Movement made for stage is an exaggeration of the dance we all do in life. Paradoxically, we often forget our life-dance in pursuit of an accomplished life on stage. In fact, it is easy to forget our life-dance whenever we are busy, concerned with the dance of society, with all its wonders and expectations, disconnected from the small moments, deeming them as monotonous, regrettably necessary. How ironic, when most of our lives are made up of these small moments that keep us alive, build relationships and families, move society forward one inch at a time. Thankfully, life has a way of surrendering times of respite and reflection. It is during these times of respite, when we can best reconnect with our authentic bodies and motions.
Since leaving my conservatory training, and branching out to do work that is from my own voice, much of my work has been grappling with the ability to depart with the techniques and aesthetic approaches to movement I have been taught to better get to the root of what I want to say and do with my work. I know I want to be sincere. I know I want to be spontaneous. And I know that I want to be able to trust my body to respond to the impulses it experiences with sensitivity. When I am in the studio, I am always reminded that this is a difficult task, given the years of groundwork I have undertaken to arrive at my life-long goal of becoming a professional dance artist. Physically, I have developed habits that have taken many years to work out of my body, and some have not completely left. Though recognizing them as taught rituals I find myself visiting familiar shapes that at one time, I worked to perfect, falling back on them comfortably when I loose my concentration during experimentation and creation. Mentally, I struggle with allowing these things to leave my body, for fear they may never make their way back in, if I found I needed them later. I fear that leaving these habits behind might somehow leave me out of the “dancer club.” In the studio, alone, I even wonder if the ghost who inhabits it thinks I’m “dancing,” or not. In addition to my fears of being disregarded by my colleagues and peers, I realize that there is a whole other level of habits that manifest themselves in my body. And in my mind, though beautiful and significant, create more layers for me to sift through to get to the root of my kinetic voice. Each culture has a set of movements ingrained in its people that have been patented over millennia. For example, how we say hello: we lift one hand, and wave it back and forth. In Japan, people traditionally bow. In Japan, women do not cross their legs. Most women in America do. Included in these culture-dances are the movements involved in creating ceremony, cuisine and everyday routine. Going deeper than that, I have the dance made up of all the cultures that I am a part of, and of the ancestors and family through whom they are passed down. As someone with a multi-cultural background and upbringing, my culture dance is dense, and as colorful as the range of skin tones in the faces of my forefathers and foremothers, rendering me beautiful copper. My culture dance is one of clapping to gospel music to mourn the passing of a family member, boiling collard greens, three generations of women all lying squished and folded in one bed to watch the daytime stories, boiling ham and cabbage or layering eggplant with cheese and sauce, making hot tea and scones in the afternoon, writing the beautiful language of Italian around Christmas time, placing the Madonna on our tree.
In response to this realization, I began to think about the kinds of movements that are unique to my body. My first dances! I am reminded of how every morning, since I can remember, the way I run water in the tub and move my fingers in response to the warm water as I test the temperature before my shower. I try this movement without the water, and my sister tells me it looks inappropriate and laughs. But I find it fascinating, and I smile. Why did I never take the time to notice the mechanics of this sensational movement before? The movement that is attached to feeling lovely warm water for cleaning oneself. I am reminded of the way I habitually run my fingers through my hair when I’m tired, a gesture that repeats itself again and again and again until I find my way comfortably into bed. Then, I am reminded as I eat bok choy and carrots, that since I have been alive, when I enjoy food, I wiggle. It is how my mother can tell if I like her cooking, or not. In our house, the dance has been forever dubbed, “The Happy Food Dance.” And to this day, when I am not in the company of others, or rather, only in the company of my family, I wiggle away when I eat food I love. Somewhere along the path of growing up, it was explained to me that one should not wiggle too much in public or at restaurants. My realization that I have spent as much time training habits into my body as I have spent training habits out of my body perplexes me. Why should we give up our life-dances in exchange for culture-dances, and other acceptable forms of movement? The last time I was at my favorite restaurant in NYC during restaurant week, I so wanted to wiggle! Especially in response to the chocolate cake! These are the movements that are derived from my root vocabulary. These movements are whole: they have a kinetic sensation, an emotional engagement, and a mechanical arrangement in my body.
So, I take these, and a few other movements into the studio. They feel dynamic in my body, but they sadly (though not surprisingly) don’t look very dynamic in the mirror. The mirror reflects back to me my personal experience as well as a two-dimensional surface can: small, intimate, and unique to my person. I wonder how one would share such little dances? One patron at a time, standing close enough to see each nuance and variation as I softly wiggle with almost imperceptible delight across my face? I should invite them to dinner.
While my work-brain desires a place for these movements in my creative activities and professional endeavors, my rest-brain realizes that it is only important that I identify and own them now in the time of reflection. Celebrate them and engage with them. Remember and reminisce with my body and its dances. As life has a way of becoming harried and full of activity in an instant, this visit with myself may not happen again for a long while. Being present, and visiting with undivided attention means I can remind myself even when I am being most exaggerated, that my life-dance is ever present.
Thursday, September 15, 2011
Wednesday, September 14, 2011
Excerpts From A Petition for Passion
Hi! It has been a long time since we've spoken, I know. The summer was a whirlwind and now I am back in the throes of work and of finally writing my portfolio to finish my Masters Degree in Interdisciplinary Arts at Goddard College. So, while in process of writing this document, I thought it would be fun to share parts of the portfolio in process. That way, I can get feedback from a broader audience. The portfolio is tentatively called, "A Petition for Passion," and will explore passion as a philosophical basis for my art practice. Here is my first snippet, called, "The Nature of Our Play." Thoughts and comments are welcome!
The Nature of Our Play
Passion, though a constant undercurrent in the consciousness, does not make its way to the surface each and everyday. It is sometimes hidden under the monotonous oppression of a gloomy day, the drudgery of sickness, the hopelessness of tragedy, or the simple complacency of the usual routine. Of course, passion has a way of resurfacing during difficult or uninspired periods in our lives, if we are open to receiving its messages.
As a professional artist with professional responsibilities, it can be easy to slip into an artistic slump, devoid of spontaneity and fun. I often get bogged down by my artistic obligations and don’t feel as if I have room to explore my playful side for play’s sake. I recognize that I make my best work when I approach it with an attitude of playfulness, and the willingness to laugh at myself, and my ideas. I make my best work when I allow new ideas to arrive as gifts through joyful exploration and unassuming discovery. I am reminded of this every time my sister and I work together on new artistic material.
My sister Mackenzie and I have been making material since before we were born. We did for a time occupy the same space inside our mother, at the same time, creating both excitement and discomfort with our constant motion. Since coming into the world, our collaboration has not ceased. Our roles in our experiments have become defined over the course of our lives and by now, we work as a well-oiled machine. I love creating. I love seeing my ideas take shape and become new ideas as we progress through a process. Mackenzie loves to interpret, and she lives to perform. Though always considered the quieter one of the two of us, when presented with a stage, she becomes a force of nature, hardly contained by the confines of the proscenium, speaking volumes. She is also organized, a sharp contrast to the constant mess of ideas bouncing off the walls of my skull. In her version of a perfect world, order would be the norm, and not knowing would never be a worry. That being said, she is always a willing and gracious participant in my experiments in exchange for my participation in her organization and compulsive cleaning of our material. It is because of these differences that we work so well together. As opposites, we don’t step on each other’s toes when in process, unless it is by mistake when practicing a new partnering sequence. Each feels fulfilled artistically most of the time, and if there is ever a discrepancy, it is usually solved over ice cream or cup cakes.
It has long been our habit, to take time over the summer to work intensely on new repertoire for both stage and film, as well as to continue sharing already existing work with our community and communities elsewhere. During this time, we work very hard, rehearsing, performing, shooting, planning our next season, but most of all having fun! Anyone who would walk into a rehearsal of ours would wonder if we are even serious about our work. We are often laughing and innocently mocking each other. We do slapstick spoof dances and speak in various voices that are not our own. But I tell you; this play is an integral part of our time together and integral to the creation and growth of our work. Through play, we strengthen our relationship, create a pleasurable atmosphere for working, and best of all, we make happy mistakes.
A rehearsal generally begins like this: One of us will turn on an iPod to some danceable beats, usually hip-hop or R & B. We then commence, for about twenty minutes, to jam. But this is not any jam. We play off of each other, make each other laugh; try to out do each other. We share our favorite moves, like our latest rendition of “old people dancing,” or “the white girl shuffle,” “the body wash,” and “chicken dancing.” We see who can pop their booty better than the other one. Who can “go low” the lowest? And there is usually commentary and exaggerated lip-synching. This is how we anoint our space. The tone for our rehearsal is set.
Once we get into our phrase work, voices usually come with it. As I set material, we find an accent or character that helps us to get into the movement. Of course, we never think, “We should use a funny voice to get into character for this movement!” It just happens. For instance, we are working on a phrase for our dance film, Kitchen Table. The film is about two 1950’s homemakers and their adventures as friends in and out of the home. I give Mackenzie a set of movements on ten counts for each fragment of the phrase. This particular dance, the third section of the piece, is about being “out and about,” shopping and ogling over men and the like. Mackenzie begins to count her phrase in the voice of Edith Beales, from the documentary film, Grey Gardens. The accent is an eccentric New England accent that works well with the movement. Mackenzie is going in. She is creating a kinetic persona through her voice, her body is absorbing the essence of the movement and she is making decisions, during the learning process, about the performance of the material. Later, I decide that I would like to make a phrase for a waltz in the first section of the piece, where the characters in the film have a bit of a kinetic cat fight and try to one-up each other through exaggerated movements. I begin to make sharp, pointed movements that have an air of Flamenco about them. I begin speaking with a Spanish accent. The movement begins to take shape. It is exactly as I imagined it. It has flare, precision and a flirtiness about it that I enjoy very much.
When we work this way, we are efficient. Time becomes irrelevant, and moves quickly when we’re having fun, and so does creation. Mackenzie always says to me, “You’re always so worried about not having enough time to make stuff, but when we get to the studio, you pump it out!”
Mackenzie is funny. No, really. She comes off as the quiet one, but she is actually a wonderful amalgamation of goofiness, sarcasm and mischief, and she brings our comedic work to life. And what’s even funnier is that she always tells me that she hates it when I have us improvise to cultivate seed material. However, she improvises all the time. We are working on our “spoon dance” for the film, a part of the first section, where the characters in the film dance in harmony with the spoons, but find ways to continue their dispute, too. As soon as we are done rehearsing the section, a random piece of music comes on, and Mackenzie, on the spot begins to create a beautiful spoon dance of her own. She doesn’t even realize what she’s done! Or maybe she is well aware. I sit back, and watch with delight as she creates this sophisticated, elaborate dance. She goes on for almost five minutes. When she finally stops, I say to her, “I thought you said you couldn’t improvise.” She says, “Well, I was just playin’ around.”
