Summer Sole-fullness

My Broken-Soled Cheetahs

It was fourteen years ago today that our nation suffered a great catastrophe. 9/11 stirred our souls and changed our lives forever. It was one month after that horrific day that I was an invited guest artist at Wichita State University. My dear friend and colleague, Nick Johnson, was then, and is still Chair of the dance department there. His lovely wife, Sabrina, is on the faculty and they both teach the most extraordinary classes, and choreograph very intelligent and creatively-thought-provoking work. I landed there knowing that I needed to address my feelings about those awful events that had just taken place, just one month prior. I guess I could’ve choreographed a simple, dancey-dance to something light and airy to off-set my heavy emotions, but instead, I wrestled with the the event head-on, and and used my guest artist time as therapy to choreograph a piece that I titled, “Unthinkable Equation.”  Not exactly Martha Graham’s “Dances After Catastrophe” from “Chronicle,” but similar intention. Nick and Sabrina told me one morning while I was staying with them, that I had been screaming at the top of my lungs in the middle of the night. I hadn’t recalled much, but what that did tell me, is that I must’ve been suffering PTSD.

The new Cheetahs

It was after my residency, however, that something wonderful occurred. Sabrina and the students presented to me this Capezio  box containing what would become my motivating dance shoes for years to come: Cheetahs! They became my non-red, Red Shoes. Remember the The Red Shoes? You can google it. These became my favorite pair of jazz shoes to date, my Cheetahs… and sad to say, it’s time to retire them. The black rubber soles are flaking off on every studio floor I dance on, leaving pieces of rubber behind, as if tiny pieces of a dance I had been choreographing had been lost to those chunks of Cheetah goodness–those magic shoes helped mold numerous artistic undertakings, and held such sentimental value for me.

Of course, these shoes have become obsolete, as does most great dance attire and footwear in the dance world. They had a cool split-sole, and they made my pointe look better than what it is. My barre work excelled with my Cheetahs, and I was excited to create new dances with my happy, pointed feet! However, as the soles broke off, and I found myself  cleaning up after my mess in studios far and wide, I finally had to make the decision to let them go. The broken sole disintegration seemed symbolic in part, as I wondered if parts of myself were flaking off along with the rubber. It’s been a summer of letting go and taking time for rest, renewal and inward reflection. It began with saying goodbye to dancer, Ryan Schmidt, as the sun set in NYC on a hot, sticky day. James Pierce, longtime friend and dancer of ACD,  joined us as we toasted her new home near Chicago, where her husband landed a new job. My heart was heavy that day. Though so elated for her, it felt like yet another piece of that black sole falling off. She was, and is a gem that brought so many vital contributions to ACD. As she continues to dance and perform in an aerial company, I’ll dream of her touching down in NYC again to dazzle me with her amazing talent.

Hedy Tower

Letting go IS  hard… it often finds us looking back, which clearly I’ve been doing. I googled my first dance teacher, Hedy Tower, the other day, to see if she was still alive. I came to find out that she passed away three years ago. I felt remiss in not getting back in touch with her after all of these years. I learned that she had been teaching up until the age of 99! What the what?? I was five when I first started dancing with her in Jenkintown, PA. I was terrified when she beat her gong and made us act out being witches. I remember having to put a fake wart on my face and wear a black dress and tall, pointy hat, as we did our first public performance at my grade school. Of course, later in life, I had an a-ha moment, as I sat in my first dance history class learning about German dance pioneer, Mary Wigman, and her famous “Witch Dance,” and how that dance resembled what I had learned when I was five. Oh THAT’S what Hedy was making us do! Though shocking to my system at such a young age, it was Hedy that taught us to “let go” of our fears and to risk making a fool of ourselves… she impressed that it’ll be good for you.

