My Favorite Choreographers/Dance Educators (Part 4)

(In No Particular Order)

You may not know today’s choreographer’s name, but you know his work.  I promise.  He is the KING of commercial dance...

Michael Rooney!

Michael Rooney’s style is fun, classic yet progressive, and (my favorite) shows off the talent of his dancers, a fabulous combination for any choreographer. 

Why I Love Him

I will watch a fun commercial or music video with great dancing and who choreographed it?... Michael Rooney!  His dances are EVERYWHERE!  Target, Old Navy, Pepsi, AT&T, The Muppets, 500 Days of Summer, SYTYCD, to name a small few.

His ability to create dances that embody the director’s vision is what makes him so sought after.  He understands if the dance is promoting a product, featuring a music group, or adding to a story’s progression in a feature film.  He knows how to incorporate dance into the big picture, not a small feat.  

The best way to show you what I mean is to actually show you.  So here is his choreography reel.  Enjoy!

Ok, just one more.  This is my personal favorite music video he has done. 

Mr. Rooney proves that dance, even used commercially, can be great works of art, something we should all strive for.

My Favorite Choreographers/Dance Educators (Part 3)

(In No Particular Order)

Dance can be so much more than pure entertainment.  It can make political statements, illustrate a time in history, stir an audience’s emotions...Dance is art.  Some choreographers embrace this fact and raise dance up to its fullest potential.  This leads me to my next favorite choreographer/dance educator...

Alvin Ailey!

Alvin Ailey was born in Texas in 1931.  As you are probably familiar with American history, 1931 was a time of turmoil, poverty, and segregation, not a great foundation for success.  To find work, Ailey’s mother moved to Los Angeles in 1942.  In school he showed a great interest in the arts, but did not discover dance until his friend brought him to Lester Horton’s dance studio in Los Angeles (another pivotal dance innovator).  (Just a little background, Lester Horton’s school was the first multi-racial studio in the US.)  Ailey joined Horton’s company in 1953 and became the artistic director upon Horton’s death later that year.

In 1954 Ailey appeared in numerous Broadway shows, yet was disappointed in the styles of dance that were offered in NYC.  This inspired him to create his own opportunities by forming the Alvin Ailey American Dance Theater in 1958.  He used numerous styles of dance and all theatrical elements to create his productions.  The content of his pieces were often derived from his own life and celebrated African American culture, history, strength, and potential.  He sadly passed away in 1989.

The Alvin Ailey American Dance Theater is now one of the most well-known and respected dance companies in the world and is a part of the Ailey School, a prestigious dance school in NYC.

Why I Love Him

Need I say more?

His choreography, soul, intellect, and reverence for his culture created some of the most iconic pieces of modern dance of all time.  He also elevated African Americans in the dance world, which mirrored the civil rights activism in America at the time.  He not only revolutionized dance, but changed history.

When taking class at the Ailey School or attending an Alvin Ailey American Dance Theater performance, you can feel his positive energy all around.  There is such respect and admiration for this man; the experience is unlike any other.  At these performances, audiences dress up, pay true respect to the performers, and dance and sing in their seats.  It is truly a spiritual experience attending a performance by the Alvin Ailey American Dance Theater.  If you ever have the opportunity, go see a show!

To find out where they are performing, click here. 

My Favorite Choreographers/Dance Educators (Part 2)

(In No Particular Order)

Mia Michaels!

She is a choreographer who cannot be ignored.  I have witnessed her walk out to teach a class and be greeted with a thunderous uproar similar to a musical legend or a movie star.  She revolutionized contemporary dance and helped modern audiences appreciate dance in a new way.  She has even won Emmys for her work on SYTYCD!  However, these things are not what I will be focusing on today...

Why I Love Her

The ability to teach is a God-given gift.  “Those who do can’t always teach.”  (I decided to change the original cliché.)  Just because someone is a wonderful dancer does not make him/her a wonderful teacher and visa versa.  Mia has been given the gift of teaching.

I have had the privilege to take a class or two from the contemporary legend.  You never know what to expect when taking class with such a famous icon.  Some are wonderful and some walk in and tell the dancers how worthless they are...others land somewhere in between.  My experience in Mia’s classes landed her in my “Big 6.”

Mia’s teaching and choreography philosophy is: it is not about her.  She creates movement, gives that movement to a dancer, and expects that movement to evolve into a beautiful piece of art.  She understands that all dancers and bodies are different and celebrates those differences.  She does not stand at the front of the room expecting carbon copies to form behind her.  Her classes are a collaboration.  She also has the ability to recognize weaknesses and strengths in her dancers and pushes her dancers to work on the weaknesses and celebrate the strengths.  She expects nothing less than 100% of each dancer’s mind, body, and soul while teaching, but will give the same right back.