It is easy to fall into passion when it makes itself so readily available. When we play at work, we feel productive, we learn things we never would have dreamed we could learn, and I am constantly in awe of the results of our efforts. There is beauty. There are poignant moments. Passion dynamically presents itself, and I am hopelessly vulnerable to it.
The Nature of Our Play
Passion, though a constant undercurrent in the consciousness, does not make its way to the surface each and everyday. It is sometimes hidden under the monotonous oppression of a gloomy day, the drudgery of sickness, the hopelessness of tragedy, or the simple complacency of the usual routine. Of course, passion has a way of resurfacing during difficult or uninspired periods in our lives, if we are open to receiving its messages.
As a professional artist with professional responsibilities, it can be easy to slip into an artistic slump, devoid of spontaneity and fun. I often get bogged down by my artistic obligations and don’t feel as if I have room to explore my playful side for play’s sake. I recognize that I make my best work when I approach it with an attitude of playfulness, and the willingness to laugh at myself, and my ideas. I make my best work when I allow new ideas to arrive as gifts through joyful exploration and unassuming discovery. I am reminded of this every time my sister and I work together on new artistic material.
My sister Mackenzie and I have been making material since before we were born. We did for a time occupy the same space inside our mother, at the same time, creating both excitement and discomfort with our constant motion. Since coming into the world, our collaboration has not ceased. Our roles in our experiments have become defined over the course of our lives and by now, we work as a well-oiled machine. I love creating. I love seeing my ideas take shape and become new ideas as we progress through a process. Mackenzie loves to interpret, and she lives to perform. Though always considered the quieter one of the two of us, when presented with a stage, she becomes a force of nature, hardly contained by the confines of the proscenium, speaking volumes. She is also organized, a sharp contrast to the constant mess of ideas bouncing off the walls of my skull. In her version of a perfect world, order would be the norm, and not knowing would never be a worry. That being said, she is always a willing and gracious participant in my experiments in exchange for my participation in her organization and compulsive cleaning of our material. It is because of these differences that we work so well together. As opposites, we don’t step on each other’s toes when in process, unless it is by mistake when practicing a new partnering sequence. Each feels fulfilled artistically most of the time, and if there is ever a discrepancy, it is usually solved over ice cream or cup cakes.
It has long been our habit, to take time over the summer to work intensely on new repertoire for both stage and film, as well as to continue sharing already existing work with our community and communities elsewhere. During this time, we work very hard, rehearsing, performing, shooting, planning our next season, but most of all having fun! Anyone who would walk into a rehearsal of ours would wonder if we are even serious about our work. We are often laughing and innocently mocking each other. We do slapstick spoof dances and speak in various voices that are not our own. But I tell you; this play is an integral part of our time together and integral to the creation and growth of our work. Through play, we strengthen our relationship, create a pleasurable atmosphere for working, and best of all, we make happy mistakes.
A rehearsal generally begins like this: One of us will turn on an iPod to some danceable beats, usually hip-hop or R & B. We then commence, for about twenty minutes, to jam. But this is not any jam. We play off of each other, make each other laugh; try to out do each other. We share our favorite moves, like our latest rendition of “old people dancing,” or “the white girl shuffle,” “the body wash,” and “chicken dancing.” We see who can pop their booty better than the other one. Who can “go low” the lowest? And there is usually commentary and exaggerated lip-synching. This is how we anoint our space. The tone for our rehearsal is set.
Once we get into our phrase work, voices usually come with it. As I set material, we find an accent or character that helps us to get into the movement. Of course, we never think, “We should use a funny voice to get into character for this movement!” It just happens. For instance, we are working on a phrase for our dance film, Kitchen Table. The film is about two 1950’s homemakers and their adventures as friends in and out of the home. I give Mackenzie a set of movements on ten counts for each fragment of the phrase. This particular dance, the third section of the piece, is about being “out and about,” shopping and ogling over men and the like. Mackenzie begins to count her phrase in the voice of Edith Beales, from the documentary film, Grey Gardens. The accent is an eccentric New England accent that works well with the movement. Mackenzie is going in. She is creating a kinetic persona through her voice, her body is absorbing the essence of the movement and she is making decisions, during the learning process, about the performance of the material. Later, I decide that I would like to make a phrase for a waltz in the first section of the piece, where the characters in the film have a bit of a kinetic cat fight and try to one-up each other through exaggerated movements. I begin to make sharp, pointed movements that have an air of Flamenco about them. I begin speaking with a Spanish accent. The movement begins to take shape. It is exactly as I imagined it. It has flare, precision and a flirtiness about it that I enjoy very much.
When we work this way, we are efficient. Time becomes irrelevant, and moves quickly when we’re having fun, and so does creation. Mackenzie always says to me, “You’re always so worried about not having enough time to make stuff, but when we get to the studio, you pump it out!”
Mackenzie is funny. No, really. She comes off as the quiet one, but she is actually a wonderful amalgamation of goofiness, sarcasm and mischief, and she brings our comedic work to life. And what’s even funnier is that she always tells me that she hates it when I have us improvise to cultivate seed material. However, she improvises all the time. We are working on our “spoon dance” for the film, a part of the first section, where the characters in the film dance in harmony with the spoons, but find ways to continue their dispute, too. As soon as we are done rehearsing the section, a random piece of music comes on, and Mackenzie, on the spot begins to create a beautiful spoon dance of her own. She doesn’t even realize what she’s done! Or maybe she is well aware. I sit back, and watch with delight as she creates this sophisticated, elaborate dance. She goes on for almost five minutes. When she finally stops, I say to her, “I thought you said you couldn’t improvise.” She says, “Well, I was just playin’ around.”
It is easy to fall into passion when it makes itself so readily available. When we play at work, we feel productive, we learn things we never would have dreamed we could learn, and I am constantly in awe of the results of our efforts. There is beauty. There are poignant moments. Passion dynamically presents itself, and I am hopelessly vulnerable to it.
Thursday, June 16, 2011
From Fear to Action...Thoughts on Crime, Society and Art
On Friday evening, our apartment was burglarized, things left behind in the apartment vandalized and our emotions left in tatters at the thought of someone we don't know tearing through every nook of our personal living space to find what they wanted. Every drawer overturned, contents strewn across the floor, dirt from the outside smudged on fabric, paper, cardboard, plastic alike. Each closet undone, hangers left swinging alone on the racks, mountains of blankets, shoes, bags, props and other things to climb. Objects that belong on one side of the room, flung haphazardly to the other side of the room, other objects making their way to new rooms completely. A toilet used, and left un-flushed. Glass shards ground into the carpet. A door left kicked open, inviting curious passers by to look in, and possibly join in on the heist after the initial robbers left. Blank spaces where our possessions once lay, only small parts - knobs, broken-off corners, screws, leaving trails to the exit. We arrived home on Monday, after being in New York for the weekend. A friend called us on Sunday, and notified us that when he went to check on the apartment, something had gone awry.
Though the initial shock made me angry, I can't say that I am still angry. I am deeply hurt by the fear the invasion has instilled in me. I am deeply hurt at the notion of loosing years of intellectual property that can never be recovered, even if some of our belongings are. I am deeply hurt by the complacency of those who would claim themselves to be at our service.
However shocking or hurtful, this experience has compelled me to think.
First of all, I have already been thinking long and hard about the condition of our society, and how people become marginalized, disillusioned, excluded, left behind. I wonder what would drive an individual to disrespect the personal space of someone they do not know, or do not know well, with such aggression. I can not imagine taking something from someone else that is not my own, not to mention rifling through personal effects that I would want no business with. But that doesn't mean another person does not feel deserving of a better deal than they've been dealt, or is not desperately addicted to a substance, or is not greedy beyond hope, among other things. Though it is not always the case, I feel much of the crime we see in our communities is a result of society's condition; A condition that values profit over the spirit, exclusion over inclusion, the facade versus the authentic. Crime is a systemic problem that with our current system, we only make worse through the prison system, poor educational models, and contempt for those who need the most assistance in life.
As an artist, I feel I am a champion; a steward, if you will, for nourishment of the soul of the individual and the spirit of communities. As an aspect of a healthy individual and community that is often overlooked, I feel it is the job of the artist to illuminate the benefits of an artful existence: the ability to connect to one another, a deep knowledge of the self, compassion, empathy, a joy of learning and growing, the ability to problem solve creatively, and peace, to name a few.
As only one person, I often ask myself what I can do on this big planet. I find myself each day, wanting more and more to get right down in the dirt, to know more people as human beings, instead of perceptions. I want to more fully understand the culture of the communities in which I live and work. I want to find the root of the condition. I hope to inspire passionate action in human beings through compassionate means.
So, my work begins. I am creating a fund, to make grants to artists who wish to cater to the soul of the individual, and/or the spirit of their communities through therapeutic, environmental, conversational, transformational, educational, connection-creating, community art projects. After realizing that there is a lack of funding for this kind of work in my area, I decided I would take it upon myself to create that needed entity. I had a fabulous meeting on Wednesday with some folks from the Greensboro Community Foundation, and they are going to umbrella the fund. They were really fantastic, and I know their help will go a long way in starting this organization up. I am excited to move forward with the fund, creating the organizational outline and planning the fund's first events. At this moment, the fund is called just, "The Fund for Community Engaged Arts." But, I would like to change the title to something that has a better ring to it. Suggestions are more than welcome! And if you'd like to help with the start-up activities of the fund, please let me know!
~Cara
Though the initial shock made me angry, I can't say that I am still angry. I am deeply hurt by the fear the invasion has instilled in me. I am deeply hurt at the notion of loosing years of intellectual property that can never be recovered, even if some of our belongings are. I am deeply hurt by the complacency of those who would claim themselves to be at our service.
However shocking or hurtful, this experience has compelled me to think.
First of all, I have already been thinking long and hard about the condition of our society, and how people become marginalized, disillusioned, excluded, left behind. I wonder what would drive an individual to disrespect the personal space of someone they do not know, or do not know well, with such aggression. I can not imagine taking something from someone else that is not my own, not to mention rifling through personal effects that I would want no business with. But that doesn't mean another person does not feel deserving of a better deal than they've been dealt, or is not desperately addicted to a substance, or is not greedy beyond hope, among other things. Though it is not always the case, I feel much of the crime we see in our communities is a result of society's condition; A condition that values profit over the spirit, exclusion over inclusion, the facade versus the authentic. Crime is a systemic problem that with our current system, we only make worse through the prison system, poor educational models, and contempt for those who need the most assistance in life.
