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.

Bending Over Backward to Make a New Solo

Ryan Schmidt bending over backward for her art!

Ryan Schmidt always bends over backward to get the job done whenever I work with her.  In our new solo, she displays a little from column A and a little from column B– the Chinese Food menu of dance movement, minus the fortune cookie! Before knowing of the horrendous aftermath of the Oklahoma tornadoes, I had chosen this piece, I Saw a Dust Devil This Morning, from Maria Schneider’s, Winter Morning Walks, to choreograph a new solo. With Maria’s composition based on the poetry of Ted Kooser, and featuring Dawn Upshaw’s sweet soprano voice, and the The Australian Chamber Orchestra, I embarked upon this rhythmically challenging gem from this masterpiece album, with complete serendipity.

As with most projects I do, there’s a feeling that something is totally meant to be. I am honored to be dedicating this new work to those that have survived, and those who have fallen from the great tragedies  of the tornadoes this Spring. With this expertly written score, I was blessed to have been able to create movement based on the poem, which paints imagery about the plains, and the little dust devils that swirled around the fields. It was with Ted Kooser’s words that Maria created a musical tapestry that so related to the author’s imagery from his roots of Nebraska.

I felt a bit of Agnes de Mille come out in me while making this, fittingly from the musical, Oklahoma! Maybe she was channeling through me in my rehearsals. When the winds came sweepin down the plains, unfortunately an enormous draft was felt by many. Thank goodness we have our art to keep us bending over backward to tell our stories. Come join us at Baryshnikov Arts Center this Tuesday where Ryan will be in the spotlight in her studio performance of Dust Devil.

Ryan Schmidt

Made From The Heart

Valentine’s Day always excites me. I am sure it has more to do with the idea that Spring is right around the corner, than it does receiving a box of chocolates. I rather like the holiday, as it has all the makings of mushy romanticism, and the permission to forgive all grievances, and release all the drama of the past, and to just be in the energy of love. Oh how sweet! With that, I give you “Heart Song, ” a piece I did to celebrate the relationship of love between two people. Ryan Schmidt and James A. Pierce, III, captured my inner most thoughts of love and universal passion, in this heartfelt duet. Appropriate for Valentine’s Day?? I should say so!! See this time-honored ballet from 2011, made from the heart.

A Picture Tells a Thousand Words

Every now and then, I organize my files and sometimes I find things I hadn’t remembered. In this case, it was a picture taken from our Ailey concert, now three years ago. It’s amazing how much one picture can tell so much. Dance looks so easy sometimes, but in this dance, there were at least 2-3 hours of warm-up and preparation that went into performing Cheap Seats, as well as years of dance training. Do people remember that when they go to a dance performance? The toil, sweat, and rummaging for props that went into that one dance, I am sure went unnoticed. How many times have you walked away from a full-length ballet or modern work and wondered what went on behind the scenes? We just see what our eye wants us to see at that very moment, forgetting what prepared all the elements prior to the finished product. Just as in a photo, we see only what we see, not knowing that a thousand things went on to make up that one great shot. A picture tells a thousand words, and I for one, can list them all in this case!! See more pics here!

What goes on behind the scenes

“Itty Bitty Nitty Gritty”: A View from Ailey

‘Itty Bitty Nitty Gritty” Photos by CathrynLynne

While we’re waiting on the simmering of our video from our last trip to the Ailey Citigroup Theater, enjoy these pictures, in the meantime.

Incidentally, the photos were taken by the amazing CathrynnLynne!

Watch video here!

Tech-run at Ailey

A Look Back at 2011

Except for the occasional pause for airing out, 2011 was busy and full of keepsake dances from the heart & mind: Heart Song; Pie, Picket Fences & Purgatory; Shelter; and Itty Bitty Nitty Gritty. Finishing the year with four new works and two new film shorts was probably enough material to warrant its own concert; but instead, the year was spread-out throughout the four seasons, ripening the fruits of our labor along the way.

From our film shoot at Baryshnikov Arts Center in 2010, shot by the inimitable Peter Richards, we finally produced a film short, edited by Amelia Golden, entitled, About Face; which followed her other film short, A Piece of Shelter, shot at The Secret Theater.  With one more to go from filmmaker Ben Moss, we are about to release, Let’s Face It,  on-line. This is yet another version of a film short from that austere night at BAC.

Starting off 2012, we will be doing an archival video shoot at the Ailey Citibank Theater this Tuesday. We will have the trio, “Itty Bitty Nitty Gritty,” which premiered for Connecticut Ballet this past summer,  taped by a new video production team, graduates from the New School.  I am washing the costumes now!! Hope all goes down smoothly and we can revisit the little chair dance once more with renewed vim & vigor! And, of course, please revisit my dance about MLK, entitled, “Undisclosed Recipients: A Tribute to MLK,” as Monday the 16th is his day of honor.  Happy New Year!!

“Heart Song”

“Pie, Picket Fences & Purgatory”

“Pie, Picket Fences & Purgatory”

“Shelter”

“Itty Bitty Nitty Gritty”

“Let’s Face It”

Shelter: A Cosmic Experience

A Cosmic Experience

Maslow would be proud of me if he knew that I was highlighting the lowest level of his pyramid in a dance! If we didn’t have the handicap of always focusing on how to afford food and shelter, just think how much more we could do for the world. In this dance I used an umbrella and a large, red cloth to depict money, power and greed. Annie had a silver, sequined pair of honkin’ high heels that I had to use (oh no, I think I have a shoe fetish)! A pair of gold lamé gloves found their way into my dance bag, so she wore those, too. Hmm… silver and gold!

This event at the Secret Theater in Queens happened on July 10th from 6:30-9:30 pm. I had 3 hours to make a 9 minute 28 second piece.  It happened in 2 hours and 9 minutes when it was all said and done, however. My inspiration was this picture that hangs on my office wall of people running for shelter under an umbrella.

Inspirational Picture

Nicole Renaud, an amazing  French composer/accordian player was so gracious to allow me to use her music, and in fact, was delighted to have me choreograph to her work.

Demonstrating a phrase

I must have been in labor because I only had a few phrases to show the dancers, and the rest  just came with a few pushes. We ran the piece twice at the end with videographer, Marie Le Claire  raring to go. Also, young film maker Amelia Golden, was present the whole time with the task of making a new film of the experience. With all lenses in focus, the the dancers sweat like there was no tomorrow and a new piece was born!

I was thrilled to have the opportunity to do this, which also served as a farewell, but not goodbye to Ryan Schmidt and Julie Fiorenza–both who will be moving out of NYC at the end of the summer.  So sad to see them leave, but life is calling them to new pastures.

After a fun corner-diner experience with the group, I had time to think about the upper levels of the pyramid on my commute back home:  morality, creativity, spontaneity, problem solving, lack of prejudice, and acceptance of facts–seems I attained that level in a quick 2 hours and 9 minutes–enough time to make me forget that rent was due!

Seeking shelter

Mother’s Day

My mother lived to a ripe young age of 62. I found solace in choreographing this solo, now 13 years ago. It had taken me four years after her death to get around to my real feelings, I guess, as she died in 1994. I recall the night well when I performed this solo at the Cunningham Dance Studio, in NYC.

My mother recalled a dream to me before her death that had to do with seeing me in a chair. I told her that I had had a dream that she died. She said to me, “Sometimes dreams about death are not always about the person dying.” In the text I wrote for the piece, I replied to that by saying, “… but sometimes they are.” As dreams are the window to our soul, I’ll dedicate this Mother’s Day to the souls of all mothers who have passed.