For the next issue of our school paper, The Monitor, I'm doing a series of interviews with student choreographers in the Dance Department who are involved in Dancers At Work (DAW), a showcase in November for student work. There are 9 of them, and by press time I will have spoken to all of them in depth but will have eliminated many important details due to print space.
Going along with my general thesis musings about dance writing moving to the internet I thought it would be fitting for me to post my full interviews with them on here. I am amazed at what they have to say and the depth of their work and I want to share everything that won't make it to the Monitor article.
So here is the first interview transcribed. It is with Meghan (M) and Bianca (B). Last names have been eliminated for privacy purposes. It starts with a few notes describing DAW and then goes into my questions.
My personal and editorial commentary have been left out for the moment until the article comes together at deadline next week.
DAW INTERVIEWS FOR MONITOR - part 1 - 10/17/07
Meghan(2nd time DAW)
Bianca(1st time DAW)
M- Reach Me, 9 dancers, composed by Chris Lancaster (electric cello)
B- (untitled to date), 5 dancers, music: Finnish Symphony, about sexual abuse and interconnected
-started rehearsals 2nd week of school, for all BFA dancers
-auditions
-they give audition phrase (approved by faculty the week before) and get 20 mins to see dancers
-they make list of their choice dancers, faculty makes choices, final cast determined by combination of both and schedules
-mentors come once a week
TAYLOR: What’s the rehearsal process like?
M- It’s been easy this year. You know, if you get a great group of dancers and there’s no drama, nobody misses rehearsals, everyone works together then it goes smoothly.
TAYLOR: What is your choreographic process like?
M- We are totally different [Bianca and me]. I’m neurotic. I have to come in with something prepared. I come in on weekends to rehearse.
B- And I’m the exact opposite. I come in with nothing prepared, no set ideas, and I like to experiment with the dancers.
M- It works well for both of us.
B- I mean, I had my dancers improve the whole first rehearsal just to see how they move. I like to experiment on the spot.
M- And I experiment within the limits of what I’ve already come up with.
TAYLOR: How much influence do the dancers have on your choreography?
M- I don’t think either of us actually let anyone actually come up with steps, but I do ask them, you know, what is comfortable, what happens naturally. I’m working with partnering for the first time, so if we’re having a problem the dancers either solve it and I use what they’ve done or that makes me think of something else that would work.
B- Yeah, they help with the quality of movement.
TAYLOR: Who are your faculty mentors and what is it like to work with them?
M- Mine is Pat C. She was my mentor last year (for DAW) and I’ve had her as a teacher, so I have a very strong relationship with her. She give critiques for what she thinks doesn’t fit or looks awkward, or the opposite, what does work. But she also likes to just throw ideas around, even if she knows they’re something I won’t use. They’re usually crazy ideas.
B- Mine is Nancy L. She was my modern teacher freshman year. She’s very helpful. She asks me questions about my intentions for every movement and from there I investigate the movement.
TAYLOR: What’s your inspiration? Is there any outside choreographer you admire?
M- I always like to go see concerts. Watching other dancers outside of class, outside of rehearsal, outside of being in or watching someone else’s rehearsal – just being in the audience to sit back and observe is great.
B- For me I think it’s socially what’s happening in the world.
M- And taking time to think too. I think a lot, and at the weirdest times! Like when I’m brushing my teeth…or when I go home on the bus. It consumes your thoughts. And before I go to bed.
B- I have dreams about it.
TAYLOR: What has been your biggest challenge thus far with these pieces?
M- I think this year pacing myself has been hardest. My piece is twice as long as the one I did last year. Last year it was 6 minutes, this year it’s 12. So setting the pace definitely now that we’re getting to crunch time.
B- Beginning and ending. I can do all the in between, but I like to tell stories with my dances.
TAYLOR: Have you choreographed before DAW?
B- Yes, at New World School of Performing Arts. I was a big part of that.
M- At one of my old schools I used to dance at my teacher was really good about letting us help out with that. It started with just working with my friends and moved to doing some opening acts for shows and then some solo works in high school. I’m also big into theater so I’ve worked with some musical theater choreography.
B- I also choreographed this summer at a festival in Italy. Every summer they have a big festival with all the companies, and I was with ProDanca. We had a performance in Florence and…
M- I want to go to Italy!
TAYLOR: What’s been the best part about DAW?
M- The whole thing! It truly is a great experience and process to be part of. I mean most schools don’t give student choreographers as much leeway as they do here. It’s absolutely 100% student run, from the auditions, choosing the dancers, the costumes the lighting, everything! Even things like designing the postcard.
B- I’m like a kid in a candy store. It’s extremely exciting. It’s rejuvenating. It’s spiritual. It’s a way to have your voice heard.
M- And it’s so different from class. It’s like raising a baby: it starts out as an idea in your head over the summer, which grows to a phrase, which grows to a dance, which grows to a performance, and then you send your work out into the world and hope it doesn’t screw up too badly.
TAYLOR: Do you want to choreograph after you graduate?
M- I can see myself doing it. I don’t know about it as a career because I want to perform, but I can definitely see myself doing it.
B- Yes. I want to start my own company and tour the world. I want to take my choreography to Africa, South America…
TAYLOR: Do you have any advice for future choreographers?
M- Give it a try. I meet a lot of people with ideas about pieces they want to do but they’re not sure. Just go for it.
B- Yeah, don’t be scared. Everyone has something to say, that’s why we’re artists, and it’s just a great way to have your voice heard.
copyright (2007) Taylor Gordon
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