As an artist, I feel I am a champion; a steward, if you will, for nourishment of the soul of the individual and the spirit of communities. As an aspect of a healthy individual and community that is often overlooked, I feel it is the job of the artist to illuminate the benefits of an artful existence: the ability to connect to one another, a deep knowledge of the self, compassion, empathy, a joy of learning and growing, the ability to problem solve creatively, and peace, to name a few.
As only one person, I often ask myself what I can do on this big planet. I find myself each day, wanting more and more to get right down in the dirt, to know more people as human beings, instead of perceptions. I want to more fully understand the culture of the communities in which I live and work. I want to find the root of the condition. I hope to inspire passionate action in human beings through compassionate means.
So, my work begins. I am creating a fund, to make grants to artists who wish to cater to the soul of the individual, and/or the spirit of their communities through therapeutic, environmental, conversational, transformational, educational, connection-creating, community art projects. After realizing that there is a lack of funding for this kind of work in my area, I decided I would take it upon myself to create that needed entity. I had a fabulous meeting on Wednesday with some folks from the Greensboro Community Foundation, and they are going to umbrella the fund. They were really fantastic, and I know their help will go a long way in starting this organization up. I am excited to move forward with the fund, creating the organizational outline and planning the fund's first events. At this moment, the fund is called just, "The Fund for Community Engaged Arts." But, I would like to change the title to something that has a better ring to it. Suggestions are more than welcome! And if you'd like to help with the start-up activities of the fund, please let me know!
~Cara
Thursday, April 21, 2011
Lessons and More
What a tremendous week it has turned out to be. I am excited, refreshed, and reminded that life is in fact, a wonderful journey.
My friend Gail turned seventy this week. At her birthday party, I sat in the company of some of my favorite women. Robyn, the host of the party, a painter and gardener among other things, Jan, also an artist and one of my heroes, Mary, a savvy marketing director and Women's Fund of Winston Salem founder, and to round out the group, Patti and Susan, strong community supporters and both of whom I met through the Storyline Project. I was the youngest woman at the party, but as my mother has always told me, I have an old soul. Gail is amazing. She doesn't look the way one might think a seventy-year-old should look; she's active and deeply engaged in the going's on in the community. And she certainly doesn't "act" seventy. She is a busy body, if I ever saw one, a connector of people, and she does all of her life's work with such a joyful demeanor and a contagious energy. Sitting in a circle, under the blanket of the warm evening sky, I listen as this group of amazing women talk about how wonderful life is. Gail says that every year, her husband asks her what the best year of her life has been. How can you answer such a question? Gail says that she always thinks of the best year of her life as the first year she went to college. Her world opened up, she said. Then she acknowledges that her son would beg to differ; she tells us that her son has taken note of how happy she's been over her most recent years. She tells us that in fact, her life continues to grow, change and be rich and that the past few years have been fabulous. I am overjoyed to know that even after society says one should retire from activity and emotional growth, there is still so much to acquire.
During the gathering, I also have time to tell the ladies about my latest project: The Wedding Dress Project. They ask me what the impetus was to begin the project. They ask me questions about how I can make the project accessible to all people. They help me to continue to think through the project, and how it may be most effective. I have been speaking to various organizations, mostly over the phone these past two weeks. Yesterday, I had my second face-to-face meeting in North Carolina. I took a little trip the Chapel Hill, to speak with the director and program coordinator at the Family Violence Prevention Center of Orange County. We have a wonderful meeting, and I am in awe of how well the project has been catching on. I am beginning to plan some community events that would invite anyone interested or curious to participate in these workshops, to garner more support for the project.
At High Point, the semester is winding down, as I have mentioned. What a long semester it has been, and there are still a few things to do before we can all really call it quits for the summer. My students have their final showing coming up, and they seem very excited! The ballet students are putting their finishing touches on their variations, and the composition students are hard at work finalizing their solos and group works. I am always surprised by how much they anticipate these small, informal performances which act as their final exam. I can only imagine what their excitement will be when next spring's dance concert is on its way up. I will say, though I have thoroughly enjoyed teaching this year, and though I feel I have grown as a teacher in innumerable ways, I am only too happy to see summer on the horizon. I must recharge for what will surely be an even more hectic school year than this one. Summer for me, will be (hopefully my last) a hard lesson in frugality. So much to pay for, but as an adjunct still, no money coming in to pay for all of it. After being diligent and saving up for the summer, one thing after another has come up, and depleted my savings. As full time faculty this coming fall, I can only hope that next summer, I'll get to relax a bit more. I so excited at the thought of having only one job for the first time in my life. A sigh of relief...I love my job.
Until next time,
~Cara
My friend Gail turned seventy this week. At her birthday party, I sat in the company of some of my favorite women. Robyn, the host of the party, a painter and gardener among other things, Jan, also an artist and one of my heroes, Mary, a savvy marketing director and Women's Fund of Winston Salem founder, and to round out the group, Patti and Susan, strong community supporters and both of whom I met through the Storyline Project. I was the youngest woman at the party, but as my mother has always told me, I have an old soul. Gail is amazing. She doesn't look the way one might think a seventy-year-old should look; she's active and deeply engaged in the going's on in the community. And she certainly doesn't "act" seventy. She is a busy body, if I ever saw one, a connector of people, and she does all of her life's work with such a joyful demeanor and a contagious energy. Sitting in a circle, under the blanket of the warm evening sky, I listen as this group of amazing women talk about how wonderful life is. Gail says that every year, her husband asks her what the best year of her life has been. How can you answer such a question? Gail says that she always thinks of the best year of her life as the first year she went to college. Her world opened up, she said. Then she acknowledges that her son would beg to differ; she tells us that her son has taken note of how happy she's been over her most recent years. She tells us that in fact, her life continues to grow, change and be rich and that the past few years have been fabulous. I am overjoyed to know that even after society says one should retire from activity and emotional growth, there is still so much to acquire.
During the gathering, I also have time to tell the ladies about my latest project: The Wedding Dress Project. They ask me what the impetus was to begin the project. They ask me questions about how I can make the project accessible to all people. They help me to continue to think through the project, and how it may be most effective. I have been speaking to various organizations, mostly over the phone these past two weeks. Yesterday, I had my second face-to-face meeting in North Carolina. I took a little trip the Chapel Hill, to speak with the director and program coordinator at the Family Violence Prevention Center of Orange County. We have a wonderful meeting, and I am in awe of how well the project has been catching on. I am beginning to plan some community events that would invite anyone interested or curious to participate in these workshops, to garner more support for the project.
At High Point, the semester is winding down, as I have mentioned. What a long semester it has been, and there are still a few things to do before we can all really call it quits for the summer. My students have their final showing coming up, and they seem very excited! The ballet students are putting their finishing touches on their variations, and the composition students are hard at work finalizing their solos and group works. I am always surprised by how much they anticipate these small, informal performances which act as their final exam. I can only imagine what their excitement will be when next spring's dance concert is on its way up. I will say, though I have thoroughly enjoyed teaching this year, and though I feel I have grown as a teacher in innumerable ways, I am only too happy to see summer on the horizon. I must recharge for what will surely be an even more hectic school year than this one. Summer for me, will be (hopefully my last) a hard lesson in frugality. So much to pay for, but as an adjunct still, no money coming in to pay for all of it. After being diligent and saving up for the summer, one thing after another has come up, and depleted my savings. As full time faculty this coming fall, I can only hope that next summer, I'll get to relax a bit more. I so excited at the thought of having only one job for the first time in my life. A sigh of relief...I love my job.
Until next time,
~Cara
Saturday, April 16, 2011
Gratitude to Rejection, and Some Stuff in Between
It's true, this blogging habit of mine has gotten away from me as of late. So much activity has left me tired, but still anticipating another burst of activity to come.
It is with deepest gratitude that I acknowledge the phenomenal run of Thoroughly Modern Millie April 7th-10th by our students at High Point U. Opening night was a gorgeous burst of color, sound and energy from all players in the productions, including performers, musicians, tech crew and production crew. For as terrified as I was to begin the process of choreographing Millie, I can honestly say that I am proud of myself, and extremely grateful to my students and colleagues for their support and willingness to see the process through with me. At a faculty meeting yesterday morning, we laid the High Point University season to rest, as we discussed our collective experiences for the season, and how we'd like to proceed next year. I am excited to take on the challenge again for our next musical production, Urinetown, where I will have the opportunity to work with the students in a new capacity.
During all of the hectic activity of tech for Millie, Mackenzie and Laura came to town to participate in a work in progress showing of our piece, "Common Threads." You may remember, that Laura and I began work on the piece this past fall, with a residency at NC State, where the students there helped us to explore various aspects of the piece. Though the showing went over well, I can't say that our time together was perfect. It was difficult, because for Laura and I, this was our first real disagreement. Coming into the week of the showing, there were factors that cut into our rehearsal time; Laura ended up coming a day later than we had originally discussed, due to events out of her control. The rehearsal schedule that I had originally planned was shortened. I had planned the week very closely, as there were only so many rehearsals and classes I could miss. But I figured, with what I'd planned, we'd have three full, 6 hour days to rehearse together, spanned over four. We also had some contention over the material that was brought to the table. Ultimately, Laura felt as though I had overtaken the process leading up to the showing, and felt excluded in much of the making. Mackenzie felt overwhelmed, and excluded in other ways. It wasn't at all my intention to overwhelm, or exclude anyone, I was only doing what in the moment, felt productive. Not to mention, we hadn't truly talked about how we felt the week should go, before jumping in to do the work. For me, this was my first experience working in a way where there are no clear roles or definitions of players. That was difficult, and I admit, it is something I can see now I need more experience with. I can't speak for Laura or Mackenzie, but it is something I would like to explore further with them. Though I apologized to everyone, I still felt looked down upon when the process was finished. I couldn't help but have hurt feelings, thinking that my art partners might have reservations about working with me in the future. What now? Since then, Laura and I have talked about that week, as have Mackenzie and I. And though everything is supposedly fine, I feel that the hurt each of us felt felt won't really dissipate, until we have a chance to try again, and change those things that did not work.