It gives me hope that she has been able to maintain this attitude and philosophy creating her formidable career, which is FAR from over.

If you ever have the opportunity to take class with Mia Michaels, DO IT!   (She is now a part of the JUMP dance convention and for more info, click here.) 

My Favorite Choreographers/Dance Educators (Part 1)

(In No Particular Order)

Out of thousands of choreographers and dance educators throughout history, I have narrowed down my “Top Choreographers/Dance Educators” to six individuals.  In looking at the Big 6, I notice a common thread between them: disruption.  Each was disruptive to the world of dance in wonderful ways.  I admire those who overcome adversity, follow his/her dreams, work tirelessly, and have an all-consuming passion for the art of dance. 

Today’s top choreographer/dance educator...

Agrippina Vaganova!

Agrippina Vaganova in the pas de trois from Paquita. Saint Petersburg (circa 1910) 

The goddess of ballet technique.  Born in 1879, Ms. Vaganova spent her life studying ballet, ballet performance, and proper ballet technique.  Through her studies, she developed the Vaganova Method.  The Vaganova Method takes the best elements of Italian and French ballet, along with her personal Russian education, and combines them to not only give the dancer the best technique possible, but also gives them the strength to prevent much injury creating the ultimate ballet virtuoso.  The Imperial Ballet School became the Vaganova Academy of Russian Ballet and some of its graduates include: George Balanchine, Mikhail Baryshnikov, Anna Pavlova...need I say more?

Although accepted into the Imperial Ballet School, ballet did not come easily to her.  She worked tirelessly to perfect her technique taking an academic approach to understanding dance combining how movement looked, felt, how others performed, anatomy, etc.  Her study was a success and lead to her performing as Prima (leading woman) in the Imperial Ballet.  She retired early to focus on her teaching.

Why I Love Her

I admire pretty much anyone who overcomes some form of obstacle/adversity to accomplish his/her dreams, which she did ten times over.  However, Ms. Vaganova, for me, goes beyond that.

I believe dancers, choreographers, and dance educators should have an academic understanding of any technique being studied.  Going to class and performing is paramount, but the home study will give anyone that necessary edge that leads to success.  To read a book about the history of dance, or read about a technique, watch videos, read biographies, etc. can only deepen one’s understanding and enable dancers to become critical thinkers, thus better dancers.

Ms. Vaganova was so exact in her academic understanding of dance that she overcame her lack of natural physical ability. 

To start you on your road to an academic understanding of ballet, I HIGHLY recommend Ms. Vaganova’s book, Basic Principles of Classical Ballet. 

This book, written by Ms. Vaganova, takes you through her technique and would help any dancer refine what they know and create a stronger foundation for his/her dancing.  It is fairly short and is complete with illustrations and “cut-to-the-chase” descriptions.  At times, she will even comment on the laziness of dancers, or the ugliness of another technique.  Very honest, yet very good.   

Needless to say, if you ever take my ballet class, expect Vaganova!

Stay tuned for the remaining five and let me know who your favorite choreographers/dance educators are! :)

Sitting Sadly By Your Side

I first heard the song, “I Cannot Sit Sadly By Your Side,” by the Cowboy Junkies while I was listening to a story on NPR.  The group was being interviewed about a trip they took to China where they first heard this song and decided to create a version in English for their own album.

This song just hit me.  To me, it was the epitome of the struggles of Depression.  The lyrics not only embody the pain of the afflicted, but also of his/her loved one who is attempting to help them.  The sufferer no longer wants to “sit sadly by [his/her] side” and the other is slowly sinking into the dark sadness, while trying to help.

Depression is a battle and something that, unfortunately, the perfect “cure” has yet to be discovered.  I admire those who struggle daily with Depression and commend the friends and family who stay to help.

I have always felt that I best express myself through movement.  Movement seems to capture deeper emotions, hidden motives, and has universality to its message.

I decided that “some day” I would like to choreograph a piece that is a tribute to those affected by Depression and their loved ones set to the song, “I Cannot Sit Sadly By Your Side.”

This piece came to fruition after the creation of Stretch Dance Company.  Before we actually start to create performances, I wanted to have video examples that would embody the important elements of Stretch Dance Company: the caliber of performers and designers and the importance of the subject matter presented.  I decided that this was the right time to create the piece, Sitting Sadly By Your Side.

I finalized the piece concept and sought out dancers.  I actually found Chelsea and David while watching a performance at Chapman University.  (Just a side note, I truly recommend the dance program at Chapman University.)   I contacted them, hired them, and off we went.

