests. Cultivate a network of collaborators by attending local music concerts, festivals and social events.
When you approach a composer, discuss any connections the dance has to his or her music, the venue it will be performed in and how the project will be mutually beneficial. In addition to diversifying the audience and increasing exposure for both parties, collaborating could open up other funding opportunities, says Scott Winship, director of grantmaking programs at New Music USA, which provides grants to support the creation and performance of new music.
Collaborative Process
Composers rarely enjoy working on a project when the choreographer dictates every detail of the music. “Always give the composer the freedom to move. You can’t work in a box,” says Andy Teirstein, a composer who has worked with Petronio, Liz Lerman Dance Exchange and Buglisi Dance Theatre, among others. Successful collaborations encourage the music to develop as part of the choreographic process. “You have to be willing to wrestle around with it. Let go of control, but don’t let go of your vision,” says Petronio.
Communication is crucial. It helps to know some basic music terminology and to discuss the expressive aspects of the work, such as color, temperature and emotional dynamics, suggests Teirstein. While composing music for Locomotor, Mike Volpe/Clams Casino used words from Petronio’s choreographic notebook to generate sounds. Feed the composer’s creative needs and stay open to how your ideas take root in the music.
Also invite the composer to rehearsals. Watching dancers enact your ideas is often the simplest way for composers to translate your musical motives. The music may change, so avoid becoming attached to a specific draft. Teirstein finds it useful to create four or five short music samples and have the choreographer choose one to develop. Try new music during rehearsal before rushing to judgment. “As a dancer you hear differently when you’re moving to music than you do just sitting and imagining,” says Teirstein.
Terms of Agreement
Have a written contract signed by both parties before a single note is written. Once when Petronio commissioned a composer to create 20 minutes of music for a new piece, the composer initially created a score that Petronio describes as “perfect the way it was.” But it was only eight minutes long. What could have been a collaborative nightmare was easily resolved by referring to the contract.
According to Winship, there are three main types of agreements. The collaborative agreement may establish a timeline for the project and specifies the artists’ responsibilities and details pertaining to the score, such as length and instrumentation. The commissioning agreement spells out when the composer will deliver the work and the terms and breakdown of payment, “which can be split up into multiple payments based on different developmental stages of the piece,” says Winship. Composer fees do not necessarily include expenses like hiring live musicians, contracting a sound engineer and renting a recording studio. Lastly, the licensing agreement addresses copyright issues: Is the composer associated with a publishing house that collects royalties? Do you have permission to use the music only for live performance, or can you use it for promotional purposes, like a video on your website?
Reap the Benefits
Working with a composer is an opportunity to step beyond your comfort zone and traverse new choreographic territory. “I collaborate to shake myself up, to bleed the boundaries of what I’m doing and to have fun with people,” says Petronio. “Otherwise life is very lonely in the theater.”
Free Resources
For more guidelines, read “Commissioning Music: A Basic Guide” and “Music for Dance: Composer-Choreographer Collaboration” at newmusicusa.org/about/resources.
Hypnotic
NEW YORK CITY
Endless repetition can drive audiences out of the theater, but a gifted choreographer can make watching the same phrase over and over with subtle changes fascinating. Anne Teresa De Keersmaeker is one of those rare ones. Four of her early works from the 1980s are coming to Lincoln Center Festival for a De Keersmaeker marathon that will make her fans deliriously happy: Fase, Elena’s Aria and Rosas danst Rosas—the work that Beyoncé borrowed from for her “Countdown” music video—and Bartók/Mikrokosmos. As a bonus, the Belgian choreographer herself will perform in the first three of these evening-length works. She dances with a poetic inner focus as though immersed in a rhythmic dream. July 8–16, John Jay College. lincolncenterfestival.org.
Above: De Keersmaeker’s Bartók/Mikrokosmos. Photo by Herman Sorgeloos, Courtesy Lincoln Center Festival.
A Change for Sascha
NEW YORK CITY
He is dashing on the Metropolitan Opera House stage, has written eloquently for Dance Magazine and was charismatic on the silver screen in Center Stage. On July 3, when beloved soloist Sascha Radetsky performs the role of Franz in Coppélia, it will be his last dance as a member of American Ballet Theatre. But the innately likeable dancer will keep busy: He’s currently in production as a main character in the TV show “Flesh and Bone,” to air on Starz in 2015. He and his wife, ABT soloist Stella Abrera, will also serve as répétiteurs for the Antony Tudor Ballet Trust. abt.org.
At right: Radetsky in Fancy Free. Photo by Marty Sohl, Courtesy ABT.
Straight From the Horse’s Mouth
DURHAM, NORTH CAROLINA
When choreographers perform their own work, we’re getting an undiluted product—from mind to body to stage. That’s the reward of the On Their Bodies program, July 22–23, at American Dance Festival. Ronald K. Brown, Stephen Petronio, Doug Varone and Shen Wei, who have each carved out their own unique movement languages, will perform self-choreographed solos. (If only there was a woman in the mix, too!) americandancefestival.org.
At left: Ronald K. Brown. Photo by Kurt H. Leggard, Courtesy Evidence.
Mirror, Mirror
SAN FRANCISCO
It’s a simple but compelling experiment: Commission a piece of music, have two choreographers create their own works to it and present them on the same bill. Audiences will be hearing double during the SKETCH 4 | Music Mirror program at ODC Theater, in which Amy Seiwert and Adam Hougland will offer separate interpretations of Kevin Keller’s score. Seiwert, known for her quirky, angular movement, and Hougland, for his innovative narratives, have been housed at ODC for five weeks to prepare. July 24–27. odcdance.org.