That situation brings me to a more recent happening: What a privilege....I saw Joe Goode (dancer/choreographer from CA who has been around for EVER) speak this past Thursday at Wake Forest University. What an interesting, talented man! If he should know anything about failure, it would be him, and he talks about it, along with risk and patience eloquently. Hearing him speak helped me to understand that things don't always come out right the first time you do them, and that being terrified, anxious, happy, sad, delirious, are all fine, as long as you're willing to actually feel your emotions. He spoke about collaborative work, and how collaborative relationships take years to form fully (he works with his dancers and collaborators for decades). He also notes that when new members come to the company, that they "come in where they come in." Joe is known for having his dancers do all manner of performative tasks; talking, singing, mime, whatever is needed. The most interesting thing I thought he said was that he doesn't audition dancers to act or sing. He brings them on as dancers, and allows them to blossom on their own time. After hearing Joe speak about his process, I felt better about the situation with Mackenzie and Laura. After all, this was only our first attempt, and we all have a lot of growing to do!
On to the newest development! This week, I have had such fun in the studio! I am working on a new solo dance, for the NEWMOVES festival in Pittsburgh, PA, which will happen in May, just after I get back from Berlin! I have choreographed a little section of the piece, where I have a light in my palm. With that light, I light my face, and various parts of my body. I shoot light across the space, and in an instant, create total darkness. I love it! I just hope that it works on stage. I guess we'll see! The second section of the piece is a very physical conniption of sorts, which begins slow, but then speeds up. The third section, is still up in the air. I have been experimenting with the reading of a book, and an uncovered lamp. I am talking in this section, but I have been toying with the idea from the beginning, of speaking in a language other than English. I will let you know how that turns out!
As always, with all of this fabulous activity, there is the crush of rejection. I get many rejections a month, as I apply for TONS of festivals, workshops, conferences, etc. per year. It isn't so bad most of the time, because for every couple of "no's" you receive, you get a "yes." I'm quite busy, as you might have noticed! BUT, it always hurts when you get a "no" from a festival or organization that you were really hoping for. I submitted my film, "Kitchen Table," to the Dance Camera West Festival this year. I was really hoping I would have a reason to go. Alas, no such luck. Since I have no film project this summer, I cannot expect to try again next year. Today, I was looking at a dance film grant app, and realized that I have no project to apply for. It makes me sad. I had hoped that I would at least get to put together something small, but that will not be the case this year. What, with Brett in Charlotte, my savings (art savings included!) ravaged by an onslaught of unexpected events, and my summer now being devoted to teaching to make up for it, I am forced to take a hiatus. I can only hope that the hiatus makes room for me to think and imagine.
Alright then. Off to do some reading, and meet Karola tonight for some dancerly camaraderie!
~Cara
It is with deepest gratitude that I acknowledge the phenomenal run of Thoroughly Modern Millie April 7th-10th by our students at High Point U. Opening night was a gorgeous burst of color, sound and energy from all players in the productions, including performers, musicians, tech crew and production crew. For as terrified as I was to begin the process of choreographing Millie, I can honestly say that I am proud of myself, and extremely grateful to my students and colleagues for their support and willingness to see the process through with me. At a faculty meeting yesterday morning, we laid the High Point University season to rest, as we discussed our collective experiences for the season, and how we'd like to proceed next year. I am excited to take on the challenge again for our next musical production, Urinetown, where I will have the opportunity to work with the students in a new capacity.
During all of the hectic activity of tech for Millie, Mackenzie and Laura came to town to participate in a work in progress showing of our piece, "Common Threads." You may remember, that Laura and I began work on the piece this past fall, with a residency at NC State, where the students there helped us to explore various aspects of the piece. Though the showing went over well, I can't say that our time together was perfect. It was difficult, because for Laura and I, this was our first real disagreement. Coming into the week of the showing, there were factors that cut into our rehearsal time; Laura ended up coming a day later than we had originally discussed, due to events out of her control. The rehearsal schedule that I had originally planned was shortened. I had planned the week very closely, as there were only so many rehearsals and classes I could miss. But I figured, with what I'd planned, we'd have three full, 6 hour days to rehearse together, spanned over four. We also had some contention over the material that was brought to the table. Ultimately, Laura felt as though I had overtaken the process leading up to the showing, and felt excluded in much of the making. Mackenzie felt overwhelmed, and excluded in other ways. It wasn't at all my intention to overwhelm, or exclude anyone, I was only doing what in the moment, felt productive. Not to mention, we hadn't truly talked about how we felt the week should go, before jumping in to do the work. For me, this was my first experience working in a way where there are no clear roles or definitions of players. That was difficult, and I admit, it is something I can see now I need more experience with. I can't speak for Laura or Mackenzie, but it is something I would like to explore further with them. Though I apologized to everyone, I still felt looked down upon when the process was finished. I couldn't help but have hurt feelings, thinking that my art partners might have reservations about working with me in the future. What now? Since then, Laura and I have talked about that week, as have Mackenzie and I. And though everything is supposedly fine, I feel that the hurt each of us felt felt won't really dissipate, until we have a chance to try again, and change those things that did not work.
That situation brings me to a more recent happening: What a privilege....I saw Joe Goode (dancer/choreographer from CA who has been around for EVER) speak this past Thursday at Wake Forest University. What an interesting, talented man! If he should know anything about failure, it would be him, and he talks about it, along with risk and patience eloquently. Hearing him speak helped me to understand that things don't always come out right the first time you do them, and that being terrified, anxious, happy, sad, delirious, are all fine, as long as you're willing to actually feel your emotions. He spoke about collaborative work, and how collaborative relationships take years to form fully (he works with his dancers and collaborators for decades). He also notes that when new members come to the company, that they "come in where they come in." Joe is known for having his dancers do all manner of performative tasks; talking, singing, mime, whatever is needed. The most interesting thing I thought he said was that he doesn't audition dancers to act or sing. He brings them on as dancers, and allows them to blossom on their own time. After hearing Joe speak about his process, I felt better about the situation with Mackenzie and Laura. After all, this was only our first attempt, and we all have a lot of growing to do!
On to the newest development! This week, I have had such fun in the studio! I am working on a new solo dance, for the NEWMOVES festival in Pittsburgh, PA, which will happen in May, just after I get back from Berlin! I have choreographed a little section of the piece, where I have a light in my palm. With that light, I light my face, and various parts of my body. I shoot light across the space, and in an instant, create total darkness. I love it! I just hope that it works on stage. I guess we'll see! The second section of the piece is a very physical conniption of sorts, which begins slow, but then speeds up. The third section, is still up in the air. I have been experimenting with the reading of a book, and an uncovered lamp. I am talking in this section, but I have been toying with the idea from the beginning, of speaking in a language other than English. I will let you know how that turns out!
As always, with all of this fabulous activity, there is the crush of rejection. I get many rejections a month, as I apply for TONS of festivals, workshops, conferences, etc. per year. It isn't so bad most of the time, because for every couple of "no's" you receive, you get a "yes." I'm quite busy, as you might have noticed! BUT, it always hurts when you get a "no" from a festival or organization that you were really hoping for. I submitted my film, "Kitchen Table," to the Dance Camera West Festival this year. I was really hoping I would have a reason to go. Alas, no such luck. Since I have no film project this summer, I cannot expect to try again next year. Today, I was looking at a dance film grant app, and realized that I have no project to apply for. It makes me sad. I had hoped that I would at least get to put together something small, but that will not be the case this year. What, with Brett in Charlotte, my savings (art savings included!) ravaged by an onslaught of unexpected events, and my summer now being devoted to teaching to make up for it, I am forced to take a hiatus. I can only hope that the hiatus makes room for me to think and imagine.
Alright then. Off to do some reading, and meet Karola tonight for some dancerly camaraderie!
~Cara
Wednesday, March 23, 2011
Time Ticking
Back in town for a while, and I'm settling in. So much activity fills each moment of each day. Thoroughly Modern Millie is gearing up for its opening in just two weeks. I can hardly believe it's been two months since we began work on the show, and how much has happened in that amount of time. The opening of this show means that another semester at HPU is almost over, and that students that I have known since I arrived at HPU two years ago will be graduating. I can hardly believe that, either. Where does the time go? In only a few short months, I have been challenged to reveal parts of myself as a teacher, a dancer and a choreographer that I would have never imagined, or pushed myself to reveal on my own. My hair has grown from an edgy pixie cut to an ambiguous coif that I have taken to pining back, given its unruly tendencies. In just a few short years, I have gone from a once-a-week obscurity to a fully invested member of the theater department. In that same time frame, I have become a busy artist, traveler, experimenter, and artistic executor, instead of someone wondering if I would ever become so.
There has been such good news lately. To begin, my documentary, "Art for the Living," has been chosen to be screened at the Davis Film Festival in Davis, CA. Since it falls on the same weekend as the opening of Millie, I can not attend, however I am excited to be able to share the film with new audiences! The other piece of good news is that I have been selected to premiere a new solo work for the NEWMOVES dance festival at the Kelly Strayhorn Theater in Pittsburgh. I now have six weeks to complete the piece, but I love the motivation of a close deadline!
What I am most excited about at the present moment is the arrival of Mackenzie and Laura this coming weekend! We are giving a work-in-progress showing of "Common Threads" at SECCA on the 31st. This will be our first professional incarnation of the piece. Even more exciting, is that on the same evening, the Panoramic Dance Project will be performing their incarnation of the piece at NC State University, where we began our process of working the piece and exploring conceptual aspects of the piece this past fall. This showing puts us one step closer to bringing our experience full circle by finishing the piece this summer. I can't wait. I so enjoy my time with these ladies.
I guess I'm finally calmed down enough to go to sleep now. These nighttime rehearsals make me tired and wired. Can't fall asleep right away, but wish I could! Terry's yoga class on releasing tension around the chest, shoulders and jaw today was helpful, and I think I'll do a few of the breathing exercises before I fully fall asleep. Boy, I needed that class. I always forget how much tension I carry around. It was nice to leave it behind today, if only for a short time.
Good night!
~Cara
There has been such good news lately. To begin, my documentary, "Art for the Living," has been chosen to be screened at the Davis Film Festival in Davis, CA. Since it falls on the same weekend as the opening of Millie, I can not attend, however I am excited to be able to share the film with new audiences! The other piece of good news is that I have been selected to premiere a new solo work for the NEWMOVES dance festival at the Kelly Strayhorn Theater in Pittsburgh. I now have six weeks to complete the piece, but I love the motivation of a close deadline!
What I am most excited about at the present moment is the arrival of Mackenzie and Laura this coming weekend! We are giving a work-in-progress showing of "Common Threads" at SECCA on the 31st. This will be our first professional incarnation of the piece. Even more exciting, is that on the same evening, the Panoramic Dance Project will be performing their incarnation of the piece at NC State University, where we began our process of working the piece and exploring conceptual aspects of the piece this past fall. This showing puts us one step closer to bringing our experience full circle by finishing the piece this summer. I can't wait. I so enjoy my time with these ladies.