We met, discussed the concept, had a few rehearsals, and filmed the piece at Simple Studio Lighting in Anaheim, CA.  The piece is now edited (link below).

I wanted to take this opportunity to dive into the details of the story concept to further understanding.

The most productive and meaningful way I choreograph is to start with a story.  The story and characters in the story are the most important portion of any piece that I choreograph.

Here is the story of Sitting Sadly By Your Side: (Please note, the following story might be too emotional or graphic for some.)

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A young, newly married couple has been having trouble connecting.  He has always been the “tortured artist,” but has hid from her just how tortured he actually is.  Since they are now living together, he has trouble hiding these issues.  She loves him unconditionally and tries to help him the best way she knows how.  She encourages him, loves him, and patiently waits for him. 

He sees that his state of mind is not only destroying him, but is destroying the woman he loves so deeply.  He doesn’t know how to escape and seems to be slipping deeper and deeper.  He decides in order to save her, he must no longer be a part of her life.  He decides to end his life while she is at work.  He chooses to end his life by suffocation in their garage because it can be controlled and will cause him the least bodily harm, which is important, as he knows she will be the one who finds him.

She leaves for work and he sets out to see his plan through.  By some act of God, she comes home as she has forgotten something or had a “bad feeling.”  She finds him, rescues him, and takes him to a hospital where he is revitalized and saved, at least physically.

They return home and he leaves to be alone in their room.  This is the moment the dance piece begins.

She cautiously enters the room to attempt to console him.  She is willing to do whatever is necessary to help him.  He sees this and although he wishes to seek her comfort, he pushes her away hoping to force her to leave him. 

She is wrought with emotion and is caught in a flurry of pain, anger, concern, and fear.  No matter what he does to her, she keeps trying.  She believes they can get through this together.

She is exhausted, but still by his side.  Although he wants to push her away to save her from his pain, he sees that she has chosen to be with him and will be there no matter what.  He then turns to her for comfort allowing her to try to help him. 

In the end, they have each other.

Photography by Sara Ellison Photography

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Although this piece is about pain and suffering, in the end, it is about hope and faith.  I am not suggesting a solution or remedy with this piece, but offer my appreciation to loving families and anyone who is suffering.

 

This story was very difficult to portray emotionally.  I feel so lucky to have been able to work with dancers and designers who had a mature and intellectual approach to this piece.  I hope you take time to watch the piece and thank you for reading.  Click here to watch.

The Rich Man's Frug

To say that Bob Fosse is my "choreographer idol" is a bit of an understatement.

I was first introduced to Mr. Fosse when my high school did a production of Sweet Charity.  From the first moment of belting behind that bar in “Big Spender” with my arm oddly wrapped around my back, I was hooked.  I even received a fabulous biography of Fosse as a wedding gift from one of my students.  I think that says it all.

I highly recommend this biography.  It is wonderfully written!

The main attribute of Fosse that inspires me the most is that he was able to take his perceived imperfections and shortcomings and turn them into his own dance style that is instantly recognizable: the turned out arms, turned in legs, question mark posture, hat... “yeah” ‘cue jazz hands.’  I will say for the record, that although Fosse did not think much of his dancing, I respectfully disagree, see video. 

While watching our production of Anything Goes, the drama director for the Trabuco Hills High School drama department and I started brainstorming about “next year.”  Somehow we landed on a “Fosse show,” which is no mystery as we are both fans.  We continued to brainstorm and came to Sweet Charity as it had the right amount of cast members, great music, didn’t center on murder (not appropriate for a high school production…Chicago), and was a show we both loved. 

As we continued to brainstorm, we decided to have the choreography be as close to the original choreography as possible.  I was in heaven!  I don’t remember if I thought for awhile, if at all, that I was going to be attempting to recreate professional choreography on high school students, who, on average, had little to no dance experience.  The original choreography needed to be done and that was that. 

"The Rich Man’s Frug” was the ultimate challenge.  A 6 minute, extremely complicated, intricate dance with 22 dancers.  We tackled that dance head on from the hair twirls, tuxedoes, high heels, and even the cigarettes (which weren’t real as we reassured the audience at the beginning of every performance). 

I owe the success to those dancers.  I sat them down before we began rehearsals and showed them a video from the film, Sweet Charity.  I told them that we would be attempting to recreate the dance without changing anything except for perhaps some formations as we were performing on stage rather than for film.  I’ll never forget the dancer’s face who was to play the “lady in the white gloves.”  “That is supposed to be me?” she asked timidly.  “Yep!”   “Oh no…(long pause) OK!”