Summer 2015… more letting go.  No witches in site, but lots of old stuff to toss out, not just shoes, but old tapes, and not just the ones in my head. VHS tapes. Digitizing is time consuming and yet necessary this day and age to preserve those antiquated tapes. I have much transferring to do, all in an effort to save my vintage work before it ends up like my broken rubber soles. The humidity can ruin VHS tapes so fast, and so time is not on my side with this job. Letting go of the old technology has not been easy. If it were up to me, I’d still be cooking food in the toaster oven, and turning the knob right on the TV to change channels. I like buttons, knobs and switches. I abhor touch screens. There’s so much room for error, and I’m sure you can agree that there’s more malfunctioning going on now than in the past. Ok, so more letting go. 

Looking back at my old jazz class pedagogy this summer, it dawned on me that the material really needed to be passed on. Let go of that, too. Like my fist dance teacher teaching me the “Witch Dance,” I wanted to pass on a tradition of jazz dance that could be archived with a suitable and trusted dance enthusiast. After a briefing with my ‘daughta from anothah motha’ and beautiful dancer, Annie Heinemann, we decided to book studio time and revisit the hour-long warm-up I created back in 2006 for my students at WMU.

Jazz Warm-Up with Annie

We broke it all down, and got most of it back, with a few holes here and there. My last stint with my Cheetahs  was with Annie. We chuckled as we watched the shedding rubber pieces fall onto the studio floor! Passing down this warm-up class to her has been a fun and rewarding process. She is a skillful teacher, and has it all together as a dancer… among other works, you’ve seen her in “A Dress in the Stream.”  With a few more rehearsals, and a few changes here and there,  I think we’ll get it back. The mix of the old theater-dance style, with contemporary modern, should get her students at Greenwich Academy working hard, and hopefully they will come to appreciate the heritage of the jazz dance… sooner than their first dance history class — fingers crossed.

At the beach

So, with time to ruminate on my many walks this summer on the beach, I finally made the decision to let go of that old rubber-90s website, and start anew. Dumping pages and ideas that no longer were relevant was humbling, and yet encouraging. Taking stock of what was good, and throwing out the rest has been a daunting task after nearly thirty-years of making work. OMG!! I visited Tucson this summer and went back to my alma mater. Yep, it was 29 years ago I started graduate school. My soles were fresh and raring to go then. I started right in on choreography and somehow, never let go of it. With so many years, so many tales, so many dances, so many dancers, and so much time, energy, and not to mention MONEY, I still am finding within my soul, a place that holds sacred those creative urges. Those old, broken pieces of sole are thrown away, but the memories of those times past will forever be imprinted upon my soul. And from this day forward, it won’t be the same, but I’m sure I’ll still somehow get to the pointe! Oh, and please don’t forget to revisit the Beatles, Rubber Sole. One of my favs– I’ll never let go of that one! Stay tuned for my new website!

Feasting on Spring

“Miles;” Photo by IKADA

As this Summer begins and I prepare my tote bag for the beach, I also have to unload my dance bag and head for the laundromat. Time has gotten away from me, and I haven’t yet laundered the costumes that put me in high gear this past Spring. Typically, in a week or so after a gig, I do all the post-clean-up, but with my heavy workload, a trip to my former residence in Tucson, and a short stint in Austin, TX to visit a good friend with my sister, I literally have been on a treadmill and haven’t had time to tumble dry, or process what has simply been a whirlwind of a season.

Except for the initial hiccup with casting, my piece, “Miles”  went to the stage at the end of May in the KoDaFe 2015 Dance Festival at the Ailey Citigroup Theater in NYC. Adams Company Dance has been invited to the festival since its inception, three years ago, and it went off without a hitch. Cultural exchange between artists, choreographers, and dancers united the evening, as we shared a common theme of sharing our origins. My niece, Alana Kirzner, along with Gierre Godley, who previously performed this duet at Ailey, danced beautifully together in this emotionally driven, highly athletic dance. How very proud I was of my niece for her comeback dance performance, after a two and a half year hiatus from dancing, due to an injury. Adding two understudies to our rehearsal period made for a fun time, as I reunited with a former student, Jeremy Neal, from my time at Western Michigan University, and with Ana Estrada, a lovely dancer from my alma mater, University of Arizona. Appropriately titled, “Miles,”  the mileage this dance has driven so far, had more miles to go, and the dancers certainly drove it home with their bold performance.