I guess I'm finally calmed down enough to go to sleep now. These nighttime rehearsals make me tired and wired. Can't fall asleep right away, but wish I could! Terry's yoga class on releasing tension around the chest, shoulders and jaw today was helpful, and I think I'll do a few of the breathing exercises before I fully fall asleep. Boy, I needed that class. I always forget how much tension I carry around. It was nice to leave it behind today, if only for a short time.
Good night!
~Cara
Saturday, March 12, 2011
Yes, the Puke Finds Me.
February is long gone, and tomorrow the time changes to mark the shift of seasons. The loss of one hour of sleep hardly seems significant, given the constant state of shift my mind and body have undergone these past few weeks. From coast to coast, over oceans and through many clouds I have flown. Italy called our names for years, and finally, Mackenzie and I took the pilgrimage. Goddard college called me back for yet one more residency, and I made the sojourn to the shores of Port Townsend. This evening, I sit in the familiar "N" terminal at the Seattle-Tacoma Airport, awaiting my flight back to Greensboro, back to the regular rhythm of living, back to the familiar smells and sounds of the day, back into my husband's expectant arms.
Exhausted as I am, it is hard to articulate in words the impressions of beauty from these two trips that I will surely revel in forever. However, I will try to share a few...
Venezia:
A cloud of pigeons dissipates to reveal San Marco. We step off of the boat, onto age old stone. The sound of large bells fills the square.
Tiny, narrow streets lend themselves to exploration and getting lost. Little treasures we find along the way.
The soft glow of golden windows reflects upon the waters of the canal. Vaporetti slowly amble through the dark. Faint music can be heard.
Musicians play with passion and skill in the beautiful chapel. Warm sounds resonate through wood, off of stone and through our bodies.
Oh, how to be the belle of the ball. Childhood dreams realized.
...........Yes, in a perfect world, I would have written much more, edited the material and posted. However, last night I was jolted right out of my quiet reverie. I have said it before, and I will say it again: THE PUKE FINDS ME. I am only too lucky to seem to always be in the path of a vomiting drunk, of a pregnant dry heaver, or in this case I would guess, a nine year old with motion sickness.
As I was sitting at the deserted table of the closed Burger King in terminal N, a little girl and her father stumble quickly off of an adjacent jet bridge. The girl is yacking into a grey plastic bag. She sits ten feet from me, and again yacks into her bag, albeit unsuccessfully (as we all know, in the case of children, bags do little). What really put the cherry on top, was that her father leaves a wad of paper towels, and the bag of barf on the table for some poor janitor to clean up. I wanted to yell at that man, but I was so panicked by the puking girl that I quickly unplugged my computer and walked clear across the terminal to be as far away from the situation as possible. I hoped with all my heart that their connecting flight was not my flight. Lucky for me (or maybe for them), it wasn't.
So there you have it. Life goes on. I didn't even get to my Goddard impressions. Oh well. Perhaps it isn't important. Back to the grindstone tomorrow.
~Cara
Exhausted as I am, it is hard to articulate in words the impressions of beauty from these two trips that I will surely revel in forever. However, I will try to share a few...
Venezia:
A cloud of pigeons dissipates to reveal San Marco. We step off of the boat, onto age old stone. The sound of large bells fills the square.
Tiny, narrow streets lend themselves to exploration and getting lost. Little treasures we find along the way.
The soft glow of golden windows reflects upon the waters of the canal. Vaporetti slowly amble through the dark. Faint music can be heard.
Musicians play with passion and skill in the beautiful chapel. Warm sounds resonate through wood, off of stone and through our bodies.
Oh, how to be the belle of the ball. Childhood dreams realized.
...........Yes, in a perfect world, I would have written much more, edited the material and posted. However, last night I was jolted right out of my quiet reverie. I have said it before, and I will say it again: THE PUKE FINDS ME. I am only too lucky to seem to always be in the path of a vomiting drunk, of a pregnant dry heaver, or in this case I would guess, a nine year old with motion sickness.
As I was sitting at the deserted table of the closed Burger King in terminal N, a little girl and her father stumble quickly off of an adjacent jet bridge. The girl is yacking into a grey plastic bag. She sits ten feet from me, and again yacks into her bag, albeit unsuccessfully (as we all know, in the case of children, bags do little). What really put the cherry on top, was that her father leaves a wad of paper towels, and the bag of barf on the table for some poor janitor to clean up. I wanted to yell at that man, but I was so panicked by the puking girl that I quickly unplugged my computer and walked clear across the terminal to be as far away from the situation as possible. I hoped with all my heart that their connecting flight was not my flight. Lucky for me (or maybe for them), it wasn't.
So there you have it. Life goes on. I didn't even get to my Goddard impressions. Oh well. Perhaps it isn't important. Back to the grindstone tomorrow.
~Cara
Wednesday, February 16, 2011
Love.
I love my body; the way it moves, the way it looks, and the things it helps me do. This afternoon, after teaching my students at Salem Academy, I stayed a while to play. The dim light cast by sunset made beautiful shadows across my face and torso, and across the studio floor. I am ready to create. I can hardly wait for a stretch of time where I can do so. I am fascinated by the sequences I might make. I am fascinated by how I might challenge my body, what I can make it do. I am fascinated with how it will feel once I've finished whatever it is I am to finish. Will it make me breathe hard? Will it make me think hard? Or will it bring forth hard emotion?
.......................................................................................
This week, Jen and Mark, two Broadway performers came to work with our students. I noticed an immediate change in the cast of Millie's work ethic and disposition after working with the pair. I looked on as they taught combos in an audition type atmosphere, answered questions about the lives of Broadway performers, and showed our students parts of their own current performance repertoire. I almost wish I could have guest artists every week! Many of our students are hopeful that they will move to a big city, find the perfect job and live happily ever after. I think a few of them will. I think many more will opt for more secure lives, after finding out that the arts are brutal! I wish we could prepare them for what they're in for, but I don't think there really is a way to do that. You just have to go out there and find out what you're made of. I think Mark and Jen gave great advice. And I think the students took it to heart.
I wish I could elicit the same kind of excitement from my students as Mark and Jen did. They're comfortable with me now, and though they do good work for me, I feel as though they are not convinced that my accomplishments are worthy of their excitement. Maybe that's just me. And maybe it is because they have no idea what it is I do. Maybe it is the truth. And maybe I still have a hell of a lot to learn to be a great teacher. The other thing might be the proximity of my age to my students...one of them told me today that I was their peer. In a casual circumstance, that is arguably true. I have many students that are just a few years younger than me, I have a few students that are my age, and I have had just a few that are a little older than me. That however, is getting to be rare, now that I am past 25. Part of me likes being so close in age to my students. Part of me wishes they couldn't tell how old I am. But, that will pass, maybe quicker than I might like.
Ultimately, I love teaching. I feel I have a good knack for it, and I know I genuinely want my students to succeed. I know I want to do my best. Years from now, I hope to look back and be proud of how far I've come, and all the people I may have influenced. Perhaps I have had an impact on a few already.
G'night. Early morning tomorrow!
~Cara
.......................................................................................
This week, Jen and Mark, two Broadway performers came to work with our students. I noticed an immediate change in the cast of Millie's work ethic and disposition after working with the pair. I looked on as they taught combos in an audition type atmosphere, answered questions about the lives of Broadway performers, and showed our students parts of their own current performance repertoire. I almost wish I could have guest artists every week! Many of our students are hopeful that they will move to a big city, find the perfect job and live happily ever after. I think a few of them will. I think many more will opt for more secure lives, after finding out that the arts are brutal! I wish we could prepare them for what they're in for, but I don't think there really is a way to do that. You just have to go out there and find out what you're made of. I think Mark and Jen gave great advice. And I think the students took it to heart.
I wish I could elicit the same kind of excitement from my students as Mark and Jen did. They're comfortable with me now, and though they do good work for me, I feel as though they are not convinced that my accomplishments are worthy of their excitement. Maybe that's just me. And maybe it is because they have no idea what it is I do. Maybe it is the truth. And maybe I still have a hell of a lot to learn to be a great teacher. The other thing might be the proximity of my age to my students...one of them told me today that I was their peer. In a casual circumstance, that is arguably true. I have many students that are just a few years younger than me, I have a few students that are my age, and I have had just a few that are a little older than me. That however, is getting to be rare, now that I am past 25. Part of me likes being so close in age to my students. Part of me wishes they couldn't tell how old I am. But, that will pass, maybe quicker than I might like.
Ultimately, I love teaching. I feel I have a good knack for it, and I know I genuinely want my students to succeed. I know I want to do my best. Years from now, I hope to look back and be proud of how far I've come, and all the people I may have influenced. Perhaps I have had an impact on a few already.
G'night. Early morning tomorrow!
~Cara
Friday, February 11, 2011
Chilly Colors
Though chilly, today was a beautiful day. Sunny as it was, I decided to ditch the gray and black I've been wearing over the past gloomy week and replace it with colors I love: deep teal, sky blue and dark purple. The day did not go entirely as planned, but there were some good parts. I think my favorite part of the day was spent sitting at my mom and dad's house, right in front of my father's drum kit, as he explained, and played for me some of his current thoughts and explorations. I tilted my head to one side, and let the vibration literally pour into my ear.
Activity at HPU is still in full swing. Last evening, after the technically rocky, but overall artistically successful (the actors not only did a wonderful job in general, but dealt with the technical difficulties with absolute grace and professionalism!) opening of "True West," we announced next year's season which seemed to go over very well! I am super excited about the plays we're presenting next year, but most of all, I'm excited about our dance concert. I'm very much looking forward to working with the students in this new capacity. They are now getting a taste of what a dance rehearsal experience is like with our Millie rehearsals, but I think a dance only concert will help to bring their awareness of the importance of movement in theater to a new level.
Composition class this week was interesting. We worked on some exercises involving different modes of communication, as well as some exercises where the students got their first taste of directing other dancers. They were enthused and delighted by these exercises, and became excited about seeing their peers act out their kinetic desires. Further than that, they became excited by the surprises and metamorphosis that came from directing bodies that are different from their own. I presented their first big project this week. They will begin work on their solos for our showing, but they did not seem as excited about this as I'd hoped. I know it is because they had already been dreaming and scheming about what their solos would look and feel like. I'm sure they had music already picked out, and were thinking of moves they'd put into their dances. But I rattled them up. I gave parameters.