I told the dancers it was going to be a long, difficult process, but if they were on board, I had all the faith in the world that they could do it.  We all determined together then and there that "The Rich Man’s Frug” would be done the right way. 

Our rehearsals were very structured and aimed at giving students the best understanding of the day’s goals as possible.  I had diagrams and choreography printed out for each dancer.  To give you an idea of what I mean, I have included some pictures of my crude, but effective illustrations from the section of the dance entitled the "Aloof".  ("The Rich Man's Frug" consisted of three sections: the "Aloof," the "Heavyweight," and the "Big Finish.")  

The opening formation in the "Aloof"  

(Fun Fact: A colored in, stick-figure head means they are looking away from the audience.)

A formation also from the "Aloof"

For a little background information:  Musical rehearsals at THHS lasted from about 3pm-5pm every weekday.  I was usually there 3 days a week.  Each dance, that was about 3 minutes long, would take between two to three rehearsals to teach.  These standard parameters were not the case for Sweet Charity.

For “The Rich Man’s Frug” alone, we spent 36 hours learning and perfecting.  (This does not include my time choreographing and learning the dance myself.)  I have never seen so much dedication, hard work, and determination.  This required our rehearsals to be every day, often lasting until 6pm...or longer.  By the end, these students knew this dance so well that they would inform instrumentalists playing in the pit if he/she forgot to do something or made a mistake.  To this day I’m sure they can still hum "The Rich Man’s Frug” as I catch myself and my husband humming it from time to time.    

The success and importance of the production was paramount to me and was the same for those students.  They became professionals, always on time, warmed up, practiced, and in the correct attire.  Did I mention I was in heaven?  I think I already did.  Even the director would move his blocking rehearsals to accommodate these rehearsals. 

The result was worth the extra time and effort and I feel truly blessed to have been a part of that production.  Did I mention that I also split the responsibility of vocal director with the conductor and was planning my wedding all at the same time?!  That was a good year!

To view the final product of "The Rich Man’s Frug,” check out the video!

Finding Stretch Dance Company (Part 3)

Then, along came a life-changing suggestion from one of my closest friends.

“Read Twyla Tharp’s The Creative Habit,” my friend Judy suggested.  Although Twyla Tharp is one of the most celebrated, present choreographers, this book chronicles how to be at your best for working creatively in any occupation.  I highly recommend it! One element Ms. Tharp explained was in order to be productive, one must remove distractions from one’s workspace.  Inspired, I cleaned house. 

In organizing my things and moving them from my husband and my communal bookcase to my “dance/theatre only” bookcase, I came upon one of the most important pieces of literature to me that had nothing to do with dance.  As I held it in my hands, a performance began to unfold.  The dancers in my head filled the stage to create what I knew audiences had to see.  As the dancers were dancing, the company began to form in my mind.

I immediately put that treasured piece of literature on my “dance/theatre only” bookcase (on the top shelf)  and started to create the company.  I combined all of my training and experiences I had in order to form the company I knew had to be created.  I wanted a place where professional artists feel safe, cultivated, appreciated, and proud of the art they are creating.  I also wanted to create performances that audiences are not only entertained by, but are enlightened or moved in a way to promote a humanitarian cause.  Finally, I wanted to incorporate more theatre into dance performances by having characters, set pieces, costumes, plot, and specifically, composed music.  It is through this theatrical concept that I would be able to utilize all styles of dance as they will change per character and/or time period.  Thus, the mission statement was created:

“… to create a safe working environment for professional artists and to educate and entertain the community about art, humanity, culture, and history through presenting theatrical dance productions based on an emotional and realistic portrayal of the human experience.”

What to call such a company?  I looked at the statement again and saw this:

“… to create a Safe working environment for professional artists and to Educate and Entertain the Community about art, humanity, culture, and history through presenting Theatrical dance productions based on an Emotional and Realistic portrayal of the Human experience.”

I played around with the letters of important words found in the mission statement and came to the word STRETCH. 

Logo design by the brilliant Jessa Orr

I love the word STRETCH. 

It implies so much.  The artists and the audiences will be pulled and tested in new ways to attain high goals and understanding. 

I presented all of this to Christopher (my husband) who, with love, told me to follow my dreams, something I am eternally grateful for.  Ever since this epiphany in April 2010, I have been working to ensure the company’s success by creating a realistic business and production plan.  Hopefully soon we will be able to announce our first production, job openings, auditions, etc.

Thank you for reading and stay tuned for company updates and other, hopefully interesting, musings on the world of Stretch Dance Company. 

What was the brilliant piece of literature you ask?  I will save that for another time…

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