Alana, Gierre, Ana, Jeremy

With music by three-time Grammy Award winner, Maria Schneider, ( I could never tire of her composition), the dancers strapped in for another tour of duty for this gem of a dance, for which Maria so generously granted permission. As a side note, I was distracted in a really good way this Spring to attend the launch of Maria’s new CD, The Thompson Fields. As I said with her last CD, and I’ll unabashedly state again:  run, don’t walk  to buy this album of pure genius!

Next up was the first annual Film Lab at Triskelion Arts. Annie Heinemann-Church was the lead in our film, “A Dress in the Stream,“ which was selected for this all-dance film festival in a funky neighborhood in Brooklyn. This art-house, laboratory of dance culture, moved to a new location this past season, renewing its vigor and promise of a brighter future– so nice to see the smaller venues gaining such momentum! Being in the company of other like-minded artists, made us all feel like one, big, happy family. Fast forward from the 80s, when Beta was making its debut, we sure have come a long way with dance morphing into new and acceptable mediums in the digital era. I almost had forgotten about live dance that night!!

Alana Kirzner

Alana Kirzner & Amelia Golden

Simmering with the smell of a stew so rich with ingredients you can taste it’s flavor from around the corner, was our film, “Hush Little Child.” The frigid film shoot, on the last day of February in the freezing cold, still resonated in my mind, yet the days of Spring, with the flurry of activity, disabled me to take this rich pot off the stove for a cooling off and completion; however, that didn’t mean that I wasn’t able to taste-test during March, April and May! With my many trips back and forth to Brooklyn to work with my videographer/editor, Amelia Golden, the stew that once seemed raw and without spice, finally cooked up to the right temperature and flare.  I hope you enjoy our premiere.

So there. I’ve now aired all my dirty laundry from the Spring, my dance bag is cleaned out, and now I can enthusiastically start my Summer, savoring the good memories from our events. Thanks to all the artists who participated in creating our artistic feast!

Amelia Golden Filmmaker

Dancers rehearsing

Film shoot day with Amelia and Alana

Alana and Gierre in “Miles;” Photo by IKADA

Annie in “A Dress in the Stream”

Frozen, but Fluid

Alana Kirzner; Photo by Amelia Golden

Amid the snow and ice of the last day of February, a day brimming of inspired artistry unfolded with ACD that melted the frozen feelings of a long winter. Inspired by my niece, Alana Kirzner, a stunning dancer with a fierce energy and supermodel look, I loosely wrote a script for a new film short. Amelia Golden, filmmaker and collaborator with ACD, joined our project for a day of artistic discovery in NYC, beginning at Ripley Grier Studios in NYC, and ending at the Botanical Gardens in the Bronx.

Alana brought it all to the table with her technical finesse and dramatic edge, portraying a character that oddly came to life once the costume pieces were donned. A spirit came alive; however, when this black, velvet dress and shrug, hung on a pipe in my basement to air out and de-wrinkle after I brought it home form the thrift store. It was then, in the dark shadows, that it swayed side to side, ever so gently, that I could see a mysterious woman from the turn-of-the century living in it, or could it also be the spirit of Madeline from the famous children’s book? No matter the origin, Alana awakened her own spirit to flesh out the character she became that day, both indoor in the studio, and outdoor at the Botanical Gardens, where we choreographed a frosty frenzy of quick-study exhibitions on the snowy, wooded paths. We ended at the gorgeous Haupt Conservatory at the Chandelier Orchid exhibit, where we warmed it up for a supreme finale among the fertile plant-life and blossoming flowers… we were loose, fluid and filled with a taste of Spring in the air! Stay tuned for our new film–coming soon!!