-Their music must be music they have never heard previous to their project.
-Their music must have no words.
-Their music must be about two minutes (give or take).
-They must find an existing score from which to base their solos off of (this could be an actual musical score, or a recipe from a cookbook, or a set of building instructions, etc., any skeleton that could be abstracted).
We discussed the concept of a score at length in class this week. The students came up with some wonderful definitions of the word/concept, and also some amazing movement sequences. I know their bubbles are a little burst at the moment, but I just know their projects will come out beautifully!
My last little bit of news: I have received a Graduate Scholar Award from the 2011 Arts In Society Conference in Berlin! My conference fee is now waived, and I will play an active role over the course of the conference; introducing speakers, chairing sessions, helping with conference logistics, in addition to presenting my workshop! I'm so excited. I hope this trip will be the networking opportunity that brings me closer to traveling with my work.
It isn't late quite yet, but I am very tired. It is time to sleep. Until next time!
~Cara
Activity at HPU is still in full swing. Last evening, after the technically rocky, but overall artistically successful (the actors not only did a wonderful job in general, but dealt with the technical difficulties with absolute grace and professionalism!) opening of "True West," we announced next year's season which seemed to go over very well! I am super excited about the plays we're presenting next year, but most of all, I'm excited about our dance concert. I'm very much looking forward to working with the students in this new capacity. They are now getting a taste of what a dance rehearsal experience is like with our Millie rehearsals, but I think a dance only concert will help to bring their awareness of the importance of movement in theater to a new level.
Composition class this week was interesting. We worked on some exercises involving different modes of communication, as well as some exercises where the students got their first taste of directing other dancers. They were enthused and delighted by these exercises, and became excited about seeing their peers act out their kinetic desires. Further than that, they became excited by the surprises and metamorphosis that came from directing bodies that are different from their own. I presented their first big project this week. They will begin work on their solos for our showing, but they did not seem as excited about this as I'd hoped. I know it is because they had already been dreaming and scheming about what their solos would look and feel like. I'm sure they had music already picked out, and were thinking of moves they'd put into their dances. But I rattled them up. I gave parameters.
-Their music must be music they have never heard previous to their project.
-Their music must have no words.
-Their music must be about two minutes (give or take).
-They must find an existing score from which to base their solos off of (this could be an actual musical score, or a recipe from a cookbook, or a set of building instructions, etc., any skeleton that could be abstracted).
We discussed the concept of a score at length in class this week. The students came up with some wonderful definitions of the word/concept, and also some amazing movement sequences. I know their bubbles are a little burst at the moment, but I just know their projects will come out beautifully!
My last little bit of news: I have received a Graduate Scholar Award from the 2011 Arts In Society Conference in Berlin! My conference fee is now waived, and I will play an active role over the course of the conference; introducing speakers, chairing sessions, helping with conference logistics, in addition to presenting my workshop! I'm so excited. I hope this trip will be the networking opportunity that brings me closer to traveling with my work.
It isn't late quite yet, but I am very tired. It is time to sleep. Until next time!
~Cara
Saturday, February 5, 2011
Pouring Buckets
Late Thursday night, I picked up Mackenzie from the train station in Raleigh. The next day, we drive on to Wilmington. Mackenzie quizzes me on the meanings of various Italian sentences she reads from a book. I listen, repeat and guess at many of the words, clinging on to those few I am confident I know. We are leaving for Venice in two weeks. We're super excited, but I fear the few days we'll be there won't be nearly enough to see everything there is to see!
Despite the buckets of rain pouring from the sky Friday evening, a sizable crowd came out to see our final performance on the NC Dance Festival tour. The performance took place on the humble stage of the Wilmington Community Arts Center, formerly a WWII USO hall. History hangs on the walls in the form of original components to the hall, such as the salmon colored mirrors in the bathroom, in addition to replications of WWII era propaganda and news clippings. Kenze and I love history.
The evening went off without a hitch, and overall I am happy with how we did on the tour. Our piece was again, well received. On the way back to the hotel Friday night, I smiled at a job well done. I offer up my right hand for a high-five, and Mackenzie asks, "What's the high-five for?" I say, "Yay! We finished our little tour! I'm happy." Now we get to go back to our regular lives for a while, as our next performance isn't until the end of March.
Upon arriving back to Greensboro (Robert's and my new home!), I have the pleasure of taking a voice lesson with Barbara. It has been months since I've studied with her, but we seem to pick up right where we left off. A wonderful time. Barbara has been studying to get her Doctorate, and she tries some new exercises during our lesson. Some new words to sing, some new breathing exercises, and new anatomy talk. I love it! An aside, Angelo, Barbara's husband is from Italy, and gives me some advice to take on our trip. I am only too grateful for his insight!
To round out my evening tonight, I meet another Cara here in Greensboro for talk about artistic collaboration! Cara is a cinematographer and former dancer. We seem to hit it off really well, and I can't wait to talk with her more. Both she and I are interested in expanding our dance/film horizons. She wants to work with more choreographers/directors, and I want to work with other DP's and engage in new types of processes. I explain to her what mine and Brett's (my cinematographer and friend for four years) process usually entails. I show her some of our work, and we then discuss the new things we might like to try with each other. I feel optimistic!
Tomorrow is to be another long day in the HPU theater, rehearsing parts for Millie. Since it is Super Bowl Sunday, I have heard a bit of grumbling over the timing of the rehearsal. But, I am the bestest teacher ever. I promised a few students I'd order wings during dinner break to soften the blow. Crunch, crunch. This is the sound of my next week beginning.
Good night, all.
~Cara
Despite the buckets of rain pouring from the sky Friday evening, a sizable crowd came out to see our final performance on the NC Dance Festival tour. The performance took place on the humble stage of the Wilmington Community Arts Center, formerly a WWII USO hall. History hangs on the walls in the form of original components to the hall, such as the salmon colored mirrors in the bathroom, in addition to replications of WWII era propaganda and news clippings. Kenze and I love history.
The evening went off without a hitch, and overall I am happy with how we did on the tour. Our piece was again, well received. On the way back to the hotel Friday night, I smiled at a job well done. I offer up my right hand for a high-five, and Mackenzie asks, "What's the high-five for?" I say, "Yay! We finished our little tour! I'm happy." Now we get to go back to our regular lives for a while, as our next performance isn't until the end of March.
Upon arriving back to Greensboro (Robert's and my new home!), I have the pleasure of taking a voice lesson with Barbara. It has been months since I've studied with her, but we seem to pick up right where we left off. A wonderful time. Barbara has been studying to get her Doctorate, and she tries some new exercises during our lesson. Some new words to sing, some new breathing exercises, and new anatomy talk. I love it! An aside, Angelo, Barbara's husband is from Italy, and gives me some advice to take on our trip. I am only too grateful for his insight!
To round out my evening tonight, I meet another Cara here in Greensboro for talk about artistic collaboration! Cara is a cinematographer and former dancer. We seem to hit it off really well, and I can't wait to talk with her more. Both she and I are interested in expanding our dance/film horizons. She wants to work with more choreographers/directors, and I want to work with other DP's and engage in new types of processes. I explain to her what mine and Brett's (my cinematographer and friend for four years) process usually entails. I show her some of our work, and we then discuss the new things we might like to try with each other. I feel optimistic!
Tomorrow is to be another long day in the HPU theater, rehearsing parts for Millie. Since it is Super Bowl Sunday, I have heard a bit of grumbling over the timing of the rehearsal. But, I am the bestest teacher ever. I promised a few students I'd order wings during dinner break to soften the blow. Crunch, crunch. This is the sound of my next week beginning.
Good night, all.
~Cara
Tuesday, February 1, 2011
"M" to the Third
It has been a few days since I have posted; Robert and I have been in the process of moving to a new apartment! How hectic it has been, though the situation has done nothing to slow down the speed of my art life.
This past weekend was a beautiful one. The sun was out, the temperature was agreeable, and Mackenzie and I were in Raleigh for the second to last performance of the NC Dance Festival tour. I began the weekend by teaching a master class at Meredith College for Women on Friday. Though it was a short class, it was so very enjoyable! The students were wonderful; enthusiastic and energetic. For the first time in what seems like forever, I was given the gift of live music for this class. It was amazing to hear the percussion, so close to my ear, and to see the students moving about to its vibrations. I miss having live music around. What's more, I felt absolutely adept, and comfortable in the class. With the recent challenge of teaching my current ballet class at HPU (which is the most experientially disparate class I have ever taught), I have as of late, felt less than expert at my profession. It was nice to feel good about what I have to offer. The students certainly enjoyed themselves, and the end of class was a wash of hugs, hand shakes and thank-you's.
Our performance Saturday night went equally as well. There were no snags in our performance to speak of, and I thoroughly enjoyed my time on stage. As we left the theater, many audience members commented on their appreciation and excitement regarding our piece, "Words Apart." Many said it was their favorite piece of the evening, and more still admitted to shedding tears. It has been strange, receiving such praise for the piece where ever we go to perform it, but still, I have had much trouble getting the piece into festivals in NYC and abroad. Maybe it doesn't translate outside of the South? I don't know. But, I plan to continue to submit the piece, in hopes of having it live on just a while longer in our repertory.
On Sunday, it was a long rehearsal at HPU for Millie. We all made it through the day, but it was obvious that everyone was getting tired and frustrated! They want to be challenged, they don't want to be challenged, they think I'm moving too fast, or not fast enough. Again, the frustration of the students brings about my insecurities. In a whirl, I created steps for the students, and as soon as one phrase was done, it was out of my head, and I was on to another. I barely remember what happened on Sunday, and how everything got done. I am happy moving into this week of rehearsal, though. All of the large group numbers are finished. This will leave us plenty of time to clean and polish!
Well, here I am again, sitting in my cave, AKA the Pauline Theater at HPU waiting for the start of another rehearsal. Yesterday's rehearsal went well, and though Sunday was not completely forgot, the students seemed in better spirits. Today, we run the numbers we have with the accompanist, a wonderful step forward. I can't wait to hear the students sing while they dance! Then after rehearsal, I will lay down in my same old bed, but in my new place.