At right: Weston Krukow and Sarah Griffin of Amy Seiwert Imagery. Photo by David DeSilva, Courtesy Amy Seiwert Imagery.
See the Music
BECKET, MASSACHUSETTS
Mark Morris is a master of translating a musical score into lush dancing. This summer’s Jacob’s Pillow Dance Festival will offer a full week of events that dive into his obsession with melody. Morris himself will lead music seminars, discussions and open company classes. And there will be plenty of performances, too: The Mark Morris Dance Group Music Ensemble will have its own concert and will accompany MMDG in seven programs of newer Morris works—Festival Dance, A Wooden Tree, Crosswalk and Jenn and Spencer. July 21–27. jacobspillow.org.
At left: Domingo Estrada and Michelle Yard in Festival Dance. Photo by Stephanie Berger, Courtesy MMDG.
World premieres and stellar festivals fill April's calendar.
Burgess’ dancers in Homage. Photo by Mary Noble Ours, Courtesy Burgess.
DC Dreaming
WASHINGTON, DC
Science, history and research are the pride of the Smithsonian. Now, the world’s largest museum complex is also gaining a foothold in dance with its first artist in residence, Dana Tai Soon Burgess. The DC-based choreographer has created a site-specific program to coincide with the National Portrait Gallery’s first American dance exhibition, “Dancing the Dream”—a collection of images picturing celebrated dancers and choreographers, from Isadora Duncan to Michael Jackson. On the program is Homage, which borrows from the works of pioneers in the exhibition, as well as a premiere that honors this generation’s choreographers. Performance on April 19; exhibition runs through July 13. npg.si.edu.
Ballets by a Brit
SARASOTA, FLORIDA
Sir Frederick Ashton’s quintessentially English work may have its devotees at home, but some critics claim that Sarasota Ballet’s restagings top even those of The Royal Ballet. The Florida company, which boasts one of the largest samplings of Ashton repertoire, will salute the choreographer with 10 of his dances, including the partnering delight Symphonic Variations; Birthday Offering, originally choreographed to celebrate The Royal’s 25th year; and the ice-skating–inspired Les Patineurs. The Ashton Festival, a Sarasota-wide event, will also feature films and panel discussions. April 30–May 3. sarasotaballet.org.
Above: Also on the program, Ashton’s Façade. Photo by Frank Atura, Courtesy Sarasota Ballet.
Music First
NEW YORK CITY
Renowned for his wildly flinging, pretzelly movement language, Stephen Petronio is an avid collaborator with artists of other disciplines. Highlighting his interest in new music, his 30th-anniversary program includes scores by Michael Nyman and hip-hop producer Michael Volpe, aka Clams Casino. An extra bonus will be a new solo for Petronio himself to music by Philip Glass. April 8–13 at The Joyce Theater. stephenpetronio.com.
Above: Davalois Fearon and Gino Grenek. Photo by Sarah Silver, Courtesy SPC.
Duking It Out, Through Dance
ON TOUR
Bring your boxing gloves: Amsterdam company Emio Greco | PC’s theatrical work ROCCO is staged inside a boxing ring, putting audiences just feet away from Emio Greco and Pieter C. Scholten’s dark, combative choreography. During the piece’s creation, the company worked with boxers to intertwine throws and feints with dance. The product shows that the sport has more in common with our world than you might think: swift physicality, a rhythmic pulse and intuitive yet calculated abandon. April 4–5 at Vancouver’s DanceHouse; U.S. premiere, April 10–12, at White Bird in Portland, Oregon; April 17–19 at REDCAT in Los Angeles. ickamsterdam.com.
Above: Dancer Christian Guerematchi takes his corner of the ring. Photo by Laurent Ziegler, Courtesy ICKamsterdam.
Heaven & Harlem
NEW YORK CITY
When the new Dance Theatre of Harlem made its Lincoln Center debut last year, the young dancers impressed more through spirit than technical mastery. This year, artistic director Virginia Johnson is testing her dancers with Ulysses Dove’s sharply dramatic Dancing on the Front Porch of Heaven (1993) and a piece that Thaddeus Davis and Tanya Wideman-Davis made for the company, past-carry-forward, about the great migration from the South that led to the Harlem Renaissance. In tribute to the late Frederic Franklin, the season also includes his version of Petipa’s “Pas de Dix” from Raymonda. April 23–27, Lincoln Center’s Rose Theater. dancetheatreofharlem.org.
Above: Gabrielle Salvatto in past-carry-forward. Photo by Rachel Neville, Courtesy DTH.
Everything but the Kitchen Sink
HOUSTON
One city, three days, seven U.S. premieres. International artists will invade Houston for the 2014 Dance Salad Festival, April 17–19. Among the diverse set are Paris Opéra Ballet étoiles Manuel Legris and Laetitia Pujol in works by John Neumeier and Angelin Preljocaj. Other offerings include the Dresden Semperoper and Royal Danish Ballets, a tango-laced Sidi Larbi Cherkaoui work and Beijing troupes Beijing Dance/LDTX and Contemporary Dragon KungFu—the latter established by martial arts legend Jackie Chan. dancesalad.org.
Above: Contemporary Dragon KungFu will perform Liu Lu’s Gateway. Photo by Li Huimin, Courtesy Dance Salad.
Courtesy Stephen Petronio.
Wendy Perron and Stephen Petronio, of Stephen Petronio Company, discuss his upcoming season at the Joyce Theater in New York City.