Film shoot day with Amelia and Alana

Treasures of 2014

A year’s worth of creating, polishing and processing new work has come to a humbling end. Placing these fine collectibles into this year’s treasure trunk has me joyfully reminiscing about the many months of studio sweat, theater dust and reams of film footage.

Goddess Danu and Birds Over Lower Lough Erne, a commissioned work by composer, Claudia Howard Queen, began my journey into 2014 and sent me into Celtic motion. Ryan Schmidt rose to a mystical, new level when she danced her fairy good performance in Brooklyn at Triskelion Arts, where we also had a sneak-peak of several of our film shorts, in collaboration with filmmaker, Amelia Golden.

Next was the KoDaFe Dance festival in NYC at the Manhattan Movement and Arts Center, where Milan Misko and Nana Tsuda performed Descendence, a touching duet about how our ancestry links us to our life’s journey. This was ACD’s 2nd invitation working with the IKADA Contemporary Dance Company.

I was honored to have been able to work with the extraordinarily talented Chris Jackson again,  for the creation of the new solo, Flight, and our new film short, Sea Chapter. Composer, Tamara Wilcox added her musical talent to Chris’s solo with her inspiring piano composition. ACD is proud to now have two scores of Tamara’s in our repertoire. Returning to Triskelion Arts again, Chris gave the most soulful performance of Flight, effortlessly moving through the space, as I wiped away my tears from the front row. We waded our way through the waters of Silver Sands State Park,  making our companion film short to the solo, capturing beautiful scenery, including breathtaking views of the sun setting over the calm ocean waves.

Flipping through the short films I’ve done, with collaborators Benjamin Moss and Amelia Golden, I was aching to be able to work this compendium of films into a production where we could share what we’ve done in a proper screening room. After a brief search to find a venue for my vision, I was able to secure a night at the Producers Club in NYC this December, where we included our documentary, Except at Night: The Making of a Dance, giving the audience insider information into my process of making a dance. The whole evening, entitled, Behind the Lens, tied all the frames together, giving a glimpse of the past five years of seeing things from the camera’s point of view. It was a thrill to know that some of the dancers involved were sitting in the seats, as so many over the years have scattered over the globe. I was lucky to have been able to raise my glass and toast with a few of them afterward, as we celebrated some of our greatest shared treasures.

Benjamin Moss Filmmaker

Amelia Golden Filmmaker

Claudia Howard Queen Composer

Tamara Wilcox Composer

Sea Chapter: A New Balancing Act

Chris Jackson

Through my adventures at Silver Sands State Park in Milford, CT, I was awestruck by the sheer beauty of Mother Nature’s creation, nestled so close to my home. I had thought that at some point, the setting  would surely be a gorgeous backdrop for a short film. Well, this past October, during a tumultuous Mercury retrograde period, I  knew it was time to sieze the moment. I knew immediately that Chris Jackson, a dancer with whom I’ve worked, off and on for twelve years, would be my prime candidate to place his footprint upon my film, and on the cool sands of the beach. Amelia Golden joined us again for this new chapter at the sea where we were to begin.

Chris and I began our time together in NYC, rehearsing the material for this new solo. The music, by Tamara Wilcox (she supplied the score from our film short, Woodland Aire), and David Darling, gave us the perfect feeling for the style and approach to the movement. We magically finished the piece in two rehearsals, with the last being the most powerful in a large, open studio at the Dance Theater of Harlem, where Chris also teaches. Somehow the annals of DTH ancestry in our midst, moved our spirits to whip the piece into shape and finish it in a couple short hours that day.