~Cara
This past weekend was a beautiful one. The sun was out, the temperature was agreeable, and Mackenzie and I were in Raleigh for the second to last performance of the NC Dance Festival tour. I began the weekend by teaching a master class at Meredith College for Women on Friday. Though it was a short class, it was so very enjoyable! The students were wonderful; enthusiastic and energetic. For the first time in what seems like forever, I was given the gift of live music for this class. It was amazing to hear the percussion, so close to my ear, and to see the students moving about to its vibrations. I miss having live music around. What's more, I felt absolutely adept, and comfortable in the class. With the recent challenge of teaching my current ballet class at HPU (which is the most experientially disparate class I have ever taught), I have as of late, felt less than expert at my profession. It was nice to feel good about what I have to offer. The students certainly enjoyed themselves, and the end of class was a wash of hugs, hand shakes and thank-you's.
Our performance Saturday night went equally as well. There were no snags in our performance to speak of, and I thoroughly enjoyed my time on stage. As we left the theater, many audience members commented on their appreciation and excitement regarding our piece, "Words Apart." Many said it was their favorite piece of the evening, and more still admitted to shedding tears. It has been strange, receiving such praise for the piece where ever we go to perform it, but still, I have had much trouble getting the piece into festivals in NYC and abroad. Maybe it doesn't translate outside of the South? I don't know. But, I plan to continue to submit the piece, in hopes of having it live on just a while longer in our repertory.
On Sunday, it was a long rehearsal at HPU for Millie. We all made it through the day, but it was obvious that everyone was getting tired and frustrated! They want to be challenged, they don't want to be challenged, they think I'm moving too fast, or not fast enough. Again, the frustration of the students brings about my insecurities. In a whirl, I created steps for the students, and as soon as one phrase was done, it was out of my head, and I was on to another. I barely remember what happened on Sunday, and how everything got done. I am happy moving into this week of rehearsal, though. All of the large group numbers are finished. This will leave us plenty of time to clean and polish!
Well, here I am again, sitting in my cave, AKA the Pauline Theater at HPU waiting for the start of another rehearsal. Yesterday's rehearsal went well, and though Sunday was not completely forgot, the students seemed in better spirits. Today, we run the numbers we have with the accompanist, a wonderful step forward. I can't wait to hear the students sing while they dance! Then after rehearsal, I will lay down in my same old bed, but in my new place.
~Cara
Friday, January 28, 2011
Many Things.
A long week it has been, but it is not over yet! This morning, I prepare to drive to Raleigh to give a master class at Meredith College for the NC Dance Festival. Mackenzie will meet me in Raleigh, and we'll perform our piece, "Words Apart" on Saturday in the second to last concert of the NCDF tour. I'm excited to perform the piece, as we have not performed it since before the holidays. After the festival, we can look forward to performing the piece during the spring at a few dance festivals outside of North Carolina. I enjoy the fact that when a piece begins to get old, all it needs is a breath of new life from fresh eyes. I love showing work to people for the first time.
At HPU, we press on to learn the choreography for Thoroughly Modern Millie. I found myself getting a little short with the students yesterday. Their attention span was lacking, but overall, we got the work done. On Sunday, I can look forward to finishing out the last of the larger numbers. That will leave me with only a few smaller sections to choreograph, and that will be a weight lifted, for sure. The two to three weeks following this one will be for cleaning. I think the show is going to go great. I peeked in on the music rehearsal yesterday, and the cast sounds wonderful!
I want to put in a little blurb about my composition class this week. They're absolutely inspiring. That is all.
No week is complete without a tinge of disappointment. I received my first film festival rejection for my documentary, "Art for the Living." I know that of the many festivals I submitted to, most will decline my submission. But it still hurts. What can I say?
On a brighter note, I am constantly reminded that there are people out there who do care about the arts, and do care about the artists that make the art. I was surprised by a phone call on Wednesday, from a friend, Gail. Gail heads up The Storyline project, and she is the one with whom I initially collaborated with on "Words Apart." I recently had a workshop proposal accepted to the 6th Annual Arts in Society Conference, which is being held in Berlin this year. You can only imagine my excitement - my first international engagement! However, I was dismayed to learn that there is no help for travel expenses to the conference, and since I am still adjunct this year, HPU cannot help, either. Well, out of nowhere, Gail calls and tells me she would like to help me get to Berlin! Though I do not feel it appropriate to disclose the particulars of this conversation, I am only to excited and filled with gratitude at her generosity! My task now, is to gather the rest of the funds needed to make the trip. I have a plan, and it will be done!!
Well, it is time. Off I go! And of course, more soon.
~Cara
At HPU, we press on to learn the choreography for Thoroughly Modern Millie. I found myself getting a little short with the students yesterday. Their attention span was lacking, but overall, we got the work done. On Sunday, I can look forward to finishing out the last of the larger numbers. That will leave me with only a few smaller sections to choreograph, and that will be a weight lifted, for sure. The two to three weeks following this one will be for cleaning. I think the show is going to go great. I peeked in on the music rehearsal yesterday, and the cast sounds wonderful!
I want to put in a little blurb about my composition class this week. They're absolutely inspiring. That is all.
No week is complete without a tinge of disappointment. I received my first film festival rejection for my documentary, "Art for the Living." I know that of the many festivals I submitted to, most will decline my submission. But it still hurts. What can I say?
On a brighter note, I am constantly reminded that there are people out there who do care about the arts, and do care about the artists that make the art. I was surprised by a phone call on Wednesday, from a friend, Gail. Gail heads up The Storyline project, and she is the one with whom I initially collaborated with on "Words Apart." I recently had a workshop proposal accepted to the 6th Annual Arts in Society Conference, which is being held in Berlin this year. You can only imagine my excitement - my first international engagement! However, I was dismayed to learn that there is no help for travel expenses to the conference, and since I am still adjunct this year, HPU cannot help, either. Well, out of nowhere, Gail calls and tells me she would like to help me get to Berlin! Though I do not feel it appropriate to disclose the particulars of this conversation, I am only to excited and filled with gratitude at her generosity! My task now, is to gather the rest of the funds needed to make the trip. I have a plan, and it will be done!!
Well, it is time. Off I go! And of course, more soon.
~Cara
Tuesday, January 25, 2011
I Must.
My four performances with alban elved went quickly, to say the least. Sitting backstage these past few nights, I have pondered what we are doing as artists, and why. What is the purpose of this ritual we participate in? Sporting costumes to become a new cast of characters, who live the same scenarios every performance. Moving about to music, telling stories without words. Who benefits from this parade? Two little girls attend the performance two nights in a row. They are full of questions and curiosity. They long to be up on stage, dancing around, living the life of artists, it seems. Funny, since Karola and I talk about how unglamorous it is to do our art. Yet, when asked, we spout nothing but praise for the ritual. I do love it.
Today, I am back to teaching my classes. I have to say, the composition class is so lovely. My few students make absolute beauty, without even realizing it. They don't turn triples, or jump over mountains, but their explorations are virtuosic. I find myself looking on in awe, sometimes forgetting to give instruction, as I watch them occupy the space. They're so raw, unscathed by knowing too much. I only wish I was as fortunate.
The challenge continues for me at HPU to successfully choreograph Thoroughly Modern Millie. Moving twenty people across the space in an organized, interesting fashion is just hard. The process of putting this show together makes me doubt my abilities. Oddly enough, these first few rehearsals have been highly productive, I'm right on schedule. I know everything will get done. I just want it to be amazing.
On another note...
Yes, it is time to stage an evening of work. I am motivated by two factors:
1. I need new work to submit to festivals and conferences next year.
2. Observing Karola enjoy her success of a wonderful review, loyal supporters and a new work in progress makes me a little jealous. I should be sitting on the edge of the stage, telling people about why I chose a certain costume or piece of music. I should be explaining my process. I should feel the sigh of relief at a job well done.
Therefore, my decision is set. I will be staging a new concert in the fall of 2011. I can work on the material this summer. I need to get going, I am restless, regardless of my always-packed schedule. My brain is moving a million miles a minute, and I can hardly keep up. I must, I must, I must. I must do many things, but new work is at the top of the list. But who will pay for it??
Good night, all.
~Cara
Today, I am back to teaching my classes. I have to say, the composition class is so lovely. My few students make absolute beauty, without even realizing it. They don't turn triples, or jump over mountains, but their explorations are virtuosic. I find myself looking on in awe, sometimes forgetting to give instruction, as I watch them occupy the space. They're so raw, unscathed by knowing too much. I only wish I was as fortunate.
The challenge continues for me at HPU to successfully choreograph Thoroughly Modern Millie. Moving twenty people across the space in an organized, interesting fashion is just hard. The process of putting this show together makes me doubt my abilities. Oddly enough, these first few rehearsals have been highly productive, I'm right on schedule. I know everything will get done. I just want it to be amazing.
On another note...
Yes, it is time to stage an evening of work. I am motivated by two factors:
1. I need new work to submit to festivals and conferences next year.
2. Observing Karola enjoy her success of a wonderful review, loyal supporters and a new work in progress makes me a little jealous. I should be sitting on the edge of the stage, telling people about why I chose a certain costume or piece of music. I should be explaining my process. I should feel the sigh of relief at a job well done.
Therefore, my decision is set. I will be staging a new concert in the fall of 2011. I can work on the material this summer. I need to get going, I am restless, regardless of my always-packed schedule. My brain is moving a million miles a minute, and I can hardly keep up. I must, I must, I must. I must do many things, but new work is at the top of the list. But who will pay for it??
Good night, all.
~Cara
Thursday, January 20, 2011
More Life
Tomorrow marks the first evening of alban elved's weekend of performances at Salem College. At dress rehearsal tonight, I am both excited, and still doubting my body's ability to execute Karola's movement the way she envisions it. The experience of dancing Karola's work is jarring in that it jostles my brain, and gets me thinking in a different direction than I generally think. I begin thinking of tension, push and pull, give and take, both physically and emotionally. Karola's work is all at once dark, surreal, playful and patient. It is strangely hypnotizing, and once you begin to watch, you are sucked in. I will surely enjoy our four performances, as doing "Lena's Bath" with the water is too much fun! How often do you get to play with water on stage? Dripping, splashing, rinsing, exploring!
At HPU, I continue with my students, helping them to be aware of their bodies and minds. One of my four composition students dropped the class. I try not to be hurt, but it's hard. I had hoped, that all four students would find the class inspiring and insightful. However improvisation, observation, free association and challenging habits and beliefs isn't for everyone. OK. But I have to say, the three students I have remaining are fabulous. Today, they took their work with diligent consequence. They danced beautifully, and used their minds. They laughed, and supported each other. I'm glad to have these three brave students, who take on this class I am new to teaching. They make the experience wonderful. My ballet class is wonderful, too. Different, as the class is much larger, and there are absolute beginners to experienced dancers. Their goals are different than those in the composition class. The similarity I suppose, is their diligence.