The next task was having Amelia and Chris come up to Milford for the day, so we could shoot interiors and exteriors for the film. Using the material from Chris’s new solo, we mixed up our time shooting his dance, and other off-beat shots inside the building of Connecticut Dance Conservatory. After wrapping up the indoor work, we convened at the beach, where the sun was slowly descending, and the wind was whipping at our faces. Minute by minute the lighting was changing, so I had Chris follow my direction quickly, and Amelia remained steady behind the lens, capturing footage that later proved to be invaluable.

At Silver Sands State Park

This majestic tree, standing all alone was tantamount in the unfolding of the meaning of this project of ours at the sea. Each of us knew internally what that tree represented for us, and so we left exhausted, cold, but exhilarated at the prospect of what this film could later become.

A couple weeks later, we archived Chris’s solo at the Triskelion Arts Center in Brooklyn, where he performed at the highest level of his game, and brought tears to my eyes. His performance will be coming soon to Vimeo, and you’ll see what I mean when you see him dance his most soulful, and genuine performance to date. In December, look for our new film short, Sea Chapter, at ACD’s screening night at the Producer’s Club on 12/17. More on that coming soon! Until then, enjoy these scenes from our shoot, including some from the last nice weather days of the year, at the beach!

Chris at CT Dance Conservatory

Chris with an Open Heart

Chris at Silver Sands State Park

Amelia, Chris & Mitzi

Chris & Mitzi

Released at Last!

 

Milan & Nana
Photo by Cathryn Lynne

When a new work emerges, there’s inevitably twists and turns in the direction you’d like to see the piece move toward. Such was the case with Descendence.  I began the rehearsal process in the Winter with the extraordinarily talented husband and wife duo, Milan Misko and Nana Tsuda. After its original completion, we shelved the piece for a few months, then dusted it off, and started the metamorphosis. After a title change, and a revamping of a few items, we premiered the work in the KoDaFe Dance Festival at the Manhattan Movement and Arts Center on June 22nd.

This was a bill for many tastes, and yet all involved brought a lot of emotion to the stage. At last, on that beautiful Sunday afternoon, I released the dance to the dancers, and gave them the opportunity to make it their own. Thank you to the dancers for a wonderful premiere! What a great, therapeutic process it was to dig deep into our history, and integrate all that trickled down from our ancestors, and loved ones that have gone before us. So much learned, and so many more miles to journey…

See more of Cathryn Lynn’s photos here!

Stay tuned for the video!

Post show moment

Goddess Danu in Brooklyn

Ryan Schmidt at Triskelion Arts
Photo by Amelia Golden

 

All went well at Triskelion Arts in Brooklyn on May 20th! This was the last dance performance for Ryan Schmidt before  she tied the knot this past weekend! Congrats, Ryan!! Claudia Howard Queen’s music and video footage from Ireland, were the backdrop to the piece I was commissioned to do by her, and was part of her Fellowship at University of North Texas. Her ideas, based on themes of healing, came together in a few short months. Ryan executed the piece with great strength and characterization, creating a feeling of being in an enchanted place, with fairies, mystical waterways, and lichen-covered rocks. Our other works included film collaborations with Amelia Golden, highlighting her luscious sense of capturing story-line with motion, and the mix of humanness that underlines most of our work together. A big thank you to Amelia for ACD’s production of  Playing House and A Piece of Shelter.

Hope you enjoy our premiere of Goddess Danu and Birds Over Lower Lough Erne. 

Enjoying a drink with Amelia and Ryan

 

Mystical Horizons

 

When the curtain came down on the New York International Ballet Competition this past year, I felt a fissure starting in the core of the dance world, but that wasn’t the only news that rocked its foundation. What about the disbanding of the Trey McIntyre Project, or the bankruptcy and closure of Dance New Amsterdam? I realize you need to know when to fold ’em, but I also realize in the midst of all the hardship, there’s sometimes reason to hold onto your hand, even though it may seem inane to the outside world.

I just witnessed a pond that dried up at a National State Park, but fresh new flowers, and plants were growing on its surface. Somewhere there’s  the possibility of new life, but only after a long pause, silence or drought, do we get to reap the rewards of Mother Nature’s grand plan. As an artist, I feel part of the crack and part of the stem of a flower, all at once. The cosmic timing of producing, is always met with news of a death or some tragic press release, but we always continue to march on, and jump back into the studio.

Such was the case with“Goddess Danu & Birds Over Lower Lough Erne.”  This new solo set on Ryan Schmidt, was commissioned by award winning composer, Claudia Howard Queen, who envisioned this work after a mystical trip to Ireland. During my time at Western Michigan University, I met Claudia, who was a visiting artist  at the time. I was completely blown away by her abilities as a percussionist, and her symbiotic way of folding music into the dance. She allowed dancers to experience movement through the rhythms and timbre of the music, like no other accompanist I have known. With her ideas of healing through music and dance, and the inspiring themes of Celtic mysticism, it was easy to say yes  to this commission. 

So as fairies, folklore, Selkes and goddesses enveloped my space, I connected to part of my roots, and drifted into a place that felt oddly familiar. With footage of birds flying over an Irish waterway, and music by Claudia Howard Queen, this multi-media piece will surely take you to mystical horizons. We look forward to our premiere at Triskelion Arts in Brooklyn, where we will also be sharing the collaborative works of filmmaker, Amelia Golden. Please read about our event here, and for now… I think I’ll hold onto my hand!

Claudia Howard Queen Composer

Amelia Golden, filmmaker

Drinks up! Pause and Reflect!

Dragon’s Egg Residency

2013 was a wild one, but I know I am not alone here in thinking that. If we can say that we put on ballet slippers and got to the barre, then we are well deserving of a drink. In this political climate of unrest and economic uncertainty, we as artists have to pause, and allow ourselves some space and time to reflect on what once was easy to do. With dancers being injured, and workloads lightening up due to lack of jobs, then just a long barre is sometimes very satisfying in the scheme of things. So, if you are wondering where you are as a dancer, keep yourself front and center, as the back of the room simply won’t do, and it ain’t over yet, ok kids? These are my sentiments as I witnessed too many dancers down on their luck this year. Remember, “you’re still a contenda…”

Grab who you can when you can, and just start something before you miss out on opportunity. Dancers could be moving away, injured, or even getting married, so hurry up and enlist their talents before it’s too late. I started out 2013 in a new way by deciding to make a film short– not a film about the process of making a dance, but a film in and of itself. A Dress in the Stream,  was made in a day of inspiration and risk taking. I loved the process of relying on instinct, and the talents of Amelia Golden, my videographer/filmmaker, and my dancer, Annie Heinemann, to take me to uncharted territory. Annie was soon to begin a new, full-time dance teaching job, so time was of the essence. Grab her now before she gets too busy (she also became a new Mom!). Thank God for a paycheck and the benes! Annie proved to be the delightful diva of my dance imagination. The shoreline of CT and the indoor shots from the sleek dance studio in Guilford, were the perfect mix of elements for our innovative film. Take a look again here if you haven’t seen it.

Next up was Julie Fiorenza, recreating the solo I set on her about her adoption from Korea, My Room.  A Korean Dance Festival to present this most personal solo?? How apropos!! Julie pulled her technique to a new level this year, as I watched in a pool of tears. She got some more mileage from this solo and I couldn’t be more proud of her. To Korea with love– another toast!

I found my greatest joy this year in a new CD, Winter Morning Walks. My dear friend, Maria Schneider, went to extreme heights to create this new masterpiece.  Three new pieces were born from this gem of a work, and I am so pleased to have been able to sink into the music. Dust Devil, danced by Ryan Schmidt, was a hot, little solo which morphed into a new short film, Playing House, another in collaboration with Amelia Golden at the Baryshnikov Arts Center. See if you can find the symbolism in her engagement in this piece!