This night, I am exhausted. My blood sugar is a little low. I need sleep, and sleep is what I'll get as soon as I'm done writing this post. Good night, all.
~Cara
At HPU, I continue with my students, helping them to be aware of their bodies and minds. One of my four composition students dropped the class. I try not to be hurt, but it's hard. I had hoped, that all four students would find the class inspiring and insightful. However improvisation, observation, free association and challenging habits and beliefs isn't for everyone. OK. But I have to say, the three students I have remaining are fabulous. Today, they took their work with diligent consequence. They danced beautifully, and used their minds. They laughed, and supported each other. I'm glad to have these three brave students, who take on this class I am new to teaching. They make the experience wonderful. My ballet class is wonderful, too. Different, as the class is much larger, and there are absolute beginners to experienced dancers. Their goals are different than those in the composition class. The similarity I suppose, is their diligence.
This night, I am exhausted. My blood sugar is a little low. I need sleep, and sleep is what I'll get as soon as I'm done writing this post. Good night, all.
~Cara
Sunday, January 16, 2011
Lucky Girl.
I am absolutely grinning at the thought of my marvelous week! The past week has reminded me what a lucky girl I am.
And why should I feel so lucky? Because despite the snow at the beginning of this week, my semester at HPU began with a theater full of eager bodies and minds. Those bodies and minds displayed beautiful dance work, which I know will only become more amazing as the semester goes on. I went to my first faculty meeting this week, and I am beginning to feel more and more at home at my workplace. I got my wish: HPU will be having its first formal dance concert next spring, during the 2011-2012 theater season! What's more, rehearsals for Thoroughly Modern Millie have finally begun, and I am inviting the challenge of choreographing this show with gusto. I taught the cast a fun combination for the opening number to begin, and to my excitement, it looked good!
This week also brings with it, an opportunity to take part in someone else's work. Karola Luttringhaus, artistic director of alban elved, a modern dance company here in NC, asked me to dance a piece in her upcoming show. It has been such a long time since I've learned somebody else's choreography, and I am finding it satisfyingly challenging! The piece I'm learning, called "Lena's Bath," hits home with me as I have always had an unstable relationship with water. How fitting is it then, in my quest to become more comfortable with water, to dance a piece about becoming comfortable with water?! I find Karola to be quite an interesting, knowledgeable woman, and I feel that I could learn a lot from her. She works with a certain intensity that I enjoy, but she is also loose and easy to communicate with.
As with every week, I speak to my friend and collaborator, Laura. We begin to speak about new ideas for our piece, "Common Threads," which we'll finally have a chance to rework for ourselves since our residency at NC State this past fall. We'll be presenting the piece in progress at SECCA at the end of March. We have decided to give ourselves the few days prior to our showing to do a workshop style rehearsal period. We've decided the experience of having this workshop period will enhance the work we already have to show, and allow the material to grow and change as it pleases. There is no reason why we should have to stick to a rigid form for the performance of this piece. Depending on who's in it and where we take it, we've decided to allow the piece to evolve naturally. As we discuss our ideas, there are overlapping thoughts and notions, which tells both of us, that we're on the same page. I love it when that happens!
Another happy occasion this weekend, as my mother graduated from her MFA program in creative writing. I am so proud! She looked so happy, walking across the floor to receive her diploma. And I hope she will continue to write her lovely stories. She inspires me to keep learning and changing and growing, even if you think you've finished doing all of those things. She teaches me that it's never too late to pursue your passions, whatever they may be on any given day.
Finally, I must comment on the amazing love of my husband. Through all of this wonderfulness, I still was feeling under the weather this week, with a mysterious headache/dizziness/shakiness. My husband took care of me, tucked me in at night, and spent quiet time with me. He makes me feel safe, and makes me feel grounded. While I'm walking around on cloud nine, he's supporting me all the way. While I'm in three places at once, he is the steady force in my life. The cherry on top this week was definitely him!
Yes, I am a lucky girl.
And why should I feel so lucky? Because despite the snow at the beginning of this week, my semester at HPU began with a theater full of eager bodies and minds. Those bodies and minds displayed beautiful dance work, which I know will only become more amazing as the semester goes on. I went to my first faculty meeting this week, and I am beginning to feel more and more at home at my workplace. I got my wish: HPU will be having its first formal dance concert next spring, during the 2011-2012 theater season! What's more, rehearsals for Thoroughly Modern Millie have finally begun, and I am inviting the challenge of choreographing this show with gusto. I taught the cast a fun combination for the opening number to begin, and to my excitement, it looked good!
This week also brings with it, an opportunity to take part in someone else's work. Karola Luttringhaus, artistic director of alban elved, a modern dance company here in NC, asked me to dance a piece in her upcoming show. It has been such a long time since I've learned somebody else's choreography, and I am finding it satisfyingly challenging! The piece I'm learning, called "Lena's Bath," hits home with me as I have always had an unstable relationship with water. How fitting is it then, in my quest to become more comfortable with water, to dance a piece about becoming comfortable with water?! I find Karola to be quite an interesting, knowledgeable woman, and I feel that I could learn a lot from her. She works with a certain intensity that I enjoy, but she is also loose and easy to communicate with.
As with every week, I speak to my friend and collaborator, Laura. We begin to speak about new ideas for our piece, "Common Threads," which we'll finally have a chance to rework for ourselves since our residency at NC State this past fall. We'll be presenting the piece in progress at SECCA at the end of March. We have decided to give ourselves the few days prior to our showing to do a workshop style rehearsal period. We've decided the experience of having this workshop period will enhance the work we already have to show, and allow the material to grow and change as it pleases. There is no reason why we should have to stick to a rigid form for the performance of this piece. Depending on who's in it and where we take it, we've decided to allow the piece to evolve naturally. As we discuss our ideas, there are overlapping thoughts and notions, which tells both of us, that we're on the same page. I love it when that happens!
Another happy occasion this weekend, as my mother graduated from her MFA program in creative writing. I am so proud! She looked so happy, walking across the floor to receive her diploma. And I hope she will continue to write her lovely stories. She inspires me to keep learning and changing and growing, even if you think you've finished doing all of those things. She teaches me that it's never too late to pursue your passions, whatever they may be on any given day.
Finally, I must comment on the amazing love of my husband. Through all of this wonderfulness, I still was feeling under the weather this week, with a mysterious headache/dizziness/shakiness. My husband took care of me, tucked me in at night, and spent quiet time with me. He makes me feel safe, and makes me feel grounded. While I'm walking around on cloud nine, he's supporting me all the way. While I'm in three places at once, he is the steady force in my life. The cherry on top this week was definitely him!
Yes, I am a lucky girl.
Thursday, January 6, 2011
How Did I Get Here?
After a holiday induced hiatus, I am back! And though I did not have a chance over the past month, to create gobs of new work, the time off did afford me space to think.
My break from work, from the studio and from the constant weight of needing to get something done "right now" was a quiet one, surrounded by a few dear people and minimal excitement. I found my journal, and began to write. I began to wonder. I began to wonder about my process and the shape it's taken over the past year. I began to wonder about my accomplishments and if I'd really gotten out of them what I'd originally aimed at getting. Did I get something better? Did I miss the mark entirely? I wondered if I am prepared to take any big steps with my work this year. Then I wondered what all I'm going to do next.
Sometime over my pondering, a new question emerged through which I plan to explore facets of "the journey," and who I am fully. I have begun to research myself, by delving into the half of my family I know least about: my African American side. Where did we come from? How did and from whom did we get our obviously Irish surnames? I think gathering this information would help me to better understand my new over-arching question.
HOW DID I GET HERE?
How Did You Get Here? How Did We Get Here?
Every day, we arrive. We arrive in the seat of a car, at the home of a friend, in the arms of a loved one, in the studio exploring various concepts in movement. How did we get to these places? It isn’t just the few steps it takes to get from the front door to the car, or from a position of stillness to an expression of movement. Our journeys are complicated and winding. Each event, person, place, thought, and shift leading up to each arrival is significant and absolutely essential.
And for that matter, it isn't exactly as simple as just being born.
I want to make journey webs. I want to ask people to recall where their various journeys actually began, and how they've evolved. I've begun to make little videos, hoping to explain how I've ended up where I've ended up lately.
I could explore this in movement, certainly. I could explore this through writing, and visual mediums.
I began my search for answers this past week at the Avery Research Institute in Charleston. Though the Institute does not specialize in genealogy, they did have some wonderful suggestions and resources on how to begin the study of oneself. I can't say this will be an easy task, trying to find evidence of a people and culture that society tried to erase so many times in our history, but many have taken the journey, and no doubt even if I don't find exactly what I'm seeking, I will still be the richer for it!
So here's to new ventures, challenges and triumphs!
My break from work, from the studio and from the constant weight of needing to get something done "right now" was a quiet one, surrounded by a few dear people and minimal excitement. I found my journal, and began to write. I began to wonder. I began to wonder about my process and the shape it's taken over the past year. I began to wonder about my accomplishments and if I'd really gotten out of them what I'd originally aimed at getting. Did I get something better? Did I miss the mark entirely? I wondered if I am prepared to take any big steps with my work this year. Then I wondered what all I'm going to do next.
Sometime over my pondering, a new question emerged through which I plan to explore facets of "the journey," and who I am fully. I have begun to research myself, by delving into the half of my family I know least about: my African American side. Where did we come from? How did and from whom did we get our obviously Irish surnames? I think gathering this information would help me to better understand my new over-arching question.
HOW DID I GET HERE?
How Did You Get Here? How Did We Get Here?
Every day, we arrive. We arrive in the seat of a car, at the home of a friend, in the arms of a loved one, in the studio exploring various concepts in movement. How did we get to these places? It isn’t just the few steps it takes to get from the front door to the car, or from a position of stillness to an expression of movement. Our journeys are complicated and winding. Each event, person, place, thought, and shift leading up to each arrival is significant and absolutely essential.
And for that matter, it isn't exactly as simple as just being born.
I want to make journey webs. I want to ask people to recall where their various journeys actually began, and how they've evolved. I've begun to make little videos, hoping to explain how I've ended up where I've ended up lately.
I could explore this in movement, certainly. I could explore this through writing, and visual mediums.
I began my search for answers this past week at the Avery Research Institute in Charleston. Though the Institute does not specialize in genealogy, they did have some wonderful suggestions and resources on how to begin the study of oneself. I can't say this will be an easy task, trying to find evidence of a people and culture that society tried to erase so many times in our history, but many have taken the journey, and no doubt even if I don't find exactly what I'm seeking, I will still be the richer for it!
So here's to new ventures, challenges and triumphs!
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