The next of the pieces from Winter Morning Walks  were created at a residency at the Dragon’s Egg in Ledyard, CT. Barn Birds and Solstice Morning were made in one-long day’s worth of sweating. The heat of the summer resonated with me, I guess… and so we danced all day and left with two new works in our back pockets. Cheers to the dancers, So Jung Cheon, Chris Jackson, Milan Misko, and Ryan Schmidt. Our day in the woods, was one never to be forgotten. We set a film short about our day there (Amelia behind the lens again),  to an original piece by my colleague, Tamara Wilcox. Thanks to her special contribution, we can share with you, Woodland Aire. 

Alas, the conclusion of my year of choreographing came with our new duet, Trickle Down. With having lost a few good friends and family members this year, I can only say that there was influence from above to make this new piece. Milan Misko and his wife, Nana Tsuda Misko, took ownership of this touching new dance, made in a few short rehearsals– another Jiffy Mix! The two of them pulled the piece together with grace and strength. I will be toasting again to them when we premiere the piece in 2014.

Cheers to the dancers for their tenacity, hard work, and their kinetic sensibilities. I am so blessed to have seen them grow through the ages and take charge of their craft. Also, cheers to those who can say they didn’t work, but who are on the fringes awaiting their next move. It’s only because of all of us that art exists at all. And, last but not least, cheers to Cathryn Lundgren, my genius behind the lens. I thank her royally for her passionate vision and for the great promo reel she made for ACD this year.  So, drinks up…  pause and reflect on a year well spent!

A Dress In The Stream – Annie Heinemann

A Dress In The Stream – Annie Heinemann

My Room – Julie Fiorenza

Dust Devil – Ryan Schmidt

Dust Devil – Ryan Schmidt

Dust Devil – Ryan Schmidt

Playing House – Ryan Schmidt

Playing House – Ryan Schmidt

Playing House – Ryan Schmidt

Dragon’s Egg

Ryan Schmidt, Chris Jackson

Barn Birds

Barn Birds

Barn Birds

Solstice Morning

Solstice Morning

Solstice Morning

Solstice Morning

Solstice Morning

Trickle Down – Milan Misko & Nana Tsuda Misko

Trickle Down – Milan Misko and Nana Tsuda Misko

Trickle Down – Milan Misko and Nana Tsuda Misko

Amelia Golden, filmmaker

Cathryn Lundgren

Tamara Wilcox Composer

A Dynamic Duo

Nana & Milan Misko

Between the Baryshnikov Arts Center and the DANY, a new duet was created within a few rehearsals by a dynamic husband and wife team. Milan Misko is a tremendous force as a dancer, and you’ll surely recognize him from past works. His wife, Nana Tsuda Misko, is new to my process, but you could’ve fooled me. She was right there with every move and picked up very fast on my style. The two of them were so helpful in ironing out the kinks with the lifts, and were so resourceful in working out the minutiae of how to get from point A to point B. The nuts and bolts of the dance were hammered out in no time, but the real stuff of the piece was still simmering.

Trickle Down came from the idea of how we continue to march on in life, no matter how hard it gets. We are the great vessels from which our daily life’s laundry resides. There has been much loss in all of our lives, and especially this year with so many of us. We, as dancers, filter all this loss — from our recent history, to our ancestral ties — and as it continues to trickle down  into every fiber of our being, we find it necessary to express it in our movement. It seemed that we downloaded this idea into the blueprint of this work, realizing all its potential only when we were in the last minutes of our taping, just a couple weeks ago. It was a cold studio that last day at the DANY, and we were not altogether sweating, but the heat was rising, and the passion was growing. Alas, the final run-thrus were hot, and the dancers gave it their all.

I hope that you’ll take a peek into our gallery of pictures to see these two amazing dancers at work. Cathryn Lundgren blessed us with her presence again, utilizing all of her skills as a masterful dance photographer, as well as her keen eye behind the video camera. As for the final performance, stay tuned… you haven’t seen the last of this dynamic duo! It’s scheduled to — trickle down — soon.